THE SACRED PAINTERS AND COMPOSERS.
IMAGES AND PICTURES IN CHURCHES.
The Romish Church has from the beginning looked favourably on the practice
of adorning churches with images and pictures of sacred persons. At Nola,
in 460, the cathedral of St. Felix had wall paintings of stories taken
from the Old Testament. In 752 a council of the Church required images to
be erected in churches, and worship of these was inculcated as a
remembrance of the holy lives and conversation of the dead. The Iconoclast
movement (see ante, p. 129) shook faith in the practice for about a
century; but the Council of Nicæa, in 787, closed the controversy by
approving the practice, and the opposition died out in 842. There seems no
limit to the number or subjects of the wall paintings, and the Popes
greatly encouraged them. In England at the Reformation images were
directed to be taken down and destroyed. Very few wall paintings are found
in any English churches, and they are of small value or importance.
THE RUNAGATE MONK PAINTERS.
“I learned,” says Hugo of St. Victor, “from a certain prudent and
religious man that there are some kinds of people who can scarcely ever be
retained with order in the religious life. These are painters, physicians,
and buffoons, who are accustomed to travel in different countries. Men of
this description can hardly ever be stable. The art of painting is very
delightful; for when a painter has painted a church, a chapter-room, a
refectory, or any cabinets, if leave be granted to him, on being invited
he goes soon to another monastery for the sake of painting. He paints the
works of Christ upon a wall, but it never occurs to him to imitate the
works in his own life and manners. So with the medical art; it needs an
abundance of aromatic plants and medicines. When any one near the church
falls sick, he is asked to go to see the patient, and the abbot can
hardly refuse permission. Then he is always making experiments on things
uncertain and making fallacious statements. Whereas a true monk should
never speak out on anything. So it is with buffoons and jesters, who are
always bent on rambling. The Fathers of the Council in the eighth century
well decreed that monasteries should be the habitations of men labouring
to serve God in silence and peace, and not mere receptacles of arts which
minister to pleasure—not places for poets, minstrels, and musicians, but
for men praying, reading, and praising God.”
THE PICTURES IN MONASTERIES.
The monasteries were the nurseries of the arts of painting, sculpture, and
music. Many of them contained exquisite frescoes of sacred subjects.
Ghiberti, the most ancient historian of art in Italy, spoke with
enthusiasm of a great composition with which Ambrose de Lorenzo had
covered the walls of a cloister, in which he represented the life of a
Christian missionary. First a young man taking the habit of a monk; then
entreating to be sent to convert the Saracens; then the departure and
arrival before the Sultan, who orders him to be scourged; then condemning
him to die; the decapitation; then a horrible tempest, during which vast
trees are torn up by the roots and the people fly in terror. In the
refectory of the convent of San Salvi, near Florence, Andrea del Sarto
painted four figures of saints and the Last Supper; and during the siege
in 1529, when the Florentines were compelled to demolish all buildings and
reached this great fresco, they were struck dumb and motionless with
admiration. One holy brother, lately in the Escurial monastery, guiding
from cell to cell and room to room a British painter (Wilkie), pointed out
that glorious work of Titian the Lord’s Last Supper, beautiful as when it
first graced the refectory. As both stood with eyes transfixed at that
masterpiece, the holy father said to the stranger: “Here daily do we sit,
thanks given to God for daily bread; and here pondering the mischiefs of
these restless times, and thinking of my brethren dead and gone, I not
seldom gaze upon this solemn company unmoved by shock of circumstance or
lapse of years, until I cannot but believe that they, these pictures, are
in truth the substance and we the shadows.”
THE SACRO MONTE DE VARALLO.
On the road from Anna to Varallo, in North Italy, the Sacro Monte, an
eminence of great beauty, is seen and is resorted to by pilgrims from all
quarters. At the foot is the church of St. Francis, where the wall
dividing the nave from the choir is painted in fresco in nineteen
compartments, representing the chief events in the life of the Saviour.
The hill of the Sacro Monte is covered with a series of fifty chapels or
oratories, containing groups of figures of characters executed in
terra-cotta, painted and clothed. They are grouped so as to represent
passages in Christ’s history. The structures are never entered, being
merely frames or cases to contain the respective subjects, which are
viewed from two or three peepholes in front. Some of the figures are very
indifferent works of art; others are of great merit. The oratories are
richly decorated with façades, porticoes, and domes, and the figures are
the size of life. The walls are all painted, and painters, sculptors, and
architects have vied in producing their highest arts of embellishment.
Much effect is produced by the situation of some of the groups. The access
to the place where Christ is laid in the sepulchre is by a vault where
little light is admitted; and as it is difficult on entering from the open
day to distinguish at first any object, the result is very impressive.
Many of the figures are clothed in real drapery, and some have real hair.
The executioners conducting the Saviour to Calvary are made as hideous and
repulsive as possible, and are represented with goitres appended to their
throats. This Sacro Monte originated in the piety of the blessed St.
Bernardino Caimo, or Coloto, a Milanese noble.
MIRACULOUS IMAGES IN SPAIN.
In Spain all classes were devout believers in miraculous images and
effigies of all kinds. Holy kerchiefs were preserved at Alicante, stamped
with the Saviour’s face; and winding-sheets revealing the same print were
adored at Oviedo. In his “History of Painting” Palomino relates how a
Christian and Jew labouring in a vineyard disputed about the Messiah,
until the Jew, losing patience, exclaimed he would believe in Christ if He
would emerge from that vine stock, and which thereupon forthwith became a
crucifix. He also tells how at Valencia, on the death of a devout lady,
the wax dropping from a taper that burned before her coffin shaped itself
into a crucifix, and was treasured as a relic. Once an artist was employed
by St. Theresa to paint our Lord at the column as she had beheld Him in a
vision; and after failing to express the lady abbess’s ideas, he at last
found his unsatisfactory picture had been finished to perfection by an
angel artist. And at a later time, when this same picture was restored,
the nuns were told by the two artists employed that they saw the very
finger of the angel as it traced the outlines. And when a pilgrim was
engaged at Calatayud to paint St. Ignatius Loyola, he did it so well that
he was supposed to be an angel in disguise. And by the same Divine
influences the portrait of St. Jerome and the lion was found traced in the
mottlings of a jasper.
CIMABUE’S PICTURE OF THE MADONNA (1302).
Cimabue, an Italian painter, who died in 1302, painted for a church in
Florence a picture of the Madonna, which excited great enthusiasm in the
public. Charles of Anjou, King of Naples, passing through Florence while
the artist was at work, was taken to see it at the artist’s studio in a
garden. It had been till then only known to confidants; but when the
rumour spread, all Florence crowded to have a glimpse. Nothing before that
period had been seen in Tuscany like this picture. When finished, it was
carried in solemn procession to the church, followed by the whole
population, and with such triumph and rejoicing that the quarter where the
painter lived took its name from this event. The figure of the Virgin, as
now judged by critics, is neither beautiful nor graceful, but there is a
dignity and a majesty in her mien and an expression of inward ponderings
and sad anticipations rising from her heart to her eyes which rivet the
memory. The Child, too, blessing with His right hand is full of deity; and
the attendant angels, though like each other as twins, have much grace and
sweetness. The picture still hangs in the church of the Dominicans in
Santa Maria Novella. Cimabue was one of those conscientious painters who,
on noticing the least blemish in his work, would destroy it without
compunction, however much trouble it had caused him.
THE BISHOP’S APE TAKES TO PAINTING (1302).
In 1302 Buonamico Buffalmacco, the painter, was passing through Arezzo,
when Bishop Guido, hearing of his being a cheerful companion as well as
great artist, requested him to stay with him and paint the chapel where
the baptistery now is, the subject being “the Crucifixion.” The painter
set to work and completed a large part of it. It happened that the bishop
had a large ape of extraordinary cunning and full of mischief, and which
sometimes stood on the scaffold watching the work with great interest,
particularly the mode of mixing the colours and pouring out from the
various flasks, and beating up the eggs. One Sunday morning the ape
contrived, in the absence of the painter, to get on the scaffold and see
if he could not do that work too. It then fell upon the brushes and pots
and pencils; and having mimicked the artist’s ways, poured all the colours
into one basin, and with a large brush proceeded shortly to cover the
whole canvas with artistic flourishes. On Monday morning the artist, on
returning, was horrified at the result, and at once attributed it to some
envious person, whom he named to the bishop as the suspected culprit. The
bishop was greatly annoyed, but, nevertheless, prevailed on the artist to
return to his work, and he said he would provide six soldiers with drawn
swords to remain concealed and on the watch, to cut down the intruder
without mercy, in case a repetition of the nefarious deed should occur.
The figures were again painted by the artist, and after several days the
soldiers took the alarm on hearing some strange sound of stealthy steps
and movements, and then a figure clambering up to the scaffold and seizing
the brushes. They noticed soon that this figure, after mixing the colours,
painted with unseemly haste all the fine heads of saints which had been so
carefully elaborated by the artist. They then summoned the artist himself
to witness it, whereupon they all were unable to contain themselves for
laughter at the grotesque handiwork of the amateur ape, which was the real
culprit. The artist betook himself at once to the bishop, and said, “My
lord, you desire to have your chapel painted in one fashion, but your ape
chooses to have it done in another fashion.” Then he told the story of
what he had seen, and added: “There’s no need for your lordship to send to
foreign parts for a painter since you have a master of colour already in
your house. Perhaps he did not at first fully understand how to mix the
colours, but he is now evidently well acquainted with the whole secret,
and can proceed without further help. I am no longer required here since
we have discovered his talents, and I will ask no other reward for my
labours except permission to return home.” The bishop made suitable
apologies and begged the artist once more to resume his work, and he would
for its crimes shut up the ape in a strong wooden cage, and have it
fastened on the scaffold, where it might spend its jealousy and rage in
witnessing without having the power of further marring the work. The
artist afterwards went to Pisa and covered the roofs and walls of the
abbey of St. Paul with pictures from Old Testament subjects, which greatly
pleased the people frequenting that place. And many other admirable sacred
works were finished in Florence and other places by the same pencil.
THE PAINTER’S CRITICS AND BAD DEBTS (1342).
The same Buffalmacco was engaged by the town of Perugia to paint their
patron saint Herculanus for their market-place, and the price was agreed
on. The painter erected scaffolds and also enclosed himself with boards,
so as to keep the people from overlooking him in his labours. After ten
days had passed, the people passing used to stop and wonder how long he
was going to take to finish his picture, as they seemed to think such work
could be turned out by the yard from a mould, so that the artist became
worried and pestered with their importunities. The people became day by
day more impatient, until the artist determined he would serve them out.
So after some days’ preparation he admitted them to look at the work when
near its completion, and they were greatly pleased, and all they next
wanted was that he would remove the scaffolding entirely. He said this
could not be done for two days longer, as he wished to retouch part of the
picture when thoroughly dried. This was allowed. The artist had originally
intended the saint’s head to have a great diadem in relievo of richly gilt
plaster, as was then the custom. He now, remounting his scaffold,
substituted for the original another coronet or garland surrounded with
gudgeons. Next morning he went off to Florence, and when the people had to
take down the scaffold and saw the affront put on them, they proposed to
send horsemen in pursuit; but in the end they had to get another artist to
set the diadem right and erase the silly gudgeons. The same artist was
employed to paint a fresco for a country church at Calcindia, a picture of
the Virgin holding the Infant Christ in her arms. He found the employer
dilatory in payment, so he went and changed the Infant Christ into a bear,
using water-colours only. The employer thereupon was in despair, and
implored him to restore the Holy Child, and if so he would pay at once all
demands. The money being forthcoming, the painter with a wet sponge easily
removed the bear and restored the work.
THE NUNS CRITICISING THEIR ARTIST’S WORKS (1342).
The same great Florentine painter, Buffalmacco, about 1340 was employed by
the nuns of Faenza to paint a sacred historical picture for them, and they
were greatly pleased with every part of the details, except only that they
thought the faces rather too pale and wan. Buonamico, hearing this, and
knowing that the abbess had the very best Vernaccia wine that could be
found in Florence, and which was indeed reserved by them for the use of
the Mass, declared to the nuns that this defect could be remedied only by
mixing the colours with good Vernaccia, and that when the cheeks were
touched with colours thus tempered, they would become rosy and lifelike
enough. The good sisters, who believed all he said, on hearing of this
kept him amply supplied with the very best Vernaccia during all the time
that his labours lasted, and while cheerfully swallowing this nectar he
found on his palette colour enough to give as much rosiness as the ladies
desired. It was related, however, that the painter was once surprised by
the nuns while drinking the wine; but when he heard one of them saying to
another, “See now, he is drinking it himself,” he instantly took care
adroitly to throw part of the contents out of his mouth on the picture,
whereby the nuns were fully assured as to their mistake.
BROTHER ARTISTS RIVALLING EACH OTHER (1400).
Filippo Brunelleschi and Donato were both sculptors at Florence about the
year 1400. Donato had completed a crucifix for the church of Santa Croce
in Florence, to be placed beneath the picture of Taddeo Gaddi, which
represented the girl restored to life by St. Francis. Filippo, on being
shown the crucifix, and being asked by his friend what he thought of it,
replied that Donato had placed a clown on the cross, and not a Christ,
whose form was of perfect beauty. Donato testily replied, “Take wood then
and make one yourself.” Filippo, who did not allow himself to be
irritated, felt that there was some truth in the retort, and resolved to
set about the making of a crucifix himself, such as he thought ought to
have been produced. He did this secretly, and it was (as may now be seen
in the chapel of Count Bardi) an admirable work. Some time afterwards
Donato was engaged to come and dine with him, and they had bought a lot of
eggs and delicacies, which Donato was carrying homeward in an apron, when
he was told to go forward to the house with these, and his friend would
follow. On entering, Donato’s eye caught sight of Filippo’s crucifix, of
which he had never heard anything, and was so amazed and ravished with it
that all the eggs and dainties fell at once to the ground, as his eyes
became riveted on beauties such as he himself could never attain to in the
disposition of the legs, body, and arms. He at once confessed it was a
miracle of art. And the two rivals were good friends for ever after.
Filippo was also a skilful and ingenious architect and engineer, and was
recommended to the Pope by Cosmo de Medici as a man of such immense
capacity that he would have confidence enough to turn the world back on
its axis, a compliment which made the Pope stare at Filippo, who was small
and insignificant in appearance. Count Sforza said that if every state had
a man like Filippo, they might all live in peace without the use of arms.
A PAINTER AFFRONTING A FALLEN ANGEL (1408).
The painter Spinello Aretino was in 1408 engaged by the monks of St.
