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THE NEW YORK
PUBLIC LIBRARY
ASTOR, LENOX AMD
TILDEN FuU^D/^TIONa
THE MADONNA DEL GRAN DUCA — RAPHAEL
THE CHRIST-CHILD IN ART
a Stub^ of Untcrpretation
BY
HENRY VAN DYKE
Could every time-worn heart but see Thee once again
A tiappy human child atnong the homes of men
The age of doitbt would pass — the vision of Thy face
Would silently restore the childhood of the race
ILLUSTRATED
NEW YORK AND LONDON
HARPER & BROJHERS FUHIISHEKS
1904
THE NEW YORK
PUBLIC LIBRARY
5 I 18
NOX AND
TILDEN FuUUD -VIONS.
C I
L
Copyright, 1893, by Harper & Brothers.
AU rights reserved.
V
TO
ELLEN
ON WHOSE FACE I HAVE SEEN
THE BEAUTIFUL LIGHT OF MOTHERHOOD
SHINING ABOVE THE INNOCENCE AND TRUST
OF CHILDHOOD IN HER ARMS
X SeUfcate ttifs Itook
GRATEFULLY
PREFACE
If it were possible for the writer of this book to talk for a little
while with those who are about to read it, he would not wan-
der from his opportunity by trying to excuse its shortcomings.
His chief desire and endeavour would be simply to express the
spirit of what is written here in such a way that it might ap-
pear from the beginning in a true light, and with its own per-
sonal character. In effect, he would try to create an understand-
ing between the book and its readers, feeling quite sure that
they would give it fair judgment, provided only they did not
take it at the outset for something else than what it is meant
to be.
It is likely that he would wish to say something a little differ-
ent to each one of them. For the fault of a written Preface is
that it remains always the same. It has no faculty of accommo-
dation. To accomplish its design perfectly it should have the
power of change, in order to adapt itself to the delicate work of
opening a real communication between one mind and another.
The ideal book would have a separate introduction to every
reader. But, after all, there would probably be a good deal of the
same substance, though uttered with a different accent and em-
phasis, in each of the addresses. Certain things would always
need to be said as briefly and as clearly as possible. And if the
opportunity could come to the present writer, or — since that is
hardly possible in a world where we must do all our work under
strict limitations — if he might have the good-fortune to find gen-
vi PREFACE
tie readers who would be willing to take a Preface neither as an
advertisement nor as an apology, but simply as an elucidating
word, a key-note, he would desire to say, at least, something
like this:
The story of the birth and childhood of Jesus the Christ, told
with such wonderful simplicity and purity in the gospels of St.
Matthew and St. Luke, has made a most profound impression
upon the heart of the world. It has exercised a silent, potent
influence not only upon human thought, but also and still more
deeply upon human feeling and action. It has created new ideals
of taste and of conduct ; new forms of grace and beauty ; yes,
we may even say that it has created a new kind of love and a
distinct type of loveliness. For certainly, since Jesus was born
in Bethlehem, the world has learned a new reverence and ten-
derness for childhood, and in expressing these it has discov-
ered in the innocence and simplicity of the Child another em-
bodiment of the Eternal Beauty which dwells at the heart of all
things good and true. This was indeed a discovery of incalcu-
lable value, to human art as well as to human life. It has given
a new theme to poet and painter — a theme of which ancient art
and literature knew comparatively little, and showed but few and
faint traces. Childhood has only begun to "come to its own,"
in the works of art as well as in the deeds of charity, since men
have heard and believed the story of the Christ-child.
The studies out of which this book has grown have been a
source of strength and joy to me for nearly twenty years. They
have followed, in very different ways but always with the same
spirit, the influence of the story of Christ's nativity and infancy
as it has been told and retold, again and again, among men.
They have led me, in the time of work, back to the original
archives of Christianity to consider and interpret by fresh contact
the inexhaustible significance of the brief, inspired record, and on
through the history of the Church to trace from century to cen-
tury the unfolding of truth in her teaching and love in her life,
both proceeding from Him who was laid in the manger at Beth-
PREFACE vii
lehem. They have led me, in the seasons of rest and recreation,
into some of the fairest countries and most beautiful cities on
earth, to see, face to face, the finest creations of Christian art,
and try to understand the conditions under which they were
produced, and the meaning which they express. But I have not
intended to put anything more than a very small part of these
studies into this book — only the results, not the processes ; and
the results only in so far as they belong to interpretation rather
than to criticism.
Pray do not expect to find here an institute of theology or a
treatise on painting, a history of doctrine or a theory of art. I
have not ventured to attempt these things. There is something
less ambitious which I would far rather do. 1 would like to
trace in outline a single chapter from the chronicles of the heart
of man; to express, first, in the language of to-day and words
of common life, the meaning of the gospel narrative of the in-
fancy of Jesus; to touch next, but lightly, upon some of the le-
gends which have gathered about it, that we may feel how much
less they are worth than the primitive record; to follow, then,
some of the lines of beauty in which art has interpreted the truth
of the story; and at last to leave the impression, which is true,
that the chapter is still unfinished, because neither human faith
nor human art has yet exhausted, or ever will exhaust, the sig-
nificance of the story of the Christ-child for the joy and growth
and uplifting of mankind.
But there are two points on which you are entitled to look for
a more personal utterance, here at the outset, if you are to take
the trouble of reading what follows in a spirit of comprehension.
It makes a good deal of difference, so far as understanding is
concerned, that you should know from what stand-point, in re-
gard to art and religion, the book is written.
First, then, in regard to art : I frankly confess myself an ad-
herent of no exclusive school ; a devotee of no particular the-
ory; an admirer of good work wherever and however it may be
done. The old masters are admirable, else they would not have
survived. The modern painters are admirable; they seem to us
viii PREFACE
to have learned some things hitherto unknown ; and if we are
right about this, some of them also will become old masters in
the course of time. Among all the manifold works of art we
should be looking always with clear eyes to recognize the things
that are well done. And by "well done " I mean, first, that they
must be evidently worth doing; and, second, that the artist's
keen sense of their worth must express itself by a thorough
mastery of the medium in which he has chosen to depict them,
by patient labour concentrated on its proper object, and resulting
in a luminous and significant interpretation of that object to
our perception. From this it follows that the things which
are well done in art will always have two qualities in greater or
less degree: they will be true to nature and really related to fact;
they will also be characteristic and expressive of the artist's per-
sonality. In other words they will have life-likeness, by virtue of
their correspondence to the outer world which the artist sees ;
and they will have life, by virtue of their relation to the inward
personal power with which he sees it. Two artists, equally
great, will never interpret the same subject in precisely the same
way. In the work of each there will be something individual
and distinguished. For the stream of art, as Sainte-Beuve says
of the stream of thought, " differs from a river in not being com-
posed of a number of similar drops. There is a distinction in
the quality of many of the drops." And precisely this distinction
is the chief element that gives value to a work of art. The
idealists have done well when they have succeeded in making
their pictures real. The realists also have done well when they
have had ideas. But, after all, there are as many different kinds
and qualities of idealism as of realism. Let us not suppose that
because Abana and Pharpar, the rivers of Damascus, are beauti-
ful there is no water to refresh us in the river Jordan.
And yet this confession of my stand-point in regard to art would
not be complete without the acknowledgment that I reckon the
sentiment and feeling of a picture to be always more precious
than its technical workmanship. I would willingly have walked
through a picture-gallery with Coleridge, of whom it is told that
PREFACE ix
he would sometimes say, after looking at a painting, "There's no
use in stopping at this, for I see the painter had no idea. It is mere
mechanical drawing. Come on ; here the artist meant something
for the mind." Coleridge might have made a mistake in any
particular case, for the idea of a picture does not always stand out
upon the surface. But in general, it seems to me, his principle
was sound and deep. For with the greatest possible respect and
admiration for technical skill of every kind, 1 yet hold, with the
latest and one of the best of the critics who have written of
" Art for Art's Sake," that without the emotion, feeling, thought,
or idea, "one may produce art admirable by virtue of novelty,
colour, form, skill of hand — the verve of the artist ; with it one
may produce a higher art, speak a nobler language, serve a
loftier purpose."
In regard to my religious stand-point a word will suffice. I see
very clearly that all who have approached the story of the Christ-
child with sincerity and humility, whatever their formal creeds,
have felt its beauty and its power. The shepherds in their rus-
tic ignorance, the star-led Magi emerging from the misty super-
stitions of the hoary East, the prophet Simeon devoutly waiting
for the consolation of Israel — for all of these there was light and
blessing in the presence of the Holy Babe. But at the same time
I see still more clearly that the brightest light and the richest
blessing, the best treasures of art and the most abundant works
of love, have come where the birth of Jesus has been interpreted
in the faith of the Christian Church as the personal entrance of
God into the life of man. Therefore I hold that this interpreta-
tion is true, and 1 accept it with all my heart.
A year ago I stood in the chapel of the Hospital of the Inno-
cents, at Florence. There, in the dim light, hung Ghirlandajo's
fine painting of the Adoration of the Magi. The kings of Orient,
with their splendid cortege, knelt before the young child Jesus.
In the foreground were two lovely figures of children, clad in
diaphanous and fleecy robes of white, kneeling with folded
hands and happy faces. As I looked at them more closely I saw
by the little drops of crimson, like necklaces of rubies around
X PREFACE
their necks, that the old painter had meant them to represent
two of the martyred innocents of Bethlehem, and that he had put
them into his picture in order that they might silently utter the
thought of his heart concerning the comfort and help and salva-
tion which were brought to the helpless and suffering children
of earth by the infant Saviour. Then, while this sweet thought
was moving within my mind, I left the chapel and passed through
the wide court-yard, blazing in the heat of the summer sun.
There 1 saw the painter's prophecy fulfilled in the flesh ; for there
was a little outcast child of the city being carried in tenderly to
the cool chambers of the hospital to receive the best care and
nursing that the healing art of to-day can give. And it seemed
to me that the hospital interpreted the picture, and the picture
interpreted the hospital. Then I remembered how that great
building, with its admirable proportions designed by Brunellesco,
its facade adorned with the exquisite reliefs of Andrea della Rob-
bia, and its chapel enshrining one of Ghirlandajo's noblest paint-
ings, had risen in all its loveliness from the Christian faith and
compassion of the silk merchants of Florence, who built it four
hundred years ago to be a refuge for deserted and defenceless lit-
tle ones in the name and for the sake of Jesus Christ the Lord.
The artist's vision of beauty had found its right place in the home
of charity, because both were created by the same impulse of de-
votion to the Divine Christ-child. Surely both expressions of that
impulse were true, and their union makes a perfect harmony ; and
surely it will be a good day for the world when that harmony is
renewed. Modern art, splendidly equipped and full of skill,
waits for an inspiration to use its powers nobly. Modern bene-
ficence, practical and energetic, lacks too often the ideal touch,
the sense of beauty. Both these priceless gifts, and who can tell
how many more, may be received again when the heart of our
doubting age, still cherishing a deep love of faith and a strong
belief in love, comes back to kneel at the manger-cradle where a
little Babe reveals the philanthropy of God.
CONTENTS
PAGE
THE ANNUNCIATION , . . . . i
THE NATIVITY 45
THE ADORATION OF THE MAG! in
THE FLIGHT INTO EGYPT 147
THE CHILDHOOD OF JESUS 187
ILLUSTRATIONS
THE ANNUNCIATION
THE MADONNA DEL GRAN' DUCA — RAPHAEL „ .
THE ANNUNCIATION — FRA FILIPPO LIPPI . . ,
THE ANNUNCIATION — LORENZO GHIBERTI . . .
THE ANNUNCIATION — DONATELLO
MOSAIC OF THE ANNUNCIATION — FIFTH CENTURY
THE ALLEGORY OF THE UNICORN ......
THE ANNUNCIATION FRA ANGELICO . . . , ,
THE ANNUNCIATION SANDRO BOTTICELLI . . .
THE ANNUNCIATION — FRANCESCO FRANCIA . . .
THE ANGELIC GREETING — ROGER VAN DER WEYDEN
THE ANNUNCIATION ANDREA DEL SARTO . . .
ECCE ANCILLA DOMINI — DANTE GABRIEL ROSSETTI
PAGE
Frontispiece
3
5
9
14
17
19
25
29
33
37
41
THE NATIVITY
IL PRESEPIO — GIOTTO 49
THE VIRGIN IN A WOOD FILIPPO LIPPI ........ 55
THE NATIVITY ANDREA DELLA ROBBIA - 59
THE NATIVITY ROGER VAN DER WEYDEN 65
THE ADORATION OF THE SHEPHERDS — -DOMENICO GHIRLANDAJO 69
FROM SARCOPHAGUS OF FOURTH CENTURY ........ 72
xiv ILLUSTRATIONS
PAGB
THE MOTHER ADORING HER CHILD 75
THE NATIVITY — BERNARDINO LUINI 8 1
LA NOTTE -CORREGGIO 85
THE ADORATION OF THE SHEPHERDS — MURILLO 9 1
THE HOLY NIGHT FRITZ VON UHDE 97
MADONNA IN VLADIMIR CATHEDRAL, KIEFF — V, M. VASNETZOFF IO3
THE ADORATION OF THE MAGI
MOSAIC FROM THE CHURCH OF S. APOLLINARE NUOVO, RAVENNA II3
THE WISE MEN AND THE STAR — ROGER VAN DER WEYDEN . II5
FRESCO FROM THE CATACOMBS I20
SHRINE OF THE THREE KINGS, IN THE COLOGNE CATHEDRAL . 1 23
ONE OF THE MAGI — BENOZZO GOZZOLI 127
THE ADORATION OF THE MAGI — RUBENS 131
THE ADORATION OF THE MAGI — BOUGUEREAU 135
THE ARRIVAL OF THE MAGI AT BETHLEHEM — JOHN LA FAROE 139
(hirst half ol the painting in the Church of the Incarnation, New York)
THE ARRIVAL OF THE MAGI AT BETHLEHEM — JOHN LA FAROE I43
(Second half of the painting in the Church of the Incarnation, New York)
THE FLIGHT INTO EGYPT
THE FLIGHT INTO EGYPT — GIOTTO 151
FRESCO — NOTRE-DAME d'aBONDANCE — THE FLIGHT INTO EGYPT 155
THE REPOSE IN EGYPT — ALBRECHT ALTDORFER 157
THE REPOSE — LUCAS CRANACH 161
THE HOME IN EGYPT — ALBRECHT DURER 1 65
THE FLIGHT INTO EGYPT — MURILLO 1 69
ILLUSTRATIONS xv
PAGB
THE FLIGHT INTO EGYPT PIERRE LAGARDE 173
IN THE SHADOW OF ISIS — LUC OLIVIER MERSON 177
THE TRIUMPH OF THE INNOCENTS — W. HOLMAN HUNT . . . l8l
THE CHILDHOOD OF JESUS
THE ORLEANS MADONNA — RAPHAEL 191
THE CHILD JESUS IN THE FIELDS — ALFRED BRAMTOT . . , 197
LA BELLE JARDINIERE— RAPHAEL 201
THE VIRGIN AND CHILD WITH ST. JOHN — BOTTICELLI . . . 205
THE HOLY FAMILY — PINTURICCHIO 209
THE HOLY FAMILY — FRANZ DEFREGGER . 213
THE CHILD JESUS TAUGHT BY HIS MOTHER — LUC OLIVIER MERSON 219
THE HOLY FAMILY — MURILLO 223
CHRIST AMONG THE DOCTORS — DUCCIO 229
THE BOY JESUS IN THE TEMPLE — HOFMANN ...,,.. 233
THE ANNUNCIATION
There is a vision in the heart of each
Of justice, mercy, wisdom, tenderness
To wrong and pain, and knowledge of their cure ;
And these embodied in a woman's form
That best transmits them pure as first received
From God above her to mankind below.
Robert Browning.
3lnU in tfft stptf) manti) t^t anjel Gabriel tDaes sent from
(Soli unto a citp of <8aliltt, naraeii iQa^aretl),
Co a totrsin espouseli to a man \o^oac name teas 2r(>'
sepi), of t()e douse of E)abi5 ; anH tfje Dtr^tn's name tnaa
iHarp.
Slna t|)e anffel came in unto ^er, anlJ satJ, |)ail, tljon tliat
art dig:l)lp faijoureu, tlje lorB is toitlj tiftt : blesseU art t^ou
among toomen.
SInJ to()en s|)e sato Jjim, 6l)e teas troubled at (jis sap-
ing:, anU cast in lier minJ to|)at manner of salutation tjjis
sidonlli be.
anU tl)e anffel saiH nnto \}tv, jFear not, iRarp : for tjjou
tiast founD favour taitif (3oti,
3tnU, bejjoliJ, tj^ou sl)alt conceive in tl)p iuomb, antJ brin^
fortb a son, anti s^alt call U^ name JESUS.
^c sljall be jreat, anU s^all be calleU tl)e ^on of tlje
^iffljest; ani tl)e lorti (3o1i sl)all fftiie unto ()im tt)e tjjrone
of l)is fat()er DabiU :
anl be s^all reig;n otier t{)e I)ouse of STacob for eiier ; anH
of dis king;Uom tl)ere sl)all be no enti.
C^en saiU ;Ptarp unto tj)e anffel, poto sljall tUB be, see-
ing; 3r fenoto not a man ?
3ln5 tl)e angel ansttereJ anli sail unto l)er, C()e |)olp
(Sl)ost sball come upon tjjee, antJ tbe potoer of t^e |)i5beBt
sljall oijersbaiJoto tl)ee: tI)erefore also t|)at l^olp tljing; tDJjiclSf
s^all be born of tl)ee s^all be callelJ tl^e ^on of (Soli.
9lnli, be^olli, t^p cousin ©Usabetb, s^e jjatb also concelUeJj
a son in l&er oU age ; anli t^is is tl)e siptj) mont^ toitb ber,
m^o teas callel) barren.
jFor toitl) (0oti notI)ing 6l)all be impossible.
Stnti iHarp saiU, iSefjolti tl)e banUmatB of t^t LorU ; be it
unto me atcoriing to tif^ luorli. SlnlJ t^t angel BeparteU
from ^er. — St. Luke, i. 26-38.
THE ANNUNCIATION — FRA FILIPPO UPPI
From a Painting in the National Gallery, London
I
^^"^^HE Annunciation is the prelude of the birth
of Christ. It is the slender song in a maid-
en's heart which gives the keynote and the
motive for all the splendid symphonies, celestial and
terrestrial, which have been woven about the name of
Jesus. To us who listen across the centuries it seems
as if this earlier prophetic melody in the cottage at
Nazareth rose immediately into the chorus of angels
which the shepherds heard upon the hills of Bethle-
hem. The interval of long and weary months disap-
pears in our thought. The Annunciation becomes the
beginning of the Nativity. We hear in Gabriel's mes-
sage and Mary's answer simply the first words of "the
glad tidings of the Holy Child Jesus."
4 THE CHRIST-CHILD IN ART
Surely it is not unnatural that there should be such
a prelude to such an event. Nothing in nature arrives
unheralded. The dawn foretells the day-spring. The
bud prophesies the flower. This is the way of God in
His world. And it would be strange indeed — stranger
than any miracle — if there should be no announce-
ment of the birth of that well -beloved Son, in whose
perfect life the fulness of the Godhood is to be revealed
in manhood.
But after what fashion should this annunciation be
made ? With signs and wonders in heaven and earth .?
With blasts of celestial trumpets and mighty voices
echoing over land and ses.? It might have been so
in a myth or a fable, but not in the history of a real
religion. Turn back to the record of the event which
is given by the evangelist Luke, and see the beautiful
difference between a true and a false revelation. Read
again the strangely simple and moving words in which
the story is told. How quiet and serene is the nar-
rative of what befell the lonely maiden of Nazareth.
How little there is to strike the eye and how much
to touch the heart. How direct and delicate is the
phrase. Nowhere else could this story have been
preserved, save in the memory of the virgin who was
so pure and gentle that angels might gladly do her
reverence. And it seems most natural to suppose that
St. Luke, in his early discipleship, heard the narrative
from Mary's own lips, and wrote down in her own
words this sacred poem of the Annunciation.
But what is its inward meaning ? What significance
has it for the soul of man .?
THE ANNUNCIAIIDN — LORKNZO ( ;i 1 1 iiKKTI
From the Baptistery Gates, Florence
THE ANNUNCIATION 7
It seems to me that it is the embodiment and ex-
pression of a twofold mystery. It expresses, first of
all, the mystery of a divine revelation, a flash of that
secret spiritual light which is ever breaking through
from the realm of the invisible into the realm of the
visible. But it expresses also, and no less truly, the
mystery of a human faith, that secret spiritual capac-
ity for receiving enlightenment, which waits and longs
for the divine illumination, and is quickened by it into
a heavenly fruitfulness. This quiet and obscure event
at Nazareth is the point at which the divine light in
perfect clearness meets the human faith in perfect re-
ceptiveness, and they mingle in a new life.
All through the history of Israel the prophecy of
the coming Christ had been gleaming with a vague
and diffused radiance, like sunlight playing from be-
hind the clouds on distant waters. Now it is gathered
into a single ray, slender, distinct, and vivid with per-
sonality. For many centuries Hebrew motherhood had
been ennobled and glorified by the great expectancy
of the Messiah who should redeem His people. Now
the Divine Hope descends dove-like into a virgin's
breast and is conceived, and thus begins a human life,
borne tenderly and secretly beneath the heart of her
who, among all the maidens of Israel, has found favour
with God.
How else shall the story be told than in the words
of the Sacred Scripture ? Could any other form come
closer to the reality, or image it more clearly ? I have
been reading the disquisitions and explanations of the
early theologians, but they seem dry and tedious ; they
8 THE CHRIST-CHILD IN ART
add nothing to knowledge, and they take much from
reverence. Curious inquiries into the mystery of phys-
ical birth, they are worthless as science, and worse
than worthless as religion. I have been reading also
the pagan myths of the birth of demi-gods — of Per-
seus, whom Danae bore, and of Castor and Pollux, the
sons of Leda; but they seem gross and sensual; the
heaviness of falsehood clings to them and weighs them
down. I have been reading also the tales of Messiah's
coming which are told in the Talmud, and which rep-
resent the expectations of the great mass of the Jewish
people in the time of Christ ; but they are full of
caprice and fantasy, incoherent and grandiose; they
abound in strange portents ; they are noisy with the
wars of Gog and Magog ; they predict the arrival of a
monarch whose chief glory is to be the rebuilding of Je-
rusalem with gold and jewels and costly woods, and the
bringing of all other nations to pay tribute to the Jews.
When one turns from all this literature of fancy
debased by avarice and perturbed by sensuality, of
curiosity pushed beyond the mark, and of realism
which becomes untrue because it tries so hard to be
exact — when one turns back from all this to St. Luke's
narrative of the Annunciation, it is like passing from
the glare and turmoil of a masquerade in an artificial
park, into the soft fresh air of a real garden, where the
dews are falling and the fragrance of unseen flowers
comes through the twilight.
How little is defined and yet how much is clear in
this atmosphere of inspired verity ! Gabriel, " the
strength of God," is the name given to the angelic
THE ANNUNCIATION — DONATELLO
From a bass-relief in stone in the Church of S. Croce, Florence
THE NEW YORK
PUBLIC LIBRARY
ASTOR, LENOX AND
TILDEN FOUNDATIONS.
c
THE ANNUNCIATION il
messenger. Mary, " the handmaid of the Lord," is the
favoured one of the chosen race — chosen to this spe-
cial honour, doubtless, for no other reason than be-
cause it had cherished the purity and dignity of wom-
anhood more perfectly than any other race of the
ancient world. We are not to think of the Hebrew
woman of that age as ignorant and degraded. There
is nothing at all unnatural or incredible in finding
such a character as Mary, so chaste, so meek, so
noble, in a quiet home of Nazareth. She is aston-
ished at the gracious and joyful salutation that comes
to her ; and that also is not unnatural, for it is a greet-
ing hitherto unknown. There is a moment of won-
der and surprise ; a tremour of maiden fear ; a bending
of simple faith to receive the heavenly thought ; an
overshadowing Spirit of power; a new conception of
God in humanity. The miracle has come unseen. A
woman, blessed among all her sisters, believes that her
child is to be the Son of the Highest, and will call
His name Jesus, because He shall be the Saviour.
That is the essence of the Annunciation. But what
of the accidents — what of the details of form and time
and place ? All these are veiled. We do not know
what was the nature and appearance of the angel ; nor
whether Mary was waking when the message came, or
sleeping and dreaming, as Joseph was when he re-
ceived his warning. We are not told whether she was
reading or spinning in her room, or praying in the
Temple, or resting on the house-top, after the manner
of the Orient. The hour is not set at morning or
noon or evening or midnight. The story leaves these
12 THE CHRIST-CHILD IN ART
things, as so much in the Gospel is left, to that rever-
ent Imagination which is "the true sister of Faith."
And what I desire to do here is to touch briefly upon
some of the forms in which that Imagination has ex-
pressed itself in art, and interpret them, if I can, in the
spirit of the truth which they embody.
II
We must recall, at the beginning, some of the le-
gends of the Annunciation which are found in the
apocryphal gospels and in the poems and romances
of the Middle Ages. These are, indeed, the first and
most childish efforts of art, and the imagery which
the poets and story-tellers use in their narratives is
often repeated by the painters and sculptors in their
works.
The unknown writer whose fragment of the his-
tory of Mary is preserved for us by St. Jerome adds
only a single touch to the story of the Annunciation,
but it is a very graphic one. He says that the angel,
coming in, " filled the room where Mary was with a
great light." The author of the book called the Prote-
vangeliimi of St. James gives a much fuller narrative.
He tells us that Mary had been chosen by lot from
among seven maidens of Nazareth to spin the royal
purple for a new curtain in the Temple. One day, as
she was returning with her pitcher of water from the
fountain, she heard a voice saying, " Hail, thou who art
THE ANNUNCIATION 13
full of grace !" She looked to the right and to the left
to see whence the voice came, and then, trembling,
went into her house, and, putting aside the pitcher,
took up the purple, and sat down to spin it. And be-
hold, the angel of the Lord stood by her, and said,
"Fear not, Mary, for thou hast found favour in the
sight of God."
In the mediaeval poems of Germany, Mary is de-
scribed as crossing the court-yard to wash her hands
at the fountain when the angel first appeared, and
as sitting among her companions, who were working
discontentedly at the coarser linen of the Temple veil,
when he came again to complete his message. These
details are often repeated in the early works of art.
