The Sistine Madonna

“ Delicacy, pathos, spirituality, idyllic loveliness—everything but realism or tragedy—are stamped on all his canvases. "Beautiful as a Raphael Madonna" is an Italian proverb, and so skilfully selected a type of beauty is there in his Virgins that they are neither too ethereal nor too sensuous. Divine tenderness, motherhood at its holiest, gazes calmly from the face of the Sistine Madonna, "whose eyes are deeper than the depths of waters stilled at even." The simple mind, unsophisticated by lore of the pre-Raphaelite school, will worship a Raphael when he will but revel in a Titian. ”

“ Raphael is generally considered the greatest of all painters, and the Sistine Madonna is the most famous Madonna in the world.
"The Sistine Madonna is above all words of praise; all extravagance of expression is silenced before her simplicity. ”

“ One more picture remains for us to consider as an illustration of the Madonna as Witness. Had we mentioned it first, nothing further could have been said on the subject. The Sistine Madonna is the greatest ever produced, from every point of view. We have already noted the superiority of its artistic composition over all other enskied Madonnas, and are the more ready to appreciate its higher merits; for its strongest hold upon our admiration is in its moral and religious significance. Its theme is the transfiguration of loving and consecrated motherhood. ”

“ Like a mother creature instinctively protecting her young, she gathers him in her capacious embrace as if to shield him from some impending danger. The Sistine Madonna, on the other hand, is the most spiritual of Raphael's creations, the perfect embodiment of ideal womanhood. ”

“ He loves the Sistine Madonna and explains how the beautiful mother, with her baby boy upon her arm, hearing from afar the call of the suffering and sorrowful, came out of the dim angel hosts of heaven and hastened forth with shining eyes to bring her child to help people in their trouble. ”

“ Passavant says, "It was the last Virgin created by the genius of Raphael; and, as if he had foreseen that this Madonna would be his last, he made it an apotheosis."
It is interesting to sit in the Dresden gallery alone, before the Sistine Madonna, which has the face of the beloved Margherita, and note the hush that comes upon the people when they pass over the threshold. They seem to enter into the feelings of the artist. It is said that many a poor [Pg 143] and lonely woman, bent with years, has wept before this painting. ”

“ Perhaps you have sometimes wondered why those peevish-looking Madonnas, conformed to no acknowledged or obvious type of beauty, attract you more and more, and often come back to you when the Sistine Madonna and the virgins of Fra Angelico are forgotten. At first, contrasting them with those, you may have thought that there was even something in them mean or abject, for the abstract lines of the face have little nobleness and the colour is wan. For with Botticelli she too, though she holds in her hands the "Desire of all nations," is one of11 those who are neither for God nor for his enemies ”

“ The first shows an ideal mother fondly pressing her darling’s cheek against her own; the second is a vision of ideal womanhood hastening down the centuries to present the Word to the waiting world.
The Christ-child of the Tempi painting is a dimpled baby shyly nestling against his mother’s breast; the Sistine Child is a royal messenger lightly enthroned upon the Madonna’s arm. In one conception, Mother and Son are absorbed entirely in each other ”

“ Having discredited the Uffizi portrait, they looked around among Raphael’s other paintings for her features. For a time they inclined to the 430“Veiled Woman” in the Pitti Gallery, but finally settled on the Sistine Madonna as representing the painter’s beloved. The evidence for the identification is of the slightest, and surely the simple peasant girl, whose innocence and loveliness alone the painter has transmitted to us, might have been left unsmirched. Such as it is, however, the identification is shaken by another art critic. ”

“ Bronze reliefs of the Virgin were also common, and in many a crude form and fashion this newly aroused sentiment of Christian art sought to find adequate expression. The Western Church soon followed this movement in every detail, and then by slow degrees upon Italian soil began that evolution in artistic conception and artistic technique which was to culminate in the effulgent glory of Raphael's Sistine Madonna. It was the Emperor Justinian's conquest of Italy which "sowed the new art seed in a fertile field," to use Miss Hurl's expression ”