Agnolo, in Arezzo, to paint the wall of their church near the high altar,
and the subject was to be the “Fall of the Angels.” In the air appeared
St. Michael in combat with the old serpent of seven heads and ten horns,
while beneath and in the centre of the picture was Lucifer, already
changed into a most hideous and devilish form. So anxious was the artist
to make Lucifer frightful and horrible, that one night in his sleep
Lucifer appeared to him and demanded to know where the painter had ever
seen him look so ugly as that, and why he permitted his pencil to put so
mortifying an affront as this upon him. The artist awoke in such extremity
of horror that he was unable to speak, and he shook and trembled so
violently that his wife thought he was dying. The shock proved to be so
great that he never recovered the effects of it, remaining in a most
desponding mood, and he gradually sank till he died in a very short time
thereafter. It is also related of Lodovico Caracci, that when he had taken
down the scaffold on which he had painted the arch above the altar of
Bologna Cathedral, he noticed the foot of an angel bending before the
Virgin crooked. He wanted to set up the scaffold again, and died of grief
at this mischance.
ANGELICO’S DEVOTION TO SACRED ART (1455).
Fra Giovanni Angelico da Fiesole, usually called Angelico, who died in
1455, was both a painter and a devoted Churchman. Though born to plenty,
and having a strong turn for art, he entered the order of preaching friars
at the age of twenty, and began painting the Virgin and Christ and saints.
Cosmo de Medici saw his merits, and engaged him to paint the Crucifixion
for the church of San Marco at Florence, and he filled the lower ground
with all the saints who were founders of religious bodies. Vasari said his
picture of Gabriel making the Annunciation to the Virgin was considered so
beautiful that the spectator could scarcely believe it to be the work of
man, but that it must have been executed in Paradise. But his masterpiece
was thought to be the coronation of the Virgin, surrounded by angels,
saints, and holy personages. Vasari said the heads and figures were so
varied in expression and attitude that people had infinite pleasure in
looking on them, and all admitted that even the saints themselves in
heaven could not look otherwise than in this picture, and that no other
than the angels themselves could produce such figures of elevated beauty,
dignity, and devotion. The Pope invited him to execute various works at
Rome, and was so charmed with the simplicity and modesty of the artist
that he offered him a high appointment in the Church, as he was a friar
and qualified; but the artist declined it and recommended a poor friend,
to whom this office was kindly given. Angelico, in the estimation of his
contemporaries, lived a life of pure holiness. He laboured continually at
his paintings, but would do nothing that was not connected with things
holy. He despised riches and had no anger in his composition. He used to
say that the only true riches was contentment with little. He said he
sought no dignity, and all he cared for was to escape hell and draw near
to Paradise. He said that he who practised the art of painting should live
without cares or anxious thoughts, and he who would do the work of Christ
should perpetually remain with Christ. His pictures of saints excelled
those of all other artists. He said he never took up his pencil without
first offering a prayer. He never painted a crucifix without tears
streaming from his eyes. Some friendly hand painted his own portrait on
the outside of his tomb in the church of the Minerva at Rome.
BRONZES FOR THE GATES OF PARADISE (GHIBERTI, 1455).
Lorenzo Ghiberti, a famous Florentine sculptor, who excelled in casting
his sculpture in metals, had acquired so great a reputation that the city
authorities gave him a commission about 1439 to decorate the chief door of
San Giovanni with bronzes representing scenes or histories from the Old
Testament. The door when finished met with unbounded praise from all
quarters. When Michael Angelo was asked what he thought of it he said,
“They are so beautiful that they might fittingly stand at the gates of
Paradise!” This artist put his own portrait as well as that of his father
on one part of the decorations of the border of the door. Lorenzo had
shown his genius at the age of twenty, when he won the prize for which the
first artists competed—namely, a bronze representing the sacrifice of
Isaac by his father Abraham. Other bronzes representing separate subjects
followed. For this great work he was liberally paid, and its admirable
execution led to many lucrative commissions of a like kind.
THE OLDEST PAINTERS AND THEIR PERSPECTIVE (UCCELLO, 1472).
The older class of mediæval painters of sacred subjects often showed great
ignorance of perspective. One memorable instance was that of Paolo
Uccello, who died in 1472, and who had acquired great reputation for his
pictures. His last great commission was one to paint St. Thomas searching
for the wound in the side of Christ; and the painting was to be above the
door of the church in the Mercato Veichio in Florence, dedicated to that
saint. Paolo was proud of this commission, and told his friends that he
would lay out all his strength on this picture, and display the fruit of
his experience and insight in its design. His first step was to erect a
close inclosure of planks all round the wall, so as to keep off the prying
and curious. He had been working some time in secret when another artist,
Donato, met him in the street and asked what sort of work this was that he
was so closely engaged upon. Paolo said, with some self-satisfaction, that
Donato would see it in due time. Some time later the same Donato
accidentally passed and saw Paolo Uccello uncovering this masterpiece, and
after a courteous salutation Paolo was eager to know what his brother
artist would say to it. Donato looked very minutely at it, and then said,
“Why, Paolo, you are uncovering your picture just at the time you should
be shutting it up from the public view.” These words stabbed the painter
to the heart; for on certain things being pointed out by the critic, he
saw he had made a grievous mistake, and that the public would cover him
with derision instead of applause. This fate he could not face, and from
that time he shut himself up in his house so as to study once more the
laws of perspective. And Vasari says this picture killed him, for the
faults in it weighed on his spirits, which he never recovered. The
painting has disappeared in modern times.
THE MONKS OVER-FEEDING THEIR ARTIST WITH CHEESE (UCCELLO, 1472).
The painter Paolo Uccello was engaged by the monks of San Miniato, near
Florence, to paint the lives of the Holy Fathers in one of their
cloisters. The work was to be partly coloured and principally in terra
verde, and it is said he rather misplaced his colours, making his fields
blue, his cities red, and the buildings all colours. While he was engaged
in this work the abbot gave him scarcely anything to eat but cheese, of
which the painter grew so speedily sick, that, being of a timid nature, he
went off clandestinely and did not return, and he gave no explanation.
The abbot and the monks sent to him, to ask why he did not return; but he
gave no answer, and if he met them in the street he made off as fast as he
could in another direction. At last one of the monks determined to solve
the mystery, waylaid him, got speech of him, and put the same unanswered
question. Paolo replied, “You have so murdered me, that I not only run
away from you, but dare not stop near the shop of a carpenter or even pass
by one. And all this comes of your abbot’s mismanagement; for, what with
his cheese pies and his cheese soup, he has made me swallow such a
mountain of cheese that I am all turned into cheese myself, and I tremble
lest the carpenters rush out, seize, and put me into their glue-pot. I am
quite sure that if I had stayed with you longer I should have been no more
Paolo, but mere cheese.” When the monk told the other monks this story,
they roared with laughter and begged their abbot to persuade the painter
to return, and then to feed him well on other delicacies.
A CLUMSY CRUCIFIX BEFORE THE DYING ARTIST (GROSSO, 1488).
Nanni Grosso was a sculptor at Florence about 1488. One of his invariable
rules was, that he would never execute any work in a convent unless the
monks left the door of the wine cellar open, so that he could go in and
take a drink when he pleased without asking their leave. When Nanni was on
his deathbed in the hospital of Santa Marina Nuova, the nurses placed a
wooden crucifix before him which was clumsy and ill executed. He implored
them to take it out of his sight and bring him one by Donato, declaring
that if they did not take that one from before him he should die in
despair, so greatly did the sight of ill-executed works of art excite him.
A POOR ARTIST KILLED BY A SIGHT OF GOLD (1513).
Pinturicchio, a painter of Perugia, who had painted and decorated many
churches, but without ever securing great profit to himself, was in his
old days engaged to paint a picture of the Virgin at the convent of San
Francesco, in Siena, and a room was appropriated to his use by the monks
and given up to him entirely. They took away all the furniture so as to
give him space, leaving nothing but a very massive old chest which was too
heavy to be removed. The painter being arbitrary and domineering, soon
made such a clamour about this chest being in his way, and he so worried
the poor monks, that in their desperation they resolved to remove it
rather than be any longer abused. So they dragged it out a little with
immense difficulty, but in straining it one of its sides gave way and a
sum of five hundred golden ducats tumbled out, which seemed so vast a
collection of valuable material to our artist, and he was so transfixed
with horror and remorse as he thought of his inconceivable folly in having
thrown all this fortune, as it were, away, that he took to his bed and
never rallied, dying shortly afterwards of a broken heart.
AN ARTIST DECEIVING THE BIRDS AND BEASTS (MONSIGNORI, 1519).
Francesco Monsignori of Verona had attained the highest reputation as a
painter. In one picture he had to paint a beautiful dog as part of a
group; and one day a friend calling with a living dog, the latter rushed
furiously to the painting to attack the painted dog. In another work of
the same artist, a picture of the Virgin and the Infant Christ, the Divine
Child was represented as visible from the shoulder upwards only, and
having one arm extended in the act of caressing the Virgin mother. One day
Count Ludovico, having heard of this painting and being anxious to see it,
brought his wife and son with him, and the boy had a green bird, called in
Verona a terrazzani, perched on his wrist like a falcon. The moment they
entered the room the bird, seeing the extended arm of the Infant Christ in
the picture, flew towards it, intending to perch upon it. The bird fell to
the ground, but immediately rose again, and tried to perch exactly as if
it were a child on whose wrist such a bird is accustomed thus to sit. The
nobles, amazed at this, were inclined to offer any price for such a
picture, but the artist could not be prevailed upon to part with it. A
pupil of the same painter, named Girolamo, painted a Madonna sitting
underneath a tree, which was put in a church near Verona, and the wild
birds that sometimes found their way inside used often to fly against the
picture, intending to alight on the branches of this tree. And this
circumstance made the picture famous to all the neighbourhood.
FINDING A MODEL FOR A MARTYRED SAINT (MONSIGNORI, 1519).
Francesco Monsignori of Verona had painted many sacred subjects with the
highest success before he was engaged to paint St. Sebastian for the
Church of the Madonna, outside Mantua. The saint was shot to death with
arrows. While the painter was at work on the picture the Marquis of Mantua
called and asked him whether he had got a good model for this difficult
picture. The painter said he had selected a very beautiful person who was
a porter, and who would no doubt allow himself to be tied to the stake and
assume the proper attitudes. “That won’t do,” said the Marquis; “you will
not be able to represent the proper fear and horror and resistance of the
person who is to be murdered. Just inform me when your model is to sit
again, and I will show you the right thing to do.” The following day, when
the painter had fastened the porter to the stake, and had given secret
notice of it to the Marquis, the latter suddenly burst into the room with
a cross-bow and arrows in a state of great excitement, and with a loud
voice he rushed to the porter, exclaiming, “Traitor! you are a dead man! I
have caught you at last, and I will make an end of you,” with other
horrible exclamations of rage and revenge. The poor unlucky porter,
believing that his doom was near, made the most desperate efforts to
release himself, and the excitement and agitation of his countenance and
limbs, as he was struggling against his fate, supplied the painter with
the very attitudes and expression he most desired. “Now,” said the
Marquis, “he is just in the right position, I will leave you to do the
rest.” This timely assistance enabled the painter to make an admirable
picture of the martyrdom of the saint.
A DIVINE ARTIST DISCOVERING ONE STILL MORE DIVINE (FRANCIA, 1520).
Francesco Francia, born in 1450, began as a goldsmith and designer at
Bologna, but felt he could be a painter, and his pictures when he
attempted them soon brought him wealth and fame, for his Madonnas and
Christs and angels and saints were exquisite. When he was at the height of
fame, he had been constantly told of the glories of Raphael, who was then
working at Rome, so that he longed to see some of these much-applauded
masterpieces. It happened that Raphael had been commissioned to execute a
picture of St. Cecilia, which was to be forwarded to Bologna on its way to
the chapel of San Giovanni in Monte. Raphael, on forwarding it, sent a
polite and friendly letter, asking Francia to look after it, and remove
any scratches it might have received, and make any alterations which his
skill might suggest. This pleased Francia, who had the picture at once
taken out of its case and put in a clear light, that he might critically
examine it. He was instantaneously confounded and overwhelmed with the
beauty and masterly execution of the work. He at once felt conscious of
his own foolish presumption in thinking he could improve it. He was struck
dumb with terror, and went about distracted and overweighted with grief
at his own shortcomings. He sent the picture on to its destination, but
its extreme and unparalleled beauty smote him to the heart. He took to his
bed, never recovered his former spirits, and soon died of grief and
vexation to think how far short he had been of such excellence. Such is
the account given by Vasari, but it is thought by some authorities to have
been exaggerated.
LEONARDO DA VINCI’S PICTURE OF THE LAST SUPPER (1520).
When Leonardo da Vinci painted the Last Supper about 1497, one of the
greatest pictures of the world, the subject had been little attempted
before, and he gave the greatest care to the details. He used to remain at
his easel on the scaffold absorbed in thought for whole days, often
forgetful of his meals. One great difficulty was to satisfy himself about
the proper head for his Christ. He used to say that, when he attempted it,
his hand trembled under the excitement of discovering the most appropriate
face and expression. A friend, whom he consulted about the difficulty,
comforted him by saying that, after his heads of James the Great and James
the Less, it was beyond the power of man to give greater divinity and
beauty to any human figures, and therefore he should leave the head of
Christ imperfect. He never could satisfy himself about leaving out or
finishing this cardinal point. At last he accepted a good deal of the form
which the Byzantine painters had previously adopted, though he also
improved upon it. Leonardo is said to have spent an inordinate time over
this picture, and the prior of the monastery at Florence for whom it was
painted in fresco could never understand why the painter seemed for so
many days and weeks to be brooding and contemplating, and criticising,
undoing, and altering, without finishing his work. The prior thought that,
like the day-labourers, the great painter ought to have the brush
constantly in his hand, spreading his colours and making visible progress
in covering the wall. And he grievously complained again and again, not
only to the painter himself, but to the duke, of all this delay; and the
worry and importunity of this prior vexed and annoyed the painter, who,
when alluding to it, explained to the duke how artists are sometimes
producing most when they seem to be labouring least, their minds being
elaborating the conceptions which it is so difficult to realise. He also
informed the duke that there were still wanting to him two heads, one of
which, that of the Saviour, he could not hope to find on earth, and had
not yet attained the power of presenting to himself even in imagination,
with all that perfection of beauty and celestial grace which appeared to
him to be demanded. The second head still wanting was that of Judas
Iscariot, which also caused him some anxiety, since he did not think it
possible to imagine fitting features for a man who, after so many benefits
received from his Master, had possessed a heart so depraved as to be
capable of betraying that Master, the Lord and Creator of the world. With
regard to the second, however, he said he would still pursue his search,
and after all, if the worst came to the worst, and if he could find no
better, then he would never be at any great loss so long as he had that
troublesome and impertinent prior’s face before him. The duke laughed
heartily, and the poor prior when informed was so utterly confounded at
the appalling destiny awaiting him that he kept his peace for ever after.