If it is the first appearance of the angel that the artist
has chosen to depict, he shows us the fountain and the
pitcher, or the walls and pillars of the court through
which Mary is passing. If he has chosen the second
appearance, the scene is laid within-doors, and we are
reminded by some naive and obvious token of the
work in which Mary was engaged. There is an abun-
dance of such representation of the Annunciation
among the ancient mosaics and carvings in ivory and
wood and stone. Rohault de Fleury, in his splendid
volumes, has described a number of them.
The mosaic from the Church of Santa Maria Mag-
giore, in Rome, is interesting chiefly because it shows
the early date at which some of these legendary par-
ticulars became the common properties of art. It was
made in the fifth century; and here are the skeins of
purple on Mary's lap, and the distaff on her arm. For
H
THE CHRIST-CHILD IN ART
the rest, the mosaic has little value as an interpretation
of the story. It misses the very essence of it by repre-
senting Mary as a proud empress on a throne, and call-
ing in three angels with Gabriel to witness the scene.
The most significant and the most enduring imag-
inative detail in the art of the Annunciation was intro-
duced by St. Bernard. He says that the Virgin was
reading in the Book of the Prophet Isaiah, and when
MOSAIC OF THE ANNUNCIATION — FIFTH CENTURY
In S. Maria Maggiore, Rome
By permission of the J. G. Gotta'sche Buchhandlung, Nachfolger
she came to the verse, " Behold, a virgin shall conceive
and bear a son," and was thinking in her heart
how gladly she would be a handmaid to serve one
so blessed, the angel drew near and said : " Hail,
Mary! Blessed art thou among women." The thought
is so beautiful, it is no wonder that art adopted it.
The Book, lying open on Mary's knee, or on a desk
THE ANNUNCIATION
15
before her, or clasped against her bosom, appears in
the most and the best of the Annunciation pictures.
Other emblems, with a meaning more or less mys-
tical, were associated with the story, and came gradu-
ally into use among the artists, with slight variations
depending upon personal choice and training. The
lilies, which seem to us the most natural symbols of
virgin purity, became common in the twelfth century.
They are growing in a pot beside the maid Mary, or
carried in the angel's hand. Sometimes he bears in
their stead a branch of olive, the emblem of peace, or
a royal sceptre surmounted with a cross or a globe.
When we see the palings of a garden in the back-
ground of a picture, the artist is reminding us of the
verse in the Song of Solomon which says, "A garden
enclosed is my sister, my spouse." The flawless mir-
ror is an illusion to the phrase in the Book of Wis-
dom, "■ spectilum sine macula^ The bush which burns
but is not consumed is taken from the vision of Moses.
The dove is the universal symbol of the Holy Spirit.
I have seen pictures of the Annunciation into which
the artist has introduced a basket of fruit and a pitcher
of water, to signify Mary's frugality; or a cat, to de-
note, perhaps, her domesticity. Sometimes a painter
(following a custom which has come down from the
times in which every event in the Old Testament was
interpreted as a type of something in the New) will put
a little scene from the Old Testament in the distance,
representing Eve, because she is the mother of human-
ity; or Bathsheba, because the Davidic line descends
through her that was Uriah's wife. But the strangest
l6 THE CHRIST-CHILD IN ART
and most mystical of all the Annunciation emblems is
the unicorn. I have taken an illustration of it from
an old German painting in Weimar. The explanation
is found in an allegory which occurs first in the works
of an unknown writer of the eleventh century, called
Physiologus, and became, somewhat later, one of the
favourite themes of mediaeval poetry. It runs, briefly,
in this wise:
" The unicorn is an animal of such wondrous wis-
dom and strength that no hunter can take him, and
of such gracious quality that his horn wounds only to
heal. This represents the Saviour. He is pursued
by a heavenly huntsman, who is God the Father, and
four hounds, which are named Truth, Peace, Mercy,
and Justice. Coming to a pure virgin, he takes refuge
in her bosom, lays aside all his wildness, and is capt-
ured at last."
It was a strange and confused theology which could
evolve such a legend out of its inner consciousness;
but, such as it was, the Middle Ages delighted in
it; and here you see it all drawn out and carefully
labelled, according to the old German poem, which
says:
" Der einhurn hiit gevangen ist,
in miigden schos mit grossem list;
der ist gewesen, ihesus crist,
die maget du, maria bist."
THE ANNUNCIATION
17
III
Out of this unreal and allegorical region of the
early legends we may turn with gladness to the freer
and fairer realm of pure art, and see how the real
thought of the Annunciation has been clothed with
forms of beauty.
It is not one of those subjects which test the force
of an artist's genius or the fertility of his invention.
It does not demand mighty strength in the expression
of emotions, or a broad range of comprehensive in-
telligence in the
study of contrast-
ed characters, or
even a profound
knowledge of his-
tory and archaeol-
ogy. It appeals
rather to a certain
delicacy of senti-
ment, a fine feel-
ing for the beauty
which exists in the
simplest things, a
power to appreci-
ate truths which
evade definition, and to suggest those inward expe-
riences of the soul which are so profound and yet so
evanescent that they can hardly be expressed in words.
Perhaps it is due to this quality of the subject that
THE ALLEGORY OF THE UNICORN
By permission of Messrs. Wiegandt and Grieben, Berlin
l8 THE CHRIST-CHILD IN ART
there are no world-famous pictures of the Annunci-
ation. The greatest artists seem to have passed it by ;
or if they touched it they did not put their highest
powers into the painting, and it remains comparatively
unnoticed among their more celebrated works. Thus
it comes to pass that one who is studying the pictures
of the Annunciation will often find the most charming
ones in out-of-the-way places. There is one, I remem-
ber, in the little city of Arezzo, over an outer door-
way in the neglected church of S. Annunziata. The
sacristan brought a long ladder and climbed up to open
the crumbling wooden shutters which only half pro-
tected it from the weather. It was a fresco by Spi-
nello Aretino ; the angel, in his white robe sown with
stars and his diadem crowned with the tongue of fire,
was kneeling, with his palm-branch, before the fair and
humble virgin, and from the Father's out-spread arms
above, the heavenly babe came floating down on a ray
of light, borne up by two roseate cherubs. An ineffa-
ble air of peace breathed from the picture, and it was
most lovely even in its decay. Another, of equal
though very different charm, I found in the Pinacoteca
Vannucci, at Perugia. It was the top of a triptych by
Piero degli Franceschi ; the virgin walked beneath a
marble colonnade beside a secluded garden ; the angel
who met her had no need of lilies or palm-branch to
attest his origin, for his aspect was so noble that, as
Vasari says of him, " he was fit to come from heaven."
In many unvisited churches and obscure galleries I
found pictures of the Annunciation which pleased me
with the charm of sincerity and sweetness and purity;
THE ANNUN'CIATION — FRA ANGELICO
From a painting in the Baptistery, Cortona
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THE ANNUNCIATION 21
and the best of all was in the convent of La Verna,
high above the sources of the Arno, where the loveliest
works of Andrea della Robbia are hidden away in
mountain solitude.
But the illustrations for this stud}^ I have preferred
to take from more accessible places and from artists
whose names are more familiar. They are not, indeed,
men of the very highest rank. But they are men of
distinctive quality in the second rank. They have the
individuality of genius, the power of giving a peculiar
and personal pleasure in their work which we cannot
fail to recognize as theirs and theirs alone. I think we
should not forget or underrate the place which these
secondary artists have in the ministry of every art.
Dante and Shakespeare and Goethe are great names ;
but the sonnets of Petrarch and the lyrics of Shelley
and the songs of Heine are perfect of their kind. And
so I think that each of these nine artists, whose con-
ceptions of the Annunciation we are to study here,
has his own value, and has added something to the
interpretation of this sweet and simple theme.
Look, first of all, at the relief by Lorenzo Ghiberti.
It is a panel in one of the northern doors of the Bap-
tistery in Florence. They were made before the fa-
mous " Gates of Paradise " on the eastern side, and are
far less rich and elaborate than those unrivalled por-
tals. But what they lack in finish, in picturesqueness,
in abundance of detail and wealth of imagination, they
gain in simplicity, in directness, and in nobility. These
northern doors, in fact, were made before Ghiberti be-
gan to be "a painter in bronze," and the twenty -one
22 THE CHRIST-CHILD IN ART
years of labour that he spent upon them were confined
to efforts which belong properly and strictly within the
limits of sculpture in relief. This representation of
the Annunciation is one of the simplest and noblest
of the panels. The distinct and unmistakable note in
it is the swiftness of a joyful surprise. The angel
sweeps forward with a buoyant motion, his garment
lifted by the wind of his flight. The holy dove flies
like an arrow towards the Virgin's breast. Her slen-
der figure shrinks and sways with wonder as she lifts
her hand, half to ward, and half to welcome, the mes-
sage. Timidity and joy blend in her aspect. The
event is isolated from all surroundings. It might be
anywhere. It is womanhood visited by God.
Turn from this to Donatello's sculpture in the
Church of S. Croce, and see how the difference of
individual character comes out in the work of two men
dealing with the same subject, in the same age, and
under the same influences. Donatello's relief is cut in
a fine gray sandstone which is called pietra sercna, and
stands in a beautiful tabernacle against the southern
wall of the church. The ornamentation of the back-
ground, the hair of the Virgin and the angels, and
the borders of their robes are gilded. This gives a
strange impression of life -likeness to the figures which
I know not how to explain. Moreover, the artist has
breathed the very spirit of the Renaissance into his
work — that subtle expressiveness which seems to catch
the shadow of a thought as it passes over the face,
and to suggest the intensity of a feeling in a turn of
the neck, in the bending of an arm. Donatello's con-
THE ANNUNCIATION 23
ception of the theme has gone on beyond Ghiberti's.
It is not so much the dramatic surprise of the an-
gel's visit that impresses him ; it is rather the won-
derful nature of the interview between Mary and the
angel that he wishes to depict. To each figure he
would give the true, the characteristic emotion, yet
without fixing it in hard outline, so that it would
seem exaggerated and theatrical, but in delicate, sink-
ing lines which appear to be caught almost as they are
vanishing. He has thought of the angel's admiration
for her to whom he brings such a message. It is ex-
pressed in the very curve of Gabriel's body, in the
upward glance of his face, in the arms held back as
if he did not dare to touch her whom he so reveres
and loves. And Mary's face and attitude, with all the
beauty of antique sculpture, are tinged also with a
sentiment of responsiveness, of gentle courtesy, a spirit
lowly and grateful, yet not afraid, which belongs only
to the Christian ideal. She has risen from the seat
where she was reading, and turns to hear the angel's
message. There are none of the usual mystical sym-
bols of the Annunciation, not even the dove. Nothing
distracts our attention from the conversation between
Gabriel and Mary. It is a lyric with two parts in it,
in which the one answers to the other perfectly, and
the rhythm would be lost if either were omitted.
Fra Giovanni da Fiesole, surnamed Angelico, found
in the Annunciation a favourite theme, suited to the
unsullied purity of his spirit; and he has painted it
many times with perfect delicacy and ideal truth. One
of the best of these paintings is in the Baptistery at
24 THE CHRIST-CHILD IN ART
Cortona. Turning from the bare grass -grown piazza
of the cathedral, with its splendid view over the Val
di Chiama, into the dingy little building, you see this
exquisite panel hanging above a tawdry altar on the
right hand wall. The Virgin is seated beneath a porch
of white marble. Her dress is simple in its form ; but
the clear, bright colours of the red gown, and the blue
robe with its green lining set off the fairness of her
face, her hair of red gold, and her hazel eyes. A book
lies open on her knees to show that she has been read-
ing. There is a gold ring on the third finger of her
left hand to show that she is espoused. She bends
forward, with hands folded across her breast, to greet
the angel — an image of meekness, of quiet happiness,
of maidenly purity. Gabriel is clothed in a garment
of heliotrope lavishly adorned with gold, and embroid-
ered with many colored jewels. His hair is like the
hue of ripe wheat when the sun shines through it,
and his long golden wings are tipped with red, and
covered with many eyes. A tongue of fire plays above
his forehead. He runs swiftly beneath the porch, shin-
ing with delight so great that little rays of splendour
dazzle from his whole body. He bears no wand, nor
branch of Hlies. It seems as if he had come in too
great haste to stay for them. There is a childlike
eagerness in his face, and in the gesture of his hands,
the right pointing to Mary, and the left directed up-
ward. Behind him lies a slope of greensward sprinkled
with flowers, and at the top of it we see, as in a vision,
the fiery-sworded angel driving Adam and Eve from
the lost Paradise. How different is Gabriel's mission
THE ANNUxNCIATION — SANDRO BOTTICELLI
From a painting in the Uffizi, Florence
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THE ANNUNCIATION 2/
now — to announce a Paradise regained! This is the
thought that Fra Angelico has felt and expressed in his
picture — the thought of a great and innocent happi-
ness. The Annunciation was a message so joyful that
the most resplendent of all the archangels might well
be glad and make haste eagerly to carry it to the lowly
maid of Nazareth.
The naivete of this picture Is altogether charming.
But when we turn from it to look at the small tab-
leau by Fra Filippo Lippi, which hangs in the Nation-
al Gallery at London, we feel that the childlike spirit
of the Angelican school has lost something of its first
freshness and naturalness. It has now a touch of con-
scious artifice. Fra Filippo was the painter of sacred
genre; and he has translated the story of the Annun-
ciation into language so light and easy that it seems
almost playful. There is an irresponsible air about
this young angel, in his white dress, with collar and
wristband, and breastplate of dark blue, who has step-
ped aside from the garden path to kneel on the grass,
with the branch of lilies over his shoulder. There is a
gleam of roguishness in his demure eyes ; he is not
unlike a celestial choir-boy. The Virgin is seated on
a terrace in front of her bedchamber which opens to
the garden. Through the doorway you see the bed
with its damask coverlet; and in a vase, in front of
her, a bunch of lilies is growing. Her dress is of pale
pink and blue ; her features are small and inexpress-
ive. She is looking down at the dove which flies tow-
ards her lap, leaving behind it a succession of rings
of vanishing fire, like circles in the water, growing
28 THE CHRIST-CHILD IN ART
larger and fainter, until they almost reach the hand
at the top of the picture — as if each pulsation of the
heavenly wings sent a halo of light quivering through
the air. This fancy is not without beauty. For the
rest, the picture has a certain grace, but it is all the
grace of this world, and the figures bear too clearly the
impress of the models from whom they were drawn.
In Sandro Botticelli we have a painter of the same
age and race, but of a very different temperament. It
is said that he was the pupil of Fra Filippo Lippi ; if
so, he learned some things that his master could never
have taught him. He was a student of psychological
problems, of conflicting emotions and strange thoughts,
divided between heaven and earth. Familiar with the
classic beauty of pagan art, and feeling it profoundly,
he was yet most unclassical in all his work. For in
his pictures nothing is fixed and quiet. A mystical
air stirs in his draperies ; a mystical passion breathes
from his faces. He has caught them in a moment
of transition, while the past fades and the future still
is dim. Yet all this movement and flow and conflict
of his art is without violence ; it is quiet, inward, inev-
itable. There is far more of yielding in it than of
struggle. With him love is often weary and joy often
sorrowful. I think his picture of the Annunciation is
very characteristic and deep.
The strong squares of red and white in the marble
floor, and the formal landscape seen through the open
doorway, suggest the fixity, the indifference of the
outward world. It is one of those silent, sultry noons
when nature seems to be absolutely motionless in the
THE ANNUNCIATION — FRANCESCO FRANCIA
From a painting in the Brera, Milan
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THE ANNUNCIATION 31
heat. The angel has come down unnoticed ; his crim-
son robe, girded up about him as if for a journey, still
flutters a little as he kneels, almost crouches, upon the
pavement. His eyes are full of reverence; his mouth
is sad ; it seems to tremble with pity. The Virgin
turns from the desk at which she has been reading;
she is perturbed and overwhelmed by the mysterious
tidings. Her face is plaintive and her heavy- lidded
eyes are downcast. She seems to be near fainting as
she bends towards the angel with out-stretched arms,
the hands bending backward from the wrists, as if
beseeching him to depart from her. The picture is
full of profound emotion ; it tells us at least one truth
in regard to the Annunciation which many of the
painters have forgotten ; it reminds us that Gabriel had
need to comfort the Virgin with the words " Fear not !"
In Francesco Francia's picture, in the Brera at
Milan, there is none of this intense emotional realism.
The scene is laid apparently in the porch of the
Temple. The atmosphere is cool, clear, tranquil ; it is
evidently the hour of evening twilight, in which the bell
called the Angelus still rings in memory of Gabriel's
visit. The landscape is harmonized with the painter's
mood ; so still is it that the little lake in the distance
reflects the encircling trees as a mirror. The angel,
in glistering white, bearing a branch with three lilies,
has come gently; and without effort he calls. Mary
half turns from the Temple door to listen. I do not
know whether she sees him. But surely she hears
with quiet and peaceful awe, and her attitude, with
that slight drooping of the head which Perugino gives
32 THE CHRIST-CHILD IN ART
to his saints, is maidenly and gracious. It is an idyllic
Annunciation. The words of an English poet seem
to be addressed to such a virgin :
"Mind'st thou not (when June's heavy breath
Warmed the long days in Nazareth)
That eve thou did'st go forth to give
Thy flowers some drink, that they might live
One faint night more amid the sands?
Far off the trees were as pale wands
Against the fervid sky ; the sea
Sighed farther off eternally,
As human sorrow sighs in sleep.
Then suddenly the awe grew deep,
As of a day to which all days
Were footsteps in God's secret ways;
Until a folding sense, like prayer,
Which is, as God is, everywhere.
Gathered about thee ; and a voice
Spake to thee without any noise,
Being of the silence : — ' Hail,' it said,
*Thou that art highly favourM;
The Lord is with thee here and now;
Blessed among all women thou.' "
It is not another spirit, but only another mode of
expressing the same spirit, which characterizes the
quaint Flemish Annunciation assigned to Roger van
der Weyden, though I know not whether he painted
it. It makes little difference ; a dozen men of the same
school could, and would, have given it the same mean-
ing. The note of distinction here, as in Francia's
picture, is serenity. But now it is serenity of a more
homely type. Mary is grave and sedate, a thought-
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THE ANNUNCIATION 35
ful maiden, reading and praying in her bedchamber.
It is early morning, and the soft light streams through
the open window across the bed with its smooth cover-
let and neatly gathered curtains. A lily is growing in
a pitcher, and has pushed open the lid. Gabriel, dis-
creetly robed in white, stands behind the Virgin and
speaks to her. He looks somewhat heavy, as if flight
might be difficult to him, but his aspect is very benig-
nant. He is such an angel as such a virgin would
have liked to see. There is no fear on her face as
she listens, only the faint suggestion of a smile about
her lips. It is a placid picture, full of the peace of
home and the delight of meditation.
Andrea del Sarto, called " the faultless painter," rep-
resents the golden age of Italian art. As a craftsman
he stood in the first rank. In sure and skilful drawing,
in symmetrical composition, in the smooth harmony
of colour, he was a master. But Andrea always lacked
a certain fibre of complete and essential greatness. He
could execute with perfection, but he could not con-
ceive with sublimity. His style was finer than his
thought. I think we feel this in his picture of the
Annunciation, which is in the Pitti Palace at Florence.
It is technically a beautiful piece of work. Nothing-
could be better than the poise of the figures, the speak-
ing grace of the angel's face and hand, the delicate
design of the reading-desk in the centre and the lofty
portico in the distance. But there is a sensation of
discord when we see David bending from the portico
to look at Bathsheba. That which completes the back-
ground spoils the subject. Nor does the Madonna
36 THE CHRIST-CHILD IN ART
satisfy us ; she is too evidently that Lucrezia Buti,
whose fair face was but the mask for a sordid spirit.
The one thing that redeems the picture is the love-
liness of Gabriel, a shape of immortal youth. It is like
that sculpture which Dante saw in the Purgatorio:
*' L' Angel, che venne in terra col decreto
Delia molt' anni lagrimata pace,
Ch'aperse il Ciel dal suo lungo divieto,
Dinanzi a noi pareva si verace
Quivi intagliato in un atto soave,
Che non Sembiava imagine che tace.
Giurato si saria ch'ei dicess' Ave.'"
Of modern pictures of the Annunciation there are
but few. Bouguereau's painting in the Church of St.
Vincent de Paul, in Paris, has a superficial prettiness,
but it is utterly and irredeemably commonplace. There
is an Annunciation by Burne-Jones which has all the
charm of his subtle drawing and colour; but he has
made it an echo of Florence in the fifteenth century.
It was natural enough for the Florentines to set the
scene amid Renaissance architecture and give the fig-
ures an Italian aspect; they did it spontaneously and
without reflection. But for an English painter of this
age to revert purposely to that type savours so much
of artifice that it makes his work seem unreal and
insincere.
I know of but one significant and noble painting of
the Annunciation in our century, and that is Rossetti's
Ecce AncilLa Domini, in the National Gallery at Lon-
don. The picture, as one looks at it for the first
THE ANNQNCIATION ANDREA DEL SARTO
From a painting in the Pitti Palace, Florence
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THE ANNUNCIATION 39
time, appears dreamlike in the strange beauty of its
colour; it is a lily of white and gold, but with infi-
nite gradations and shadows of light trembling through
the hue of purity and the hue of love. All this is
lost in the engraving; and yet it is still possible to
feel something of the penetrating sweetness of the
picture's conception. The poet.-painter has chosen a
mo/if which art has hitherto neglected. He thinks of
the Annunciation as coming, like so many other an-
gelic visits, in a dream. The time is the border- land
between sleeping and waking, the visionary hour of
early morning. The pale flame of the night-lamp is
about to expire ; the cool light of dawn shines through
the window. The strong Gabriel appears in the aspect
of one of those of whom it is written, " He maketh
His angels spirits. His ministers a flame of fire," and
the very air kindles at his feet into aureate flames.
Mary is fair and delicate, pulchra ut luna, electa ut sol.
She has just awakened; half -rising from her virgin
couch, she is not looking at the angel; she does not
see him ; her eyes are fixed as in a dream, and she
whispers, wondering, " How shall this be ?" Her spir-
itual loveliness is best described in Rossetti's own
sonnet :
"This is that blessed Mary, pre-elect
God's Virgin. Gone is a great while, and she
Dwelt young in Nazareth of Galilee.
Unto God's will she brought devout respect,
Profound simplicity of intellect.
And supreme patience. From her mother's knee
Faithful and hopeful, wise in charity,
40 THE CHRIST-CHILD IN ART
Strong in grave peace, in pity circumspect.
So held she through her girlhood, as it were,
An angel-watered lily, that near God
Grows and is quiet. Till one dawn at home
She woke in her white bed, and had no fear
At all, yet wept till sunshine, and felt awed,
Because the fulness of the time was come."
IV
What thought, then, shall we bring from our study
of these Annunciation pictures ? They are only notes
in the prelude to our real theme; but even the prelude
is not to be forgotten in the larger music; its sug-
gestions are taken up and unfolded; its melody is
woven into the larger harmony; it colours and influ-
ences all that comes after it. And if our study thus
far has been a real interpretation, it will give us some-
thing, an impression, a sentiment, a vital thought,
which will go onward with us into the story of Beth-
lehem and the scenes of Jesus's childhood.
Surely this impression can be nothing else than a
sense of the beauty and simplicity of the faith with
which Mary received the revelation that came to her
from on high and called her to perfect and immaculate
motherhood. If the angel could say " Hail !" to her,
and call her blessed, we may well do her reverence,
and love her with honour above all other daughters
of Eve. Could the promise of the divine birth at
Bethlehem ever have been fulfilled unless there had
the: new yoi^k
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THE ANNUNCIATION 43
been such a mother, so pure, so reverent, so conse-
crated to her mission, to carry the holy child beneath
her heart and nurse Him in her arms ?
Christmas is truly the festival of childhood ; but it
should also be the festival of motherhood, for the
child, even the holiest, is not divided from the mother.
We may learn to think of infancy as sacred in the
light that flows from the manger- cradle of Jesus. Yet
it seems to me we cannot receive that truth perfectly
unless we first learn to think of motherhood as holy
in the memory of her whose virginal and stainless love
found favour with God to receive and guard and cher-
ish the Son of the Highest.
THE NATIVITY
O blessed day which giv'st the eternal lie
To self, and sense, and all the brute within ^
Oh ! come to us amid this war of life ;
To hall and hovel come ! to all who toil
In senate, shop, or study! and to those
Ill-warned and sorely tempted —
Come to them, blest and blessing, Christmas Day!
Tell them once more the tale of Bethlehem,
The kneeling shepherds, and the Babe Divine;
And keep them men indeed, fair Christmas Day!
Charles Kingsley.
9tn5 it came to pass in t^ast Haps, t^ut tfjere tocnt out a
Bccree from (JDeear auffustuB, tijat all t[)e tDorli e^onlH be
taj^eU.
3lni tl)is tarns teas first niaJe toljen Cprenius toas pto^
ernor of ^pria.
SlnlJ all toent to be ta;:ea, etoerp one into Us oton citp.
aini 3roEiepl) also toent op from (Salilee, out of t!)e citp of
jQa^aretf), into STttUea, unto t\)t citp of ^atiii, iDJ)icJ) is callell
!Bet5lei)em (becauBe ^e teas of t^e i)otiBe an! lineaje of
£)ai)ili),
®o be tapeU toitl^ JHarp j^ie efipoufieU toife, beinj jrcat
\oitl) cbim.
ani 60 it teas, tdat, to()ile tijep toere t()ere, tjie Uaps toere
accomplisbcU tljat s\ft fibonli be JeliUereli.
anH 6be brooffbt fortb |)er firstborn eon, anl torappcU btm
in Btoamitnff tlat^s, anir laiii |[)im in a manner ; becanae
tbere toas no room for tlftm in tljt inn.
^nU t|)ere iuere in tbe game countrp ebepjjerJifi abiUing: in
tftt fielU, feeeping: matcl^ ober tijeir flocfe bp nijbt.
ana, lo, ti)t anffel of tbe torli came upon tjjem, anU t!)e
fflorp of t1)t lorli B()one ronnB about ti)cm ; anJ t()ep toere
Bore afraii.
anJ tbe anffel saili unto tbem, jFear not : for, be^olU, 3"
bring: pou poa tHiing:6 of g;reat iop, to()icj) Bjjall be to all
people.
jFor unto pou is bom tj^is lap in t^e citp of DaPiU a
^abiour, tolfitl is €^ljvist t()e lorH.