“ Of course we each form to ourselves some notion of what we require; and these requirements will be as diverse as our natures and our habits of thought. For myself, I have seen my own ideal once, and only once, attained: there, where Raphael—inspired if ever painter was inspired—projected on the space before him that wonderful creation which we style the Madonna di San Sisto (Dresden Gal.) ; for there she stands—the transfigured woman, at once completely human and completely divine, an abstraction of power, purity, and love, poised on the empurpled air, and requiring no other support ”

“ Born of a noble family, and following painting as an amusement rather than as an actual profession, his works are rare, and one of the finest examples of his art is the Glorification of the Virgin, in the Brera Gallery, at Milan. The mandorla-shaped glory surrounds the Virgin's figure, studded with faintly discerned cherub heads. On either side, a musical angel is in adoration; four saints stand on the earth below. The entire conception is rendered with [80] the utmost delicacy: the grace and beauty of the Madonna are of exactly the quality to make her appearance a beatific vision. ”

“ Nor did Raffaello fail to do as well in the figure of S. Francis, who, kneeling on the ground, with one arm outstretched, and with his head upraised, is gazing up at the Madonna, glowing with a love in tone with the feeling of the picture, which, both by the lineaments and by the colouring, shows him melting with affection, and taking comfort and life from the gracious sight of her beauty and of the vivacity and beauty of her Son. ”

“ Away over the houses comes a drift of music; for Schiano, the coiffeur, is giving a concert in his salon, and all the world has crowded down the street to hear it. At this distance the voices are softened, and blend insensibly with the magic of the summer night, across which, trembling like a star fallen out of the blue sky, shines the light hung over the great figure of the Madonna set in a cleft of the rock on the road to Anacapri. ”

“ She is a sphinx who holds the key of every mystery. In her presence we are overcome by the impulse to kneel and worship. She is not, like many Byzantine Madonnas, grotesque, forbidding in her immensity, in her aloofness; for even while she rebukes and subdues our littleness of soul, she draws all our senses as a being of absolute,40 inexplicable beauty. She holds us rapt and will not let us go. The memory of the Duomo of San Donato is concentrated in the single magical figure of her Madonna, leaning in benediction from the golden apse. ”

“ In another minute, nevertheless, I reopened my eyes, for through my eyelashes I still beheld her, all sparkling with prismatic colors, and surrounded with such a purple penumbra as one beholds in gazing at the sun.
Oh, how beautiful she was! The greatest painters, who followed ideal beauty into heaven itself, and thence brought back to earth the true portrait of the Madonna, never in their delineations even approached that wildly beautiful reality which I saw before me. Neither the verses of the poet nor the palette of the artist could convey any conception of her. ”

“ In the smaller streets there were dirt and squalor unimaginable, broken fruit and flies, unspeakable smells and the noise of screaming children, but in their midst were serene-eyed mothers, with the mysterious calm in their faces which has made the Italian woman the most subtle type of Madonna, who seemed in some strange fashion to be exalted above the impure atmosphere in which they lived, like the crimson garofani, or the long sprays of Morning Glory which flowered in their mediaeval windows. ”

“ Inside the old church of Santa Maria del Carmine, close by, hundreds of votive candles were burning before the altars, and night and day the people flocked in there to implore the mighty Madonna's protection. Mothers took the rings off their hands and hung them as sacred offerings round the Madonna's neck, girls drew the strings of coral out of their dark plaits to adorn the rich robe of the statue, and, with brows pressed against the worn marble floor, strong men knelt, murmuring prayers for help and mercy. ”

“ It is curious to observe, as the worship of the Virgin-mother expanded and gathered to itself the relics of many an ancient faith, how the new and the old elements, some of them apparently the most heterogeneous, became amalgamated, and were combined into the early forms of art;—how the Madonna, when she assumed the characteristics of the great Diana of Ephesus, at once the type of Fertility, and the Goddess of Chastity, became, as the impersonation of motherhood, all beauty, bounty and graciousness ”