This magnificent masterpiece of the Last Supper unfortunately rapidly
deteriorated in its colouring, owing to its being painted in oils instead
of fresco; and it has often since been retouched and repaired, till it is
doubtful how much of the original now remains, except the composition,
design, and grouping, which make the picture imperishable. The refectory
of the convent in which the picture was painted in fresco was more than
once inundated with water, and ill usage did the rest. In 1796, when
Napoleon’s troops entered Italy, they turned the refectory into a stable,
and the men even amused themselves with throwing bricks at the painted
heads of the Apostles. Fortunately the original work in its beauty was
well copied in 1510, and this copy, after changing hands, came into the
possession of the Royal Academy in London, who now possess it. Other
copies were painted by the same artist about the same time. This picture
is the best known and most famous in Christian art. We find it alike in
rich men’s palaces and poor men’s cottages, in splendid mosaic and in
coarse woodcut, on altarpieces and in all kinds of collections. On
Christ’s right hand are in their order John, Judas, Peter, Andrew, James
the Less, and Bartholomew. On Christ’s left hand in their order are James
the Great (who sits next to Christ), Thomas, Philip, Matthew, Thaddeus,
and Simon. Leonardo’s other sacred pieces, his Virgins and Holy Families,
are all of exquisite beauty. A noble statue was erected to the memory of
this great painter at Milan in 1872. The painter had a peculiarity of
writing his chief documents backwards from right to left, so that they
required to be read by the aid of a looking-glass. He is supposed to have
done this to prevent the curious too easily acquiring knowledge of his
studies for pictures.
RAPHAEL’S PICTURE OF THE PROCESSION TO CALVARY (1520).
Raphael painted his famous picture of the Procession to Calvary, called
“Lo Spasimo di Sicilia,” for a Sicilian church at Palermo. In 1217, on its
being finished, it was packed and taken on board a ship at Ostia bound for
Palermo. A storm arose, the vessel foundered at sea, and all was lost
except the package containing this picture, which was floated by the
currents into the Bay of Genoa, and on being landed the wondrous
masterpiece of art was taken out unhurt. The Genoese at first refused to
give it up, insisting that it had been preserved and floated to their
shores by the miraculous interposition of the Blessed Virgin herself, and
it required a positive mandate from the Pope to represent it as a work
done by contract.
THE DIVINE RAPHAEL’S MADONNA DI SAN SISTO.
The Benedictines of St. Sixtus at Placentia asked Raphael to paint the
Madonna with the Child, St. Sixtus and St. Barbara. It was the last
Madonna he painted; and, as if he had foreseen his approaching end, he
made the picture one of surpassing beauty. In the midst of an immense and
profound glory filled with cherubim heads, says Passavant, the Virgin is
standing holding in her arms the Infant Jesus. Her feet scarcely touch the
cloud which bears her; she stands out from the mystery of the heavens, and
appears in her sweet and majestic grandeur. Beneath her St. Sixtus on the
left and St. Barbara on the right are kneeling in adoration. Two little
angels of celestial beauty lean on a cornice at the bottom, with a
charming look of intelligence. The features of the Virgin, whose
triumphant majesty is unequalled, wear an expression of nobleness,
innocence, sweetness, and modesty; her Son, whose attitude is simple and
childlike, bears in His whole countenance a Divine character, and His
penetrating glance goes straight to the heart. It is no longer the
graceful, smiling Child of the other Madonnas, but the Son of God, the
Saviour of the world, who at the last day will become the Sovereign Judge.
Wonderful power of art! In that little head, so calm, so sweet, and yet so
severe, reside both the flame of the purest poetry and all the depth of
Christian faith. The Madonna di San Sisto is indeed rendered Divine by the
genius of the most ideal artist that God has ever created; and it is the
work that contributed most to procure Raphael the surname of “the Divine.”
Even in its technical part it does not resemble any of the other works of
Raphael; although its execution is of extreme simplicity, it has none of
that art which is only formed for delighting the eye. All in it is seen by
the light of enthusiasm, and but for the little angels at the bottom
painted as an after-thought on the clouds, we should scarcely see a trace
of human hands in the picture. The picture is now in Dresden, and has
excited admiration and the greatest veneration for three centuries.
RAPHAEL’S CARTOONS.
Raphael was commissioned by the Pope to paint cartoons for certain pieces
of tapestry to be made in Flanders. The artist was fired with a desire to
rival Michael Angelo’s, and he looked forward to these compositions being
copied in fabrics of wool or silk and gold, which might be hung up before
the wainscoting on high festivals, according to the customs of the
Byzantines and Romans. The ten pieces of tapestry were afterwards made
with great magnificence and perfection, and arrived from Flanders at Rome
in 1519, only a few months before Raphael’s death, and hung up in St.
Peter’s. He had the satisfaction of seeing this work crowned with complete
success. Vasari says that these tapestries seem rather to have been
performed by miracle than by the aid of man. The choice of subjects was
prescribed to Raphael. The cartoons were sent to Arras and copied in
tapestry. After being hung up in the Sistine chapel, the tapestries were
pillaged by the troops of Charles V. in 1527, and carried off as spoils of
war, and were sold at Lyons. In 1555 they were restored to the Pope. They
were again stolen in the Revolution of 1789, and passed into the hands of
the Jews, who at one time thought of burning them for the sake of the gold
worked up in the fabric. In 1808, however, the Pope again possessed them,
and they are now in the Vatican. As to the cartoons from which the
tapestries were copied, these lay neglected in the manufactory at Arras
till 1630. Rubens, having seen them there, described them to Charles I.,
who bought them for Whitehall Palace. At his death they were sold by
auction, and Cromwell bought them for £300 for the nation. Charles II. was
once on the point of selling them, but was persuaded not to do so. The
cartoons were all riddled with needle prickings, and intersected by narrow
bands, but William III. had them cleaned and put up at Hampton Court
Palace. They are now kept at South Kensington Museum. They are drawn with
chalk and coloured in distemper.
A DIVINE MASTER’S LAST MASTERPIECE.
Vasari, a contemporary and biographer of Raphael, says that the painter
worked indefatigably at his picture of the Transfiguration of the Saviour
which was destined for France. The Saviour is depicted on Mount Tabor,
with eleven disciples awaiting Him at the foot. Meanwhile, a youth
possessed of a spirit is brought to be healed, and he is shown writhing
with contortions caused by the malignant spirit. An old man, with a face
of apprehension and open eyes, watches the Apostles, as if anxious to know
if there was hope. One woman, a principal figure, kneeling and pointing to
these two, shows their misery. The Apostles look on full of compassion. In
this work the master has produced figures and heads of unrivalled beauty,
which has stamped him as the most excellent and Divine of all artists.
Whoever shall desire to see in what manner Christ, transformed into the
Godhead, should be represented, let him go and behold it in this picture.
The Saviour is shown floating over the mount in clear air; the figure,
foreshortened, is between those of Moses and Elias, who, illumined by His
radiance, awaken into life beneath the splendour of the light. Prostrate
on the earth are Peter, James, and John, in attitudes of great and varied
beauty: one has his head bent entirely to the ground; another defends
himself with his hands from the brightness of that immense light which
proceeds from the splendour of Christ, who is clothed in vestments of
snowy whiteness, His arms thrown open and the head raised towards heaven,
while the essence and Godhead of all the three persons united in Himself
are made apparent in their utmost perfection by the Divine art of Raphael.
But as if that sublime genius had gathered all the force of his powers
into one effort, whereby the glory and the majesty of art should be made
manifest in the countenance of Christ, having completed that as one who
had finished the great work which he had to accomplish, he touched the
pencils no more, being shortly afterwards overtaken with death from a
fever in 1520, at the age of thirty-seven.
RAPHAEL’S PICTURE OF ST. CECILIA.
A noble lady in 1513 built a chapel near Bologna to St. Cecilia, and
Raphael was asked to paint an altarpiece. Passavant thus describes the
work: “It was in one of his inspired moments that the master composed this
exquisite painting. Everything in it speaks of faith and zeal. All the
noble countenances bear the Divine stamp, and yet whatever may be the
exultation of their souls, their attitudes are full of the calmest
majesty. St. Paul leaning on a naked sword represents knowledge and
wisdom, whilst on the other side St. John shows the full blessing of
Divine love. Mary Magdalene, holding a vase of perfumes, is opposite to
St. Paul, as if to indicate that, if the repentance of the apostle and his
unwearied activity in the Church obtained forgiveness for him for his
former sins, she also had been forgiven much because she had loved much.
And as St. Paul, converted through a vision, is by the side of the living
St. John, so St. Augustine, also converted to the faith of Christ, is by
the side of the Magdalene. Surrounded by these great and touching figures
St. Cecilia is standing, radiant with ecstasy, listening to the Divine
harmonies sung by the angels in heaven. The earthly organ falls from her
hands, she trembles with holy enthusiasm, and her soul seems longing to
fly away to the heavenly country. The beauty of the style and the depth of
expression are not the only things that render this a masterpiece, but the
combination of these with harmony, richness, and powerful colouring. The
colouring responds to the poetry of the subject; it carries us into an
ethereal and mysterious atmosphere. No colourist has ever equalled this
splendour, which we call almost Divine. Titian’s ‘Assumption’ excites
feelings of joyfulness, Correggio’s ‘St. Jerome’ a gentle emotion, but
Raphael’s ‘St. Cecilia’ brings us nearer to heaven.” It was this picture
that killed Francia with mortification and self-humiliation. All Bologna
was enthusiastic at the sight of so Divine a work. The picture still
remains at Bologna.
THE INQUISITION ON SACRED ART (1522).
In 1522 Torrigiano, a Florentine sculptor, the same who, when a student
and rival, had an altercation with Michael Angelo and broke his nose,
received an order from a Spanish grandee, the Duke of Arcos, to carve a
Madonna and Child of the natural size, for which he was told he would be
well paid. The artist thereupon put forth all his skill, which was
admitted to be great, and completed a matchless sculpture, which the
purchaser was delighted with, and sent two servants carrying large bags of
money wherewith to pay the sculptor and fetch away the gem. The latter,
well pleased at the liberal payment, was equally delighted in turn; but on
opening the bags, to his intense disgust he found that they were full of
copper farthings, which amounted only to a beggarly total of thirty ducats
(£13). Enraged at this meanness, he snatched a mallet, and regardless of
the sacred character of the image, he followed to the spot where the
sculpture stood, and with one blow he shivered it to atoms, and then told
the lacqueys to take back their load of farthings to their master. This
sacrilegious act the enraged grandee represented at once to the Holy
Inquisition, before which tribunal the irascible artist was cited for
heresy. He urged that he was entitled, as an author, to do what he liked
with his own creation. But not so thought the demon judges, who with
little hesitation decreed death with torture. The culprit died in prison
before the day of sentence arrived, whether from excitement or refusing
his food was never ascertained.
PAINTING THE LUMINOUS FACE OF CHRIST (CORREGGIO, 1534).
Vasari says that there was in his time (1540), in the city of Reggio (and
now it is a gem in the gallery at Dresden), a picture by Correggio of the
“Birth of Christ.” In this work the light proceeding from the presence of
the Divine Child throws its splendour on the shepherds, and around all the
figures who are contemplating the Infant. Many other beautiful effects are
made manifest by the artist in this picture. Among others is one expressed
by the figure of a woman, who, desiring to look fixedly at the Saviour, is
not able with her mortal sight to endure the glory of His Divinity, which
appears to cast its rays full on the figure. She is therefore shading her
eyes with her hand. All this is admirably and wonderfully expressed. Over
the cabin where the Divine Child is laid there hovers a choir of angels
singing, and so exquisitely painted that they seem to have come direct
from heaven, rather than from the hand of the painter. In the same city
(now in the Palace at Madrid) there was a small picture, also by
Correggio, not more than a foot high, and one of the most extraordinary
and beautiful of all his works. The figures are small, the subject “Christ
in the Garden,” the time night; and the angel appearing to the Saviour
illumines His person with the splendour of his coming, an effect
unapproachable for beauty. (Other critics say the disposition of the light
in this picture is poetical and Divine.) On a plain at the foot of the
mountain are seen the three apostles lying asleep. The shadow of the
eminence on which the Saviour is in prayer falls over those figures,
imparting to them a degree of force not to be described in words. In the
farther distance is a tract of country over which the day is just
breaking, and from one side approaches Judas with soldiers. Vasari says
that for beauty, depth of thought, and execution no work can equal this.
It is said that Correggio gave this gem to pay an apothecary’s bill of
thirty shillings then due.
THE MONKS ASSISTING ARTISTS WITH THEIR PRAYERS (1560).
Queen Isabella of the Peace, about 1560, in order to please the
Franciscans, to which order her confessor belonged, ordered a statue of
the Virgin to be executed for a gift to them, and the best sculptor in
Spain was to receive the commission. Becerra was chosen; but after a
year’s work the Queen was not pleased, and the image was rejected. The
next attempt was better, and it pleased the friars, who said it was worthy
of Michael Angelo; but the Queen again rejected it. The Franciscans
thereupon betook themselves to redoubled Masses and fasting, and the poor
artist racked his memory and imagination for ideas of angelic grace and
Divine beauty. Sitting one night in his studio, after much anxious
thought, he fell into a slumber, and was aroused by an unknown voice
saying to him, “Awake and arise, and out of that log of wood blazing on
the hearth shape the thought within thee, and thou shalt obtain the
desired image.” He immediately arose, plucked the log from the fire and
fell to work upon it, and it proved to be an excellent piece of timber,
and in time it grew under his hands into a miracle of art, and became the
portentous image of Our Lady of Solitude, which is to this day had in
reverence, and in which are expressed beauty, grief, love, tenderness,
constancy, and resignation. The Queen at last acknowledged the carving was
to her mind. The Virgin was dressed in sable garb and placed in the
convent of the Minim Fathers at Madrid, and became renowned for her
miraculous powers. Another artist, named Joannes, was engaged by the
friars to paint the Virgin, and his first sketches were unsuccessful; but
he and his employers betook themselves to religious exercises, and many
holy men joined them in their prayers. Every day the artist confessed and
communicated before commencing his labours. At last his piety and
perseverance overcame all difficulties. It was acknowledged to be of great
excellence, and amongst the friars it was soon famous for its miraculous
powers.
MICHAEL ANGELO, PAINTER AND SCULPTOR (1564).