9lnU tbiB Bjjall be a Big:n unto pou ; ge Bl)all Cnti t()e babe
torappeti in Btoatiming: clotfjee, Iping; in a mang:er.
anU BuJJenlp tfjere toaB laiti) ti)t ang:el a multituie of
t()e beaijenip boBt praising; ®oB, anU Bapinf,
(Slorp to <3ati in tbc ()ig;I)eBt, anti on eartb peace, gfooll
tuill totoarti men.
Inli it came to pass, as tbe ang:el6 toere g:one atoap from
tbem into bcaben, tbe sbepberis saiti one to anotj)er, let ub
note ffo epen unto -^Setblebem, anU see tUa t\)ins tobicb is
come to pass, toj)icb tbe lorli batb maie linoton unto ua,
SlnU t()ep came toitb baste, anJ founU ;|Jtarp an5 SToBepj^,
antJ tbe babe Iping; in a mang;er. — St. Luke, ii. 1-16.
VDuMohcl '92
I
HE birth of Jesus is the sunrise of the Bible.
Towards this point the aspirations of the
prophets and the poems of the psalmists
were directed as the heads of flowers are turned tow-
ards the dawn. From this point a new day began to
flow very silently over the world — a day of faith and
freedom, a day of hope and love. When we remember
the high meaning that has come into human life and
the clear light that has flooded softly down from the
manger -cradle in Bethlehem of Judea, we do not won-
der that mankind has learned to reckon history from
the birthday of Jesus, and to date all events by the
years before or after the Nativity of Christ.
But it is a strange thing, and one which seems at
first almost incredible, that the unconscious evidence
of art does not reveal a very profound impression of
the Nativity upon the mind of the early Church. Many
careless writers, whose sentiment of what ought to be
is stronger than their knowledge of what really is, have
48 THE CHRIST- CHILD IN ART
spoken of it as the first and favourite theme of Chris-
tian art. But in fact it does not appear in any form
until the fourth century; it is represented less fre-
quently than many other subjects from the Old and
New Testaments; and it does not really assume a prom-
inent and central place in art until the thirteenth
century.
What are the reasons of this? — for reasons there
must be. An individual may suppress or divert the
play of his feelings according to rule or whim. He
may exalt or depress an event in his imagination, he
may choose or refuse to picture it with his mind or
his hand, for purposes which are artificial and pre-
meditated. But a community, a generation of men, is
more natural and naive. Its legends, its literature, and,
above all, its art, inevitably betray its inmost thought
and feeling. If the Nativity is pictured but rarely in
early Christian art, it is simply because the early Chris-
tians did not at first fully realize the great and beauti-
ful meaning of the Nativity in its relation to the whole
life of Christ, and, indeed, to all human lives.
I do not imagine for a moment that there was any-
thing defective in the faith of the primitive Church, or
that she ever doubted or denied the truth concerning
the birth of Jesus. From the beginning she was in
possession of the whole truth, but it unfolded slowly in
her consciousness, and the true significance of it was
gradually made plain. This is the way of God in His
world. Christianity is perfect and complete, and has
been so ever since it was embodied in the life of Christ.
Every one who has Christ in his heart has the whole of
IL rRESF.riO GIOTTO
From a fresco in tlie Chapel of the Arena, Padua
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it ; nothing can be added, nothing can be taken away.
But the understanding of it, the living sense of what it
means, comes only by degrees, to different men and to
different ages. Even yet, as we gladly believe, the
Church has much undiscovered country and many hid-
den treasures in that territory of truth which she has
possessed from the beginning. And in the first centu-
ries it is not difficult to see, if we will take the pains to
think about it, how and why the Nativity did not re-
ceive as profound attention as other events in the his-
tory of Jesus.
Probably the first reason was the predominant influ-
ence of the resurrection on the thought of the early
Christians. It dimmed, for a time, all other facts in the
dazzling blaze of its glory. This was for them incom-
parably the greatest event in the history of Christ,
because it was the pledge and proof not only of his
Messiahship, but also of their own immortality. His
crucifixion was inseparably connected with it, as the
consummation of his redeeming work. The entire
history of salvation was summed up for them in the
words " He died for our sins and rose again for our
justification." They did not feel any pressing need of
looking beyond this to inquire how Christ came into
the world, or what connection there was between his
birth and his atoning death. It was enough for them
that He was there, that He had been crucified and
raised again for the world's redemption ; and there-
fore they were content to centre their thought and
feeling upon the festival of Easter, in which these
two great events were commemorated.
52 THE CHRIST-CHILD IN ART
Possibly another cause which may have overshad-
owed, at first, the gentle radiance of the Nativity was the
fact that all of the apostles, and many of the other disci-
ples, had seen Christ in his resurrection glory; but none
of them had looked upon Him as a helpless babe in the
cradle. Especially the controlling mind of St. Paul was
filled with the memory of the form in which he had seen
the Christ — that form of splendour shining above the
brightness of the Syrian noon — and dwelt naturally
upon the vision of divine majesty rather than upon
the lowly picture of human infancy. The epistles were
written before the gospels ; and of the gospels only
one lingers with tender emotion upon the details of
the birth in Bethlehem. The thoughts of the early
Christians were engaged more constantly with the ce-
lestial glory of their Lord than with his earthly humili-
ation. They found their strength and comfort amid
the trials of life in thinking of his Divinity, of his ex-
alted state, of his sovereign power, and of his second
coming in majesty, which they expected soon. Com-
pared with these ideas the thought of his humanity
may perhaps have seemed less precious, less important
to them. It is impossible to make any positive or defi-
nite statement on a subject so vague, and so much en-
veloped in uncertainty. But one thing at least is very
significant : the earliest form of error that arose in the
Church denied Christ's true manhood, and taught that
his outward form was an illusion — a mask of humanity
in which the Son of God was disguised.
This was not unnatural, for we must remember that
humanity was not very humane to the early Christians.
THE NATIVITY 53
This world was a bard home to them. Indeed, it was
not a home at all ; they did not regard it as one. They
were oppressed and persecuted and martyred, alike by
Jews and by pagans. It was no benefit to them to be
born. To die was their true escape and felicity. And
so it came to pass naturally that they lived much in
the heavenly future, despising the present life, and
celebrating the martyrs' death -days as their true birth-
days. Thus the great Origen, in a homily on Le-
viticus, xii. 2, assured his hearers that " none of the
saints can be found who ever held a feast or a ban-
quet upon his birthday, or rejoiced on the day when
his son or his daughter was born. But sinners rejoice
and make merry on such days. For we find in the Old
Testament that Pharaoh, King of Egypt, celebrated his
birthday with a feast, and that Herod, in the New Tes-
tament, did the same. But the saints not only neglect
to mark the day of their birth with festivity, but also,
filled with the Holy Ghost, they curse this day, after
the example of Job and Jeremiah and David." While
the leading teacher of the Church was preaching after
this wise, we can hardly expect to find the Christians
thinking much about the Nativity, or dreaming of a
celebration of Christmas.
I do not mean to assert that this was the universal
and unbroken condition of thought and feeling in the
Church during the first three centuries. There were
some men, in advance of their age, who had learned to
think of the whole life of Christ in its unity as a life
for and with man. Irenseus, in particular, is worthy of
special mention and enduring honour as the first of the
54 ' THE CHRIST- CHILD IN ART
fathers to bring out the unfolding of all the stages of
human life in Jesus Christ; and even though he had
never written another word than this, he deserves to be
immortal in the memory of the Church for having said,
" He therefore passed through every age, becoming an
infant for infants, thus sanctifying infants ; a child for
children, thus sanctifying those who are of this age,
being at the same time made to them an example of
piety, righteousness, and submission."
This sentence holds the heart of Christmas. But it
was not until long after it was uttered, it was not until
the latter half of the fourth century, that the Church at
large began to feel and to develop its meaning. Then
it was that she emerged from the storm of persecution
into the sunshine of imperial favour. Then she real-
ized that patient suffering and faithful death were not
the only duties of the Christian, but that, following
God in love, it was possible to begin in this world
the purity and peace of heaven. Then she began to
feel the wondrous significance of the living entrance of
the Son of God into the life of man, and his perfect
pattern of holiness in every human relation. Then she
passed from the lower conception of a Church saved
out of the world, to the higher conception of a world
to be saved through the ministry of the Church, a nat-
ural year to be transformed by reverent devotion and
wholesome piety into the Christian year, a redeeming
life as well as an atoning death of Christ, to be pre-
served in living remembrance by the perpetual com-
memoration of its chief events. Then it was that,
opening her heart to the humanity of religion, she be-
THE VIRGIN" IN A WOOD — FII.IPPO LirPI
From a painting in the Berlin Museum
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THE NATIVITY 57
gan to draw near to the humanity of Jesus, and to seek
with eager interest for the day of his birth that she
might make it holy.
But what clew was there to direct the search? What
reason could be given for choosing one day rather than
another for the Christmas festival ? The gospels, al-
ways meagre in dates, were quite silent here. They
gave no hint of the day or month of the Nativity.
Oral tradition, we may be sure, was equally reticent or
indifferent. There were, indeed, a few scattered sug-
(jestions of the date of Christ's birth floatins; here
and there among the writings of the fathers ; but these
were all of late origin, manifestly unhistorical, and,
above all, quite contradictory. Clement of Alexandria
said that many Christians regarded the 20th of May
as the day of the Nativity, others preferred the 20th of
April, but he favored the 19th of November. In the
Eastern Church the 5th or 6th of January was cele-
brated as the date of Christ's baptism, and the Nativity
was joined with this. Others again fixed upon the 21st
of March as the day of Christ's birth. Between such
varying and slightly supported assumptions there was
little to choose. A historical date was clearly out of
the question. Nothing was left for the Church to do
but to select some day on grounds of convenience and
symbolic significance, and celebrate it by common con-
sent as Christmas Day.
It would take too long to trace the many reasons
which probably led to the choice of the 25th of De-
cember. It was doubtless connected with the day
which had already been generally accepted as the date
58 THE CHRIST- CHILD IN ART
of the Annunciation and of the creation of the world.
Assuming that the world was made in the spring, be-
cause it was commanded to bring forth grass and herbs,
and that it was made when the day and night were of
equal length, because " the evening and the morning
were the first day," it was natural, though somewhat
naive, to fix upon the vernal equinox (according to the
Julian calendar, March 25th) as the exact date of the
creation. And once having discovered by this easy
method the very day on which the world came into
being, and the glorious light sprang out of darkness,
what more simple than to assume that it was the same
day on which the power of the Almighty overshad-
owed Mary, and the " Day-spring from on high " began
his entrance into the world ? Nothing could be plain-
er. Even the least imaginative of chronographers could
reckon forward from this fixed point of the Annuncia-
tion nine months, and arrive at December 25th as the
day of the Nativity. And here another wonderful coin-
cidence meets him. This is the day of the winter
solstice, the day when the world's darkness begins to
lessen, and the world's light to grow; the day which
the ancient world had long celebrated as the birthday
of the sun — dies natalis soils Invlcll ; what more appro-
priate day could be found for the birth of the " Sun of
Righteousness?" St, Augustine points out an instance
of the wondrous fulfilment of Scripture in the fact
that St. John the Baptist was born on June 25th, the
summer solstice, when the sun begins to decline ; but
the Lord Jesus was born on December 25th, the winter
solstice, when the sun begins to ascend. And in this
THE NATIVITY ANDREA DELTA ROF.niA
From a bass-relief in the Convent of La Verna
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THE NATIVITY 6i
is fulfilled the saying, " He must increase, but I must
decrease."
Let us not hesitate to admit that these calculations
have very small historical value. At least they have
real poetic feeling. I do not suppose that the early
Christians intended to fix the exact day of Christ's
birth as a matter of infallible chronology. All that
they meant to do was to bind their devotions into har-
mony with the year of nature, and utter their profound
belief in the vital unity of the life of Christ with the
life of the world. Creation and redemption, resurrec-
tion and daybreak, nativity and the returning of the
unconquered sun — these are united in the thought of
God, and in the gratitude of man. And though the
shepherds of Bethlehem may not have watched in the
fields by night amid the rigours of midwinter, though
the tax registration of Publius Sulpicius Quirinus may
not have taken place in December, every heart that
feels the simplicity and beauty of the Christian faith
can join in the gladness of that Christmas Day which
has been consecrated by centuries of holy joy, and
which celebrates the emergence of a new light from
the darkest and longest of the nights of earth.
The earliest mention of the 25th of December as
Christmas Day is found in an ancient catalogue of
Church festivals about a.d. 354. And it is surprising
to see with what alacrity the date was received and the
Nativity celebrated throughout Christendom. It seems
as if the world had been waiting for this festival of
divine and human childhood, and was ready to welcome
it at once with songs of joy. In the year 360 it was
62 THE CHRIST- CHILD IN ART
already celebrated in Rome by vast multitudes throng-
ing the churches. Twenty years later, Antioch had
taken it up with great popular enthusiasm. And in
little more than fifty years from its earliest suggestion,
the observance of December 25th as the day of the
Nativity had become the universal practice of Chris-
tians.
II
It is about this time, the latter part of the fourth
century, that we find the legends with which the his-
tory of the birth and childhood of Jesus was embroid-
ered, beginning to take a definite shape, and to follow
fixed, conventional patterns. The so-called Gospel of
the pseudo- Matthew was probably written at the com-
mencement of the fifth century. The Protevangeliiim
of fames and the Gospel of Thomas were of earlier
origin, but the first clear evidence of their currency in
their present form comes from the end of the fourth
century. These legendary books came into existence
in a very simple and natural way. They were the out-
growth of that native trait of the human mind, famil-
iar to every one who has tried to tell a true story to
children — the craving for picturesque detail. A child is
never satisfied with the bare statement that a thing
happened; he always wants to know how it happened;
he demands local colour and dramatic incident. The
childish mind of the primitive Christians approached
the brief authentic records of Christ's nativity and in-
THE NATIVITY 63
fancy with precisely this demand, and the apocryphal
gospels are simply collections of the traditions, inven-
tions, and myths with which it was answered. Inno-
cent and naive plays of fancy, they floated lightly and
vaguely through the popular mind for two or three
centuries, until at last some one brouo^ht them tosrether
in the little books where they are now found, and tried
to give them dignity and authority by attaching to
them the name of one of the apostles. Sometimes
these books were employed by the sects who found
them favourable to their particular heresies; but they
were never accepted by the Church at large, nor was
there ever any thought among her recognized teachers
that they could be considered in the same rank with
the authoritative Scriptures. The contrast was too im-
mense and striking ; and this contrast has always been
regarded as one of the strong practical arguments for
the early date and the inspired character of the genuine
gospels.
At the point of the Nativity the accumulation of
legends is not so great as at other points, earlier and
later in the narrative. But it began sooner, and it was
oftener touched by poetic feeling and sometimes even
by the air of truth. For instance, the first of these
legendary details (mentioned by Justin Martyr about
the year 150) was a really not improbable answer
to a very natural question. For what could be more
natural to one reading for the first time St. Luke's ac-
count of the Nativity than to wonder and ask in what
sort of a place " the manger," in which the infant Christ
was laid, may have stood? And certainly there is noth-
64 THE CHRIST- CHILD IN ART
ing improbable in the statement of Justin (who was a
native of Palestine, and well acquainted with the cus-
tom, which still prevails in that country, of using grot-
tos or caves in the rock as stables and shelters for cat-
tle), that the manger was in a cave. The tradition has
been generally accepted. But the artists have not al-
ways found it easy to adapt it to the conditions of their
art. The sculptors have followed it most frequently ; to
cut a cave in the rock was quite in their line of work.
A few of the painters have kept closely to the idea of the
grotto — for example, Mantegna, in his " Nativity," and
Lionardo, in his " Virgin of the Rocks." But more
commonly they have modified it ; at first, as Giotto has
done, by placing a slight shed over what seems to be
the mouth of a grotto ; then by changing the grotto
into a ruined building with a thatched roof over it, as
Roger van der Weyden and Ghirlandajo have done ;
then by entirely losing the idea of the cave in the idea
of the stable, as Luini has done ; and then by envelop-
ing the event with shadows, as Murillo has done, so
that one cannot tell whether the place is a stable or a
cave.
One of the most beautiful legends of the Nativity is
that which is given in the Protevangelium in regard to
the miraculous calm and silence of the Holy Night.
Joseph, having left the Virgin Mary in the cave, goes
out to seek a nurse. " And I," says he, " was walking
and was not walking ; and I looked up into the sky and
saw the sky astonished ; and I looked up to the pole of
the heavens and saw it standing, and the birds of the
air keeping still. And I looked down upon the earth,
THE NATIVITY — ROGER VAN DER WEYDEN
From a triptych in the Berlin Museum
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THE NATIVITY dy
and saw a trough lying and work-people reclining, and
their hands were in the trough. And those that were
eating did not eat, and those that were rising did not
rise, and those that were carrying anything to their
mouths did not carry it ; but the faces of all were look-
ing upwards. And I saw the sheep walking and the
sheep stood still ; and the shepherd raised his hand to
strike them, and his hand remained up. And 1 looked
on the current of the river, and I saw the mouths of the
kids resting on the water and not drinking, and all
things in a moment were driven from their course."
This is an idea which neither painting nor sculpture
can express ; for though, strangely enough, it is only a
description of what one sees in every statue and in
every picture — a momentary action fixed in a beauti-
ful rest — yet neither picture nor statue can tell us that
the rest continues ; their natural interpretation is that
it is only an immeasurably brief instant in that ever-
changing current of life which flows through all things.
But poetry can do that which lies beyond the power of
the other arts ; and we find this idea of immobility and
profound quietude, of the heavens at least, expressed in
Milton's "Ode to the Nativity:"
" The stars with deep amaze
Stand fixed in steadfast gaze,
Bending one way their precious influencci
And will not take their flight
For all the morning light,
Or Lucifer, that often warn'd them thence."
There are two other noteworthy legends in regard to
the Nativity. One, which is common to several of the
68 THE CHRIST- CHILD IN ART
apocryphal books, describes the dazzling supernatural
light which filled the cave with glory. The other is
narrated in the book which is called by the name of
Matthew: "And on the third day after the birth of our
Lord Jesus Christ, the most blessed Mary went forth
out of the cave, and entering a stable, placed the child
in the stall, and the ox and the ass adored him. Then
was fulfilled that which was said by Isaiah the prophet,
saying : The ox knoweth his owner and the ass his mas-
ter's crib." Both of these legends have been freely ac-
cepted by the artists. There is hardly one of them who
does not introduce the ox and the ass ; and sometimes
the latter animal is represented with open mouth, lifting
up his voice in audible adoration. The miraculous
radiance has been employed by some of the painters to
produce wonderful effects of light and shade. A fa-
mous example of this is Correggio's picture in the gal-
lery at Dresden.
There are also certain symbols or mystical emblems
which are frequently introduced into pictures of the
Nativity. The cross is placed in the hand of an angel
or of the little St. John to remind us of the future of
the Holy Child. The lamb is the type of his purity;
and when it is bound with cords it represents his sac-
rifice. The dove is the emblem of the Holy Spirit; it
also speaks of meekness and innocence. The gold-
finch, because of the red spot on its head, is connected
with the memory of Christ's death. A sheaf of wheat
is often used as a pillow for the infant Jesus, or a few
ears of it are placed in his hand, as a symbol of the
bread of life. When He has his finger laid upon his
THE ADORATION OF THE SHEPHERDS — DOMENICO GHIRLANDAJO
From a painting in the Academy, Florence
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71
lips it is to remind us that He is the Word of God.
The palm is the symbol of martyrdom and glory ; the
olive is the emblem of peace ; the globe represents his
kingly authority. Thus in the silent language of signs
the artists have expressed the thoughts of wonder and
worship which have gathered through the ages about
the cradle of Christ.
Ill
The works of art which have been inspired by the
Nativity may be arranged in several groups. First of
all there are the pictures and carvings which deal with
the subject in its simplest form. These again are of
two kinds : the older artists usually represent the Vir-
gin Mary reclining on a couch and the Child wrapped
in swaddling-bands in the manger beside her ; the later
artists show us Mary and Joseph kneeling before the
Child, who lies on a pillow or on a corner of his moth-
er's robe. Then there is a very large class of pictures
which represent the adoration of the shepherds, the
Child lying on his mother's lap, or in the manger, while
Joseph stands in the background. Another group of
pictures which belong properly to the Nativity are
those in which the mother is worshipping her child in
solitude. This mode of treating the subject was very
frequent among the Italian artists of the fifteenth and
sixteenth centuries. It expresses with tender felicity
the thought of the Nativity which must have been in
72
THE CHRIST- CHILD IN ART
the heart of Mary. Yet one more class of pictures
seems to me to be rightly included in the spirit of this
theme: the pictures of the Madonna and Child in
which there is no attempt to enthrone them or to sur-
round them with celestial splendours and attendant
saints, but the artist shows us simply the mother with
her Divine Babe folded in her arms. This is what
Mrs. Jameson has well called the Mater Amabilis.
But I am sure that the subject belongs more truly to
the life of Christ than to the " Legends of the Madon-
na," for the central thought of it is that wondrous birth
in which the Son of God trusted himself to a mother's
care and rested on a mother's breast. Of each of these
ways of depicting the Nativity I have chosen two or
more illustrations; but it will be more convenient to
describe and interpret them, not in separate classes, but
in the order of their age.
The little carving from a stone
sarcophagus in the Church of St.
Celsus at Milan was probably
made in the latter part of the
fourth century, and is one of the
oldest known representations of
the subject. It is a rude and sim-
ple bit of work, done by an un-
known hand of no great skill, and
conceived in that purely symbol-
ical spirit which was character-
istic of early art; for it is evident
that there is here no effort to depict an historical
event. It is simply a hint, a mystic sign of a story
FROM SARCOPHAGUS OF
FOURTH CENTURY
In the Church of St. Celsus,
Milan
THE NATIVITY 73
already well known. And yet the old stone-cutter's
work is not without its charm, for it shows us how
truthfully and how reverently he has thought of his
theme. The thatched roof over the entrance of the
grotto, the manger, the ox and the ass, the Child
wrapped in swaddling-clothes and lying alone, suggest
the lowliness of Christ's birth. The angel with the
cross, lifting up his hand in wonder, is the primitive
artist's way of assuring us that he believed this lowly
birth had a Divine glory and significance.
For nearly nine centuries after this, art made very
little advance, gained very little power to represent the
scenes of the gospel history as real events. Indeed, it
almost seems as if it lost power under the deadening
influence of the Byzantine traditions ; and the gorgeous
mosaics of San Marco in Venice are far less animated
than the early paintings in the catacombs and carvings
on the sarcophagi. But one needs to be familiar with
the dreariness and deadness of art in these dark ages
in order to appreciate at its full value the revival which
came to pass at the end of the thirteenth century. It
was Giotto, master of the seven liberal arts and friend
of Dante, who brought this new life to its fullest and
most perfect expression. A poet, a sculptor, a daring
architect, he was, above all, the man who raised the art
of painting from the grave. In 1305 he went down
from Florence to decorate the walls of the little Chapel
of the Arena at Padua, which still remains, in spite of
the ruins of time and the labours of the restorer, one of
the most precious shrines of art. If you approach these
frescos with a demand for perfection of technique as
74 THE CHRIST- CHILD IN ART
the one thing indispensable in painting ; if you come to
them with an eye habituated to superficial prettiness
and clever rendering of insignificant subjects, you will
be disappointed. Giotto knew little of perspective as
we understand it. He was ignorant of anatomy.
When he wished to represent a man lying down he
simply tipped the figure over on its side. His animals
look as if they were made of wood, and his mountains
are impossible. Even his lovely colours, which were the
wonder of his own age, have lost a great deal of their
pristine purity and brilliance.
But you will forget all this if you come into the little
Chapel of the Arena directly from the desert of Byzan-
tine art. It will seem to you like an oasis of sincerity
and beauty. Giotto dared to conceive and depict the
gospel story not because the Church told him, not as
the Church told him, but because he was filled with a
living sense of its reality and worth ; because he felt
that to make these scenes visible again to men would
help them to live nobler lives. And so he cast away
the restraints of formalism, and reaching deep down
into human nature, covered the walls with the finest
and most living figures that he could paint. He went
straight to the heart of every event. He spent no time
on the embroidery of a robe or the jewels of a throne ;
what he wanted to do was to make other men see and
feel, as he had seen and felt, the reality of the story and
the profound emotion of those who were engaged in it.
This is what he has done in his picture of the Nativity.
The landscape is extraordinary, the sheep are ligneous,
and the goat resembles a unicorn. But the sentiment
hnwuHiiuiinuiiiiiuaiiiiiiuuiiui,
THE MOTHER ADORING HER CHILD
From a painting ascribed to Giovanni Bellini, in tlie CViurcli of II Redentore, Venice
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THE NATIVITY ^^
of the picture is perfect, and it is expressed with the
simplicity of genius. The young mother is reaching
out her arms to lay her new-born babe for the first time
in his strange cradle. There is a tenderness of love, a
wondering solicitude in her face and in her touch that
none but a poet could have ever conceived. Three of
the angels above the stable are lifting up their hands in
adoration — "Glory to God in the highest" — one of
them is stooping to tell the shepherds his glad tidings
of "good-will to men," but the fifth angel bends with
folded hands of silent reverence above the holy place
of the Nativity, and we feel that here indeed is " peace
on earth," a peace of which every mother's heart knows
something when she looks on the face of her first-born
child.
But with all this directness and intensity of feeling
in Giotto's art, there is in it something of that spirit of
generality, of universal rather than of particular beauty,
of desire to express itself in typical forms more than in
strongly marked individual traits, which was the tend-
ency of antique art at its best. Giotto broke away from
the hard and inexpressive Byzantine type with its
meagre, sombre face, and narrow, fixed eyes ; but he
was powerfully influenced by the classic type of full
and nobly moulded beauty, made familiar to the artists
of the early Renaissance by the rediscovery and admir-
ing study of the works of ancient sculpture. It is true
that his strong dramatic sense frequently led him to ag-
itate these classic faces with sharp emotion, so that they
sometimes approach perilously near to grimaces. But
even this does not destroy the impression of dignity.