“ Whom have I met upon this earth who was so beautiful—so beautiful and awe-inspiring—awe-inspiring and unapproachable. I have learned by this time your entire archive, Wondergood, and I do not believe that it comes from your modest gallery!
“Madonna!” mumbled Toppi in a hoarse voice, scared out of his wits.
So that is it! Yes, Madonna. The fool was right, and I, Satan, could understand his terror. Madonna, whom people see only in churches, in paintings, in the imagination of artists. Maria, the name which rings only in hymns and prayer books, heavenly beauty, mercy, forgiveness and love! ”

“ Thus, while a Byzantine Madonna is to be found in nearly every old church in Italy, to see one is to see all. They are half-length figures against a background of gold leaf, at first laid on solidly, or, at a somewhat later date, studded with cherubs. The Virgin has a meagre, ascetic countenance, large, ill-shaped eyes, and an almost peevish expression; her head is draped in a heavy, dark blue veil, falling in stiff folds.
Unattractive as such pictures are to us from an artistic standpoint, they inspire us with respect if not with reverence. ”

“ Particularly beautiful and marvellous is the panel of the high-altar of that church; for, besides the fact that the Madonna rouses all who see her to devotion by her simplicity, and that the Saints that surround her are like her in this, the predella, in which there are stories of the martyrdom of S. Cosimo, S. Damiano, and others, is so well painted, that one cannot imagine it possible ever to see a work executed with greater diligence, or little figures more delicate or better conceived than these are. ”

“ While both are true interpreters of nature, Leonardo reveals the rare and inexplicable, Raphael chooses the typical and familiar. Both are possessed of a strong sense of the harmony of nature with human life. The smile of the Virgin of the Rocks is a part of the mystery of her shadowy environment; [2] the serenity of the Madonna in the Meadow belongs to the atmosphere of the open fields. ”

“ The Venetian school is, however, to the Florentine much as Rossini's Barbière to Dante's Divina Commedia. Here all is color, vitality, energy. The superabundance of life and of temperament does not allow the severer deliberations of thoughtful art. The finest picture of this school, the Assumption of Titian, is the intense embodiment of the present, an ideal moment that presupposes no antecedent and no successor. It is as startling as a sudden vision. But it is a vision of life, not of paradise. The Madonna is a grand, simple, human woman, whose attitude is more rapt than her expression. ”

“ This is so marked that at first sight almost every one is repelled by Botticelli, and yields only after long familiarity to the mysterious fascination of the sad-eyed Madonna, who holds her babe almost listlessly, as her head droops with the weight of her sorrow. Her expression is the same whatever her [195] attitude, when she presses her babe to her bosom as the Mater Amabilis (in the Borghese Gallery at Rome, in the Dresden Gallery, and Louvre) , or when, as witness to her son's destiny, she holds him forth to be seen of men. It is in this last capacity that her mood is most intelligible. ”

“ The Virgin Mary is not, like the Madonna di San Sisto, "a single projection of the artist's mind," but, as far as he could put his studies together, she is "a compound of every creature's best," sometimes majestic, sometimes graceful, often full of sentiment, elegance, and refinement, but wanting wholly in the spiritual element. If the Madonna did really sit to Guido in person, (see Malvasia, "Felsina Pittrice,") we fancy she must have revealed her loveliness, but veiled her divinity. ”

“ Theologically it represented the Virgin as the first worshipper of her divine Son. But though the sacred mys [160] tery of Mary's experience sets her forever apart as "blessed among women," she is the type of true motherhood in all generations.
The Madonna in Adoration is, properly speaking, a fifteenth century subject. It belongs primarily to that most mystic of all schools of art, the Umbrian, centering in the town of Perugia. Nowhere else was painting so distinctly an adjunct of religious services, chiefly designed to aid the worshipper in prayer and contemplation. ”

“ A more contemplative enthusiasm, a superstition tinged with a morbid melancholy, fermented into life and form. In that general "fit of compunction," which we are told seized all Italy at this time, the passionate devotion for the benign Madonna mingled the poetry of pity with that of pain; and assuredly this state of feeling, with its mental and moral requirements, must have assisted in emancipating art from the rigid formalism of the degenerate Greek school. Men's hearts, throbbing with a more feeling, more pensive life, demanded something more like life,—and produced it. ”