Michael Angelo, who was equally celebrated as a painter and sculptor of
the first class, as well as architect, was born in 1475. His Madonnas and
Holy Families and Christs are all admirable. In 1507 he began frescoes,
and afterwards paintings for the Sistine Chapel and Pauline Chapel at
Rome. In 1547 he was appointed architect to St. Peter’s at Rome, and at
his death in 1564 was succeeded in the latter office by Raphael. Michael
Angelo was a man of spare figure and extraordinary activity. When he was
at work he was satisfied with a scrap of bread and a drop of wine, which
he took without breaking off the business in hand. He lived in this frugal
way up to the time when he began his last pictures in the Sistine Chapel
at Rome. He was then old, and allowed himself only a simple meal at the
end of the day. He used sometimes to remain for whole months absorbed in
meditation, without touching a brush or chisel; then, when he had
elaborated his composition, he set to work as if inspired by a fury.
Vasari says his imagination was so lofty that his hands could not express
his sublime thoughts. Generally he used to put an idea hurriedly on paper,
then take up each detail, and finish it as he proceeded. He would
sometimes draw the same head ten or twelve times over before he was
satisfied with it. He took very little sleep, and used often to get up in
the night to work out a sudden fancy. He used to wear a sort of cardboard
helmet, which he contrived so as to hold a light, and thus the part on
which he worked was illumined without his hands being encumbered. He had a
round head, high temples, a broad, square forehead, with seven lines
straight across it, and a nose disfigured by a blow from the fist of
Torrigiano, who, being jealous of him as a student, picked a quarrel with
him, and thereby left this mark.
THE GREAT SCULPTOR’S MASTERPIECES (MICHAEL ANGELO, 1564).
Vasari, a contemporary of Michael Angelo, says of his Pieta, a marble
figure of the Virgin (now in the chapel of Santa Maria della Febbre at
Rome), that no sculptor, however distinguished an artist, could add a
single grace or improve it by whatever pains he might take, whether in
elegance and delicacy, or force, or careful execution, nor could any
surpass the art which the sculptor has here exhibited. In like manner the
marble figure of his dead Christ exhibits the very perfection of faithful
execution in every muscle, vein, and nerve. There was besides a most
exquisite expression in the countenance, and the limbs and veins and
pulses are admirably arranged. The love and care which the sculptor had
given to this group were such that he there left his name—a thing he
never did again for any work—on the cincture which girdles the robe of
Our Lady. The reason of this was, that one day he entered the chapel and
heard a group of strangers praising it highly, and when one asked the
other who was the artist, it was attributed at once to a person called the
Hunchback of Milan. The real artist remained silent, but one night soon
after he repaired to the chapel with a light and chisel, and engraved his
name on the figure of the Madonna, whose “beauty and goodness, piety and
grief, dead in the living marble,” are so well spoken of by the poet. This
work brought Michael Angelo great fame. Certain stupid people did indeed
affirm at the time that he has made Our Lady too young, but that is
because they fail to perceive the fact that unspotted maidens long
preserve the youthfulness of their aspect, while persons afflicted, as
Christ was, do the contrary. The youth of the Madonna therefore did but
add to the credit of the master.
SATISFYING A CRITIC OF THE FAULTLESS (MICHAEL ANGELO, 1564).
Vasari, the biographer and pupil, says that when Michael Angelo had set up
his colossal marble statue of David, it chanced that Soderini, whom it
greatly pleased, came to look at it while the artist was giving a few last
touches, and told him that he thought the nose too short. Michael Angelo
perceived that Soderini was in such a position beneath the figure that he
could not see it conveniently, yet to satisfy him he mounted the scaffold
with his chisel and a little powder which he had picked up from the floor.
He then struck the nose a few times very gently, but without altering
anything, and took care to let some of the powder fall down at the same
time, and told the critic to look at it now. “I like it better now,”
replied Soderini; “you have given it life.” The sculptor then came down,
not without compassion for that class of people who desire to appear good
judges of what they do not understand. Vasari says he may truly affirm
that this surpasses all others, whether ancient or modern, Greek or Latin;
neither the Marforio at Rome, the Tiber and the Nile in the Belvedere, nor
the giants of Monte Cavallo can be compared to such a model of beauty and
excellence. The outline of the lower limbs is most exquisite. The
connection of each limb with the body is faultless, and the spirit of the
whole form is divine. Never since has there been produced so fine an
attitude, so perfect a grace, such beauty of head, feet, and hands; every
part is replete with excellence; nor is so much harmony and admirable art
to be found in any other work. He that has seen this, therefore, need not
care to see any production else, whether of that age or of any preceding
it.
MICHAEL ANGELO’S LAST JUDGMENT (1564).
Michael Angelo when commissioned by the Pope to finish the paintings of
the Sistine Chapel executed two vast frescoes for the ends of the chapel,
one on “The Last Judgment,” and the other “The Fall of the Angels.” “The
Last Judgment” was begun in 1533, but was not finished till 1541. Though
containing some groups powerfully painted, there were many adverse critics
as to the general style and some of the details of this performance. The
Pope’s master of the ceremonies, Biagio, was very severe in his comments,
and when asked by the Pope what he thought of this painting, the former
replied that he thought it was a shameless exhibition of naked figures,
more fit for a bathing-house or a beershop than a church. Michael Angelo
heard of this criticism, and one day when alone he put in a likeness of
the unfortunate master of ceremonies among the damned under a
representation of Minos. The resemblance was so striking that all Rome
went to see it. Biagio being furious went and complained to the Pope, who
asked where Michael Angelo had put him in the picture. “In hell,” he
replied. “Alas!” rejoined Pope Paul, with a smile, “if he had only put you
in purgatory, I could have got you out; but as you are in hell, I can do
nothing for you. My power does not reach so far as that.”
VARGAS’S DEVOTION TO SACRED ART (1568).
Vargas of Seville painted for the cathedral in 1555 a picture of the
Nativity, which still forms the altarpiece of the little chapel dedicated
to that event. The Virgin Mother might have been sketched by the pure
pencil of Raphael. The peasant who kneels at her feet with his offering of
a basket of doves is a study from Nature, painted with much of the force
and freedom of the later masters of Seville; and many of the accessories,
such as the head of the goat dragged in by the shepherd and the sheaf of
corn and pack-saddle, are finished with Flemish accuracy. He also painted
“Christ going to Calvary,” and many saints and martyrs and female heads of
much purity and grace. Vargas died in 1568, having been distinguished for
his modesty, kindness, and devotion to religion. After his death there
were found in his chamber the scourges with which he practised
self-flagellation, and a coffin wherein he was wont to lie down in the
hours of solitude and repose and consider his latter end. He had much wit
and humour; and once, when asked by a brother painter his opinion of a
very badly painted Saviour on the cross, Vargas said, “Methinks He is
saying, ‘Forgive them, Lord, for they know not what they do.’”
TITIAN’S HEAD OF CHRIST (1576).
Titian painted his great picture of “The Tribute Money,” now in the
Dresden Gallery, in answer to a taunt that Venetian art had no finish.
This picture has commanded the admiration of four centuries for the
Godlike beauty and calm majesty of Christ’s countenance. His lips seem to
be parting with the question, “Whose is this image and superscription?”
while the fingers point gracefully to the coin in the rough hand of his
cunning tempter, whose face shows the low self-satisfaction with which he
thinks he has outwitted the Master. Vasari says this head of Christ is
“stupendous and miraculous”; its conscious sublimity of expressive
attitude and movement are well set off by the sharp and cunning profile of
the rough and weather-beaten questioner, who is so keen to foil a higher
nature. This is thought to be the most perfect picture from the hand of
Titian. He painted another great picture in his old age of “Christ at
Emmaus,” gorgeous in colour and masterly in its attitudes and expression.
TITIAN’S PAINTING OF THE TRIBUTE MONEY (1576).
Scanelli tells the condition under which this renowned picture by Titian
was produced. Titian was visited on a certain occasion by a company of
German travellers, who were allowed to look at the pictures in his studio.
On being asked what impression these works conveyed, these gentlemen
declared that they knew of one master only who was capable of finishing as
they thought paintings ought to be finished, and that was Durer. Their
impression was, that Venetian compositions invariably fell below the
promise which they had given at the first. To these observations Titian
smilingly replied that, if he had thought extreme finish to be the end and
aim of art, he too would have fallen into the excesses of Durer. But
though long experience had taught him to prefer a broad and even track to
a narrow and intricate path, yet he would still take occasion to show that
the subtlest detail might be compassed without sacrifice of breadth, and
so produced the Christ of the tribute money. All the artists of his time
thought this the most perfect work of Titian. The contrast is sublime
between the majestic calm and elevation, the Godlike beauty, of Christ and
the low cunning and crafty, coarse air of the Pharisee who questions Him.
The marble smoothness and fair complexion of Christ’s skin is contrasted
with the rough, tanned, and weather-beaten skin of the other.
A DIFFIDENT ARTIST OF SACRED PICTURES REASSURED (ADRIANO, 1630).
At Cordova, in Spain, Adriano, a lay brother of the barefooted Carmelites,
and who died in 1630, excelled in sacred art, and executed a great
picture of the Crucifixion in which the Virgin and Mary Magdalene were
leading figures; and this work is preserved in the convent there. This
artist was so diffident of himself that he used to deface or destroy his
pictures as soon as he had executed them. And so uniform was this practice
with him that his friends took occasion to intercede with him for the
preservation of his many valuable productions in the name of the souls in
purgatory, knowing his attachment to the holy offices in their behalf. By
this mode of exorcism the destroying spirit, which his self-dissatisfaction
and fastidiousness conjured up, was happily kept in check; and the above
and other valuable pictures were, thanks to the souls in purgatory, saved
and preserved for the consolation of the living.
RUBENS’S GREAT PICTURES (1577-1640).
The cathedral of Notre Dame at Antwerp contains the masterpiece of Rubens,
“The Descent from the Cross,” hung in the south transept. The picture is
now somewhat misty and has been retouched in some places. The greatest
peculiarity is the white sheet on which the body of Jesus lies, and which
enhances the colouring. The Christ is said to be one of the finest figures
ever invented, and the hanging of the head is exquisitely rendered. Two of
the three Marys have more beauty than Rubens usually gives to female
figures. The principal light comes from the white sheet. It was said that
this picture was given in exchange for a piece of ground on which Rubens
built his house; the original agreement was for one picture of St.
Christopher, but Rubens gave them five, including that subject. Another
picture of Rubens’s in the north transept is “The Elevation of the Cross,”
which is full of life and interesting attitudes, and the horses are
spirited. A third picture is the “Assumption of the Virgin,” which was
painted in sixteen days. A fourth picture is the “Resurrection of the
Saviour,” where Christ is represented coming out of the tomb in great
splendour, the soldiers terrified and falling over each other in their
confusion. In the museum at Antwerp is “The Crucifixion of Christ between
the two Thieves,” by Rubens, where the figures are drawn and grouped with
consummate art. The Magdalene is a leading character, and the good
centurion is also represented. This is one of the first pictures of the
world for composition, colouring, and correctness of drawing. Other sacred
pictures of Rubens are to be seen in this collection.
THE MONKS GETTING A BARGAIN OF A PICTURE (TRISTAN, 1469).
The monks of La Sislo, near Toledo in Spain, were anxious to have a
picture of the Last Supper painted for their refectory, like that painted
by Titian for the monastery of Lorenzo, and applied to Dominico to execute
the work. Dominico, on the ground of indisposition, declined it, but
recommended his pupil Luis Tristan, who was accepted. The picture was
finished, and the monks were highly pleased with it, but they thought the
artist’s demand of two hundred ducats (£90) exorbitant. In their
perplexity they referred to Dominico, who, though ill of the gout, drove
to see the picture and assess its value. He looked at it, and then,
turning with a threatening and angry countenance to his pupil, told him he
had utterly disgraced himself and his profession by asking such a sum as
two hundred ducats for such a picture as that. The monks were delighted
and triumphant at this deliverance. Dominico, still looking fiercely, told
his pupil at once to roll up his picture and take it away to Toledo, for
he was certain to get five hundred ducats for it, and he then began to
state reasons, and spoke in raptures of it as a masterly performance. At
this turn of affairs the monks looked at each other with astonishment and
vexation; and after a slight pause said, that upon the whole they thought
they would keep to their bargain, and they then and there found the money
and paid the sum agreed. Since then the Fathers had good reason to be well
pleased; for all the critics of Europe, on seeing it, offered them far
more than the price if they would part with it. Tristan died at Toledo in
1469.
VELASQUEZ’S “CRUCIFIXION” (1660)
In 1639 Velasquez produced one of his noblest pictures, “The Crucifixion,”
painted for the nunnery of San Placido at Madrid. Unrelieved by the usual
dim landscape or lowering clouds, the cross in this picture has no footing
upon earth, but is placed on a plain, dark ground, like an ivory carving
on a velvet pall. Never was that great agony more powerfully depicted. The
head of our Lord droops on His right shoulder, over which falls a mass of
dark hair, while drops of blood trickle from His thorn-pierced brows. The
anatomy of the body and limbs is executed with as much precision as in
Cellini’s marble, and the linen cloth wrapped about the body, and even the
firwood of the cross, display his accurate attention to details. Our
Lord’s feet are held each by a separate nail; at the foot of the cross
are the usual skull and bones, and a serpent twines itself round the
accursed tree. The sisterhood of San Placido placed this picture in their
sacristy in a badly lighted cell, where it remained until the French came
to Madrid and sold it in Paris, whence it was redeemed at a large price,
and presented to the Royal Gallery of Spain.
HOW THE MONKS GOT THEIR FINE PICTURES (1671).
At the beatification of St. Benozzi in 1671, the monks of the order of
Servi were anxious to have their church of the Annunziata at Florence
suitably decorated. The sacristan of the convent wished to get the work
done well and cheaply, and stimulated the vanity of rival artists by
representing how their works would have the advantage of being exhibited
in a church where such numbers of the devout constantly attended. He would
not hold out the hope of large pay, but he promised abundance of prayers;
and, above all, he dwelt on the favour which their performances would no
doubt obtain from the Blessed Virgin herself, to whose especial honour
they were to be consecrated. Andrea del Sarto yielded to these
representations, and put forth all his strength. He painted on one side of
the cortile two scenes from the life of the Madonna—“The Birth of the
Virgin” and “The Adoration of the Magi”; and on the other side scenes from
the life of San Filippo Benozzi. Every figure in those sublime groups is
now familiar to the lovers of art. Other masterpieces were added by Andrea
to that glorious church.
THE DIVINE MURILLO (1682).
Murillo, the Spanish painter, according to Sir D. Wilkie, adapted the
higher subjects of art to the commonest understanding, and seems of all
the painters the universal favourite. His paintings of “St. Elizabeth” and
“The Healing of the Paralytic” are rich in colour and of singular beauty.