78 THE CHRIST- CHILD IN ART
repose, breadth, in his work; the classic air still breathes
from it ; in this picture of the Nativity, for example, we
feel that there is a real relationship to the bass-relief of
the same subject by Niccolo Pisano on the pulpit of the
Baptistery at Pisa, in which the Virgin is a copy of a
figure of Alcestis, and the head of Joseph is modelled
after an antique bust.
In the work of Fra Angelico the classic influence
gave place to something new and very different ; a pro-
found and delicate spiritual impulse in the old monk's
heart, born of constant prayer and self-discipline and se-
clusion of soul, even in the midst of successful labour
and popular applause, created an original and ethereal
type of beauty, more intimately fitted than the classic
type to express purity and reverence and " such joys as
angels feel." His pictures of the Nativity, of which one
of the smallest (that which adorned a panel of the great
silver chest of the Church of the Annunziata in Flor-
ence) is one of the best, seem to be touched with celes-
tial serenity and refinement. But their spirit is still
general rather than particular ; the faces are not individ-
ual, they are typical, though the type is changed.
It was not until the fifteenth century that the spirit
of individualism took possession of art, and the passion
of personality came to distinct expression. Then the
artists ceased to detach, to refine, to generalize, and be-
gan to particularize, to emphasize, to accentuate per-
sonal traits, so that the faces in their pictures were not
so much general representations of characters as they
were portrayals of individual men and women. Nothing
seemed to these artists of greater interest and impor-
THE NATIVITY
79
tance than making their work life-like ; and life-likeness,
as they understood it, could be best attained by resem-
blance to particular persons. This new spirit, this prim-
itive realism, found utterance in Fra Filippo Lippi, a
monk of a very different character from Fra Angelico.
He was registered in the Carmelite monastery at Flor-
ence in 1420, but was little adapted to wear the cowl
with credit. Impulsive, ardent, pleasure-loving, irre-
sponsible. Brother Filippo was continually in debt and
trouble. Vasari s story that he ran away with Lucrezia
Buti, a nun of Prato, who had been sitting as his model
for a picture of the Virgin, has been denied by recent
critics who have too high an admiration for Filippo's
painting to believe anything bad of his character. But
though this story may be a malicious fable, there can
be little doubt that his life was eccentric and irregular,
and that he did many things that he ought not to have
done. And yet he did some things that he ought to
have done, among which we may reckon the loving care
and joy with which he executed his work as a painter,
and the delight with which he rendered the faces of
young children and innocent maidenhood. Somewhere
in his turbulent breast he must have preserved a spring
of pure imagination, for nothing could be more delicate
and lovely than his picture of the Nativity, in the Berlin
Museum. The Virgin is kneeling alone before her
Child in a nook in the forest. The scene, the locality,
the historical circumstances of the event are all for-
gotten. The Child lies smiling with his finger on his
lips. The Virgin's face is very human and girlish,
with its rounded cheeks, small mouth, pointed chin.
8o THE CHRIST- CHILD IN ART
and nose which almost seems to turn a httle upward.
She is one of those young maidens, gentle and pure
and shy, who remind us of spring flowers. Her hands
are folded and her head is bent above her babe. She
is not the Queen of Heaven, but the mater pia of the
human heart. Every mother thinks her child won-
derful, but more than all this mother, who beholds the
Light of the World lying in her cradle. As Jeremy
Taylor says, " She blesses Him, she worships Him, she
thanks Him that He would be born of her."
I remember well my first sight of this picture,
nearly twenty years ago. Hitherto the "old masters"
had seemed unattractive and dry. And this little
panel of green with its few spots of light — could any-
thing be more stupid, or less worthy of its stars in the
catalogue } So I thought as I first looked at it ; but
as I passed it again and again, and began to linger a
little before it, trying to reach its secret, something in
the slender grace, the sweet humility, of this virgin's
figure, the simplicity of the Child looking up from, its
bed of wild flowers (each one painted as carefully as if
the artist loved it), a breath of poetry from the dark,
cool shadows of the wood fascinated me more and
more, and at last I appreciated my first " old master."
There is a close resemblance in subject and in spirit
between this picture and the bass-relief of the Nativity,
by one of the Delia Robbia family, which is in the Con-
vent of La Verna. I say by one of the family, for four
generations of the Delia Robbia worked in that inex-
pensive and beautiful material of glazed and coloured
clay which has become inseparably associated with their
THE NATIVITY — BKRN'AKI)INO I.UIM. From a painting in the Church of Sarcmno
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THE NATIVITY 83
names, and it is not always possible to decide whether
Luca, the eldest, or Andrea, his nephew, or Giovanni,
the son of Andrea, or one of the three sons of Giovanni,
was the author of a particular relief. But the evidence
of style is in favour of assigning this exquisite Nativ-
ity to Andrea, who had, perhaps, less power than his
uncle Luca, but more grace and charm, and something
near akin to the manner of Fra Filippo in rendering
the half -humourous, half-pathetic beauty of infantile
faces. I climbed up to see this panel, from the smiling
vine -clad valley of the Casentino where Arno rises,
through the narrow streets of Bibbiena, and over miles
of chestnut-covered hills, to the lofty, lonely cliff where
the Convent of St. Francis stands among its immemo-
riai groves of fir and beech, rich in wild flowers, and
haunted by myriads of birds. The bass-relief is in the
main church of the convent. It is composed in celes-
tial blue and white, except the green sheaf of wheat on
which the Christ-child lies. His face is full of life and
loveliness, more expressive than the Child in Fra Filip-
po's painting. Light clouds float above his liead. A
family of joyous angels, all alike, yet all different, as if
they were children of the same household, cluster about
the Heavenly Father, from whom the Holy Dove is
floating downward ; and lest we should forget that the
angels sang, Andrea has put the score of the Gloj-ia in
Excelsis in the centre of the panel. The attitude of
the Virgin, with her slender neck, bent head, and long
fingers sensitive to the very tips with almost tremulous
delight, is not different from Fra Filippo's, but the face
is nobler, as if she understood more profoundly the
84 THE CHRIST- CHILD IN ART
meaning of her adoration. While I was lost in con-
templation of this most beautiful tablet, there came
into the quiet church a peasant woman who had toiled
up the long steep hill, under the blazing sun, from her
home somewhere among the neighbouring valleys.
She was clothed in poverty and bent almost into de-
formity by the burden of hard labour ; a black handker-
chief was folded about her weary, wrinkled, patient face.
She came as close as she could to the little altar be-
neath the tablet, and knelt there for a long time, pray-
ing in a murmur while the tears ran down her withered
cheeks. I know not what tale of sorrow, anxiety, or
loss was told in those low whispers ; but it was a
strangely moving sight to behold that figure of the
never-ceasing yet ever transient troubles and griefs of
suffering humanity close beside the image of immortal
joy in which the artist's hand had pictured the loveli-
ness of the Virgin Mother adoring her Divine Child.
Is not the artist also a minister of grace and comfort to
the lowly .•* It was a thing not to be forgotten to see
the look of renewed peace and patience on the poor,
brown face as the woman dropped her two mites into
the alms-box, and crept slowly out into the sunlight.
Roger van der Weyden's picture of the Nativity, in
the Museum at Berlin, is one of the best works by that
devout and thoughtful Flemish master, and represents
admirably the spirit of northern art in the fifteenth
century. Even more realistic and individual in its aim
than Italian art of the same period, it had another ideal
of beauty and independent forms of expression. Roger
had travelled much in Italy; he had seen the palms and
LA NOTTE — CORREGGIO
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THE NATIVITY 87
olives and vineyards, the splendid cities and melting
landscapes, the gay colours and graceful forms, the
great frescos and the classic works of art of the South,
but he came back from it all unchanged and true to his
own ideals. There is no touch of Italy in his work ; it
is all of Flanders. Grave, subdued, simple, hard in out-
line, amazingly distinct and delicate in finish, angular
in drapery, cool and serene in colour, his pictures are
full of the pensive inwardness and self-restraint of the
northern spirit, and exhale through all their formality
an air of sincere and spiritual beauty. This Nativity
was painted about 1450 for Pierre Bladolin, the treas-
urer of the Golden Fleece, and the founder of the little
city of Middleburg, in Flanders, where he established
the coppersmiths who had been burned out of the cit)^
of Dinant. An upright and industrious man, he rose by
his own exertions to a position of wealth and influence
in the court of the Duke of Burgundy, but it is said
that the courtiers disliked him for his gravity and econ-
omy. Is it not all written in his thin, thoughtful face
and his figure plainly clad in sober black, as Roger has
painted him, kneeling, in the corner of the picture ? In
the background we see the church and castle which
he built at Middleburg. The Nativity is represented
just as he would have thought of it : a quaint, homely
scene. The Virgin's face, with its full forehead, wide-
arched brows, and downcast eyes, speaks of purit) and
piety and thoughtfulness. Joseph is a careful, toil-worn
old man, sheltering with one hand the flame of the lit-
tle taper which he holds between the fingers of the
other. The tiny angels vx^ith their coloured wings seem
88 THE CHRIST- CHILD IN ART
to be clad in long woollen robes as if to resist the north-
ern cold. The Holy Child, lying on the corner of his
mother's mantle, is a frail and helpless new-born infant,
but the illumination of the scene all flows from Him.
He is the Light.
Domenico Ghirlandajo brings us back again into the
opulent life of Italy at the close of the fifteenth century,
and shows the culmination of the school of Florentine
realism. His picture of the Nativity, in the Academy
at Florence, displays the strength and the limitations of
that school. The scene is somewhat confused and
overloaded. Two Corinthian pillars, evidently brought
from some ruined temple, support a thatched roof, be-
neath which the ox and the ass are sheltered. A richly
carved sarcophagus, with a Latin inscription, does duty
for the manger. The Christ-child lies on the ground
in front of it, and the mother worships Him. But she
does not quite forget herself. There is less devotion
and more dignity in her look than Lorenzo da Credi
or Andrea della Robbia would have given her. And
yet she is womanly and beautiful. In the foreground
there are two kneeling figures, and a third standing be-
hind them with a lamb in his arms. These represent
the shepherds. Vasari admired them immensely, and
called them cosa divina. But they are unmistakable
citizens of Florence — portraits (and excellent portraits
too), as we can see at a glance. They are shrewd, cul-
tivated, worldly-wise gentlemen of the Medicean type,
knowing about as much of sheep as the first well-
dressed acquaintance whom you may meet in an after-
noon walk on Fifth Avenue. It seems strange to us
THE NATIVITY 89
to see them " assisting," as the French say, at the Na-
tivity. But Ghirlandajo did not think it strange, nor
did the Florentines laugh at him. Was it because
they had a lower idea of the sacred event, or a higher
idea of the dignity and worth of humanity than pre-
vails in the nineteenth century.? Perhaps neither of
these was the true reason, but it was simply because
they had grown used to seeing the scenes of the gospel
history represented as miracle-plays, at the great Church
festivals, in the midst of a crowd of citizens who were
the friends and contemporaries of the actors, and who
seemed equally in place in pictures of the same scenes.
But the most noticeable feature in this picture of
Ghirlandajo's is the background. In a rich landscape
we see a distant city, a rocky hill-side where the angel
is appearing to the shepherds, a Roman causeway, and
a triumphal arch, through which a long procession is
rapidly approaching. Horsemen and footmen with
fluttering robes and rich caparisons — a royal escort for
the Kings of Orient — come sweeping onward to the
lowly shed. It seems as if the whole world were
hastening to give a joyful welcome to the Prince of
Peace. It is thus that the painter, a citizen of pros-
perous and luxurious Florence, has expressed his con-
ception of the meaning of Christmas.
In Umbria another school of artists was at work de-
veloping a very different ideal of the Nativity. Silence,
sentiment, and a mystical feeling pervade the pictures
of Perugino. The very atmosphere is filled with the
clear softness of twilight, and a tender, half- dreamy
look rests on all the faces. Venice cherished still an-
90 THE CHRIST- CHILD IN ART
other ideal. Stronger, richer, and more earthly in
their imagination, the Bellini and their disciples paint-
ed the Madonna with less of virginal grace and more
of matronly dignity. The Child lies upon her lap or
on a marble balustrade before her, and the mother
looks at Him with a face in which there is hardly
a trace of deep emotion. She is proud, classical, al-
most indifferent, and the splendid infant sleeps se-
renely, or listens with royal approval to the angels
who make music for Him with guitar and violin. In
Padua the painters were even more influenced by clas-
sical models and the spirit of the Renaissance than in
Venice. A careful study of their pictures is as good as
a lesson in Greek and Roman antiquities ; but, with
the exception of Mantegna in his simpler moods, they
have little to tell us about Bethlehem and the wonder-
ful birth.
The coincidence of Lionardo da Vinci, Michael An-
gelo, and Raphael, in Florence, at the beginning of the
sixteenth century, marks the highest period of Italian
art. Each of these men was his own master, although
each of them owed much to his instructors. Michael
Angelo had perhaps the mightiest and most original
genius of the three. But he never painted the Nativ-
ity. Raphael, the apostle of sweetness and light, the
worshipper of beauty, the wonderful scholar of Peru-
gino, who so soon surpassed his teacher, left no picture
of the event of the Nativity. The Adoration of the
Shepherds, in the Loggie of the Vatican, is the work
of his pupil, Perino del Vaga.
But Raphael's Madonna del Gran' Duca is in
THE ADORATION OF THE SHEPHERDS — MITRILI.O
From a painting in tlie Prado, at Madrid
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THE NATIVITY 93
many respects the most perfect and lovable of those
pictures which express the sentiment and significance
of the Nativity by simply showing us the Virgin with
her Divine Babe. This little panel, which hangs now
among a crowd of large and splendid paintings in one
of the richly decorated rooms of the Pitti Palace, is
simple to the verge of austerity, yet it has a soul-
winning charm which draws one back to it again and
again to be soothed and refreshed. We do not wonder
that the Grand Duke of Tuscany, who bought it in
1 799, and from whom it takes its name, became so fond
of it that he carried it about with him wherever he
went, even into exile, and believed that it was a source
of blessing to his life. The ground of the picture is a
very dark green ; against this the half-length figure of
the Virgin is in soft relief. Her robe is deep blue, her
gown red with a black border, without ornaments or
jewels, and of that indistinguishable material which
Raphael used for his most sacred personages. It was
not that he did not understand the painting of brocade
and velvet; his portraits, and often his pictures of the
saints, show a complete mastery of the secrets of texture ;
but he felt, with the instinct of a supreme artist, that
there was a dignity so high and a beauty so divine that
it had no need of artificial adornment; the best rever-
ence that he could show would be to make the dress
forgotten. Mary s face is pensive, virginal, exquisite,
touched with the modest beauty of pure motherhood.
A light veil protects but does not conceal her smooth
brown hair ; her soft hazel eyes are bent with a con-
tented gaze upon her Child ; her upper lip is slightly
94
THE CHRIST- CHILD IN ART
pressed upon the lower and turned upward at the cor-
ners, as if a sweet thought were passing through her
mind and would soon break into a tender smile. The
Holy Child sits lightly upon her hand, pressing his
right cheek lovingly against her shoulder, and turning
to look out with a gentle, almost sad gaze upon the
world which He came to save. There is a mystery of
unfathomable though tfulness in his eyes, full of grace
and truth. Yet He clings to his mother most natur-
ally ; the mystery does not divide them nor destroy the
soft harmony of the twofold devotion. We feel, in the
presence of this picture, the power of the noblest im-
agination to help faith, and realize that Divinity is so
near to humanity that the Son of God could be born of
a woman and rest in the shelter of mother-love.
Lionardo's influence upon Raphael was distinct, and
it went far deeper than the surface, as we can see in
this picture, with its inward and inexplicable refinement
of charm. But Lionardo, with all his varied powers,
perhaps because they were so varied, left no picture of
his own which seems fully adequate to the expression
of his genius, unless it was the " Last Supper," which
has faded to a spectral image of its original grandeur.
Among the Milanese painters who were fascinated by
his subtle manner and owned him as their master,
the noblest was Bernardino Luini. His conception
of the Nativity has nothing extraordinary or strik-
ing about it, but it is very graceful and attractive.
The pilgrim's flask and bag tell the story of the long
journey to Bethlehem. The lovely angels bring the air
of heaven into the rude stable. The Virgin's figure is
THE NATIVITY 95
sweet and pure. And Joseph is worthy to kneel beside
her. For this last grace especially we thank Luini.
Many of the artists have treated Joseph with scant re-
spect. They have represented him as an ugly and de-
crepit old man. They have shoved him away into a
corner, or propped him up against the wall, ridiculously
fast asleep. They have almost used him as a comic
figure in the scene. The ox and the ass are often more
venerable. But Luini, with better authority in the gos-
pel narrative and the earliest traditions of Christian art,
has given us a noble and manly Joseph, with a face
which corresponds to the dignity and generosity of his
conduct. I do not know a more serene and reverent
picture of the Nativity than this ; and it loses none of
its simplicity and sincerity by the touch of intellectual
beauty in the Virgin's face, which Luini could only
have learned from Lionardo.
But, it may be asked, is such a picture as this true
to nature and history ? Have we any right to imagine
so much beauty and grace in the mother of Jesus ?
Was not the stable at Bethlehem a dark, mean place,
and the Nativity, like every birth, a scene of anguish
and confusion ? Is there not a touch of falsehood in
thus idealizing it and turning it into poetry? If the
painter is stricdy accurate and literally truthful, will
he not feel bound to paint a common girl of the He-
brew people for the Virgin, a carpenter of Palestine
for Joseph, an ordinary Eastern cattle shed for the
stable, and an uncomely infant for the Christ-child?
But certainly it would be a strange and unreal thing
to exclude all poetry from the treatment of the Nativity.
96 THE CHRIST- CHILD IN ART
The very heart and life of it is poetry — not poetic fic-
tion, but poetic fact. Read again the opening chapters
of St. Luke's gospel, and see if they are not overflowing
with the poetry of the Nativity. The heavenly mes-
sengers who announce Christ's coming, the old priest
Zacharias and his wife Elizabeth, the venerable Anna
and Simeon waiting in the temple, Mary herself in her
maidenly simplicity, all speak in poetry by a sponta-
neous impulse. A new star blossoms in the celestial
fields, a new music rings through the vault of night, a
new worship calls the shepherds from their flocks into
the secret shrine of incarnate Divinity. And all this,
so far from seeming strange and untruthful to us, must
appear only natural, and the strongest confirmation of
the truth of the narrative. For if the Nativity is any-
thing at all, if there is any reality in it, it is surely the
one supreme event of the world, and not otherwise
could the story of it be told. As Horace Bushnell has
said : " Having wings in the spiritual outfit of our nat-
ure, it would be a kind of celestial impropriety if God's
spirit did not spread them here. Why, the very ground
ought to let forth its reverberated music, and all the
choirs and lyres and ringing cymbals of the creation,
between the two horizons and above, ought to be dis-
coursing hymns, and pouring down their joy, even as
the stars do light."
I think, therefore, that the artist is true to the spirit
of the Nativity when he rises above the limitations of a
hard literalism and enters into the ideal mystery and
beauty of the Holy Night.
What shall we say, then, of Correggio's " La Notte,"
THE HOLY NIGHT
From a painting by Fritz von Uhde
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THE NATIVITY 99
that third treasure of the Dresden Gallery, and most
popular of all pictures of the Nativity? There is no
crude realism here. It is an indubitable poem on can-
vas. But we may still question a little whether the
poetry is exactly of the right kind. The movement is
overstrained ; it lacks repose and delicacy of rhythm.
This big shepherd, with his violent gesture of wonder,
this woman with contracted brows and hand lifted to
shade the dazzle of light, these wonderfully agile celes-
tial limbs vibrating in ecstasy — a man who truly be-
lieved in the Nativity, and felt it most profoundly, would
have left these out. But Correggio was too excitable,
too sensuous, too fond of showing his skill in fore-
shortening and contrast of light and shade. He was a
wonderful artist, but his genius was not pure, sincere,
reverent, and therefore there is a touch of affectation in
his work. He is like a preacher who tries to say witty
or pretty things in a sermon on the life of Christ, We
detect the false note, and it spoils our devotion.
But, for all that, the heart of this picture — the
mother embracing her Child — remains a marvel of
beauty, and the world has a right to love it. It was no
new or original idea to make all the light of the stable
come from the Divine Babe. But no one else has done
it so beautifully as Correggio. The glory that streams
from the infant is a white, brilliant, supernatural radi-
ance, manifestly of heaven; and away behind the hills
the dawning of the earth-light looks cold and gray.
The decline of Italian art into superficiality and ex-
aggeration, in the latter part of the sixteenth and in
the seventeenth centuries, was followed by a remark-
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loo THE CHRIST- CHILD IN ART
able development of genius in Holland and Flanders,
represented by Rubens, Van Dyck, and Rembrandt.
But it was not at its best in dealing with religious sub-
jects, although the etching- needle of Rembrandt has
wondrously illuminated some of the scenes from the
ministry of Christ. In Spain, during the seventeenth
century, there was a glorious after-bloom of art repre-
sented by Velasquez and Murillo. Of these two Velas-
quez was the greater painter, but Murillo had a far
more profoundly and sensitively religious soul. The
record of his eventful life is beautified by the spirit of
cheerful piety, and active benevolence, and unfailing,
fertile joy in labour. He was a child of the people, and
a painter for the people of all time. His pictures are
known throughout the world, and have been more
highly valued than those of any other man except
Raphael. He could paint the ragged children of Se-
ville, and the devout monks who were his companions in
works of charity, and the glad angels who thronged the
heaven of his holy thoughts, with an equal skill. He
was humble, reverent, humane, believing, living well up
to the light that was given him, loving his art only less
than he loved his faith and his fellow -men, doing his
duty as well as he could, and dying in honourable pov-
erty.
This was the man who touched the Nativity once
more with the hand of faith and love, as the earliest
artists touched it. His picture of the Adoration of
the Shepherds, from the Prado at Madrid, is painted
in his middle manner, which is called calido, from its
warmth of colour. No engraver, however skilful and
THE NATIVITY loi
patient, can hope to render anything more than the
cold shadow and suggestion of its wonderful effect. It
is a miracle of painting — warm, rich, full of a soft and
mellow charm, satisfying the eye with its depth of light
and colour — and at the same time it overflows with the
purest and most sacred feeling. See this old shepherd,
with his toil -hardened feet and his rugged head; he
does not exaggerate his emotion and fling his arms
about like Correggio's giant, but the awe and tenderness
of his emotion are manifest in every line of his figure
as he kneels with rude, unconscious grace before the
new-born Prince of Peace. And how natural, how in-
fantile, yet how serenely divine and luminous, is the
Christ-child, over whom his mother bends with min-
gled solicitude and adoration! Surely there is some-
thing more in this picture than what Ruskin slightingly
calls a " brown gleam of gypsy Madonnahood." It is a
perfect illustration of the old French Noel:
" Dieu parmy les pastoreaux,
Sous la creche des toreaux,
Dans les champs a voulu naistre,
Et non parmy les arroys
Des grands princes et des roys —
Lui des plus grands roys le maistre."
The eighteenth century has little to offer in the way
of sacred art which is of any great value or significar«ce.
In the beginning of the nineteenth century there was a
strange revival in Germany which produced the school
of Overbeck and his disciples. They devoted themselves
with a mild fanatical ardour to the service of religion
I02 THE CHRIST- CHILD IN ART
in art and art in religion, wearing their hair long and
dressing in quaint costume, so that they were called
" the Nazarites," living together in the deserted Monas-
tery of San Isidoro at Rome very much as the painter-
monks had once lived in the Convent of San Marco in
Florence. They went back to Fra Angelico for their
inspiration, and much of their work seems like a pale
reflection of his. But the movement was too self-con-
scious, too theoretical, too imitative and formal in its
methods. It lacked strength and originality. It be-
longed to a past age more than to the present. And so
its influence, always confined to a narrow circle, faded
slowly like a tender dream of youth, leaving behind it,
however, a few amiable and delicate pictures of the Na-
tivity, among which those by Carl MiJller of Dussel-
dorf are probably the most familiar.
In our own generation religious painting has not
been popular. It has been overshadowed by other in-
terests. The artists have devoted themselves to solving
the problems of light and shade, of colour, of atmos-
pheric perspective, of decoration, of vivid pictorial effect.
Some of the most celebrated reputations have been won
by the brilliant and daring handling of subjects in them-
selves trivial or unworthy. Others again have attained
and deserved fame by their interpretations of the beauty
of landscape and the sea, of the significance of ancient
mythology and poetry, of the pathos of peasant life, of
the subtle secrets of portraiture. But how few are the
pictures in which the new-found skill of technique has
been sincerely and spontaneously devoted to the service
of the beautiful gospel of Christ!
]M A DONNA in
VLADIMIR
CATHEDRAL,
KIEFF
From the
\'. M. Vasi'.etzofl
THE NEW YORK
PUBLIC LIBRARY
ASTOH, LEN«X AN»
TILDEN l^gUNOATlOK*.
I TILDEN fOO
THE NATIVITY
los
And yet there are signs of an awakening in many
lands — an awakening in which strange and diverse ele-
ments are at work; the crudest realism and the most
poetic idealism ; the national spirit which would trans-
late the scenes of Christ's life into the dialect of each
race, and the universal spirit which would create for it
new types of general intelligence ; the growth of his-
torical and scientific knowledge expressing itself in the
demand for accuracy of dress and surroundings, and the
love of pure beauty seeking chiefly the perfect har-
monies of form and colour; the admiration for the
great work of the old masters which produces a con-
scious or unconscious imitation, and the spirit of inde-
pendence which cannot bear to follow any master — all
these influences are making themselves felt in the dif-
ferent men who are turning back to the birth and in-
fancy of Christ as to a rediscovered theme for art, and
recognizing that since it has meant so much to the
greatest artists and to the past ages it may mean some-
thing to us.
In other chapters of this book there are illustrations
of the work of Mr. Holman Hunt — the one amons: the
English pre-Raphaelites who has remained most true
to the ideals of that important school — of Bouguereau,
Luc Olivier Merson, and Lagarde among the French,
of Prof. Heinrich Hofmann among the Germans, and of
Mr. John La Farge among the American painters. The
head-piece of this chapter is from a tender and sensitive
little sketch by Mr. Du Mond, a young American. I
wish that I could speak here also of the eminently
thoughtful and suggestive pictures which have been
io6 THE CHRIST- CHILD IN ART
recently painted by Mr. Abbot Thayer and Mr. George
Hitchcock. In all of these there are signs of promise
for religious art. But the two pictures which have
been chosen from our own generation as illustrations
of the thought of the Nativity have each a peculiar
quality which makes them especially significant as inter-
pretations of the theme.