He himself thought “The Charity of St. Thomas” was his best picture. His
picture of “The Virgin of the Napkin,” though executed hastily, as a
present to a cook who begged some memorial of him, shows a face in which
thought is happily blended with maidenly innocence, and the Divine Child,
with His deep, earnest eyes, leans forward in her arms, struggling, as it
were, almost out of the frame, as if to welcome the saintly carpenter home
from his daily toil. The picture is executed with a brilliancy of touch
never excelled; it glows with a golden light, as if the sun were also
shining on the canvas. Another picture, “The Guardian Angel,” shows the
chief figure in a rich yellow robe and purple mantle, pointing as he goes
with the right hand to heaven, and with the other leading a lovely
child—the emblem of the soul passing through the pilgrimage of this
world. Never was an allegory more sweetly told than in this picture, which
is painted with great lightness of touch, and the transparent texture of
the child’s garment is finely rendered. In his pictures of the Virgin
Murillo’s celestial attendants are among the loveliest cherubs that ever
bloomed on canvas. Hovering in the sunny air, reposing on clouds, or
sporting amongst their silvery folds, these ministering shapes give life
and movement to the picture, and relieve the Virgin’s statue-like repose.
Some of them bear the large white lilies, others roses, sprays of olive
and palm boughs, like those which are still annually blessed in churches,
and hung as charms on balconies and portals. As a painter of children
Murillo has caught with matchless insight all the nameless ways and graces
of the bright-eyed Andalusian boys and girls he loved to depict.
CANO’S PICTURE OF THE VIRGIN (1690).
The most beautiful of Cano’s pictures is that of “Our Lady of Belem,” or
Bethlehem, painted at Malaga for the cathedral of Seville. In serene
celestial beauty this Madonna is excelled by no image of the Blessed Mary
to be found in Spain. Her glorious countenance lends credit to the legends
of the older art, and is such as might have been revealed in answer to the
prayers of the saintly Vargas or of Joanes. The drapery is a crimson robe,
with a dark blue mantle drawn over the head. The head of the Divine Child
is perhaps not childlike; but there is much infantine simplicity and grace
in the attitude, as He sits with His tiny hand resting on that of His
mother. These hands are as usual admirably painted; and the whole picture
is finished with exceeding care, as if the painter had determined to crown
his labours and honour Seville with a masterpiece. Cano was the artist who
was once engaged to model a statue of St. Antony for an accountant, and
after it was finished and the price spoken of was deemed large, the
accountant asked how many days’ labour it had cost. The answer being that
it took twenty-five days, the patron at once rather indignantly observed,
that at the rate charged it would be four doubloons a day—a most
extravagant sum. To this Cano rejoined, “Yes, and I have been fifty years
learning to make such a statue as that in twenty-five days.”
A PAINTER INCAUTIOUSLY WATCHING EFFECTS (1734).
When Sir James Thornhill was painting the cupola of St. Paul’s and
adorning it, as he supposed, with masterpieces of sacred art, he was, like
all great painters, absorbed in thought, and was frequently changing and
improving his details. One day, when mounted on his lofty scaffold, he
moved backwards step by step to view the effect of some of his touches,
and had reached the very edge apparently without knowing his danger, for a
fall there would have been instant destruction. The artist’s servant,
having observed the danger, with great presence of mind instantly threw
the contents of a pot of paint over his master. This happy thought had the
effect of recalling the absent-minded artist to real life, for he
immediately rushed forward to resent the outrage. On the attendant’s
object, however, being explained, his wrath was with equal suddenness
changed into lively gratitude.
ORIGIN OF CHURCH BELLS.
The Romans used bells in their baths. The Hebrew high priests also wore
small bells. When Porsena, King of Etruria, was buried, and a magnificent
monument with pyramids at each end was erected, small bells were suspended
so delicately that the least breath of wind would sound them. Pope
Sabinianus, about 604, in imitation of the bells of Porsena’s tomb,
introduced the same in the charnel-houses, for the sound of bells was then
supposed to frighten away evil spirits. Hence the bells came to be sounded
at funerals, and passing bells have since been common. The goddess of
Syria was anciently worshipped with the sound of bells, from which custom
it is supposed the Christian Churches took the hint of hanging them in
their steeples. The use of bells, however, was not coeval with the Church,
for it was a considerable time before the Christians dare openly avow
their profession or could venture on the publicity of such a mode of
summoning their worshippers. Turkey and Greece are the only countries
where the use of large bells has almost been abolished. Greece in this
particular has degenerated, and Turkey has at length opposed their
reception. The Dutch long excelled in the construction and management of
their bells. The large bells of the Netherlands are so well tuned and
hung, that any slow melody may be performed upon them with the greatest
facility and as perfectly as on a church organ. The church bells were
formerly regularly baptised, anointed, exorcised, and blessed by the
bishop. The priest sprinkled the bell with holy water, while all the
gossips laid hold of the rope, bestowing a name on it.
SANCTITY OF BELLS.
In Spain all the church bells are marked with a crucifix; the devil, it is
believed, cannot come within hearing of the consecrated peal. On the
hearing of the Ave Maria bell, the Spaniards who happen to be in the
theatre, and even the actors on the stage, fall down on their knees, and
then rise again and carry on their diversion as before. A French gentleman
who happened to be present on one of those occasions was so surprised and
diverted that he somewhat irreverently called out, “Encore! encore!” The
religious of Rome had great contests about ringing the Ave Maria bell. At
length it was adjudged that “they who were first up should first knoll.”
CHIMES ON CHURCH BELLS.
Chimes or carillons were invented in the Low Countries, and were brought
to the greatest perfection there. They are of two kinds: one is attached
to a cylinder like the back of an organ, which always repeats the same
tunes, and is moved by machinery; the other is of a superior kind, played
by a musician with a set of keys. In all the great towns there are
amateurs or a salaried professor, usually the organist of a church, who
performs with great skill upon this gigantic instrument placed high in the
church steeple. So fond are the Dutch and Belgians of this kind of music,
that in some places the chimes appear scarcely to be at rest for ten
minutes either by day or night. The tunes are usually changed once a year.
Chimes were in existence at Bruges in 1300. The most eminent performer was
Matthias van der Gheyn, who died in 1785. The finest chimes are at
Antwerp, composed of sixty-five bells; Mechlin, forty-four bells; Bruges,
forty bells; Tournay, forty bells; Ghent, thirty-nine bells; Louvain,
forty bells.
THE SWISS HORNS PRAISING THE LORD.
It was a custom at one time among the Swiss shepherds to watch the setting
sun. When he had already left the valleys, and was visible only on the
tops of the snow-capped mountains, the inhabitants of the cottages which
were in the most elevated situations would seize their horns, and, turning
towards their next neighbours beneath them, sing out through the
instruments the words, “Praise the Lord!” The sounds were then taken up
in the same manner by those to whom they were addressed, and again by
those lower down, and thus were repeated from Alp to Alp. And the name of
the Lord was re-echoed and proclaimed in song, till the music reached the
valleys below. A deep and solemn silence then ensued, until the last trace
of the sun, when the herdsmen on the mountain tops sang out “Good-night,”
which was repeated and re-echoed as the other words had been, till every
one retired to rest.
EARLY CHURCH MUSIC.
Over and above the preaching of sermons, which were deemed an important
part of the public Christian service, and which shorthand writers employed
themselves in taking down for circulation, there was much care given to
sacred music and singing of hymns. A choir was often formed. The Psalms,
as well as hymns and doxologies, were chanted. Some spiritual songs were
composed by Ambrose of Milan and Hilary of Poitiers. But there were always
objectors to anything being used in Church music which was not taken from
the Sacred Scriptures. In the fourth century the Egyptian abbot Pambo
inveighed against the introduction of heathen melodies as too apparent,
while the abbot Isidore of Pelusium complained of a style of singing too
theatrical, especially among the women. Jerome, in his comments on St.
Paul’s Epistles, said that Christians should not be like the comedians,
who smoothed their throats with sweet drinks in order to render their
theatrical melodies more impressive, but that it was the heart alone which
could properly make melody to the Lord.
SINGING IN CHURCH.
It was said that St. Ambrose introduced the method of alternate singing in
churches. The whole service in the primitive Church seems to have been of
a very irregular kind till the time of Pope Gregory the Great, for the
people sang each as his inclination led him, with hardly any other
restriction than that what they sang should be to the praise of God.
Indeed, some special offices, such as the Lord’s Prayer and the Apostles’
Creed, had been used in the Church service almost from the first
establishment of Christianity; but these were too few to prevent the
introduction of hymns and spiritual songs. The evil increased, and the
Emperor Theodosius requested the then Pope, Damasus, to frame such a
service as should be consistent with the solemnity and decency of Divine
worship. The Pope readily assented, and employed for this purpose a
presbyter named Hieronymus, a man of learning, gravity, and discretion,
who formed a new ritual, into which he introduced the Epistles, Gospels,
and the Psalms, with the Gloria Patri and Hallelujah. And these,
together with certain hymns which he thought proper to retain, made up the
whole of the service.
ORIGIN OF SINGING IN CHURCH SERVICES.
The first change in the manner of singing was the substitution of singers
(who became a separate order in the Church) for the mingled voices of all
ranks, ages, and sexes, which was compared by Ambrose, the great reformer
of Church music, to the glad sound of many waters. The antiphonal singing,
in which the different sides of the choir answered to each other in
responsive verses, was first introduced at Antioch by Flavianus Diodorus.
Milman observes that it is not improbable that this system of alternate
chanting may have prevailed in the Temple service at Jerusalem. The
antiphonal chanting was introduced into the West by Ambrose; and if it
inspired or even accompanied the Te Deum usually ascribed to that
prelate, we cannot calculate too highly its effect on the Christian mind.
So beautiful was the music in the Ambrosian service that the sensitive
conscience of the young Augustine took alarm, lest when he wept at the
solemn music he should be yielding to the luxury of sweet sounds rather
than imbibing the devotional spirit of the hymn. Though alive to the
perilous pleasure, he inclined to the wisdom of awakening weaker minds to
piety by this enchantment of their hearing. The Ambrosian chant, with its
more simple and masculine tones, is still preserved in the church of
Milan; in the rest of Italy it was superseded by the richer Roman chant
which was introduced by Gregory the Great. The cathedral chanting of
England has almost alone preserved the ancient antiphonal system, now
discarded by the Roman Catholic Church for its greater variety of
instruments.
THE ORGAN IN CHURCH MUSIC.
No instrument, as an accompaniment to human voices in Church music, has
been discovered equal to the organ for the power and grandeur of its
effects; but being of a great mechanical complexity, it has taken many
centuries to bring it to perfection. Rudimentary instruments of the same
kind, worked by wind and some by water, are mentioned by the ancients. The
hydraulic organ was used for some centuries in preference to the pneumatic
organ, but it ceased altogether in the fourteenth century. It is not
precisely known at what period the organ was first used for religious
purposes, but it seems to have been in common use in Spain about 450. Pope
Vitalianus, in 666, saw its advantages in assisting the human voice. In
the eighth century both the Anglo-Saxon and French artists began to exert
their ingenuity in improving the instrument. Charlemagne first introduced
it in Germany, and he sent one as a present to the Caliph. In the ninth
century organs came into general use in England, and St. Dunstan showed
his ingenuity in improvements. One was made in 951 for Winchester
Cathedral. A monk named Theophilus in the eleventh century published a
treatise on the art of making the organ. Organs, whether hydraulic or
pneumatic, were nearly the only instruments used in churches in the
twelfth and thirteenth centuries, all others being rejected, in
consequence of abuse and their theatrical effect. There were usually,
however, opponents and defenders of the extent to which this accompaniment
was resorted to. Peter the Venerable, of Cluny, defended them. St.
Augustine had lamented the blindness of the Manicheans in rejecting sacred
music. The first organ which appeared in Europe was sent as a present by
Constantine Copronymus to Pepin, King of France, in 757, and he placed it
in the church of St. Corneille at Compiégne. The secret of these steam
organs is now entirely lost. The first organ on the present principle seen
in the West was that which Louis Debonnaire placed in the church of
Aix-la-Chapelle. It is related of this organ that a woman expired through
rapture and surprise at the sweetness of its sound. One of the same kind
was mentioned in the annals of Fulda in 828. At the close of the ninth
century many skilful organ-builders were drawn to Rome by Pope John VIII.
In the tenth century an organ of this kind was placed in Westminster
Abbey. So delicious and astonishing was the music of organs and flutes at
the consecration of the monastic church of Cava, near Salerno, and such
was the harmony of sound and pleasant odours, that the Serene Duke Roger
and all the people present thought themselves on the very borders of
heaven. In the twelfth and thirteenth centuries it was the custom to place
the organ in the choir, but in the fifteenth century a custom arose to
remove it to the western extremity of the nave. It was thought before the
Council of Trent, in 1545, that the Church music had been carried to an
excess, and the council once thought of prohibiting all music except the
Gregorian.
AUGUSTINE CONVERTING THE BRITONS WITH MUSIC.
When Augustine came from Italy to England, about the year 596, for the
purpose of converting the inhabitants of Britain to Christianity, he and
his accompanying missionaries adopted in aid of their devotions a musical
service. For some time the people were delighted with so agreeable a
novelty, but after a while it gradually ceased to please, and at length
met with such violent opposition that it was entirely laid aside. During
the papacy of Vitalianus, in 657, one of the principal vocalists in Rome
was sent to instruct the Britons in the Italian method of chanting and
singing, and the cathedral of Canterbury is entitled to the honour of
having been the first church in England in which a regular choral service
was performed.
THE EARLIEST HYMNS OF THE CHURCH.
There was always some trace of hymns, as distinguished from the Psalms,
being used by Christians. There is some dispute as to the hymn sung by our
Lord and His Apostles on the occasion of the Last Supper. Some think it
must have been the Hallel or paschal hymn, consisting of Psalms
cxiii.-cxviii., which was chanted. In the gaol at Philippi Paul and Silas
sang their hymns so loudly that the fellow-prisoners heard them. The
Greeks seem to have had only eight tunes of Church music, and the Syrians
had two hundred and seventy-five. The earliest known Christian hymn is
given by Clemens Alexandrinus, the historian. The learned have disputed
whether the Christian Greek hymns were founded on the old Pagan hymns used
in the heathen worship. Ambrose, about 360, is thought to have been the
first to introduce hymns into the Latin Church, though it is more likely
that he merely gave greater impetus to the use of these in the Church
services.
MONK MUSICIANS (A.D. 945).