The " Holy Night," by Fritz von Uhde, represents
modern realism in its most emphatic form. The tech-
nique, if I might speak of that, the brush-work, the
handling of light and form, the theory of perspective, are
the very essence of modernity. But the conception of
the painting is still more striking. The picture follows
the antique arrangement of a triptych. There are two
wings, containing the approach of the shepherds on one
side and the choir of angels on the other, and a central
panel with the Nativity. But here all trace of resem-
blance to the antique ceases, and everything is directly
and literally translated into modern German. The
scene is a barn in Bavaria. In a rude loft a bed has
been hastily improvised and a man's heavy great -coat
is thrown over it for covering. A stable-lantern hangs
against the wall. Joseph is half asleep upon the steps
of a ladder in the background. Mary is a peasant girl
of the plainest type, ill-clad and weary. The light
from the lantern, shining through the cold, misty air,
seems to throw a halo about her. A great joy illumi-
nates her face, and her hands are clasped in a natural
gesture of ecstasy as she bends over the Child who is
curled helplessly upon her lap. Is the realism carried
too far? Is the accent of homeliness, of utter poverty
THE NATIVITY
107
too strong, so that in time, when the impression of
novelty wears off, it will seem strained and false ? Time
alone can answer that question and determine whether
the picture is only an experiment or a lasting work of
art. But for the present we may value it as a sincere
protest against the unreal and faithless painting of the
Nativity which makes it only an insipid arrangement
of lay-figures, a tableau in a sacred drama, or an unbe-
lieving imitation of a picture by one of the old masters.
This work at least has the vitality of a fact in it. It
means to bring the gospel close to the heart of the
common people ; and if it helps to bring the heart of the
common people close to the gospel it will fulfil a noble
mission. It is a Folk-song of the Nativity in South
German dialect. And may not this also be a sacred
language if it conveys a word of God ?
The Russian " Madonna and Child," from the cathe-
dral at Kieff, belongs to the same class of pictures as
Raphael's Madonna del Gran' Duca; but how immense
is the difference in conception ! The Virgin's face,
true to the traditions of the Greek Church, conveys a
reminiscence of the old Byzantine type. But her figure,
conceived in the modern spirit, is simply yet majesti-
cally placed in a vague, dim landscape, stretching away
in the twilight like the faint outline of a great continent,
above which she towers till her head seems to be amonor
the stars. The Christ-child, pale, solemn, wide-eyed, a
child of Divine sorrow and hope, lifts his arms with a
gesture of indescribable exultation, as if He would pro-
claim liberty to all the inhabitants of a suffering land.
Is it a dream, or do we truly read here a speechless
6
io8 THE CHRIST-CHILD IN ART
eloquent gospel of peace that is coming to a nation at
strife with itself, and of emancipation that shall set the
prisoners free, and of rest that shall descend upon the
weary and heavy-laden from Him who was born a
peasant in a captive land, to become the Deliverer of
the oppressed and the world's true Leader into light
and liberty ?
IV
In art all that is sincere and expressive and masterly
is valuable. There is no school that has the monopoly
of merit, no way of painting that is the only right way.
In religion all that is pure and reverent and spiritual is
precious. There is no exclusiveness in true piety or
virtue. The thought of God is always " larger than the
measure of man s mind," and each soul discerns but a
fragment of it. As we look back upon the manifold
interpretations of the Nativity that art has given to the
world we may value all that are significant and genuine
and beautiful, feeling one fine quality in one and another
profound meaning in another. And yet none of them
may completely satisfy us. All that the past has done
will not sufiice for the present. For the birth of Christ
has a message in it which is inexhaustible and needs to
be interpreted anew to every age, to every race.
Two great movements have taken place in our own
times which must have an influence upon the future.
One is the earnest effort to understand the historic life
of Christ, proceeding in part, at first, from a sceptical
THE NATIVITY 109
impulse and working with an anti-Christian purpose,
but awakening by this very purpose the dormant ener-
gies of Christian scholarship, and resulting more and
more triumphantly with every year in a firmer concep-
tion of the eternal reality of the person of Jesus. The
other movement is the revival of popular interest in
art and the effort to make it minister more widely to
human happiness and elevation. As yet these two
movements have not fully interpenetrated one another,
although there are evidences that they are coming
into closer contact. When the true relation between
them is established ; when Christian theology has fully
returned to its vital centre in Christ, and its divided
forces are reunited, amid the hostile camps and war-
ring elements of modern society, in a simple and po-
tent ministry of deliverance and blessing to all the
oppressed and comfortless "In His Name;" when art
has felt the vivid reality and the ideal beauty of this
humane gospel of the personal entrance of God into
the life of man, and has come back to it for what art
needs to-day more than all else — a deep, living, spiritual
impulse and inspiration — then art will render a more
perfect service to religion, and religion will give a new
elevation to art. The noblest subjects will become the
painters' favourite themes. The marvel of the Nativity
will be interpreted again with new meanings of im-
mortal loveliness and truth. The priceless skill of the
greatest artists will be employed once more to paint
and carve upon the walls of hospitals and asylums and
refuges for poor and helpless children of earth the
vision of the Christ-child shining in his lowly cradle,
no THE CHRIST- CHILD IN ART
sheltered and worshipped by pure mother -love. Amid
works of benevolence and works of art, beautiful to the
sense and to the soul, living faith will join hands with
reverent imagination at the birthplace of the Son of
God, who became a human child in order that the sons
of men might become the children of God.
THE ADORATION OF THE MAGI
See how from far upon the eastern road
The star-led wizards haste with odours sweet:
O run, prevent them with thy humble ode.
And Jay it lowly at his blessed feet ;
Have thou the honour first thy Lord to greet,
And Join thy voice unto the Angel quire.
From out his secret altar touched with hallowed fire.
John Milton
Bote tojjen ^tme teas born in -^Setl^lel^eitt of '^nbtR in tf)e
iapfi of l^eroU t^e kins, hej)olU, tl)crc came toifie men from
t^t eaet to ^^erusalem,
^aptnff, (SSa^ere tg I)e t^at is born Mtnff of t()e 3fetDS ?
for tec {)aije seen I)i6 star in ti)t cast, anU are come to toor--
fif)tp f)tm.
5^I)cn |)eroir t^e king: bati i)eartj tjiese tjjinfffi, l)e toas
trottbleU, ani all ^fcrnsalem toit^ I)im.
Slnii tuljen f)e l&aU ffatdereU all tl)e ci)tcf priefits anil scribes
of tj)e people tosetjicr, l)e Hemanieli of t^em tD|)ere (JDbrifit
Bl)oal1) be born.
Slnl t{)ep saiU unto lbim,^n ©etl&lel)em of ^uUea: for t^vm
it is toritten bp t^e pjcopliet,
^nU t()ou ^et()le|)em, in t|)c lanU of ^Tn^al)* art not tl^e
least amonff tl)e princes of ^ntiali : for out of ti)tt sl)all come
a (Sobernor, t()at sjjall rule mp people Israel.
Cden |)craii, tol)en l}t fiaU pribilp callei tfie toise men,
inquirei of t()em iilisentlp tol^at time tl)e star appeared.
9tnti lit sent tl)em to -JSetiileljem, anli saili, <3o an! search
iiliffentlp for tl^c poung; cl)iUr ; anli tD()en pe |)abe fonnU ()im,
brinff me toorli again, t^at 2f map come anU toorsjjip Um also.
SL^Ijen tl)ep ball ()ear5 t()e feing, tljep UeparteU ; nnb, lo,
tfje star, tobicl) tf^tf sato in t|)e east, toent before tl)em, till it
came anli stool ober tDl)ere tfft pounff c()illi tuas.
615EI)en tl)ep sato t()e star, tdep reioiceU \Dit\f ejcceeiiingf
great jop.
SlnlJ toben tl^ep tocre come into tl)e ()oiise, tljep sain t()e
pounff cf)iHi toitl) JHarp bis mother, anil fell tioton, ani toor=
Bl)ippeti ()im : anl tol)en t|)ep I)ali openeU tjjcir treasures, tljep
presenteU unto ()im gifts ; go 15, anU franliincense, ani mprr^.
^Titi being toarnei of (25o5 in a tsream t|)at t{)ep sboulU
not return to |)ercit, tl)ep trepartets into ti)eir oton countrp
anot|)er toap. — St. Matthew, ii. 1-12.
MOSAIC FROM THE CHURCH OF S. APOLLINARE NUOVO, RAVENNA
I
iHE story of the Wise Men who came from
the East to pay their homage to the Holy
Child at Bethlehem has always been a fa-
vourite theme of Christian art and legend. It was
depicted everywhere : on the walls of the Catacombs ;
on the sculptured faces of sarcophagi ; in the glitter-
ing mosaics of the basilicas ; in the palaces of the rich
and the churches of the poor; on gilded drinking-
glasses, and carved doors, and marble pulpits, and
painted ceilings, and bronze coins, and jewelled shrines
— everywhere that art has left its touch we see the
Magi worshipping the infant Saviour. From the sec-
ond century the long, rich train of representations
runs on unbroken through the nineteenth. We may
safely say that there is no subject in the range of
history, sacred or profane, which has received more
splendid illustration.
Side by side with this stream of pictures and carv.
8
„. THE CHRIST-CHILD IN ART
114
ings runs the kindred current of imagination speaking
to the ear instead of to the eye. Traditions and fables,
myths and allegories, fragments of history and philoso-
phy, poems and plays and chronicles, gather about the
story in marvellous abundance. It is like a trellis
overgrown with vines, so luxuriant, so fertile in leaves
and blossoms, that the outline of the sustaining struct-
ure is almost lost. It would be easy for one who
looked at it carelessly to suppose that the whole fabric
was flowery and fictitious, with nothing substantial
about it. On the other hand, it is no less easy to mis-
take the growth of fancy for the framework of history,
and accept the later legends as if they belonged to
the original narrative. I suppose the hymn,
"We three kings of Orient are,"
is sung in many a Protestant Sunday-school in hearty
unconsciousness that its first line embodies two purely
ecclesiastical traditions.
Our first task, then, if we would understand the
Adoration of the Magi, is to go back to the simple nar-
rative as it is given in the original records of Chris-
tianity. Then we must trace the growth of the legends
which have formed about it, and then at length we can
hope to comprehend and appreciate something of the
works of art in which it has been illustrated. Pictures
and sculptures tell the story of religion as veraciously
as the decrees of councils and the chronicles of his-
torians. But their meaning does not lie upon the sur-
face. It yields itself only to him who studies them
1 HE WISE MEN
A.\D THE STAK-
HOGEK
VAN DER
WEYDEN
l-ri'iii .1 paintingf
ill the Berlin
M.i-cum
THK NEW YOBK
PUBLIC LIBRARY
ASTOR, LENOX AND
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THE ADORATION OF THE MAGI 117
with care and patience in the light of the age from
which they came.
The story of the Magi, as it is given by the evan-
geHst Matthew, is astonishingly brief and unadorned.
He tells us without preface that when Jesus was born
in Bethlehem certain foreigners arrived at Jerusalem.
He does not tell us how many they were, nor of what
race, nor of what station in life ; although it is fair to
infer from the consideration with which they were re-
ceived at the court of Herod, and from the fact that
they carried treasure boxes with them, that they were
persons of wealth and distinction. The most impor-
tant statement in regard to them is that they were
Magians — that is to say, disciples of Zoroaster, and
members of the sacred or priestly order of Persia,
which was then widely scattered among the Oriental
nations, and included men of exalted rank. They came
from the East, a word which to the dwellers in Pales-
tine could hardly have any other meaning than the
ancient region of Chaldea, lying beyond the Jordan
and the desert. Their explanation of their journey
to Herod was that they had seen an appearance in the
heavens (whether one star, or many, or a comet, they
did not say) which led them to believe that the King
of the Jews had been born, and they had come to do
reverence to Him. Herod was greatly troubled at hear-
ing this, and sent for the chief priests and scribes ^o in-
quire where the prophets had foretold that the Messiah
should be born. They answered at once that Bethle^
hem was the chosen place. Then Herod, having asked
the Magi how long it was since they first saw the ap-
Ii8 THE CHRIST- CHILD IN ART
pearance in the sky, sent them away to Bethlehem,
promising that when they had found the young Christ
he also would come to do reverence to Him. Having
set out on their journey, they saw once more the
celestial sign ; and it directed them to the place where
Jesus was. Coming into the house (for Joseph had
now found better shelter than a stable), they saw the
young Child with Mary his mother, and prostrated
themselves in worship. Opening their treasure chests,
they presented to Him gifts of gold and frankincense
and myrrh. Then being warned in a dream not to go
back to Herod, they took another road into their own
country.
It must be confessed that if we accept the tradition
as a part of the narrative, and suppose that what they
saw in the sky was a single star which moved directly
in front of them all through their journey, and finally
took its stand just over the door of the house of Joseph
in Bethlehem, it would be difficult to parallel the
story. But if we take the account as it is given by
the evangelist, we find a remarkable light thrown
upon it by the discoveries of modern astronomy.
The conjunction of the planets Jupiter and Saturn
is one of the rarest of celestial events. It occurs
only once in eight hundred years. This conjunction,
all astronomers agree, happened no less than three
times in the year 747 a.u.c, shortly before the birth
of Christ. In the following year it took place again,
and now the planet Mars joined the conjunction. In
1604 the astronomer Kepler observed a similar con-
junction, and saw, between Jupiter and Saturn, a new.
THE ADORATION OF THE MAGI 119
brilliant, evanescent star. The astronomical tables of
the Chinese, which are the most ancient records of
the sky, mention a star of the same character, which,
according to the best calculations, appeared and van-
ished in the year 750 a.u.c. These strange things must
have been visible to all who observed the heavens in
that year. Certainly they could be seen from Jeru-
salem, and to one leaving that city they would appear
to lead in the direction of Bethlehem. It may be that
we have here, in this "fairy tale of science," a confir-
mation of this beautiful story of religion, a hint and
trace of
"the light that led
The holy elders with their gift of myrrh."
Once having entered the house and found the Child
whom they sought, their conduct in his presence could
hardly have been different from that which is described
by the evangelist. Their deep obeisance was a sign of
that religious reverence with which every Persian was
accustomed to regard a king. The gifts which they
took from their treasuries were appropriate to the
region from which they were brought and the person
to whom they were presented. It may even be that
the Magians attached a symbolical meaning to them,
for the language of the Orient is figurative ; and per-
haps the old Church father, Irenaeus, gives us historic
truth as well as poetic beauty when he represents the
Wise Men as offering gold to the royalty, and incense
to the divinity, and myrrh to the humanity of the new-
born King.
I20 THE CHRIST- CHILD IN ART
It is no wonder that the Christians of Rome, paint-
ing upon the walls of their underground hiding-places
and cemeteries those rude but cheerful pictures, like
bright flowers blossoming in the darkness, which ex-
pressed the hope and joy of their early faith, fixed
upon this story as one of the first subjects of their art.
It spoke to them of the coming triumph of their re-
ligion, and of the glory and dignity which touched the
Christ even in his cradle. For the chapel and for the
grave it had a word of promise, glad, generous, and
exultant. In the hands of these first artists the pict-
ure corresponded with the simplicity of the gospel nar-
rative. It was little more than a sketch, a vague out-
FRESCO FROM THE CATACOMBS
line, without fixed form or curious detail. The number
of the Magi varied from six to two. One of the ear-
liest of these paintings is from the Catacomb of SS.
MarcelHnus and Peter at Rome. Mary is seated in a
large chair; her brown hair is unveiled, as a sign of
THE ADORATION OF THE MAGI 121
her virginity, her bare feet are crossed, and her eyes
are downcast. She holds the Child in her arms. Two
Magi approach, one from either side, and present their
gifts in golden dishes. There is no sign of royalty
about them; but their Phrygian caps, short tunics, and
mantles show that they come from the East. This
picture dates from the first half of the third century.
As we go on tracing the subject through the long
series of representations in the fourth and fifth and
sixth centuries we find its form becoming more fixed
and particular. New details are added : an open book,
to show that the Magi were familiar with the prophecy
of Balaam ; a star above the Child, to show the way in
which He was recognized ; an old man standing behind
the chair of Mary and pointing upward, to represent
Joseph, or the prophet Isaiah, or the Holy Ghost; the
heads of camels, to tell the story of the journey. The
number of the pilgrims is fixed at three, to correspond
with the number of their gifts, and perhaps also with
the three Hebrew children at the court of Nebuchad-
nezzar, whose story is frequently given as the compan-
ion piece to that of the Magi. At length the crowns
appear, in the great mosaic of S. Apollinare Nuovo, in
Ravenna (a.d. 534). Byzantine art shows us the "three
kings of Orient," stiff, formal, glittering with gold and
jewels, as they stride with equal step to present their
offerings to the Madonna and her Child, enthroned in
state and guarded by four archangels with star-tipped
sceptres.
122 THE CHRIST- CHILD IN ART
II
Here we find ourselves in the midst of the great
stream of legends, which takes its rise in the apocry-
phal gospel of St. Thomas, and flows on, through ser-
mons, and mysteries, and miracle-plays, and poems, and
chronicles, until finally there is hardly any conceivable
question which pious curiosity could ask about the
Magi for which the pious fabulist had not a ready an-
swer. Some of these legends are very beautiful, and
some of them are very grotesque. There is great
store of them to be found in the Legenda Aurea of
Jacobus de Voragine, and in the quaint old German
poems of Peter Suchenwirth, Konrad of Fussesbrunn,
Walther of Rheinau, and the clever Lady Hros-
witha, the " White Rose " of the cloister of Gander-
sheim. It would be a long task to enumerate them
all, and trace them to their sources. But let us imag-
ine a monk of the fifteenth century preaching at the
feast of Epiphany in the Cathedral of Cologne. The
long procession, with swinging censers, and tinkling
bells, and waving banners, has carried the splendid
golden shrine of the Magi, crusted with precious
stones, in its solemn circuit of the church. The music
dies away, and the preacher mounts the pulpit and
unfolds the familiar tale of wonder.
" In this casket, my children, sleep the bones of three
mighty kings. Caspar, Melchior, and Balthasar were
their names, but in Greek they were called Galgalat,
Malgalat, and Sarithin. Now Caspar was sixty years
SHRINE OF THE THREE KINGS, IN THE COLOGNE CA IHEDRAL
From a photograph by the Arundel Society, London
[the new yoi^k
PUBLIC LIBRARY
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THE ADORATION OF THE MAGI 125
old, and he came from Arabia; Balthasar was forty
years old, and he was black, for he came from Saba ;
Melchior was twenty years old, and his country was
Tarshish. These kings had heard the word of the
prophet Balaam that a star should come out of Jacob,
and they waited for its appearance. Moreover, certain
great miracles had happened to them. One of them
had seen an ostrich hatch an egg, out of which came
a lion and a lamb. Another had beheld a flower more
beautiful than a rose, growing on a vine, and out of it
flew a dove which prophesied of Christ; and the last
had a child born to him which foretold the birth and
death of Jesus, and after thirty-three days, as the child
had said, it died. So these kings did use to go to-
gether to a mighty pleasant place, with fountains and
choice trees, on the side of a high mountain, called
Mons Victorialis, to watch for the star. And suddenly,
while they were praying, with hands and eyes lifted up,
it appeared to them in the form of a little babe, exceed-
ing bright and shining, so that all the other stars were
lost in its brightness. Then these kings were very
glad, and gat them in haste upon their dromedaries,
and followed the star day and night, without eating or
sleeping, till they came on the thirteenth day to Jeru-
salem. And some say they went so swiftly because
God helped them ; but it may have been, my children,
that the dromedaries were very fast.
•' Now when they had inquired of Herod the place
in which the King of the Jews should be born, they
went on to Bethlehem ; and the star, going before
them, stood still over the very house where Jesus was
126 THE CHRIST- CHILD IN ART
dwelling. So they entered, and found the Holy Vir-
gin and the Child, and worshipped them, offering gifts.
And Melchior gave thirty pieces of gold, the same
Vv'hich had been made by Terah, the father of Abra-
ham, and given by Joseph to the Sabeans as the price
of the spices with which he embalmed the body of
Jacob, and brought again by the Queen of Sheba when
she came to visit King Solomon. Nor did the three
kings forget the parents of our blessed Lord, for as
they were departing they gave to the Virgin money
and silken robes, and to Joseph gold and jewels. And
Mary gave to them one of the linen bands in which
the child was swaddled, which they kept as a great
treasure, for when it was cast into the fire the flames
had no power upon it, but it came out whole.
" Now an angel had spoken unto them in a dream
that they should not return to Herod, for he was seek-
ing to destroy them and the young child also. So
they took ship, and went around by Tarshish into their
own country. But after they had departed the star fell
into a deep well hard by the house. And in that place,
my children, a great wonder is seen. For those who
look into the well behold the star in the bowels of
the earth, moving from one side of the well to the
other, just as if it were in the sky. But when many
persons are looking in, the star appears only to those
who are wisest and most sound in mind. And this
doubtless is the reason why that French deacon from
the church of Tours who went lately to the Holy Land
could not see the star, though he looked long into the
well.
-|-^Twr^
>^
ONE OF THE MAGI — BENOZZO GdZZoLI
From the fresco in the Palazzo Riccardi, Florence
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" iVow many years after the three kings had returned
to their country the holy apostle Thomas travelled
thither and baptized them in the Christian faith. So
they went out to preach, and were slain by the bar-
barous Gentiles of the far East. But the holy Em-
press Helena of blessed memory discovered their
bones, and brought them to Constantinople. From
there they were carried to Milan, and not long after
the Emperor Barbarossa brought them from that place
unto our own city. Here at last the bones of these
great travellers and wise kings find their rest, and have
worked many great miracles, and are the glory of our
city, so that you, my children, must rejoice in them,
and give liberally of your gold that this cathedral may
be finished to the praise of God and the honour of the
three kings."
Something like this was the legend which the curi-
ous fancy of the Middle Ages evolved out of the his-
tory told by St. Matthew. A modern version of it, less
miraculous but more realistic and picturesque, is given
in the opening chapter of Be7t-Hur, with its three cam-
els emerging suddenly from the unknown, and its mys-
tic meeting of the travellers in the lonely valley of the
desert. If we wish illustrations for the story, there is
hardly a single point of it for which we cannot find
some creation of art, grotesque, or quaint, or lovely, as
the genius of the artist and the spirit of his age and
country may have moulded his work.
Would you be certified of the names of the kings ?
Here the sculptor has carved them for you on a relief
over the portal of S. Andrea in Pistoia. Would you
I30
THE CHRIST- CHILD IN ART
know how the star appeared to them ? Taddeo Gaddi
will show you in the church of Santa Croce at Flor-
ence. Would you follow their pilgrimage ? You may
do so under the guidance of Andrea del Sarto in the
cloisters of Sta. Annunziata ; or if you prefer a modern
picture, Mr. Edwin A. Abbey has drawn it for you in
black and white. Would you behold them before
Herod ? You have only to look at the ceiling of the
cloister -church at Lambach, or the chancel arch of
S. Maria Maggiore at Rome. Would you watch their
adoration of the Christ -child? Meister Stephan will
display it to you above the high altar of Cologne, or
Hans Memlinc in the hospital at Bruges, or Andrea
Mantegna in the Ufhzi, or Domenico Ghirlandajo in
the chapel of the Innocents at Florence, or Francia in
the picture-gallery at Dresden, or Titian in the muse-
um at Madrid, or Niccolo Pisano on the glorious pul-
pits of Pisa and Sienna, or Paul Veronese in the
National Gallery at London, or Sodoma in the church
of San Agostino at Sienna. Would you know how
Joseph looked when he received his present? There
he is, in Fra Angelico's lovely panel in the Academy at
Florence. Would you see the kings warned in their
dream to keep away from Herod ? They are sleeping
on the portal of the cathedral at Benevento and on Gio-
vanni Pisano's pulpit at Pistoia. Would you behold
their embarkation in the ship of Tarshish ? Benedetto
Bonfigli shows their return by sea in his picture at
Perugia, and Gentile da Fabriano has put it into the
background of his great painting at Florence. You have
only to choose what you want — devout feeling, or gor-
THE ADORATION OF THE MAGI — Ft'BENS
From a painting in the Museum at Antwerp
n
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THE ADORATION OF THE MAGI 133
geous colour, or dramatic intensity, the patient realism
of Germany or the splendid idealism of Italy, marble
or wood-carving, bronze or mosaic, fresco or oil-paint-
ing— and you shall have it from the hand of a master.
Ill
Let us take live illustrations of the story, two from
the fifteenth century, one from the seventeenth, and
two more from the nineteenth.
The painting by Roger van der Weyden represents
the Appearance of the Star to the Wise Men. It is
one of the side-panejs of the triptych in the Berlin
Museum, of which we have already studied the central
picture in the chapter on the Nativity. The other side-
panel depicts the legend. oX«..tbe. vision in which the
Roman sibyl shows the Virgin and Child to the Em-
peror Augustus (a portrait of Philip the Good). It was
painted in 1450, and apart from its value as a work of
earnest and devout Flemish art, it has especial interest as
an evidence of the fact that some of the legendary addi-
tions to the story of the Magi made an earlier impression
upon northern than upon southern art. In the pictures
which the Florentines, Fra Angelico and Benozzo Goz-
zoli, were painting about this time we find, for example,
no trace of the legend that one of the kings was a black
man, and the ages of the three are not always distinctly
marked. But Van der Weyden has embodied all the
details of the stor\^ in his picture; the star appears
134
THE CHRIST-CHILD IN ART
miraculously in the form of a shining babe ; one of the
kings is black, with thick lips and woolly hair ; and,
unless I am mistaken, the crown of the oldest kinof is
-resting upon the parchment of Balaam's prophecy, in
which they had read of the star to come out of Jacob.
In a painter of to-day the attempt to imitate all this
quaintness of sentiment would be as false and unnat-
ural as the effort to reproduce the Flemish stiffness of
outline and rich elaboration of ornament. But in Roger
it was all sincere, and therefore it is beautiful in its own
fashion. The clear, calm light of early dawn which
illuminates the landscape with pensive radiance, and
the serene awe of devotion which is expressed in the
faces and figures of the Magi, are but the reflection
of the old painter's tranquil and believing spirit, which
the magic mirror of art has preserved for us through
three centuries of turmoil and doubt.