It is related that the use of musical notes was found first in the abbey
of Corby, in Saxony, about 945. Alfanus, a monk of Mount Cassino, was also
considered eminent in the art. In the abbey of St. Gall three great
musicians were found at the same time. One of them, Tutilo, seemed to
excel in every work of art. He had a clear voice, was an admirable
painter, an architect and a preacher, and also could play on flutes and
pipes, and taught the children of the nobles how to play on the flute. He
was most effective in the choir, and expert at composing verses and
melodies. During the ninth and tenth centuries, the monks of St. Gall were
famed for their musical compositions. Once a composition sung by a monk of
St. Gall on Easter Day before King Conrad I. was rendered with such power
that all the audience were roused to ecstasy. The King, the Queen, and the
King’s sister called the performer before them, took off their rings, and
put them on his fingers, to signify their intense admiration. It used to
be said that the beginning of this excellence at St. Gall was owing to a
Roman musician who had fallen sick there while on a journey to Germany,
and he was so hospitably treated that, out of gratitude, he instructed the
monks in his art. The St. Gall scores were copied in many other
monasteries, and musical science was carried to a high pitch of excellence
by the modern composer Zingarelli, who used to prepare himself for his
finest work by reading some treatise of the Fathers.
NICHOLAS PEREGRINUS, WHO SANG “LORD, HAVE PITY” (A.D. 1094).
About 1094 Nicholas became famous in Apulia, when he was eight years old
tending his mother’s sheep, for he had an irrepressible tendency to sing
aloud incessantly, “Kyrie eleïson” (“Lord, have mercy”), and he never left
off this all his life long. His mother sent him to a monastery to have him
imprisoned and chastised till he gave up singing his song. But he took his
punishment patiently, and went on singing as zealously as before. He made
himself a hut, living by himself, but praising God aloud continually. He
went to Lepanto, where another monk joined him. He fasted every day till
evening; his food was a little bread and water, and yet he did not grow
lean. He wore a short vest, his head, legs, and feet being naked. He
carried a light wooden cross, a scrip at his side to receive alms, and the
alms he converted into fruit to distribute among the boys who willingly
joined him in his excursions and in singing his favourite hymn. His
oddities provoked some contumely, in which bishops did not scruple to
join. But he performed various miracles and had a large following,
exhorting the people to repentance. At his death great multitudes joined
in his funeral, and many miracles were said to be wrought at his tomb in
the cathedral.
HERESY PROPAGATED BY MUSIC (A.D. 1150).
Harmonius, son of the famous heretic Bardesanes, a Syrian who lived in the
twelfth century, contributed greatly to the propagation of heresy by the
fascinating sweetness of the melodies which he composed and applied to
odes and canticles written against the religion of Christ. So struck was
St. Ephraim with their mellifluousness, and so persuaded that they were
qualified by their beauty to recommend and spread any doctrine in support
of which they might be employed, that he set the same tunes to different
words, and ordered them to be publicly sung, so as to bring back the
people to orthodoxy, which at that time was identified with the doctrine
of the Trinity.
THE POPE REFORMING CHURCH MUSIC (A.D. 1545).
The introduction of instrumental music into the Church services once
greatly perplexed the Pope and the councils of the clergy. Music had
become so artificial and so wasted in frivolous and intricate airs, that
the Council of Trent expressed its protest against using such profane
aids. Pius IV. thereon appointed a commission to inquire whether music
should be tolerated at all in churches. Fortunately at that time a great
composer named Palestrina appeared at Rome. He was a priest, but had been
expelled from the Church for marrying, and he still clung to his favourite
art. He composed sacred airs for the services in the Sistine Chapel, and
he seemed to comprehend with an original genius the kind of music
appropriate to the Mass. He devoted his whole soul to this work. His first
two efforts were thought to be failures, but at last in a happy moment he
completed a masterly work known by the name of “The Mass of Pope
Marcellus.” It had passages of blended grandeur and self-prostration, with
rich and varied melodies interspersed, which delighted the Pope, who said
the airs were such as the Apostle John may have heard in his ecstatic
vision. The success of Palestrina set at rest the vexed question of Church
music. It showed that music was capable of being made to subserve and
enhance the most fervid devotion and religious enthusiasm. The soul was
elevated by the exulting bursts of jubilee and the adoring strains of
lowly reverence. The art then came to be firmly wedded to the service of
the Church, and every grade of elevated feeling found its appropriate
expression, and piety was quickened into rapture and a diviner ecstasy by
the masterpieces of a succession of great composers.
SINGING OF THE MISERERE IN THE POPE’S CHAPEL.
One of the most impressive performances of sacred music is the singing of
the Miserere or fifty-first Psalm in the Sistine Chapel at Rome, and
the musical score is kept secret and no copy allowed to be given to
strangers under pain of excommunication. There are thirty-two voices
employed in the singing, without any organ or other instrument to
accompany it. The performance was supposed to be at its greatest height of
excellence about 1780, before the growing practice of opera withdrew the
choicest voices from the service of the Church. This celebrated piece is
sung twice during Passion Week, and was composed about 1627. When it
begins, the Pope and cardinals prostrate themselves on their knees. The
grand picture by Michael Angelo of the Last Judgment which is over the
altar is then discovered to be brilliantly illuminated by tapers. These
are gradually extinguished till the pale light scarcely reveals the forms
of the miserable creatures as they listen to the slow and dirgelike wail
of the voices. It sounds as if the sinner, confounded before the majesty
of God and prostrate with fear, awaited in silence some awful doom. The
sublimity of the music is heightened by the peculiar manner of repeating
the same melody in every verse of the psalm, and yet by retarding the tune
and swelling or diminishing the sound according to the sense, never
allowing the ear to feel the least tediousness. The music score is said to
be no correct record of the peculiarity of the melody, and the mode of
managing the voices is said to be a secret kept by the chapel-master
alone, who hands down the tradition to his successor. It is performed only
in the Sistine Chapel, and those who have heard it never forget the grand
and solemn impression it produces.
LUTHER’S VIEW OF CHURCH MUSIC.
Luther, who was an excellent musician, received into his church a
collection of anthems and hymns which so pleased him that he exultingly
exclaimed, “We all know that such music is hateful and unbearable to the
devil.” Dr. Wetenhall said the music of his church was such that no devil
could stand against it.
ORIGINATOR OF ORATORIOS.
What is called the cantata spirituale or oratorio is generally believed
to have been indebted for its origin to San Filippo Neri, a Florentine
priest, who, about the middle of the sixteenth century, was accustomed
after the sermons to assemble such of his congregation as had musical
voices in the oratory of his chapel for the purpose of singing various
pieces of devotional and other sacred music. Regularly composed oratorios
were not, however, in use till nearly a century afterwards. These, at
their commencement, consisted of a mixture of dramatic and narrative
parts, in which neither change of place nor unity of time was observed.
They consisted of monologues, dialogues, duets, trios, and recitatives of
four voices. The subject of one of them was the conversation of Christ
with the Samaritan woman; of another, the prodigal son received into his
father’s house; of a third, Tobias with the angel, his father and wife;
and of a fourth, the angel Gabriel with the Virgin Mary.
THE HEAVEN-BORN COMPOSER OF ANTHEMS.
Purcell, a famous English composer of anthems, was a born musician, and as
a boy produced some of his best. At eighteen he was appointed organist at
Westminster Abbey, in 1676. He excelled in every species of composition.
Nothing can transcend the grand effect of his Te Deum, which soars to
the highest elevation of holy fervour. He died prematurely at the age of
thirty-seven of consumption. On a tablet fixed to a pillar in Westminster
Abbey, where he is buried, the following inscription is to be seen: “Here
lies Henry Purcell, Esq., who left this life, and is gone to that blessed
place where only his harmony can be exceeded. He died in 1695.” There is
also a Latin epitaph, of which four lines are thus translated:—
“Applaud so great a guest, celestial powers,
Who now resides with you, but once was ours.
Not dead, he lives while yonder organ’s sound
And sacred echoes to the choir rebound.”
Purcell’s Te Deum was constantly performed at the annual festivals of
the sons of the clergy, till Handel’s noble production of the Te Deum
was produced in 1743, and then the two versions were used alternately.
Dryden, not less than Pope, celebrates Purcell’s merit thus:—
“Sometimes a hero in an age appears,
But scarce a Purcell in a thousand years.”
Again he said:—
“The heavenly choir who heard his notes from high
Let down the scale of music from the sky:
They handed him along,
And all the way he taught, and all the way they sung.”
It is true that, after Purcell, Handel soon appeared and claimed even
superior praise.
FIRST IMPRESSIONS OF HANDEL.
When Handel, dissatisfied with the reception of his oratorio of the
Messiah in London, went to Dublin to test his work with a more impartial
audience, he procured the best choristers from St. Patrick’s and Christ’s
cathedrals. The chief singers were Mrs. Cibber and Mrs. Avolio. It is
related that after Mrs. Cibber had sung “He was despised” with great
pathos, a clergyman in one of the boxes was so excited and transported
that he called out with a loud voice to her, “Woman, for this be all thy
sins forgiven.” It was also a remarkable incident that, in compliance with
a request that the ladies who honoured the performance would be pleased to
come without their hoops, they actually made the great self-sacrifice
requested, and left their hoops behind, thereby allowing of a great deal
of additional space for the rest of the audience. Such music had never
before been heard in England. When Handel’s oratorio was first performed
in Ireland, it was heard with admiration. The expressive force and pathos
of the recitatives and melodies, and the superlative grandeur of the
choral parts, were equally appreciated, and the whole was hailed as a
wonderful effort of the art of harmony. Taught by the better criticism of
the sister kingdom, England at his return discovered the excellence to
which she had been so unaccountably deaf, and lavished her praises on what
she had before dismissed with disgrace or without approbation. In 1742
Handel gave a performance of the Messiah in the Foundling Hospital
Chapel with great success, and the proceeds were presented by him to that
institution, then recently established.
FIRST PERFORMANCE OF HANDEL’S “MESSIAH.”
It is related by Dr. Beattie, the poet, that when Handel’s Messiah was
first performed the audience were greatly struck and affected by the
music. But when the chorus reached the part beginning “For the Lord God
omnipotent reigneth,” the audience, including the King (George II.), were
so transported that they all instinctively started to their feet and
remained standing till the conclusion of the passage. Hence it became a
fashion in England for the audience to stand during that part of that
magnificent hymn.
HANDEL COMMEMORATIONS IN WESTMINSTER ABBEY.
Except the dedication of the Temple, at which, according to Josephus,
200,000 musicians were engaged, the commemoration of Handel in
Westminster Abbey in 1784 was considered at that time the greatest
performance that ever was heard. The band contained 482 instrumentalists.
The vocal performers included 22 cantos, 51 altos, 66 tenors, 69 basses.
The receipts for the five commemorations amounted to £12,736. At this
performance on so unprecedented a scale, the audience was melted and
enraptured by the exquisite sweetness of the solos, the powerful execution
of the choruses affected some to tears, and many fainted with the
excitement. When the whole chorus, from each side of the stupendous
orchestra, joined in by all the instruments, burst out “He is the King of
glory,” the effect was so overpowering that the performers could scarcely
proceed. Though Pope had no ear for music, he was aware of the triumphs of
his contemporary, the great composer, and in “The Dunciad” thus describes
him:—
“Strong in new arras, lo! giant Handel stands,
Like bold Briareus, with a hundred hands;
To stir, to rouse, to shake the soul he comes,
And Jove’s own thunders follow Mars’s drums.”
INDEX.
Abbess of Arles, deathbed, 221.
Abbey, officials of, 218.
Abbots, power over monastery, 217;
lecturing his monks, 223;
war of two, 224;
harassed with care, 306.
Abdication of Emperor, 330;
of Pope, 363;
of Sultan, 372.
Actor, the martyr, 148.
Adriano, painter, 496.
Agbarus writing to Christ, 12.
Agnus Dei, 75.
Agobard of Lyons, 340.
Aidan, St., of Lindisfarne, 272;
death of, 276.
Aix-la-Chapelle cathedral, 455.
Alaric respects churches, 112.
Alban, St., martyr, 149;
cathedral, 467, 469.
Albigenses, 426.
Alfred, King, 341, 343.
All Saints’ Day, 80.
Altar in churches, 441.
Amalfi cathedral, 451.
Ambrose, St., 194;
asleep at Mass, 195;
sayings of, 196;
on relics, 196.
Amiens cathedral, 454.
Ammerghau plays, 82.
Andrew, St., 28;
patron saint, 29;
head of, purchased by Pope, 191.
Angel, monk wanting to be, 221.
Angelico, painter, 479.
Anschar, apostle to the North, 249.
Anselm, Archbishop, 351.
Antioch church, 51.
Antony, St., temptations of, 161;
visits Paul, 197.
Antony of Padua, 257;
psalm-book stolen, 308;
preaching to the fishes, 406.
Antwerp cathedral, 456.
Ape of bishop painting, 475.
Apocryphal gospels, 9, 20.
Apostles, deaths and marriages of, 23.
Apostolic Church, 64.
Aquinas, Thomas, 137.
Archbishop, choosing, 335;
John the Almsgiver, 337;
the ugliest, 345;
Anselm, 351;
Turstin, 353.
Architecture, church, 438.
Aretino, painter, 479.
Arsenius, monk, 266.
Ass, feast of the, 81.
Athos, Mount, its monasteries, 312.
Attila, impressed by the Pope, 113.
Augustine, St., of Hippo, vision of, 203;
faith in dreams, 203;
on miracles, 207.
Augustine in England, 245.
Auricular confession, 67.
Auto-da-fè, 380.
Avignon, Popes at, 366.
Barbara, martyr, 147.
Barnabas, St., 27.
Barnadatus, an austere hermit, 168.
Bartholomew, St., 25.
Bartholomew of Farne, hermit, 175.
Basle, nuns of, 233.
Bec monastery, 289.
Becerra, sculptor, 492.
Becket, St. Thomas, pilgrims to, 191;
murder of, 355.
Bede, Venerable, on Farne hermits, 173, 275;
deathbed, 278.
Bega, St., 397.
Bells in church, 76, 501.
Benedict, St., at Monte Cassino, 209, 268;
death of, 269.
Benedict of Aniane, 212.
Bernard, St., monks of, 285.
Bernard, St., begging for robber’s life, 208;
against Abelard, 295;
sister of, 299;
second crusade, 420.
Bethlehem church, 460.
Bible, Septuagint, 21;
English, 22;
telling fortunes by, 93, 248.
Birds and St. Francis, 402, 404;
and St. Guthlac, 170.
Bishops, early, 70;
first degraded, 329;
building workhouse, 330;
seeking a site, 331;
of fifth century, 332;
putting down soothsayers, 333;
releasing prisoners, 334;
giving a horse to, 338;
of Hexham, 339;
at head of troops, 343;
jokes of, 346;
pompous, 347;
at early Mass, 351;
aerial music at death of, 362;
inviting old master, 372;
ape of, painter, 475.
Black death, 90, 124.
Blandina, martyr, 144.
Bonaventura, St., life of Christ, 7;
honouring the rich, 228.
Bonfires of gaudy dresses, 262, 264.
Boniface, St., missionary, 116.