The most remarkable and interesting of all pictures
of the Magi is Benozzo Gozzoli's fresco in the Riccardi
Palace at Florence. This Benozzo, if history speaks
the truth of him, was a most delicious man, correct in
his conduct, respected and beloved by his neighbours
for his amazing industry and exemplary piety, and at the
same time not in the least spoiled or priggish, but filled
with an ever-new passion of wonder and delight towards
all the creatures of God, and resolved to show as many
of them as possible in his pictures. His great oppor-
tunity came when the Medici, the Rothschilds of Flor-
ence, sent for him, in 1459, to decorate the walls of the
family chapel in their new palace. The room is only
about twenty-five feet square, but all the walls, except
IHE
\I)OKATI0i
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MAGI—
ISOUGUERE,
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THE ADORATION OF THE MAGI 137
on the side which has been cut away in modern times
to make room for a window, are completely covered
with the most gorgeous colours and life-like figures. I
know of no room in the world which makes such an
overwhelming impression of the opulence of painting.
The subject which Benozzo chose was the Journey of
the Kings of the East, and he has crowded the whole
chapel with it, leaving only the square recess where the
altar once stood for two beautiful rows of adoring angels
and a picture of the Nativity, which has now disap-
peared. It is an idle thing to say, as many of the
guide-books do, that the frescos were painted by lamp-
light because there was originally no window in the
chapel. Such superb colours were never mixed in arti-
ficial light. The little room is, in fact, only a space por-
tioned off within a lofty, well-lighted hall, and Gozzoli
must have worked there before the ceiling was put on.
Then his pictures were closed in, like jewels in a
casket.
He has represented the long procession of the Magi
as passing through a valley, into which they come wind-
ing down on the left, and out of which they go winding
up on the right, with prancing steeds and stately war-
riors, graceful pages and wrinkled councillors, spearmen
and huntsmen, sleek greyhounds, spotted leopards, and
keen-eyed hawks. Meanwhile, on the hills around, life
goes on as usual. Hunters follow the deer, travellers
pursue their journey along winding roads to the distant
towns, the pines stand straight and solemn upon the
rocks, and the palms lift their feathery heads against
the sky. The oldest king is a portrait of the venerable
138 THE CHRIST- CHILD IN ART
Patriarch of Constantinople, with his long snowy beard
and red robe, riding on a white mule. Behind him, as
the second king, comes the Greek emperor, John Palse-
ologus, dark-faced and haughty, in his rich green dress
and pointed crown, looking just as he did when he came
to the famous council at Florence in 1439, at which the
union of the Greek and Latin Churches was promised
but not accomplished. The third king is the young
Lorenzino de Medici, then a boy of some twelve years.
He is dressed in white, embroidered with gold, and
wears a light blue turban on the golden curls which
cluster round his cheeks and fall upon his neck. His
proud eyes look out at you serenely, as with hands
crossed over his gemmy bridle and spurred feet daintily
touching his stirrups, he bestrides his grand white
charger, which tosses its head as if it felt the joy of
carrying the flower of the Medicean house, the hope and
glory of Florence. He is followed by a throng of peo-
ple, mounted and on foot, among whom are Cosimo de
Medici, the aged head of the family, and his son Piero,
and the painter himself, in a red cap with the inscription
Opus Benotii on the brim.
It is a marvellous opus indeed, and one which gives
us great admiration for Benozzo's fertility and skill.
But what has all this Florentine display to do with the
story of the Magi ? Little enough, to be sure, if we take
it literally; but it was the best that Benozzo knew of
the pomp and splendour of earth ; and if the innocent
old painter could only have brought it all in truth to
the feet of the infant Christ, Florence might have had
a happier history, and the dream of the Emperor Palae-
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ologus might have been fulfilled in the union of Eastern
and Western Christendom.
The immense Adoration in the museum at Ant-
werp is one of the most triumphant works of that robus-
tious pagan and superb colourist, Peter Paul Rubens.
It is said that he finished the picture in thirteen days.
It was a tour de force, yet from a painter's point of view
there is little to be altered. The figures are wrapped
in a flood of warm light, brilliant without glare, and
filled with harmonious tones. Types of beauty and of
ugliness appear side by side. The two noble princes
in the foreground ; the burly African in green and pea-
cock blue, with his thick lips and rolling eyes, looking
down in scornful surprise upon the babe whom he must
worship ; the grotesque heads of the camels ; the grin-
ning Nubians peering beneath the cobwebbed beams of
the stable ; the joyous child, leaning from the lap of his
mother, who smiles at his eagerness ; the curious spec-
tators ; the soldiers' helmets ; the Corinthian pillar in
the background ; the head of the ox, dashed into the
foreground with a few swift, sure strokes of the brush
— what a vigorous tableau is this! How rich, how dra-
matic, how frankly heathen !
The picture by Bouguereau in the Lady Chapel of
the Church of St. Vincent de Paul, at Paris, is likewise
one of the best that its author has painted. But here
we have passed from the religious atmosphere of Ant-
werp in the seventeenth century to that of Paris in the
nineteenth. The artist is learned ; he respects the tra-
ditions; he is devout; he will not lose the doctrinal
meaning of the scene. Yet he is, above all, a beauty
142
THE CHRIST- CHILD IN ART
worshipper. He must have graceful outlines, smooth
surfaces, refined colours. The Virgin is seated in front
of a marble house, under an awning. Her blue robe
covers her dress completely ; only a touch of red shows
at her wrist. She seems weary and oppressed. In the
background the white houses of the Syrian town lie
quivering in the heat. The child Jesus seems to be
nearly a year old. He sits on Mary's lap, leaning back,
with his right hand raised in benediction. It is the
attitude of a young prince. The three kings, two of
whom are dark, middle-aged men, while the third is old
and gray, kneel before the Child, and one of them swings
a censer. They are dressed in long robes of dull yel-
low, with diadems and large halos. Their attendants
carry gifts and fans of peacock's plumes, St. Joseph,
a dignified and protecting figure, stands beside the Vir-
gin, with one hand on the back of her chair and the
other laid on his breast. It is all very carefully com-
posed, solemn and stately. The impression which it
makes is one of elegance. But, after all, the picture
misses something. It is not deep enough. Its colour
lacks warmth, and its figures lack life. Its beauty is
elaborate and unreal. It says too much and too
little ; for a great painting must be at once frank
and reserved. It must express its meaning, and
yet have a mystery in it, something below the sur-
face, which leads the mind on into the secret of
visions.
When we come to La Farge's double picture in the
chancel of the Church of the Incarnation, at New York,
we find these conditions met, and may justly say that
H
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THE ADORATION OF THE MAGI
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this latest work of art upon the familiar theme is also
one of the noblest. In drawing, the picture is not
faultless; there is a touch of insecurity in some of the
figures. In colour it is a victorious experiment " in
the key of blue." The painter has abandoned the tra-
ditions. He shows us four pilgrims, not kings, but
Magians of the East. One of them has dismounted,
and kneels, uncovered, with out-stretched, trembling
hands, a sincere and eloquent figure. The others, seat-
ed high upon their wearied horses, are still in the back-
ground. A shining angel, white as snow, points to the
couch where Mary is lying with her babe.
How significant the action with which she lifts the
veil from "the Light of the World!" How sublime the
meaning of the scene ! For now the sweet pastoral
seclusion of the Nativity, with its angelic songs and
wondering shepherds, is broken by the contact of the
great world. The vast stream of history, flowing down
from the cradle of nations in the Orient, sweeps suddenly
towards the cradle of Jesus. The past, with all its ven-
erable traditions, the scattered races of mankind, the
philosophy of the ages, the honour and power and wealth
of earthly kingdoms, come thronging dimly in the train
of these mysterious visitors to do homage to an infant
on his mother's breast.
And when our world learns this lesson ; when pride
bows down to meekness, and experience does homage
to innocence; when every child is reverenced as a royal
heir of heaven because it is a brother of the Christ-child
— then the Epiphany will come, and a great light will
lighten the nations.
THE FLIGHT INTO EGYPT
Thou wayfaring Jesus, a pilgrim aitd stranger,
Exiled from heaven by love at thy birth,
Exiled again from thy rest in the manger,
A fugitive child 'mid the perils of earth —
Cheer with thy fellowship all who are weary,
Wandering far from the land that they love ;
Guide every heart that is homeless and dreary
Safe to its home in thy presence above.
3[n5 fofftn t))t^ toerc JeparteU, ht'i^olti, tift anjcl of t^t
lorU appearetl) to Sfoecpl) in a Jream, saping:, trifle, anU
tafee tj)c pottitff cljtiii anil (jis motl)tr, anti flee into ©ffppt, anlJ
i)e tdou t!)ere until ^ ftrinff t[)ee tDorB : for |)eroB toill secfe
tfft pounff rttlli to lestrop l^im.
€i5R()en l^e arose, l^e toofe t()e pounff cfjillj anJ f)ig motjjer
6p niffbt, anH Uepartcti into ©ffppt:
ana mag tl^ere until t^e Jeat!) of |)eroS : tl&at it mijljt be
fulfiUeli n)()icf) toae spolien of tl)e lorli bp tlie propl^et, eap^
inff, ©ut of ©ffppt i)abe ^ caUeU mp con.
C()en l^erolJ, tol^cn ()e cato tf)at I)c teas moclieli of t|)e toise
men, toad ercecUinff torotd, anii gent fort[), anU gleto all tl)e
cl)ilJren tl)at toere in ^et^jle^em, anU in all tfje coastB ti)ereof,
from ttDo pears olJ anlJ unJer, accorJinff to tjje time tofjicir
i)e !)ai lJilig;entlp inquired of t()e toise men.
Ci)en teas fullilleli t|)at tD!)icl^ toae epoiken i^ ^txtm^ t^t
propbet, sapinff,
3rn fiamaj) toag t()ere a Poice {)carli, lamentation, anU toeep--
inff, anlD ffreat mourning, Hacj)el toeepinff for (jer tjiiUren,
anJ tonullJ not be comfortelr, because tj^ep are not.
^ttt tDf)cn |)eroU teas JealJ, befjoIB, an anjel of ll^e lorJ
appearetl) in a Bream to 3rosep() in ©ffppt,
giapinff, arise, anU tafee tl)e pounff e()ilti anU J)is mot^tx,
ani ffo into tbe lanlr of S^srael: for tl^ep are beaB to^iej
BOUgllt t|)e pounff ciiili's life.— St. Matthew, ii. 13-20.
I
lANY great travellers have visited Egypt, and
many famous fugitives have found asylum
there ; but none so great or so famous as
the little Child who was carried thither by his parents
in the days of Herod the king. The story of their
journey is told by the Evangelist Matthew, who says
that after the visit of the Magi, Joseph had a dream
in which he saw an angel warning him to save the
child Jesus from the envious wrath of Herod by flee-
ing into Egypt, and that he acted upon the warning
promptly, going away from Bethlehem by night, and
remaining in Egypt until Herod was dead.
Nothing could be more likely than that Joseph
should have such a dream after the Magi had de-
parted; for he knew, as all the inhabitants of Judea
had reason to know, the black, jealous, bloody tem-
per of King Herod, and how quick and cruel he was
to put any fancied rival out of the way. His own
children and his favourite wife Mariamne were butch-
ered by his command because he was afraid of them ;
and such an incident as the homage of the Wise Men
to the child Jesus, coming to his ears, would certainly
have aroused his malignant fear. It was natural that
Joseph's sleep should be troubled with some dark pre-
ISO
THE CHRIST- CHILD IN ART
sentiment of the slaughter of the innocents at Bethle-
hem, and that he should be ready to heed the angel's
exhortation to speedy flight. Everything was in favour
of Egypt as the place of refuge. It was far beyond
the reach of Herod's treacherous hand, and yet it was
near enough to be easily gained. Three days would
be sufficient to bring the travellers to the boundary
between Egypt and Palestine, and once across it they
would be safe. The gifts of the Magi had provided
them with money for the journey. In Egypt they
would find many colonies of Jews, among whom they
would be kindly received and securely hidden. So
they set out on their pilgrimage, this faithful Joseph
and the mother Mary, with their sacred Child ; with
what company, if any, and in what manner of journey-
ing, we know not, save that their departure was under
the friendly cover of darkness ; they passed safely
through the mountains of Judea, and across the Phil-
istine plain, and reached the friendly shelter of the
land of the Sphinx, while Herod's fury of jealousy
spent itself in vain upon the children of Bethlehem.
And when the murderous king was dead, they re-
turned from exile to their own country. That is the
brief and simple history of the Flight.
But the poetry of it — how deep, how wonderful,
how suggestive ! Let any one who believes that Jesus
was the Christ reflect upon the significance of this
story — the strange contrast between the serene, mu-
sical night of the Nativity, and this troubled, threaten-
ing night of the journey; the adoration which was
brought to the Child from far lands, and the perse-
THE FLIGHT INTO EGYPT — GIOTTO
From a fresco in the Chapel of the Arena, Padua
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THE FLIGHT INTO EGYPT 153
cution which followed him in his own country; the
king of Heaven fleeing from the king of Judea; the
utter helpless dependence of the little babe upon his
parents during the long and weary journey; the mys~
tery of his secret sojourn among the venerable tem-
ples and pyramids and dusty idolatries of old Egypt
— surely the picture of the Holy Child would not be
perfect without this weird shadow of peril and this
experience of the hard vicissitudes of mortal life.
II
It was not possible, however, for the active imagina-
tion of the early Christians to rest content with St.
Matthew's short and plain record of the Flight. They
must know more about it — how the pilgrimage was
made, through what places the Holy Family passed,
what marvels and portents happened by the way, and
where they found a resting-place. And so the litera-
ture of the Flight unfolded itself in the apocryphal
gospels, and continued its growth through the poems
and chronicles of the Middle Ages. Nothing can be
more clear than the difference between the simple
statement of St. Matthew that the journey was made
— a statement which bears every mark of being his-
torical, and reads as if it were merely a transcript of
the Virgin Mary's remembrance of that hurried and
dream-like episode — and the wild, fantastic fables of
later times. And yet these fanciful stories, which were
154 THE CHRIST- CHILD IN ART
told SO often at the fireside, in the tent, at the rest-
ing-place of the reapers, and by the camp-fires of the
caravan, have had considerable influence upon art.
Here is one, for example, from the History of the
Nativity of Mary.
" And having come to a certain cave and wishing
to rest in it, the blessed Mary dismounted from her
beast, and sat down with the child Jesus in her
bosom. And there were with Joseph three boys and
with Mary a girl, going on the journey along with
them. And lo ! suddenly there came forth from the
cave many dragons, and when the children saw them
they cried out in great affright. Then Jesus went
down from the bosom of his mother, and stood on his
feet before the dragons; and they adored Jesus, and
thereafter retired. But Mary and Joseph were very
much afraid lest the child should be hurt by the drag-
ons. And Jesus said to them : Do not be afraid, and
do not consider me as a little child; for I am and
always have been perfect, and all the beasts of the field
must needs be tame before me." I do not know that
any of the painters have ventured upon a representa-
tion of the dragons, but many of them, beginning with
Giotto, have given us the three boys and the girl who
had such a dreadful fright.
Another anecdote told by the same author has al-
ways been a favourite with the poets and painters.
The Holy Family are resting beneath a date-palm,
and Mary longs for some of the tempting fruit,
which hangs high above her head. Joseph declares
that he is too tired to climb the smooth stem of
FRESCO — NOTRE DAME /-/»:iy
D'ABONDANCE — THE
FLIGHT INTO EGYPT
the tree. But the child Jesus knows his mother's
wish, and at his command the branches bend down-
ward to her hand. Then he thrusts his finger into
the sand at the root of the tree, and a spring of
water bursts forth. The next morning Jesus thanks
the tree, saying, " This privilege I give thee, O palm-
tree, that one of thy branches be carried away by my
angels and planted in the Paradise of my Father. And
this blessing will I confer upon thee, that it shall be
said of all who conquer in any contest. You have won
the palm of victory.'* Accordingly we may see in
Correggio's " Madonna della Scodella," at Parma, the
obedient tree and the spring, from which the Virgin
156 THE CHRIST- CHILD IN ART
is dipping a bowl of water, while four charming angels
are flying up to heaven with the palm branch.
There is another story which touches more upon
the danger of the Flight. As the fugitives were de-
parting from Bethlehem they passed some men in a
field sowing corn. And the Virgin begged them to
answer, if any one inquired when the Son of Man
passed by, "When we were sowing this corn." Now
it came to pass that same night that the corn sprang
up and ripened so that on the morrow they were reap-
ing it. And when the soldiers of Herod came and
asked when the Son of Man passed by, the husband-
men answered, "As we were sowing this corn." So
the soldiers thought that they could never overtake
Him, and turned back from following. In a picture by
Hans Memlinc in the Pinakothek at Munich these
truthful and deceptive husbandmen appear in the back-
ground. There is a quaint addition to this legend,
current among the northern Highlands of Scotland.
It is said that a malicious little black beetle over-
heard the soldiers' question, and thrusting up his head,
answered, " The Son of Man passed here last night."
And this is the reason why the Highlanders stamp
on the black beetle when they see it, saying, " Beetle,
beetle, last night !"
The same thought of the danger of the journey
has given rise to the various anecdotes of encounters
with robbers. Sometimes it is a band of brio^ands
lying in ambush; and as the Child draws near, they
hear a great noise like the sound of a king approach-
ing with horses and chariots, so that a panic seizes
THK REPOSE IX EGYPT — From a painting by Albrecht Altdorfer
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THE FLIGHT INTO EGYPT 159
them, and they run away without doing the harmless
travellers any injury. Again, the Holy Family are
taken prisoners by the captain of a company of brig-
ands; but instead of cruelty he shows them kindness,
carrying them to his own house, and entertaining them
with the best of fare in his garden of fruit-trees. His
good-wife helps to give the little Child a bath, and
prudently saves the water. Some days later, when the
hospitable brigand comes home from a skirmish fatally
wounded, the same wonderful water heals him and re-
stores him to life. At another time the travellers are
stealing quietly past a band of robbers who have fallen
asleep. But two of them, Titus and Dumachus, are
roused by the noise. Dumachus wishes to awaken his
comrades and capture the pilgrims ; but Titus being
of an amiable disposition, though a robber, bribes his
companion with forty pieces of money and a girdle to
keep still and let them escape, for which Mary blesses
him, and Jesus foretells that after thirty years the two
robbers shall be crucified with him, and Titus shall en-
ter into Paradise as the penitent thief. These are
very primitive stories, but they appear to indicate at
least that the early Christians recognized a difference
among thieves, and were willing to believe in the possi-
bility of goodness dormant under the crust of evil.
There is another class of legends which centre in
the idea of the divinity of Jesus. The Egyptian idols
are represented as tumbling from their pedestals at his
approach. A whole city of idols, whatever that may
mean, is changed into a sand-hill as he passes by.
And one very large and powerful idol, to which all the
i6o THE CHRIST- CHILD IN ART
others were accustomed to pay homage, cries out that
Jesus is a greater God than any of them, and forthwith
falls into a thousand fragments. All this is but a
childish way of saying that the religion of Jesus de-
stroys idolatry.
But the greatest fund of marvellous stories about the
Flight is found in the Arabic Gospel of the Infancy,
which was current among the Christians of the East,
and was probably used by Mohammed in the compo-
sition of the Koran. It is an Oriental variation upon
a sacred theme, an Asiatic embroidery full of all kinds
of strange beasts, a sanctified Arabian Nights' Enter-
tainment. It tells of a dumb bride restored to speech
by taking the infant Jesus in her arms ; and a crazy
woman who would not wear any clothes brought to her
right mind by the compassionate look of the Lady
Mary ; and a girl with the leprosy cleansed by washing
in the water in which the Child had been bathed ; and
sundry other household miracles even more ingenuous
and astonishing. It describes the dwelling-place of
the Holy Family at Matarea, a town a little to the
northeast of Cairo, where any sceptical person may
still see the aged sycamore which sheltered them, and
the "fountain of Mary," in which she washed her
Child's coat. But the most wonderful tale of all is
the story of the enchanted mule, which runs on this
wise :
As the Holy Family were entering into a certain
city they saw three women coming out of a cemetery,
and weeping. And when the Lady Mary saw them,
she said to the girl who accompanied her (the same
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'IHE REPOSE
From an engraving by Lucas Cranach
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THE FLIGHT INTO EGYPT 163
who had been cleansed of her leprosy) : " Ask them
what is the matter, and what calamity has befallen
them." But they made no reply to the girl's ques-
tions, asking her in their turn : " Whence are you ?
and whither are you going? For the day is spent,
and night is coming on apace." " We are travellers,"
said the girl, "and are seeking a house of entertain-
ment." They said : " Go with us, and spend the night
with us." Accordingly the travellers accepted the
courteous invitation, and were brought into a new
house, richly furnished. Now it was winter, and the
girl going into the apartment of these women, found
them again weeping and lamenting. Beside them
stood a mule, covered with housings of cloth of gold,
and sesame was put before him, and the women were
kissing him and feeding him. And the girl said :
" What is all this ado, my ladies, about this mule ?"
They replied with tears : " This mule, which thou
seest, was our brother, born of the same mother with
ourselves. When our father died he left us great
wealth, and this only brother. We did our best to
get him married, and were preparing his nuptials after
the fashion of our country. But some women, moved
by jealousy, bewitched him, unknown to us; and one
night, a little before daybreak, when the door of our
house was shut, we saw that this our brother had been
turned into a mule, as thou now beholdest him. And
we are sorrowful, as thou seest, having no father to
comfort us ; and there is no wise man or magician in
the world that we have omitted to send for, but noth-
ing has done us any good." And when the girl heard
i64 THE CHRIST- CHILD IN ART
this, she said : " Be of good courage, ladies, and weep
no more ; for the cure of your calamity is near ; yes, it
is presently in your own house. For I also was a
leper. But when I saw that woman, and along with
her that young Child, whose name is Jesus, I sprinkled
my body with the water wherein his mother had
washed him, and I was cured. I know that he can
deliver you from your affliction also. But arise, go to
Mary my mistress, bring her into your own apartment,
tell her your secret, and supplicate her to have pity
upon you." When the women had listened to the
girl's words they hastened to the Lady Mary and
brought her into their chamber, and sat down before
her, weeping and saying : " O our mistress. Lady
Mary, have pity upon thy servants, for no one older
than ourselves, no head of our family, is left— neither
father nor brother — to live with us; but this mule
which thou seest was our brother, whom women have
bewitched into this condition. We beseech thee, there-
fore, to have pity upon us." Then, grieving at their
misfortune, the Lady Mary took up the Lord Jesus
and put him on the mule's back, and she wept with
the women, and said to Jesus Christ, " Alas, my son,
heal this mule by thy mighty power, and make him a
reasonable man as he was before." And when these
words were spoken, the shape of the mule was changed,
and he became a young man of engaging appearance.
Whereupon there was great joy in the household, and
the grateful sisters immediately concluded to marry
their brother to the girl who had been the means of
bringing him so great a benefit.
THE HOME IX EGYPT — ALBRECHT DURER
From an engraving in "The Life of tlie Virgin"
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THE FLIGHT INTO EGYPT 167
All this, especially the happy marriage, is quite in
the style of Scheherezade. It is no more like the
sober records of the evangelists than a display of fire-
works is like the silent stars ; and the very difference
goes far to prove, or at least to illustrate, the histori-
cal character of our four gospels.
Ill
The pictorial representations of this subject divide
themselves into two classes. First we have the pictures
of the Flight itself. These may be easily recognized
by the presence of Joseph and Mary, evidently going
on a journey, with their Child, not yet two years old.
If Jesus is older, and able to walk by the side of
Joseph, the picture represents the Return. Sometimes
the painter puts a sketch of the massacre of the inno-
cents into the background, to remind us of the occa-
sion of the Flight. Thus it appears in Peruzzi's fresco
in the Church of San Onofrio at Rome. Sometimes
he makes an angel showing the way, as in a paint-
ing of the school of Domenichino at Naples. Now the
Holy Family are seen going through a gloomy forest,
as in a black little etching by Rembrandt, where one
can hardly distinguish anything except the lantern
which Joseph carries in his hand. Now they are em-
barking in a boat, as in a painting by Poussin ; and
again they are floating on the sea, fanned along by
angels, as in a very feeble and affected picture by a
1 68 THE CHRIST- CHILD IN ART
Frenchman whose name I have forgotten (and it is of
no consequence). Usually Joseph is leading the ass,
while Mary rides upon it, with the child in her arms.
But sometimes the situation is reversed. There is
a finely finished little picture by Adrian van der Werff
in the Louvre, which shows Mary walking ahead car-
rying the child ; she is about to cross a stream on
stepping-stones, and turns to give her hand to Joseph,
who is very old, and seems almost afraid to follow, while
the ass, coming last of all, pulls back vigorously. In
the same gallery I remember having seen a charming
landscape by Adam Elzheimer, in which the Holy
Family appear to have crossed a broad, shallow stream
sparkling in the moonlight. Joseph carries a torch in
one hand, and with the other he is giving a little
branch to the child for a whip. On the edge of the
woods in the background some shepherds have kindled
a blazing fire, and there the travellers evidently intend
to seek their rest. The picture is thus illuminated
with three kinds of light, yet it is perfectly harmonious,
and suggests very picturesquely the " camping out "
aspect of the Flight.
The second class of pictures represent the Repose,
either at some halting -place by the way, or in the
home at Matarea. The subject came into vogue at the
end of the fifteenth century. But by the middle of the
sixteenth century this theme had become even more
popular than the Flight ; it was painted by Titian and
Paul Veronese and Correggio, by Murillo at least five
times, by Rubens and Van Dyck and Rembrandt and
Ferdinand Bol, by Claude Lorraine and Nicolas Pous-
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sin, by Overbeck and Decamps, and among the latest
representations of it is the picture by Knaus in the
Metropohtan Museum at New York — a painting which
is far from lofty in its tone, but which fascinates the
public with its throng of plump and merry little angels.
It is not always easy to recognize this subject; some-
times a painter like Claude gives us- simply a broad
landscape with a few tiny figures in one corner, and
calls it a Repose; or again, as in the sad but lovely
picture by Decamps, we see only a group of tired peo-
ple with a little child, resting under the shadow of some
trees, in dark silhouette against the evening sky. But
as a rule the Repose is marked by at least one feature
taken from the old legends — the fountain, the palm-
tree, a company of angels singing and dancing to
amuse the Holy Child. The painter tries to make his
picture tell the story of rest after a weary journey. And
always, if he knows anything about his subject, he leaves
out the familiar figures which appear in other representa-
tions of the Holy Family. Wherever you find St. Anna,
or St. Elizabeth, or the little St. John, you may know
that the picture is not, properly speaking, a Riposo.
And now we may turn for a moment to look more
closely at our illustrations of this episode in the life of
the child Jesus. There are nine of them — five repre-
sent the Flight, and four the Repose. Two of them,
at least, take a high rank among the pictures belong-
ing to the child life of Jesus; and altogether they
cover the history of Christian art for more than five
centuries, and show the different methods of fresco, oil-
painting, and engraving.
173 THE CHRIST-CHILD IN ART
First comes Giotto ; and rightly, for he was the first
man who ventured to paint the Hfe of Christ as a real-
ity. This fresco is one of those that make the walls of
the little Chapel of the Arena in Padua more precious
than if they were covered with gold. It has suffered
even more than its companions from the damp air of
the surrounding garden ; and much of that bright, pure
colour which Giotto loved has vanished from its sur-
face. But even in its decay it is admirable; it shows
us how clearly the oldest of old masters caught the
meaning of the history, and with what vigour and sin-
cerity he was able to express it. We may laugh, if we
will, at the impossible trees, and the wooden head of
the ass, and the stiff, unjointed hands of the people.
These were things which Giotto did not understand
very well, nor did he care much about them. But he
did understand how to tell us that the journey was
anxious and hurried, and altogether a very serious
undertaking; that even the dumb beast was dejected
and weary ; that the boys and the girl who went along
with the Holy Family talked a good deal by the way ;
and that Joseph chose the boy who could see the angel
to lead the ass by the bridle ; and that he himself could
not help looking back continually to see if the mother
and Child were safe; and that these two, Mary and
Jesus, being together, were less troubled than the rest
of the party — all this Giotto tells us in his plain, strong
way. He has grasped the situation. He gives the
drama of the Flight.
The next picture comes from a little ruined church,
which is hidden away in the Alpine hamlet of Abon-
IWilif
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dance, among the mountains of Chablais, on the south-
ern shore of Lake Geneva. The traveller who climbs
up the valley of the Dranse from Evian to this for-
saken spot will find the old abbey used as a stable,
and these pale frescos crumbling from the walls. No
one knows who painted them. Probably it was done
in the fifteenth century by some travelling artist who
went from place to place with his band of workmen to
execute the orders of the monks. This was certainly
the custom of the time, and the picture bears strong
marks of Italian influence in the conventional treat-
ment of Joseph's dream on the left, and the actual
Flight on the right. But the interesting thing about
it is its rude but graphic reproduction of the scenery
of upper Savoy. These are tlie.sharp-pointed hills and
steep crags which rise around the village of Abon-
dance ; this peasant who is carrying a board covered
with little round cheeses up a mountain path is a na-
tive of the district, and may still be seen there; this
boat which two men are towing against the stream
belongs to the river Dranse. It is still the drama of
the Flight, but the colouring is distinctly local, and
the artist has made the action subordinate to the
scenery. And 3^et I think, upon the whole, the old
master-designer gave the monks the worth of their
money, even though he spared himself some expense
by using gray instead of blue, which was the costliest
of pigments.
We turn now from the atmosphere of Italy to that
of Germany, and take three characteristic examples of
Teutonic art in the early part of the sixteenth century.
176 THE CHRIST- CHILD IN ART
These are all pictures of the Repose, and their manner
is idyllic rather than dramatic. The weakest of the
three is the painting by Albrecht Altdorfer, the ver-
satile and prosperous city architect of Ratisbon. He
has let his bizarre fancy run away with him, and over-
loaded his picture with details. Yet there is somthing
original and pretty in the little angel swimming to
meet the child Jesus, who leans from Mary's lap and
dips his hand in the fountain. But what a fountain !
It is a nightmare of the Renaissance.
Cranach's engraving is far more satisfactory, and bet-
ter even than his own earlier sketch of the same sub-
ject. It is signed only with his crest — a dragon with
a ring in its mouth — but its authenticity is undoubted.
The Virgin is seated at the foot of a tree against which
Joseph is leaning. The Child stands upon his mother s
lap and offers her an apple. Twelve jolly cherubs are
dancing in a ring before them, with every sign of de-
light, while two other cherubs are up in the tree rob-
bing a nest and killing the young birds. This is a
strange feature in such a peaceful scene. A recent
writer has explained that the nest is an eagle's nest,
and its destruction typifies the overthrow of the king-
dom of Satan by Christ. But the old birds do not
look in the least like eagles, and I suppose the artist
intended the incident to be emblematic of the slaughter
of the innocents at Bethlehem. It is a quaint conceit,
but not very complimentary to the cherubic disposition.
Diirer's engraving, from the famous series of The
Life of the F2>^2«, published in 1511, is altogether
lovely and lovable. Merely as an example of early
THE FLIGHT INTO EGYPT
179
xylographic art it shows the hand of a master, strong,
steady, direct. But when we enter into the thought
and feeling of the picture we recognize even higher
qualities. It is the home in Egypt. True, the archi-
tecture has a look of Nuremberg, and the miraculous
fountain in the background flows through a wooden
spout such as may have stood in the court -yard of
Diirer's own house. But to the lowly heart there are
no anachronisms. The thought of the artist dissolves
the bonds of time. He will have us remember that
home is home, wherever it may be, and that the love
of Joseph and Mary could make a safe and happy
place for the child Jesus even in exile. So the honest
carpenter toils away at his trade, while the cheerful
cherubs bustle around to help him. Mary sits near by
with distaff and spindle, quietly working, and with her
foot rocking the cradle in which little Jesus lies asleep.
Even the angels do not disturb her placid soul. The
picture is a song in praise of industry and love ; it is
an idyl of the joy of home even in a far land. Blessed
is the child who finds such shelter amid the tumult and
strife of the world !
Murillo's Flight, which is in the Hermitage at St.
Petersburg, is painted in a very tender spirit, and full
of feeling. The drawing in the lower part of the pict-
ure is not very secure, but the faces of Joseph and
Mary, bending together over the Child, are touched
with beautiful solicitude and deep love. They forget
the weariness of the journey in their delight in Jesus,
and the Child, pure and peaceful, as Murillo always
conceives him, looks up with bright wonder at the an-
i8o THE CHRIST- CHILD IN ART
gels above his head. A soft warm air envelops the
group, and seems to waft them all gently onward. It
is a bit of sentiment, almost passing into Schwarmerei ;
but, after all, it is pure and noble — a celestial reverie.
Three pictures of this subject, all produced within the
present generation, may be taken as illustrations of the
different ways in which the modern spirit deals with
the life of the child Jesus.
M. Pierre Lagarde's painting of the Flight is a
lyric set in a minor key. The thought which has
impressed him is the loneliness of the journey. There
are no angels in the sky. The wide desert shows no
sign of life, save this poor little household wandering
on through the trackless waste. The slender Virgin
droops like a wilted flower, Joseph's steps are heavy and
slow, and the Child sleeps on his mother's arm. This
plaintive ballade is all that the artist has found in the
story of the Flight.
M. Merson's striking sketch of the Repose is far
more suggestive. He is not, indeed, the first to intro-
duce distinctly Egyptian features into the landscape,
for I believe Poussin attempted this, in his cold, vague
way, several times. But M. Merson is the first to
do it accurately and thoughtfully. This drawing, slight
as it is, is worthy of the man who, when he was paint-
ing the encounter of " St. Francis and the Wolf of
Gubbio," travelled all the way from Rome to Gubbio
in order to get his landscape true to nature. Even
more noteworthy is the way in which he has touched
upon the dim foreshadowing of the story of Jesus in
the mythology of ancient Egypt. The Virgin, shel-
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THE FLIGHT INTO EGYPT 183
tered in a corner of a ruined temple, and holding her
Child at her breast, looks up in amazement, and sees
upon the gray stones beside her the gigantic outline
of " Isis, the good mother, the faithful nurse, suck-
ling her son Horus." What thoughts of wonder and
of fear must have passed her heart ! It is a miracle, a
marvel, this strange coincidence, but a marvel alto-
gether in the manner of the curious, complex nine-
teenth century. This picture is in fact the modern
version of the old story of the conquered idols. They
do not tumble from their places in ruinous dismay at
the approach of Jesus, but they stand crumbling in
sculptured impotence above the living Child, whose
divine force is to go out as light and life to the utter-
most parts of the earth and the end of time. And
if there was aught of good in their vanishing worship,
any conception of holy love and sacred maternity and
redemptive power, all this was taken up and purified
and consummated in the religion of Jesus.
Mr. Holman Hunt's magnificent painting of the
Flight is undoubtedly the greatest in the series, and
to my mind the most important religious picture of
the century. It is impossible to get any just idea of it
from an engraving, however faithful and painstaking,
nor shall I dare to describe its opulence of colour, its
glorious mysteries of light, the grandeur, simplicity,
and vigour of its style. I remember well the days that
I spent before it in the summer of 1886, when it was
exhibited in London, and again in the painter's studio
in 1892, when he was repainting the head of the Vir-
gin, and the hours were cheered with beautiful talk
l84 THE CHRIST- CHILD IN ART
about his life in Palestine, where the picture was con-
ceived. The rich bloom of the landscape, the gar-
lands of heavenly human children, the joyous radi-
ance of the infant Jesus, made it seem like a dream,
full of real forms, lucid and beautiful and bright with
rainbow hues, yet tremulous with mystical meaning,
and ready to vanish at a breath into the circumam-
bient night. This is the wonder of the picture; its
realism is so intense and its mysticism is so deep,
and both are blended together in the unity of a vis-
ion. Nothing could be more solid and life-like than
the painting of Joseph, with his bronzed, muscular
limbs, and the basket of tools on his back. The ass,
intelligent and strong, has all the marks of the high-
bred Mecca race. The flowers are those that star the
plains of Palestine in early spring, each one painted
with such loving care that it seems to blossom forever.
Moon-threads — filmy beams — weave a veil of light over
the trees and distant hills of Judah. The wreaths of
children are full of natural, human grace, brighter and
more lovely than any of Donatello's or Luca deila
Robbia's. Years of patient toil have been spent upon
the canvas to give it reality, and make it true at every
point where truth was possible. But beyond all this,
and above it — nay, breathing through every careful
line and glowing colour — is the soul, the spirit of the
picture, which irradiates it with
"The light that never was on sea or land,
The consecration, and the poet's dream."
The painter has expressed his meaning in the title
THE FLIGHT INTO EGYPT 185
of the picture. It is called " The Triumph of the In-
nocents." And this is the thought which he has im-
mortalized.
The spirits of the murdered children of Bethlehem
— not a great multitude, as they are often thoughtless-
ly depicted, but a little band such as really played
in that little village — have followed after Jesus on his
flight. Joseph is turning back anxiously to watch the
signal-fires which burn upon the hills. Mary is busied
in readjusting the garments which had been hastily
thrown about her infant at the departure. But the
Holy Child looks round, and seeing the spirits of his
playmates, welcomes them with the gladness of a divine
sympathy. The hand which He stretches out to them
holds a few ears of wheat, the symbol of the bread of
life. These children are the first of his glorious band
of martyrs, and as they draw near to Him, the meaning
of their martyrdom flashes upon them, and their sor-
row is changed into joy. The last group of little
ones have not yet felt his presence, and the pain and
terror of mortality are still heavy upon them. Over
the head of one the halo is just descending. A little
farther on a circle of flower -decked boys and girls
are bringing the tired foal up to its mother's side.
One baby saint looks down, amazed to see that the
scar of the sword has vanished from his breast. In
front floats a trio of perfectly happy spirits, one carry-
ing a censer and singing, the others casting down
branches of the palm and the vine. At their feet rolls
the river of life, breaking into golden bubbles, in which
the glories of the millennium are reflected.
i86 THE CHRIST- CHILD IN ART
All mystical, symbolical, visionary ! But is it not
also true ? Think for a moment. It is the religion
of Jesus that has transfigured martyrdom and canon-
ized innocence. It is the religion of Jesus that tells
us of a heaven full of children, and a kingdom which
is to bring heaven down to earth. And so long as the
religion of Jesus lives, it will mean help and blessing
to the martyred innocents of our race — the children
who are oppressed in slavery, and neglected in want,
and crushed by human avarice and ambition and cru-
elty in the wheels of the great world — help and bless-
ing to these little ones in the name and for the sake of
the holy child Jesus.
THE CHILDHOOD OF JESUS
Obf say not, dream not, heavenly notes
To childish ears are vain,
That the young mind at random floats^
And cannot reach the strain.
Was not our Lord a little child,
Taught by degrees to pray.
By father dear and mother mild
Instructed day by day ?
John Keble.
3tnJr tbe cf)tlb ffrcto, anU toapeU strangf tn eptrtt, ffUeH
tDtt^ tDietiatn ; anU ti)e pate of (Bati toae ttpon liim.
JItJotD bis parents tornt to ^erttsalem eijerj* pear at t^e
feast o£ tfje passotier.
^\ii} \a^tn ()e teas tioellie i)ears olU, tijep toent up to 3^er«=
salem after t!)e custom of tlje least.
SlnU tol)en t^ep ()a5 fulfilleti t()e traps, as t))Z]^ returned,
tlft c^iltj 3festifi tarrieU be()tnti in S^erusalem ; anU STosepl) ana
(lis mother linetu not of it.
-fittt t\)t]^, snpposins: ^im to l)atoe been in t^e companp,
toent a iap's jonrnep ; anii t^ep souffl^t iiim among; t))tiv Mm^
folfe anU acqttaintance.
3lnU tD()cn tJjep founiJ i)m not, t()ep turneti bacfe af ain tu
3reru3alcm, secfetng; ()im.
^nU it came to pass, tj)at after tl)ree Japs tliep foonU Sjim
in t|)e temple, sitting; in t^e mitist of tj)e tioctors, bot^ f)ear=
ing; tfjcm, anU asifeing; t()em questions.
StnU all t^at ^carH I)im tocre astcnis^cti at ^is unHerstanU^
iaff aiiU anstners.
'M.xii to&en t^ep sato bim, tfjep toere ama^eli : anlJ bis motb
er saiU unto dim, ^on, tobp bast tljou tbtis lealt )aiith us ?
bebolB, ti)p fatber anti ^ babe 6aug;bt tbee sorroining;.
anU be saiti unto tbem, l3oto ts it tbat pe 60ttg;bt me ?
315Eist pe not tbat ^ must be about mp JFatber's business ?
Slnti tbep unUerstooH not tbe sapinf tobicb b^ spafee unto
tl)cm.
ainJi be toent Hoton tottb tbem, anU came to jQa^aretb, an^
toas subject unto tbem : but bis motber liept all t[)ese saping;a
in ber b^art.
SlnB 3fesus increased in toistiom anU stature, anU in
fauaur toitb <Sati anU man.— Luke, ii. 40-52.
I
HERE are some who find it difficult to think
that Jesus ever had a real and true child-
hood. They cannot see how one who ap-
peared before the world with such divine authority
and fulfilled his mission so sublimely could ever have
been
"A simple child
That lightly draws its breath.*
The lowly birth in the stable at Bethlehem they ac-
cept ; the supreme ministry of Christ among men they
accept ; but that there was a time between, an early
morning-tide of soft light and gentle dews of grace and
joy, when the soul of Jesus, unfolding like a flower, in-
creased in wisdom and beauty towards perfection — this
seems to them difficult to believe without endangering
his supreme dignity. They would rather represent
Him as entering life complete and perfect, equipped
with all knowledge and power, even as Minerva in
the heathen legend sprang full-armed from the brain
of jove.
But the evangelist Luke, who must surely have
thought as reverently and devoutly of Christ's suprem-
acy as any man could think, does not seem to have
I90 THE CHRIST- CHILD IN ART
felt this difficulty ; for he says, " And the child grew,
and waxed strong, becoming full of wisdom, and the
grace of God was upon him."
This is a very brief record to cover such an impor-
tant period of life as that which lies between infancy
and the twelfth year ; and yet, brief as it is, how clearly
it illuminates the vital truth. Growth is the key-word
of the passage. Growth is the wonder and the glory
of all childhood. Growth was the beautiful secret of
the childhood of Jesus.
It is a marvellous thing to see even a plant grow.
If we were watching for the first time the unfolding
of stalk and leaf and bloom and fruit from a tiny seed,
we should call it a gradual miracle. How does that
invisible and regnant principle in the germ draw the
earth and the air, the water and the light into its life
and mould them to its ideal form ? It is a mystery.
But how much more mysterious is the growth of a
child. The double development, physical and spirit-
ual ; the dawn of intelligence in the vague eyes ; the
motions of will in the fluttering hands; the limbs
rounding to symmetry and strength ; the face lighting
up with thought and feeling ; the formation of charac-
ter with distinct affections and desires ; the mastery of
language which reveals the character to the ear, and
of action which reflects it to the eye; the advance in
knowledge, apparently so slow, yet often in reality so
swift below the surface, reaching out in secret, feeling
its way where we cannot follow it, towards the beauti-
ful surprise of the first manifestation of true wisdom,
when the child says suddenly, and as if by revelation,
THE ORLEANS MADONNA RAPHAEL
From the painting in the Art Gallery at Chan'dlly
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THE CHILDHOOD OF JESUS 193
" I feel my duty, I know what I must do — " all this is
surely one of the most marvellously lovely and inex-
plicable things in the world. And it is just this that
the evangelist assures us came to pass in the life of
Jesus.
It cannot be explained in Him any more than in
other children. It must have been more wonderful in
Him than in other children by so much as the final per-
fection of his wisdom and power rises above all human
standards. But it was no less real. He did not return
from the flight into Egypt as a premature sage, a mir-
acle-working magician in the disguise of an infant, to
wait at Nazareth until the time came for Him to make
his public appearance. He was brought back by his
parents as a little child, to grow up in the shelter of a
loving home. He thought as a child, while He learned
his letters and began to read in the Holy Scriptures of
his people, standing beside his mother's knee. He felt
as a child, while he wandered and played with his
cousin, the little St. John, in the blossomy fields of
Galilee. He spake as a child, while He walked with
Mary and Joseph, or sat in the carpenter-shop helping
a little and hindering a little with the work, but bring-
ing into the daily life of the labouring man that inno-
cent and uplifting charm which comes from compan-
ionship with a gentle boy.
There does not appear to have been anything vio-
lent or startling in the development of his personality.
It went forward gradually and imperceptibly. The
evangelist suggests this by the solitary incident which
he relates of Christ's early years.
194 THE CHRIST- CHILD IN ART
When his parents had taken Him at the age of
twelve, according to the Jewish custom, to his first
Passover in Jerusalem, and had lost Him in the crowd,
and sought Him in vain, and found Him at last in one
of the little groups which used to gather in the Temple
courts around the teachers of the law, none were so
much amazed at his presence there as Mary and Joseph.
His answer to their gentle reproaches, " How is it that
ye sought me ? Wist ye not that I must be about my
Fathers business?" suddenly disclosed to them the
change which had taken place in their Child so secret-
ly that they knew it not. He had crossed the hidden
threshold. He had heard the still voice which spoke
to Him of his place, his duty, his work in the world.
He had come within sight of the truth that for Him
the questions that have to do with religion must be
of chief concern, so that he could rightly forget all
other interests, and be lost and absorbed in the prep-
aration for his ministry. The self-denials and hard-
ships which must have been involved for a boy of twelve
in three days' absence from his parents in order to
listen to the teachers of religion were in fact the first
of that long series of self-sacrifices which culminated
on Calvary. He did not arrive at it magically, by a
leap from infancy to maturity. He grew up to it
through long and beautiful years of slow increase,
through the wonder and awe of new thoughts dawning
with every morning, and new affections deepening with
every evening, and a soul enlarging as the silent in-
fluence of orrace filled it more and more» And it was
for this reason that they could not understand it, be-
THE CHILDHOOD OF JESUS 195
cause they were his parents, because they lived so close
to Him that it seemed incredible that this change
should have taken place without their knowledge, be-
cause the hardest of all things for parents to believe
is that the childhood of their child has really passed
away.
II
If we are right, then, in reading the authentic record
of the early years of Christ after this simple and nat-
ural fashion, what shall we make of those unauthentic
legends that are contained in the apocryphal books?
They must seem to us very absurd and barbarous, the
tawdry inventions of a poverty-stricken fancy, which
really spoil the story they are intended to adorn.
They are full of childish and ridiculous miracles.
They represent Christ as a precocious Rabbi who
takes the words out of his teacher's mouth and re-
proves those who would instruct Him. They even de-
scribe Him, with curiously blind irreverence, as using
Almighty power to ensure the success of his childish
games and to punish his companions when they thwart
or offend Him. Now and then one lights upon little
touches of nature among these legends, as when the
child Jesus is represented as bringing water for his
mother from the well, or going with his father to his
work in the city. But even these are spoiled by the
miraculous additions. The pitcher which Jesus is
carrying is broken, and He brings the water in the
196 THE CHRIST- CHILD IN. ART
corner of his robe. The couch which Joseph is mak-
ing for a rich customer is too short, and Jesus takes
hold of the wood at one end and pulls it out to a
proper length.
Many of the pretended wonders are less innocent
than these. A single example, from the Greek form
of Thomas the Israelite P hilosopher s Account of the
Lifajicy of Our Lord, will be enough to show the qual-
ity of this literature :
" This child Jesus, when five years old, was playing
in the ford of a mountain stream ; and He collected the
flowing waters into pools and made them clear immedi-
ately; and by a word alone He made them obey Him.
And having made some soft clay He fashioned out of
it twelve sparrows. And it was the Sabbath when He
did these things. And there were also many other chil-
dren playing with Him. And a certain Jew, seeing
what Jesus was doing, playing on the Sabbath, went off
immediately, and said to his father, Joseph: Behold
thy son is at the stream and has taken clay, and has
made of it twelve birds, and has profaned the Sabbath.
And Joseph, coming to the place and seeing, cried out
to Him : Wherefore doest thou on the Sabbath what
it is not lawful to do ? And Jesus clapped his hands,
and said to the sparrows : Off you go ! And the spar-
rows flew, and went off, crying. And the Jews seeing
this were amazed, and went away and reported to their
chief men what they had seen Jesus doing.
" And the son of Annas the scribe was standing there
with Joseph ; and he took a willow branch and let out
the waters which Jesus had collected. And Jesus see-
Ij
11 i
«r'
>^¥('rr«i\. '
THE CHILD JESUS IN THE FIELDS — ALFRED liRAMTOF
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ing what was done was angry, and said to him : O
wicked, impious, and foolish ! what harm did the pools
or the waters do thee ? Behold even now thou shalt be
dried up like a tree, and thou shalt not bring forth
either leaves or branches or fruit. And straightway
that boy was quite dried up. And Jesus departed and
went to Joseph's house. But the parents of the boy
that had been dried up took him up, bewailing his
youth, and brought him to Joseph, and reproached him
because, said they. Thou hast a child doing such
things."
It seems incredible that any one should ever have in-
vented or believed such a worthless story as this. It is
far worse than the playful and often pretty legends
which the uninspired fancy of the early centuries wove
about the Nativity and the Adoration of the Magi ; for
they were harmless ; but this is distinctly immoral. It
is really an expression of that deeply-rooted heresy
which troubled the early Church and still survives in
other forms to-day — the falsehood which ascribes the
supremacy of Christ and the excellency of God to
unlimited power rather than to perfect love. I have
quoted it merely in order that we might feel more
sharply the contrast between a false gospel and a true
one, and turn back with new delight to the candour
and lucidity and divine naturalness of St. Luke's
outline of the childhood of Jesus.
200 THE CHRIST- CHILD IN ART
III
But if legend gives us no real help in filling out the
outline of Christ's childhood, art is all the more rich and
generous. No part of the gospel history has been more
abundantly and beautifully illustrated than this single
verse of St. Luke, telling us in a word how quietly
the life of Jesus unfolded in the home at Nazareth.
The theme, which the verse gives so clearly, is the
growth of a Holy Child. Around this theme a multi-
tude of the greatest artists have woven innumerable
harmonies and variations, teaching us to remember
how many influences must enter into the development
of such a child in God's world. They have wisely dis-
carded the use of all those miraculous tales which are
so foreign to the truth of the story. There are but
few pictures in which even the most distant allusion
to the apocryphal accounts of Christ's boyhood can be
traced, and none of them are by great masters. They
have not attempted to add any definite historical details
to the narrative. They have left it still vague and
free, a suggestion rather than a chronicle. But into
their conception of the dawning of that life which rose
to be the light of men, they have brought all that
they knew of innocent beauty, and fresh joy in birds
and flowers, and glad companionship of merry play-
mates, and sacred intimacies of home, and delight
of new thoughts gathered from nature and from
books, and sweet, satisfying devotion of mother -love.
They have surrounded the Christ-child with angels
LA BELLE JARDINIERE — RAPHAEL
From the painting in the Louvre
THE CHILDHOOD OF JESUS 203
singing, or playing on lutes and viols, remembering,
perhaps from the looks of their own children, that
" Beauty born of murmuring sound,"
which passes into the listening face, and those secret
visitations of inconceivable awe which make the child-
ish eyes look far away, beholding the unseen. All this
they have put into the childhood of Jesus, unhesi-
tatingly and with perfect confidence, as if a voice had
said to them, " Look into thine own heart, and paint."
For this sacred instinct of art there is abundant
historical justification. I do not suppose that the
painters thought of seeking for it; but if they had,
they would have found good ground for believing that
the child Jesus, living in a devout Hebrew household
in the little town of Nazareth, must have enjoyed the
four great blessings of childhood :
A pure and peaceful home, ruled by love and piety.
A fresh and simple life, in close contact with nature.
A joyous fellowship with other children.
A patient and reverent education.