Boy bishop, feast of, 81.
Bristol cathedral, 471.
Bronzes for gates of Paradise, 480.
Bruce, Robert, a crusader, 432.
Buffalmacco, painter, 475, 477.
Buffoons, feast of the, 81.
Burial of monks, 227.
Bury St. Edmunds monastery, 304, 306, 307.
Cædmon, monk poet, 222.
Cano, painter, 500.
Canterbury, monks of, 189;
pilgrims to, 192;
cathedral, 463.
Canute, visiting Rome, 346;
rebuking the sea, 346.
Capernaum, 54, 62.
Cardinals, origin of, 328.
Carileff, St., the hermit, 169.
Carlisle cathedral, 469.
Carthusians, 296, 300.
Cassino, Monte, monastery, 209.
Cassiodorus, his library, 236.
Cathedrals, spires and dimensions, 440;
Gothic, 441;
St. Peter’s, 442;
Genoa, 444;
Turin, 444;
Milan, 445;
Florence, 446;
Pisa, 446;
San Gennaro, 447;
Santiago, 448;
Leon, 449;
Seville, 450;
Toledo, 450;
Cordova, 451;
Amalfi, 451;
Oviedo, 452;
Paris, Notre Dame, 453;
Marseilles, 454;
Chartres, 454;
Amiens, 454;
Rheims, 455;
Aix-la-Chapelle, 455;
Treves, 456;
Antwerp, 456;
Cologne, 457;
St. Petersburg, 457;
Vienna, 458;
St. Paul’s, 461;
Canterbury, 463;
York, 463;
Durham, 465;
Winchester, 466;
Oxford, 466;
Peterborough, 467;
Salisbury, 468;
Wells, 468;
English and Welsh, 469, 470.
Catherine of Siena, 314.
Cecilia, St., martyr, 144.
Chad, St., 275.
Chanting of monks, 225;
of Charles V. as monk, 322.
Charlemagne, doubts as to monks, 214;
leaving his court to be monk, 215;
monk at his court, 215.
Charles V., Emperor, as monk, 318;
his dress, 319;
apartments, 319;
detestation of heretics, 320.
Chartres cathedral, 454.
Cheese, painter fed on, 461.
Chichester cathedral, 470.
Children’s crusade, 428.
Chimes on bells, 502.
Christian, name of, 94;
viewed by Pagans, 97;
oppose wild beasts, 97.
Christmas Day, 79.
Christ in Egypt, 7;
as a boy, 9;
portraits of, 11, 12;
false, 21;
sentence on, 44;
blood of, 188;
painted by Micael, 190.
Christina and the millstone, 389.
Christopher, St., 389.
Chrysostom, St., as hermit, 150;
as preacher, 201;
on monkery, 201;
on speaking in church, 201.
Church, building age, 84;
spires of, 440;
dimensions, 440;
altars in, 441;
bells, 501;
chimes, 502;
music, 503.
Church, apostolic, 64;
early, 64;
ancient buildings, 72;
service, 75;
organs and bells, 76;
sexes in, 77;
praying for dead, 77;
festivals, 80.
Cimabue, painter, 475.
Cinderella of the convent, 230.
Cistercians, 297, 300.
Clara, St., and the Saracens, 310.
Claudius of Turin, 133.
Clergy, dress, 69;
foppish, 69;
unity of, 326.
Clovis, conversion of, 334.
Cluny, monks of, 284.
Coldingham, nuns of, 283.
Cologne, archbishop, 345;
cathedral, 457.
Columba, St., of Iona, 269, 270.
Columban, monk, 210, 271.
Columbus, crusader, 435.
Community of goods, 65.
Compostella and St. James, 35, 36, 448.
Conecte, Thomas, the monk, 263.
Conrad, St., 399.
Constantine, 99;
standard of cross, 100;
dream, 100;
preaching, 101;
last illness, 102.
Constantinople, French pillaging, 425;
cathedrals, 458.
Constantius testing Christians, 98.
Convent, life in a, 217.
Coptic church, 439.
Cordova cathedral, 451.
Correggio, painter, 491.
Cosmas, the monk tutor, 131.
Council, of Nice, 102;
owl attending, 370.
Creeds, monks deciding on, 234.
Cross, forms of, 15;
discovery of, 15;
nails of, 16;
legend of, 17;
dividing into parts, 183.
Crown of thorns pawned, 19.
Croyland, St. Guthlac at, 169, 170;
monks of, 283;
burning of abbey, 283, 290;
Turketul as abbot, 286.
Crucifix during plague, 190;
clumsy, 482.
Crucifixion, thieves at, 16.
Crusaders, beginnings of, 408;
Peter the hermit on, 411;
and the earth of Palestine, 413;
how they treated spies, 414;
and the holy lance, 415;
testing a doubtful point, 417;
first sight of Jerusalem, 417;
capturing Jerusalem, 419;
first visit to holy places, 419;
Bernard’s second crusade, 420;
French Queen at, 421;
bringing home relics, 422;
Fulk of Neuilly, 424;
death of Richard I., 424;
pillaging Constantinople, 425;
attacking heretics, 425;
Albigenses, 427;
children’s, 428;
more preaching for, 428;
paying money for, 429;
master of Hungary, 430;
deathbed of Louis of France, 431;
entertained, 431;
dying king as, 432;
Knights Templars, 433;
faith in Providence, 434;
Columbus as, 435;
numbers of, 436;
Greek Church and pilgrims, 437.
Customs, early church, 65.
Cuthbert, St., 275, 278;
his body carried, 277;
his shrine at Durham, 465.
Cyprian, St., and Justina, martyrs, 150.
Cyril, St., of Alexandria, 204.
Damascus and rivers, 54;
John of, 131, 132.
Damiani, Peter, 85.
Dancing mania, 91.
Deaconess, 72.
Dead, prayers for, 77.
Dead Sea, measurements, 53.
Deathbed of Constantine, 102;
of abbess, 221, 274;
of monk, 227;
of Bede, 278;
of abbot, 302.
Decretals, false, 117.
Derwentwater, monk at, 171.
Devil and St. Christopher, 391;
showing a book, 392;
and Theophilus, 393.
Didymus and Theodora, martyrs, 149.
Divine right, king by, 352.
Divining-rod, 387.
Doctors of the Middle Ages, 302.
Dominic, St., 86;
preaching, 253.
Dominico, painter, 498.
Donato, sculptor, 478.
Dorotheus, architect to hermits, 166.
Douglas, the, as crusader, 432.
Dream, of Constantine, 100;
St. Augustine’s faith in, 203.
Dress of clergy, 69, 92.
Dunstan, St., relics, 189;
as monk, 285.
Durham cathedral, 465.
Easter Day, 79.
Edward the Confessor and St. John, 33.
Egypt, Holy Family in, 5.
Einsiedeln monastery, 281.
Eleanor, Queen, as crusader, 421.
Eligius, bishop, 339.
Elizabeth of Hungary, 310.
Ely monks capturing relics, 182;
cathedral, 469.
Emblems of Christians, 66.
Emperor as monk, 320;
abdication of, 330;
excommunication of, 359;
retaliating on Pope, 360;
as crusader, 423.
Empire, Roman, 140, 141.
Empress begging for relics, 185.
England, St. Augustine landing in, 245, 246.
Ethelbert receiving St. Augustine, 246.
Ethelwald, hermit of Farne, 172.
Eton montem, 82.
Exeter cathedral, 469.
Extortioners of Pope, 361.
Farne, hermits of, 172, 175;
Aidan at, 272;
Cuthbert at, 275, 276.
Fathers, the, 194;
Origen, 194;
Ambrose, 195, 196;
Jerome, 197;
Chrysostom, 200;
Augustine, 202;
Cyril, 204;
notions of, 205.
Felicitas, martyr, 144.
Festivals in church, 80, 83.
Fishes, St. Antony preaching to, 406.
Flagellants, 91.
Florence cathedral, 446.
Fly killed by monk, 232.
Foppish clergy, 69;
Pope, 374.
Fortunes, telling by Bible, 93;
Eligius on, 248.
Foundlings in Paris, 260.
France receiving crown of thorns, 186.
Francia, painter, 484.
Francis, St., of Assisi, 254;
dexterity, 255;
stigmata, 255;
biographer of, 256;
and the birds, 403;
and the wolf, 404.
Friars and monks, 219;
the order of, 230;
wearing shoes, 257;
startling the judges, 261;
burning ornaments, 262, 264.
Frogs rebuked by monk, 232.
Fructuosus and the doe, 397.
Fulk of Neuilly, 252, 424.
Fuller on relics, 183;
on monks, 214, 219.
Galilee, sea of, 53, 54;
population, 56.
Gall, St., monks of, 274.
Geismar, oak of, 116.
Genes, St., martyr, 148.
Genesius, martyr, 148.
Geneviève, St., patron saint, 179.
Genoa cathedral, 444.
Gervasius, relics of, 196.
Ghiberti, sculptor, 480.
Gibbon on monks, 207.
Glasgow, St. Mungo at, 268.
Glastonbury, monks of, 189;
chanting, 225.
Gloucester cathedral, 470.
Gnat stinging hermit, 165.
Godiva, lady, 399.
Gold, painter at sight of, 482.
Gothic cathedrals, 440.
Goths sacking Rome, 113.
Greek Church, 400, 437.
Greek philosophers driven out, 115;
Church and Latin, 119.
Gregorian chant, dispute about, 225.
Gregory the Great sending missionaries to England, 246;
a hard case put, 336;
supper of, 395;
releasing Trajan, 396.
Gregory, St., on relics, 185.
Gregory VII., 137.
Grosso, sculptor, 482.
Guizot on power of Popes, 138.
Guthlac, St., the hermit, 169.
Hallelujah victory, 391.
Hameln, piper of, 399.
Handel, 511.
Hatto, Bishop, and the rats, 398.
Heloïse, nun, 294.
Herbert, St., monk of Derwentwater, 171.
Hereford cathedral, 471.
Heretic refuted, 103;
Huss as, 377;
pleasure of burning, 378;
of Middle Ages, 382;
crusaders against, 425.
Hermits, outbreak of zeal, 160;
Antony, 161;
visit to another, 162;
bunch of grapes to, 162;
courtesies of, 162;
trying to quarrel, 163;
political economy of, 163;
St. Pambo, 164;
olive tree of, 164;
stung by gnat, 165;
Martin of Tours, 165;
Dorotheus, 166;
St. Pœmen, 167;
St. Moyses, 167;
Barnadatus, 168;
St. Carileff, 169;
Saxon hermits, 169;
St. Guthlac, 170;
Simeon Stylites, 171;
St. Herbert, 171;
Ethelwald, 172;
Queen consulting, 174;
a conscientious, 174;
St. Bartholomew of Farne, 175;
French King sending for, 176;
consecration of, 177;
invited by the Pope, 229;
made Pope, 363.
Hermon, Mount, 57.
Herod and Holy Family, 5, 46.
Henry II., King, at Becket’s tomb, 355.
Hervé, little blind, 395.
Hilda, St., deathbed, 274.
Hildebrand, Pope, 137.
Hillel, relationship, 49.
History, church, how divided, 63.
Holidays in Church, 80.
Holy Family in Egypt, 5, 6.
Holy Grail, 394.
Holy water, 442.
Host, the, 75.
Huss, martyr, 152;
on indulgences, 371;
burnt as heretic, 377.
Hymns, church, 506.
Iconoclasts, 129, 130, 136.
Ignatius Loyola, 259.
Illuminating by monks, 241.
Image, demolishing, 112, 121;
worship, 129, 136;
converting, 134;
in churches, 472.
Incense in churches, 442.
Indulgences, sale of, 371.
Innocents, massacre of, 4.
Inquisition, 377;
assassination of inquisitor, 380;
auto-da-fè, 380.
Interdict, papal, 356.
Irene, Empress, 135.
Isabella, Queen, 381.
Isidore forging decretals, 118.
James, intercisus, martyr, 151.
James, St., 29, 34.
Jerome, St., life of Paul, 197;
the lion and ass, 198;
deathbed of, 199;
epistles of, 199.
Jerusalem, sieges, 50;
situation, 60;
crusaders at, 417;
churches of, 459.
Jews, sacred vessels, 114;
and Christians, 119, 128;
incited by Julian, 120;
golden age of, 121;
and Pope, 122;
of York, 122;
crucifying boys, 123, 125;
stealing Host, 125;
banquets of, 126;
in Spain, 126;
physicians, 127;
conversion of, 128;
the wandering, 392.
Joan of Arc, 153, 159.
Joan, Pope, 398.
Joanna made a nun, 308.
Jocelyn of Edmondsbury, 304, 307.
John, St., 30, 33.
John Baptist, St., 45.
John, King of England, 354.
John of Damascus, 131, 132.
John of Salisbury, 358.
John of Peckham, 362.
John the Almsgiver, 337.
Johnson, Dr., on monks, 207.
Jordan, measurements of, 53, 54.
Juanes, painter of Virgin, 3.
Jubilee year, 87.
Judas Iscariot, 41.
Julian the Apostate, 104.
Justinian and Theodora, 115.
Kempis, Thomas à, 315.
King, dying, sends for hermit, 176.
La Trappe monks, 312.
Lance, the holy, 415.
Lauder, St. Cuthbert, 275.
Legate of Pope visiting monastery, 307.
Legends, sacred, 385;
Thundering legion, 387;
Theban legion, 387;
divining-rod, 387;
St. George and dragon, 388;
Christina, 389;
Christopher, 389;
Hallelujah victory, 391;
Merlin’s prophecies, 391;
devil showing a book, 392;
Wandering Jew, 392;
St. Sabas, 393;
Theophilus’s compact, 393;
Holy Grail, 394;
Seven Sleepers, 394;
little blind Hervé, 395;
supper of St. Gregory, 395;
Gregory releasing Trajan, 396;
St. Bega, 397;
Fructuosus, 397;
Pope Joan, 398;
Bishop Hatto, 398;
St. Conrad, 399;
Piper of Hameln, 399;
Lady Godiva, 399;
sacred fire, 400;
Prester John, 401;
Loretto, 401;
St. Francis and the birds, 403;
St. Antony and the fishes, 406;
St. Roch, 407.
Legion, Thundering, 387;
Theban, 387.
Leo the Isaurian, 129.
Leo X., Pope, 375.
Leon cathedral, 449.
Leonardo da Vinci, 485.
Lepers tended by St. Francis, 254.
Lilies of the field, 58.
Lincoln cathedral, 470.
Lindisfarne, saints of, 272.
Lion and St. Jerome, 198;
and Saracen king, 352;
and St. Sabas, 393.
Liturgy, ancient, 73, 74.
Lives of the saints, 237.
Locusts warded off by monks, 244.
Loretto and holy cottage, 401.
Louis, St., of France, crown of thorns, 186;
a monk, 309;
deathbed of, 430.
Louis VII., 421.
Luke, St., 25.
Lull, Raimund, and Saracens, 258.
Luther revisiting old convent, 236;
on music, 509.
Lyons, martyrs of, 144.
Macarius, hermit, 162, 165.
Mahomet and Christianity, 115.
Manuscripts of monks, 238;
of nuns, 240.
Margaret of Scotland, 348.
Mark, St., 24.
Marseilles church, 453.
Martha, St., 48.
Martin of Tours, 112, 164.
Martyrs, early, 142;
Valeria, 142;
Thecla, 143;
Polycarp, 143;
Felicitas, 144;
of Lyons, 144;
Cecilia, 145;
Ursula, 146;
Perpetua, 146;
Barbara, 147;
Potamiana, 147;
St. Genes, 148;
Genesius, 149;
St. Alban, 149;
Didymus, 149;
Cyprian, 150;
Chrysostom, 150;
James, intercisus, 151;
Stephen, 151;
for images, 151, 177;
Huss, 152;
Joan of Arc, 153.
Mary Magdalene, 47.
Mary (Virgin), heathen knowledge of, 1;
portraits, 3;
marriage, 3;
in Egypt, 4;
assumption, 7;
death, 7.
Mass, 74.
Master of Hungary, 430.
Matilda of Flanders consulting hermit, 174.
Matthew, St., 24.
Medard, St., 83.
Meinrad, monk, 281.
Merlin’s prophecies, 391.
Merom, Waters of, 55.
Methodius in Moravia, 247.
Micael painting a crucifix, 190.
Michael Angelo, 494.
Milan cathedral, 445.
Millennium in early times, 64, 84.
Miracles of St. Bernard, 298.
Miserere at Valencia, 452;
in Sistine Chapel, 508.
Missal painting of monks, 241.
Missionary of fourth century, 243;
mediæval, 261.
Model for painter, 483.
Moleme, Robert of, 226.
Monastery, life in, 216, 218;
how a site acquired, 235;
scriptorium, 237;
of Einsiedeln, 281;
Croyland, 283;
Cluny, 284;
of St. Bernard, 285;
fire at Croyland, 286, 290;
of Bec, 289;
St. Evroult, 292;
of Vallombrosa, 293;
Carthusians, 296;
Cistercians, 297;
Edmundsbury, 304;
rebuilding altar, 305;
of Mount Athos, 312;
Certosa, 313;
Yuste and Charles V., 318;
pictures in, 473.
Monks, Chrysostom on, 201;
origin of, 206;
Gibbon on, 207;
Dr. Johnson on, 207;
motives for becoming, 208;
weak side of, 208;
reformed by St. Benedict, 209;
Columban, 210;
settling in forest, 211;
denouncing king’s ferocity, 211;
making them work, 212;
Benedict of Aniane, 212;
monk at court writing home, 213;
drinking wine in England, 214;
Charlemagne’s doubts as to, 214;
Duke William, 215;
going to live at court, 215;
reasons for so many, 216;
life of, 216;
routine of English, 218;
officials in monastery, 218;
and friars, 219;
brawls with friars, 220;
orders of, 220;
wanting to be angels, 221;
abbess of Arles, deathbed, 221;
Cædmon, monk poet, 223;
sleeping too long, 223;
lecturing against idleness, 223;
war of two abbots, 224;
chanting, 225;
pillaging, 225;
living frugally, 226;
burial of, 227;
sick, 227;
honouring the rich, 228;
good lessons of, 229;
invited by Pope, 229;
at Sempringham, 231;
compunctions of, 232;
killing a fly, 232;
stealing food, 234;
deciding on creeds, 234;
interceding for prisoners, 235;
acquiring a site, 235;
Luther at grave of, 236;
and polite letters, 236;
of St. Gall, 237;
manuscripts of, 238;
missal painting, 239;
illuminating, 241;
proselytising, 243;
warding off locusts, 244;
Severinus, 244;
Fulk of Neuilly, 252;
Dominic, 253;
Francis, 254;
Thomas Conecte, 263;
Arsenius, 266;
Ninian, 267;
Mungo, 267;
Columba, 269;
Columban, 271;
Aidan, 272;
Chad, 273;
Bede, 275, 278;
Cuthbert, 275;
Duke William, 280;
Meinrad, 282;
of Croyland, 283, 290;
Dunstan, 285;
of St. Bernard, 285;
Turketul, 286;
Nilus, 287;
of Bec, 289;
Abelard, 295;
Cluny, 295, 300;
St. Bernard, 297, 299;
Peter the Venerable, 300;
Edmundsbury, 304, 307;
stealing a psalm-book, 308;
for a king, 309;
the starved, 311;
Athos, 312;
of La Trappe, 312;
Lucca, 314;
Peter of Alcantara, 316;
the Emperor Charles V. as, 318;
on the crusades, 408;
painters, 473;
feeding the painter, 481;
bargaining for pictures, 498;
musicians, 506.
Monsignori, painter, 483.
Moravia, missionaries in, 247.
More, Sir T., on relics, 183.
Moyses, St., water-carrier to hermits, 167.
Mungo, Scottish saint, 267.
Murillo, painter, 499.
Music of monks, 238, 241;
church, 503.
Names, Christian, 66.
Naples, chapel at, 447.
Nazareth, 61.
Neander on monks, 209.
Neot, the Cornish saint, 250.
Nero’s persecution, 96.
Nice, council of, 102.
Nicholas Peregrinus, 507.
Nicholas V., Pope, 372.
Nicolas, monk, starved, 311.
Nicolas, Pope, 118.
Nilus, monk, 287, 289.
Ninian, Scottish saint, 267.
Norbert on clerical vices, 252.
Norwich cathedral, 469.
Notre Dame, Paris, 453.
Nuns at Sempringham, 231;
of Basle, wars of, 233;
embroidery of, 240;
converting the Iberians, 243;
of Coldingham, 283;
St. Catherine of Siena, 314;
marrying a king, 350;
criticising their artist, 477.
Olive tree of hermit, 164.
Olives, Mount of, 60.
Omar, mosque of, 459.
Oratorios, 509.
Organs in church, 76, 504.
Origen, one of the Fathers, 194.
Orleans, siege, and Joan of Arc, 156.
Otto, Bishop in Pomerania, 251.
Oviedo cathedral, 452.
Owl at church council, 370.
Oxford cathedral, 466.
Pagans, difficulties with, 96, 118;
silenced, 103;
temples demolished, 109.
Painters, sacred, 472;
Cimabue, 475;
Buffalmacco, 475, 477;
Donato, 478;
Aretino, 479;
Angelico, 479;
Ghiberti, 480;
Uccello, 481;
Grosso, 482;
Pinturicchio, 482;
Monsignori, 483;
Francia, 484;
Leonardo da Vinci, 485;
Raphael, 487;
Torrigiano, 490;
Correggio, 491;
Becerra, 492;
Michael Angelo, 492;
Vargas, 495;
Titian, 495;
Adriano, 496;
Rubens, 497;
Dominico, 498;
Velasquez, 498;
Murillo, 499;
Cano, 500;
Thornhill, 501.
Palestine explorations, 52;
climate, 57;
fruits, flowers, birds, 58, 60;
pilgrimages to, 409.
Palm tree and Holy Family, 5.
Pambo, St., the hermit, 164.
Paradise, sculptures fit for, 480.
Paris, patron saint, 179;
cathedral, 453.
Passion plays, 82.
Pastoral staff, 71.
Patrick, St., sermon, 244.
Patron saints, 179.
Paul, St., 37, 40.
Paul Diaconus writing home, 213.
Paul, the hermit, 162;
life by St. Jerome, 197;
visited by Antony, 197, 198.
Penmanship of monks, 239.
Perpetua, martyr, 146.
Perspective of old painters, 481.
Peter of Alcantara, 316.
Peter, St., 37, 39.
Peter the Hermit, 411.
Peter the Venerable, 300.
Peterborough cathedral, 467.
Petersburg cathedral, 457.
Pharisaism, 50.
Philip, St., 28.
Philip the Fair and Pope, 364.
Pilate, Pontius, 45.
Pilgrims to Compostella, 35;
to Walsingham, 191;
in Switzerland, 192;
to Canterbury, 192;
to Palestine, 409;
ways of pilgrims, 410;
Peter the Hermit, 411;
Greek Church, 437.
Pillar monks, 171.
Pinturicchio, painter, 482.
Pisa cathedral, 446.
Plague, crucifix during, 190.
Plays, miracle and passion, 82.
Pliny on Christians, 97.
Pœmen, the hermit, 167.
Polycarp, martyr, 143.
Pope defending Rome, 117;
and Jews, 122;
ambitious, 137, 138;
supremacy of, 326;
election of, 328;
and the pestilence, 335;
kissing the foot, 340;
two scapegrace, 344;
interdict of, 357;
candid friend of, 358;
extortioners of, 361;
hermit made, 363;
Philip the Fair and, 364;
Boniface VIII., 365;
the rival, 367, 368;
deposed, 370;
a fop, 374;
Leo X., 375;
Sixtus V., 376;
lawyer as, 383;
Joan, 398;
Urban II. on Crusades, 413.
Potamiana, martyr, 147.
Praising day and night, 78.
Preachers, ancient, 68.
Prester John, 401.
Prisoners monk interceding for, 235.
Prodigies, the sages on, 43.
Psalm-book stolen by monk, 308.
Purcell, 510.
Pyx, the, 75.
Queen visiting hermit, 169, 174.
Rain, prayer for, 89.
Raphael, painter, 487.
Raven of the monks, 281.
Relics, reverence for, 180;
secrecy in removing, 181;
capturing, 181;
stealing, 182;
defending, 183;
forgery of, 183;
flattering worshipper of, 184;
empress begging for, 185;
deciding on genuine, 185;
crown of thorns, 186;
received in France, 187;
discovery of St. Stephen’s, 188;
St. Dunstan’s, 189;
Huss on, 190;
St. Andrew’s head, 191;
St. Gervasius, 196.
See also “Cathedrals.”
Rheims cathedral, 455.
Richard I., story of an ingrate, 402;
death of, 424.
Rienzi, tribune, 139.
Riots, religious, 68.
Ritualism, rise of, 74.
Rob Roy on the Jordan, 55.
Roch, St., 407.
Roman Empire, last hours, 140;
Holy Roman Empire, 141.
Rome sacked by Goths, 112;
by Huns, 112;
by Vandals, 114;
Lombards at, 117;
St. Peter’s, 442;
Sistine Chapel, 443.
Rosary, festival, 83.
Rose, festival of, 83.
Round towers, 85.
Rubens, painter, 497.
Russia, conversion of, 251.
Sabas and the lion, 393.
Sacro monte, 473.
St. Bernard, Great, pilgrims at, 192.
St. Gall monastery, 224, 237, 248.
St. Paul’s cathedral, 464.
St. Peter’s, Rome, 442.
Saints, miracles of, 178;
patron, 179;
lives of, 237.
Salisbury cathedral, 468.
Sampson of Edmundsbury, 303, 306, 307.
Sanhedrim, 49.
Santiago cathedral, 35, 448.
Saracens converted by Raimund Lull, 258;
a king of, 352.
Sarto, Andrea del, 473, 499.
Savonarola, 264.
Schetzelo, conscientious hermit, 174.
Schoolmen, the, 302.
Scotsman travelling to Rome, 303.
Sempringham, nuns of, 231.
Septuagint, 20.
Serapis, temple of, 110.
Seven, number, 87.
Seville cathedral, 450.
Shoes of friars, 257.
Sibyl prophecy of Christ, 1.
Simeon, St., 27.
Simeon Stylites, 171.
Simeon’s great age, 2.
Sin-eaters at funerals, 78.
Singing in church, 504.
Sistine Chapel, Rome, 443.
Sixtus V., Pope, 376.
Slavery and early Christians, 95.
Sleepers, the Seven, 394.
Soldier piercing Christ, 17.
Spanish Jews, 126;
image worship, 136;
Inquisition, 379;
auto-da-fè, 380;
miraculous images, 474.
Stations of cross, 18.
Stealing of relics, 182;
of monk’s food, 234.
Stephen, martyr for images, 151.
Stephen, St., first martyr, relics, 188.
Strasburg cathedral, 454.
Sultan and the lion, 352.
Sunday, Palm, 80.
Superstitions, Eligius denouncing, 248.
Sweating sickness, 91.
Swiss horns, 502.
Swithin, St., 341.
Symmachus defending Pagans, 108.
Telemachus and wild beasts, 98.
Templars, Knight, 433.
Temple, Jews rebuilding, 120.
Theban legion, 387.
Thecla, St., martyr, 143.
Theodora, empress, 135.
Theodore’s image of Christ, 111.
Theodosius and the Pagans, 109, 111.
Theological disputes, 105.
Theophilus and the devil, 393.
Theresa, St., and her visions, 317.
Thomas, St., 26.
Thornhill, painter, 501.
Thorns, crown of, 19, 186.
Thundering legion, 387.
Tiberias, sea of, 53, 54.
Timothy, St., 27.
Titian, 495.
Titus, St., 28.
Toledo cathedral, 450.
Torquemada and Jews, 126;
as inquisitor, 379.
Torrigiano, sculptor, 490.
Trading, monks on, 229.
Treves cathedral, 456.
Trinitarian controversy, 106;
sermon on, 108.
Trisagion riots, 68.
Truce of God, 86.
Turin cathedral, 444.
Turketul at Croyland, 286.
Turstin, archbishop, 353.
Uccello, painter, 481.
Ugliest of men archbishop, 345.
Ursula, St., martyr, 146.
Valencia, Miserere at, 452.
Valeria, martyr, 142.
Vandals sacking Rome, 114.
Vargas, painter, 495.
Velasquez, painter, 498.
Veronica, St., 48.
Vienna cathedral, 458.
Villani, account of jubilee, 87.
Vincent de Paul, 260.
Virgin, portraits of, 3;
worship of 85;
holy cottage, 401.
Viviers monastery, 236.
Waldenses, 382.
Walsingham, pilgrims to, 191.
Wells cathedral, 468.
Welsh cathedrals, 471.
Whitby abbey, Cædmon at, 222;
St. Hilda at, 274.
Wicliff, the reformer, 365.
Wild-beast shows, 97.
William, Duke, becomes monk, 215, 280.
William the Conqueror’s death, 348.
Winchester cathedral, 466.
Worcester cathedral, 471.
Working man, 50.
Wulfstan of Worcester, 293.
Ximenes, cardinal, 381.
York Minster, 463.
Yuste monastery and Charles V., 318.
Zacharias, 44.
Printed by Hazell, Watson, & Viney, Ld., London and Aylesbury.