The Jewish people have always been distinguished
for their loving care of child-life, and for the strength
of their family feeling. We have an unconscious evi-
dence of this in the eight distinct names used in the
Hebrew language to mark the different periods of a
child's growth. All the traditions of the race were in
favour of the sanctities of the home, and their Holy
Scriptures hedged it about and hallowed it by the au-
thority of Jehovah himself. Whether the house of
Joseph and Mary was but a humble cottage, or a dwell-
204 THE CHRIST- CHILD IN ART
ing of comparative comfort (and we can argue noth-
ing on this point from the fact that Joseph was a car-
penter, for every Jewish man, rich or poor, learned a
trade), we may be sure that Jesus was nurtured in that
atmosphere of mutual affection and intimate joy which
is the true air of home.
Moreover, it was a happy circumstance that this
home was in Galilee. For although that northern
province was despised by the inhabitants of Jerusalem,
as being rude in speech and rustic in manners, life there
was far more free and natural than it was in Judea,
where the yoke of ceremonialism pressed heavily upon
the people, and their spirit seemed to reflect something
of the sombreness of the landscape. Galilee was fair
and smiling. The vine and the olive flourished there ;
the Rabbis said " it was easier to rear a forest of olive-
trees in Galilee than one child in Judea." There was
something of the same difference, I suppose, in the
country and the people, between Galilee and Judea, that
there is in Italy between Tuscany and Umbria, And
certainly childhood must have been happier and more
untrammelled in the merrier land, where the face of
nature, if less grand and awe-inspiring, wore a brighter
and more benignant aspect, and where life was less
closely bound by rules and restrictions. The little town
of Nazareth lies in a high valley. " Fifteen gently
rounded hills," says a modern traveller, "seem as if
they met to form an enclosure for this peaceful basin.
They rise round it like the edge of a shell to guard it
from intrusion. It is a rich and beautiful field abound-
ing in gay flowers, in fig-trees, small gardens, hedges of
THE VII^C.IN AND CHILD WITH ST. JOHN- UOTl'ICELLI
From the painting in tlie Louvre
THE NEW YORK
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THE CHILDHOOD OF JESUS 207
the prickly-pear; and the dense rich grass affords an
abundant pasture." The well of water which tradition
points out as the scene of the angel's visit to the Virgin
Mary still flows in the open green space at the end of
the town, and the women, fairer than the other daughters
of Palestine, come thither to draw, and the children in
their bright robes play around it. There can be little
doubt that the child Jesus found innocent joys beside
that fountain and in those verdant pastures. The inti-
macy with the world out-of-doors which his later teach-
ing shows, his love for birds and flowers, his close
observation of natural objects, the fondness with which
He turned for rest to the lonely hill-sides and the waters
of the lake, all speak of one of those deep and sincere
friendships with nature which can only be begun in
their lasting perfection by a child.
The simplicity of the Galilean life must have been
favourable also to tho^e pleasures of human intercourse
that are tasted most perfectly by children free from
care. It is not likely that the parents of Jesus were
rich enough to impose on Him the burden of a luxu-
rious and artificial life, which often makes childhood so
unhappy. Once at least, after He was a man. He spoke
in a way which showed his familiarity with the childish
games of the market-place. The warmth and devotion
of his friendships reveal a heart that did not grow
reserved in early solitude. A natural companion of his
boyish pleasures would be his cousin, the child of Zach-
arias and Elizabeth, who afterwards became John the
Baptist. The painters have made no error when they
have so often depicted the child Jesus and the young
2o8 THE CHRIST- CHILD IN ART
St. John playing together with lambs or birds beside
flowing streams.
But we may be sure that the education of the Child
was not neglected, for on this point the Jewish law was
strict. Religion was the chief factor in education, and
doubtless it was begun by the mother, who would ex-
plain to her son the meaning of the many pious rites
and customs observed in the household, Hke the
lighting of the Sabbath lamp, and the touching, by
every one who passed in or out of the house, of the
parchment on the door-post with the Divine Name
written on it. The fascinating stories of the Old Tes-
tament would be the charms by which she would hold
Him listening in her arms. She would teach Him pas-
sages of Scripture to recite from memory. From the
same sacred pages He would learn his letters. When
He was five or six years old He would be sent to school
to sit on the floor with the other boys around the teach-
er and receive instruction, the Scriptures remaining his
only text -book until he was ten years old. Whether
there was a school in Nazareth at the time of Christ we
do not know, for the introduction of universal and com-
pulsory education throughout the land did not occur
until a later period. But, however that may have been,
it is certain that the devotion of such parents as Mary
and Joseph would not neglect the duties of instruction ;
and we may confidently say of Jesus, as St. Paul said of
his disciple, Timothy, that " from a child he knew the
Holy Scriptures."
Let us see, then, how these four golden threads of
home-life, and intercourse with nature, and happy com-
TlIK HOl.Y FAMILY — I'lN lU KICCIIH )
From the painting in the Academy at Sienna
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panionship, and holy instruction, have been woven by
the artists into their thought of the childhood of Christ.
The works of art which depict the subject are almost
innumerable. We cannot include here those pictures
of the Madonna and Child in which Jesus is still a little
babe clinging to his mother or nursing at her breast ;
nor the altar-pieces in which they are enthroned be-
tween attendant saints, although one of these, " La
Sistina," contains the most glorious image of the
Christ -child that the world has ever seen. But all
those representations of the Madonna and Child in
which Jesus is older, and especially those in which
there is some significant action between Him and his
mother, belong to this class. Here I should place,
for example, the much admired " round Madonna " of
Botticelli, in the Uffizi at Florence, where Mary is writ-
ing the words of her hymn in a book which angels
hold before her, while the Child looks up in her face
and lays his hand upon hers, as if to draw it to Himself.
In the same class belong the Madonnas of Diirer and
many other painters in which the mother is giving the
Child a pear or an apple to play with, and the Madonna
Colonna, in the Berlin Museum, where Mary is reading
and the Child distracts her attention by pulling at the
bosom of her dress.
A charming picture of this type is Raphael's small
Madonna of the Orleans family, in the art gallery at
Chantilly. It was painted at a time when Raphael's
manner was changing, and bears evidence of having
been often retouched and altered. The little shelf with
porcelain vessels in the background indicates that it is
212 THE CHRIST-CHILD IN ART
an in-door scene, which is an unusual thing with this
master. He seems to have been trying to express a
purely domestic sentiment in the simplest forms. But
unlike the German masters, who would have been sat-
isfied with mere homeliness, Raphael was not content
until he could reduce his idea to an essentially lucid
and graceful and symmetrical form. The Child, who
seems to be about a year and a half old, and has that
face of Divine seriousness which Raphael rendered so
perfectly, is trying to lift himself up to his mother's
breast, while she bends over Him, half tenderly and
half playfully, with a look of motherly denial. The
picture suggests very delicately the growth of the
Child, and the sweet cares of maternity. Other artists
carry the thought further on and more into detail; not
always with much artistic power, but often with a very
attractive sentiment. I remember a sunny little bit of
painting by Francesco Trevisiani in one of the small
rooms of the Uffizi, which represents the Virgin seated
by her window sewing, with her hand raised drawing
the thread, while the Child, about five years old, comes
running in with a passion-flower which He gives to his
mother.
The introduction of the young St. John into the
picture brings in a new element of life. Sometimes
the two children are playing together, alone or sur-
rounded by angels. This is the theme which has heen
so prettily treated by some of the painters of the seven-
teenth century: Murillo, Van Dyck, Rubens, Guido
Reni. But the most famous pictures of the two chil-
dren represent them with the Virgin Mary. In this
THE HOLY FA^^I.Y — FRANZ DEFRKCGF.K
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class we find five of Raphael's most exquisite Madon-
nas: the Madonna of the Green Fields, in the Belvi-
dere at Vienna; the Madonna of the Goldfinch in the
Uffizi, and the Madonna of the Chair in the Pitti, at
Florence ; the Madonna of the Diadem, and the Ma-
donna called " La Belle Jardiniere," in the Louvre at
Paris.
The last of these pictures, which illustrates Raphael's
second, or Florentine manner, is said to have received
its name from the tradition that the painter employed a
fiower-girl as his model for the Virgin. But whether or
not it has any real connection with the memory of " a
gardener's daughter," it suggests the thought that the
childhood of Jesus was like a quiet garden in which the
fairest flower that ever bloomed on earth vv^as tended
by a daughter of the Most High. The landscape is in
harmony with the thought; soft and fragile blossoms
star the elastic sod; the slender trees are clad in the
misty foliage of spring ; a light haze rests over the vil-
lage, the blue mountains, and the sleeping lake in the
distance ; the sky, paler around the horizon, grows deep
blue towards the zenith ; and a few fleecy clouds are
floating lazily overhead. Raphael embodied in this
picture all that he had learned of subtle expressiveness
from Lionardo, and of symmetrical composition from
Fra Bartolommeo. The picture is suffused with the
mysterious air of thought ; the pyramid of the three
figures is perfect ; yet all this is accomplished with such
perfect art that the simplicity of the picture is not de-
stroyed. The young mother is seated on a little hil-
lock, dressed so modestly that one forgets to notice it.
2i6 THE CHRIST-CHILD IN ART
Even the awkward blue mantle which Ghirlandajo
added to the painting after Raphael had left it un-
finished, does not destroy the virginal grace of her fig-
ure. She has been reading aloud from a book, and
now bends her pale golden head towards her son, who
stands at her knee. The little St. John has come to
ask the child Jesus to play with him. He is half-
kneeling, and looking at Jesus with the greatest affec-
tion, not unmingled with that strange reverence of
which children are singularly capable in their friend-
ships, and which has a mystical significance in St.
John's case as the foreshadowing of his subsequent tes-
timony to Jesus as the Messiah. But Jesus turns from
his playmate. He stands in an attitude of loveliest con-
fidence, with one of his feet resting on the bare foot of
the Virgin, his right hand pressed against her knee with
a caressing motion, his left hand stretched out to the
book in her lap, looking up in her face with a smile
of ineffable trust and love, as if He would say, " Let us
stay with you, dear mother, and hear you read again."
It is the sense of a beautiful moment that Raphael has
preserved for us with that sensitive and tranquil art
which was the true expression of his soul — a moment
beautiful with all that is most fresh and bright in na-
ture and most serene in mother-love — a moment beau-
tiful because it is transient, passing away as the delicate
charm of spring is lost in the full tide of summer, yet
woven forever into the character and growth of the
Christ-child.
Botticelli's " Madonna and Child," in the Louvre, has
another sentiment and a very different attractiveness.
THE CHILDHOOD OF JESUS ^\^
Here the roses are in full bloom, and the leaves and
flowers are clearly outlined at the top of the dark hedge
against the brilliant evening sky. It is twilight also in
the Virgin's heart — the hour when the sweetness of the
present is often mingled with vague apprehensions of
coming sorrow — and the Virgin's face is sad and droop-
ing with that ineffable melancholy which Botticelli
understood and loved. She has been reading, perhaps,
in the book which now lies closed before her, the
prophecies that foretell suffering to the Messiah, and
she feels the burden of her mysterious relation to Him.
She is the type of all those sadly thoughtful mother-
hearts who know that the deepest love means the possi-
bihty of the sharpest anguish, and tremble tenderly for
the future of their beloved. But the Child is her com-
forter, as so many a child has soothed away the silent
troubles and anxieties of so many a mother. He lifts
his face to hers and puts his hand softly in her neck,
with a touch which seems like the infantile beginning
of his great ministry of consolation to the weary and
heavy-laden.
The Holy Family, in which Mary and Joseph with
the Child form the invariable elements of the group,
and other figures (St. John the Baptist; St. Anna, the
mother of the Virgin ; St. Elizabeth, her cousin ; and
sometimes Zebedee and Mary Salome, the parents of
the Apostle John) are added according to the choice of
the painter or his patrons, is one of the most frequent
subjects in Christian Art. It has been painted in many
different keys of feeling, from the dreamy mysticism
of Perugino to the joyous naturalism of Andrea del
2i8 THE CHRIST-CHILD IN ART
Sarto and Guido Romano, in whose pictures of the
bathing of Jesus one can almost hear the water splash
and the children laugh.
An illustration of a mode of treating the subject in
which a strong element of realism is curiously blended
with devotional sentiment so churchly as to make the
picture almost formal, is the Holy Family by Franz
Defregger, a painter of this century who has won great
fame in Austria, and indeed throughout the world, by his
scenes from Tyrolese peasant life. He painted this pict-
ure as an offering of love for the village church at Dol-
sach in the upper valley of the Drau, where he was born.
I climbed up to see it one summer evening after a day of
lonely fishing on a neighbouring stream. There was a
festival of some kind in progress ; the hamlet was full
of people in gala dress ; and there was an incessant
firing of guns and cannon from the shooting-range on
the hill. Entering the church, I found it crowded to the
door with the peasants, and resonant with their simple,
hearty singing. The picture hung before them at the
left of the chancel. The Virgin, dressed in dark crim-
son with a white scarf over her head and shoulders, was
a type of that serious, innocent, noble beauty which is
often seen among the women of Norway and the Tyrol.
The Child, standing on her knee and looking out with
dark, wondering eyes, was a village child idealized.
Joseph, a strong and thoughtful man, plain and toil-
worn, pondering over an ancient book of prophecy,
represented the humble piety of a peasantry which still
remains devout. The painting was in fact composed
of native elements, and the successful artist had sent it
M'"-'^ " ="^*'^*- =~*^^
^mg^M^^^mmmmmEmmmm
THE CHILIl JESUS TAUOHT 1!V HIS MOTHER — LUC OLIVIER MERSOr
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back from his prosperous life in Vienna, in a spirit of
beautiful loyalty, to bear his part in the worship of the
rustic church where he had sung and prayed as a boy.
In most of the pictures of the Holy Family we find a
symbolical motive introduced. When Jesus and the
young St. John are playing with a lamb, the allusion is
to St. John's later testimony, " Behold the Lamb of
God," and these words are often written upon a scroll
around the cross-handled staff which he carries. When
one of the children is bringing a bird to the other it
typifies the human soul led by St. John to Christ. The
bath, in which St. John pours the water upon Jesus, is
a symbol of the Baptism. When the Holy Family are
seated under a vine and grapes are offered to the Child,
it is a prophecy of the saying, " I am the vine." The
pomegranate which the Child sometimes presents to his
mother is the emblem of hope, and the other fruits with
which He plays are typical of the fruits of the spirit,
which are love, joy, peace. But frequently the symbol-
ical purpose of the picture is quite lost and forgotten
in the delight which the painter has found in represent-
ing an actual scene from the domestic life of Jesus.
A beautiful illustration of this is Pinturicchio's cir-
cular panel in the Academy of Fine Arts at Sienna.
The picture is about three feet in diameter, full of
elaborate detail, careful drawing, and rich colour ; it is
a gem of the Umbrian school of art just touched with
a faint suggestion of that more realistic spirit which
distinguished Pinturicchio from his partner Perugino.
The Virgin, fair-haired and gracious, is seated at the left,
with an open book upon her knee, and her right hand
222 THE CHRIST-CHILD IN ART
lifted, beckoning. Joseph, a man of thoughtful, rugged
face, sits beside her, holding a roll of bread and one of
those little flat wine-casks which one sees so often in
Italy. These are intended to remind us that he was
what the old-fashioned New England housewives call
"a good provider," which is high praise for a husband.
But the interest of the picture centres in the two
charming children. St. John, in his tunic of camel's
hair, carries a small water-pitcher in his hand. Jesus,
a golden - haired boy of about four years, is dressed in
a robe of pure white, embroidered on the bosom with
a square of deep blue, like the high-priest's breast-
plate, and carries a crimson book clasped in his left
hand. The right is thrust through the arm of St. John
with a joyous and natural gesture of companion-
ship, and we can almost hear the Child say, " Come,
let us run to the spring." The fountain sparkles from
a rock near by, and of course it is the emblem of the
water of life. And yet I think the real charm of the
picture lies in the merriment of the two children run-
ning so light-heartedly away from the Virgin's knee
across the flower-besprinkled grass, as if their expedi-
tion were a fine adventure.
Another very significant conception of the Holy
Family is that in which the education of the Child
is the central thought. In these pictures the Virgin
Mary is usually the teacher. Joseph watches them in
an attitude of deep reverence, as in the curiously
strong and thoughtful painting by Signorelli, in the
Uffizi at Florence, or else he is busy with his carpen-
ter-work in the background, as in the pensive and
THE HOLY FAMILY — MURILLO
A part of the painting in the National Gallery, London
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THE CHILDHOOD OF JESUS 225
graceful sketch by Luc Olivier Merson. The truth of
these pictures lies in their recognition of the fact that
a child's earliest knowledge usually comes from its
mother. She teaches the alphabet, not only of life, but
also of learning. The Talmud says, " An understand-
ing of the law may be looked for in those who have
drawn it in at their mother's breast."
But have we indeed remembered all the influences
which entered into the childhood of Christ when we
have spoken of parental love and natural pleasures and
youthful playmates and earnest studies .f* I think not.
For surely there is something higher and holier than
all these which comes into the child -life silently and
invisibly, consecrating it, and making it breathe of
heaven. It is of this that Wordsworth speaks when
he says to a child,
"Thou liest in Abraham's bosom all the year,
And worshipp'st at the Temple's inner shrine,
God being with thee when we know it not."
It is this that is bestowed in special measure upon
the gentlest of children, so that they become
" God's apostles, day by day
Sent forth to preach of love, and hope, and peace."
It is this that the gospel tells us was not given unto
Christ by measure, but abundantly. It is this that St.
Luke names when he says of the Holy Child, " and the
grace of God was upon him."
Murillo's famous " Holy Family " in the National
Gallery at London realizes this thought. The picture
226 THE CHRIST- CHILD IN ART
is in his latest manner, tender, vapourous, full of dif-
fused radiance, like the dream of a picture, or the
picture of a dream. It was painted when Murillo
was an old man, and had gone down to Cadiz to die ;
but the glory of immortal youth rests upon it. The
Child Jesus stands upon a slight eminence. Mary and
Joseph kneel on each side of Him, not worshipping, but
with looks of reverential love which remind us that all
through the childhood of Christ they must have remem-
bered the wondrous secret of the divine promise con-
cerning Him. The Child looks upward with a happy
face, and the light flows around Him in a soft flood.
He is praying without words. He is seeing the in-
visible. But as we follow his glance, we see above
Him in the picture the poising wings of the sacred
Dove, and higher still the venerable face which paint-
ers use as the symbol of the Almighty. What is this,
then, but a formal picture of the Trinity, in which the
descending Spirit of all grace is the connecting link
between the Father and the Son ? Yes, that was the
old painter's theology, and it is mine. But when words
fail to interpret the mystery of it, and forms and colours
do but dimly shadow its meaning, I turn the eyes of
my heart towards the Christ-child, who holds fast to
the hands of human love and acknowledges its claim
upon Him, even while He feels that He came forth
from God and the sense of union with his Heavenly
Father dawns within Him. Here is the solution of
the secret, not in words, but in a life that, though it is
still veiled in childish weakness, draws God down to
humanity and lifts humanity up towards God.
THE CHILDHOOD OF JESUS 227
IV
The Finding of Christ in the Temple is the culmi-
nation of his childhood. If our reading of the gospel
story thus far has been true, we must interpret this
incident in harmony with it. We feel, therefore, that
art was astray in its earlier reading of " Christ among
the Doctors." All the artists, from the time when they
first began to treat the subject, which was certainly
as early as the date of the mosaics in Santa Maria Mag-
giore at Rome, placed Jesus in an elevated position,
and represented Him as instructing the Rabbis. Thus
in Ghiberti's wonderfully spirited relief on the north-
ern doors of the Baptistery at Florence, the Child is
seated upon an actual throne, while the doctors are
grouped at his feet. Taddeo Gaddi, in his fresco in the
Lower Church at Assisi, has the doctors symmetrically
arranged in rows facing each other, six on each side, and
the Child sits in the centre, with a roll of parchment in
his left hand, and his right solemnly raised as if com-
manding silence. A painting of some power, by Do-
menico Passignano, in the Church of San Francesco, at
Borgo di San Sepolcro, shows a group of four large fig-
ures in the foreground; one old man leans his gray head
forward as if listening eagerly, a younger man with an
open book on his lap bends back as if surprised, while a
friend standing near stoops down over his shoulder and
points to the book, bidding him "search the Script-
ures." Beyond these men are quite a company of doc-
tors, turning over their books as if puzzled, and a con-
228 THE CHRIST- CHILD IN ART
siderable number of spectators. The Child, dressed in
white with a blue robe, stands on a raised dai's in front
of a bishop's chair, and lifts his hand with the gesture
of an orator.
The little picture by Duccio di Boninsegna, a part of
the famous altar-piece in the cathedral at Sienna, illus-
trates the spirit in which this subject was treated by the
old masters. Duccio was one of the great men of the
thirteenth century who awakened art in Italy after its
long Byzantine sleep. He is worthy of a place near
Giotto in the history of painting, for though his works
shared the limitations of his age, and his ignorance of
anatomy and perspective hampered his powers of expres-
sion, his thought was deep and his feeling sincere, and
he was the founder of the important Siennese school,
whose joyous and secluded course culminated in the
poetic fertility of Sodoma. This panel represents
the Christ -child as seated in solemn dignity on a
raised platform under the frescoed arches of the
Temple. Below Him are six doctors of the law, two
of whom are pulling at their gray beards in perplexity,
Joseph and Mary have just entered at the left, and are
stretching out their hands in wonder and calling to the
Child. It is all very reverent and unaffected and true to
the painter's idea; but this idea is hardly true to the
gospel narrative. For St. Luke makes us feel that jesus
appeared in the Temple not as a teacher but as a learn-
er, one who was preparing for his life-work by coming
into close contact with the religious life of the people
whom He was to deliver from the yoke of the law and
lead into the true rest of souls. What could be more
CHRIST AMONG THE DOCTORS DUCCIO
From the panel in the Opera del Duomo, Sienna
THE CHILDHOOD OF jESUS 231
natural than that He should desire to learn what the
masters in Israel were teaching to the folk ? Was it
any derogation from the dignity of his mission that
He should seek them and question them eagerly con-
cerning their doctrine of God and righteousness and
the way of peace ? How could He bring new life and
light, a better doctrine, a purer faith, unless He had
sounded and proved the emptiness of those orthodox
traditions which had made the Divine Word of none
effect in Israel ? It was as a seeker, a questioner, that
He tarried among the doctors in the Temple precincts.
But questions from a child are often messages from
God. And questions from such a child as Jesus must
have been like illuminations piercing through the dry
and flimsy web of Rabbinic subtleties. It was at this
that the listeners wondered, not with the hostile surprise
which would be excited by the sight of a boy of twelve
teaching his elders, but with a pleasant wonder at the
simplicity, the directness, the searching intelligence of
his inquiries, and the discretion of his replies.
This conception of " Christ among the Doctors " has
been expressed in modern art by two most admirable
pictures, significant in the deepest sense of the intense
interest which the best minds of this century have taken
in the real life of Christ. One of them is Mr. Holman
Hunt's brilliant painting of " The Finding of the
Saviour in the Temple." The other is the picture by
Prof. Heinrich Hofmann at Dresden. It is not entirely
free from a touch of academic formality. One can feel
the sense of effort and the influence of conventional
types in the attempt to render the heads of a stern
232 THE CHRIST-CHILD IN ART
Pharisee, a scornful Sadducee, a keen philosopher, a
mild old Rabbi, and an earnest seeker after truth, in the
five men who are grouped around the young Jesus.
But the Divine Child is a supremely lovely figure.
Clad in a simple white tunic. He rests one hand upon
a reader's desk, and with the other He points to a pas-
sage in the open book as if asking for a solution of its
meaning which shall reveal its living power. He lifts
his dark, luminous eyes to the face of one of the doc-
tors with the earnest, searching look of one who al-
ready knows that the word of God is the food of the
soul. He feels that He is in his Father's House, but
He is there as a child, to learn his Father's will. And
it is in this spirit that He goes down again to the home
in Nazareth, and lives there in subjection to his par-
ents, and growing in favour with God and man.
V
There is surely a vital truth for our own lives to be
gathered from this interpretation of the childhood of
Jesus. It gives us a deeper sense of the sacredness and
the power of the home.
The perfect manhood of Him whom all Christendom
adores as the Son of God was matured and moulded in
the tender shelter of the home. It was there that He
felt the influences of truth and grace. To that source
we may trace some of the noblest qualities of his hu-
man character. And yet, if there is anything which
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THE CHILDHOOD OF JESUS 235
Christendom appears to be in danger of losing, it is the
possibility of such a home as that in which Jesus grew
to the measure of the stature of the fulness of Christ.
Is it not true?
"The world is too much with us, late and soon,
Getting and spending, we lay waste our powers."
The false and cruel conditions of industrial competi-
tion, and the morbid overgrowth of great cities where
human lives are crowded together to the point of
physical and moral suffocation, have raised an enor-
mous barrier between great masses of mankind and
the home which their natural instincts desire and seek.
The favoured classes, on the other hand, are too much
alienated by false standards of happiness, by the mania
of publicity, by the insane rivalries of wealth, to keep
their reverence for the pure and lovely ideals of domes-
tic life. A new aristocracy is, formed which lives in
mammoth hotels, and a new democracy which exists in
gigantic tenements. Public amusements increase in
splendour and frequency, but private joys grow rare
and difficult, and even the capacity for them seems to
be withering, at least in the two extremes of human
society where the home wears a vanishing aspect.
And yet — so runs my simple and grateful creed —
this appearance is only transient and superficial. Deep
in the heart of humanity lies the domestic passion,
which will survive the mistakes of a civilization not yet
fully enlightened, and prove the truth of the saying:
" Before the fall, Paradise was man s home ; since the
236 THE CHRIST- CHILD IN ART
fall, home has been his Paradise." The great silent
classes of mankind who stand between the extremes,
not yet spoiled by luxury and just beginning to awake
to an active compassion for the sorrows of the homeless
multitude, cherish the ideal of the home, the resting-
place of love, the nursery of innocent childhood, the
seed-plot of the manly virtues, defended even in the
lowliest cottage against all rude intrusions and desecrat-
ing powers, and ruled by
" Pure religion, breathing household laws." ^
To be loyal to this ideal, to realize it in their own lives
and help to make it possible for others, is indeed the
noblest and the most useful service that men and
women can render to the age. For, after all, it is only
from such quiet and holy homes as that in which the
child Jesus lived at Nazareth that the children of the
future can come, who shall feel, as manhood dawns,
that they must be about their Father's business, and
follow the Christ, the King, to the serene and bloodless
triumph of his kingdom of childlike faith, and hope,
and love for all mankind.
THE END
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