Development of Types in Painting

2. Development of Types in Painting

After the iconoclastic controversy there is a marked separation between Eastern and Western artistic traditions on this subject. The Byzantine type of the Madonna shows no further development after the termination of this contro versy in the middle of the ninth century. In the Western Church, however, there was a constant progression following the lines of ecclesiastical architecture, as they passed through the various periods of Byzantine, Romanesque, Gothic, and Renaissance. In painted representations of the Madonna it is possible to trace quite distinctly the same four periods as named above-only that the duration of the first or partially Byzantine type extends somewhat later into the Middle Ages than is the case with architecture, occurring as late as the end of the crusades. The second, with its tendency to humanize the ideal Madonna, coincides closely with the fourteenth century; the third, whose principal characteristic is the emphasis laid on the spotless virginity of the Queen of Heaven, is con temporary with the late Gothic, practically covering the fifteenth century; while the fourth, distin guished by an almost wholly naturalist type of Madonna, corresponds both in conception and in date to the period of the Renaissance. For the first period scarcely any names of artists have been preserved. In the second, the leading names are those of Giotto and the two Sienese painters Guido and Simone Martini. Fra Angelico shows a transition to the next period, marked by the names of Masaccio, Mantegna, Perugino, Pinturiochio, and Filippi Lippi in Italy, Master Stephen, the un- 2744 known painter of the great picture in Cologne cathedral, and Hans Memling in Germany. -With all the varieties of artistic invention in the sixteenth and seventeenth centuries, there is a constant tendency to subordinate the religious factor to the realistic. Raphael, Correggio, and Titian endow their Italian beauties with the fulness of human charm, and in the two latter at least religious devotion is almost lacking. In the Madonnas of Dürer and Holbein the fervor of devotion is less prominent than the chaste and pious feeling of their German ideals of family life. Murillo, in ardent subjection to the Franciscan and Jesuit type of devotion, succeeds in transfiguring the delicate features of his Spanish beauties so far as to approach, with the use of apocalyptic symbols, the realization of the mys tery of the Immaculate Conception. It is impossible to estimate the effect upon modern Protestant feeling of the splendors which art has consecrated to this subject; but, while the Evangelical Christian may perfectly well admire these as works of art, it does not follow that he must approve the insidi ous attempts made by some of recent years to bring back something scarcely to be distinguished from the doctrinal basis which inspired such painting in bygone years.

(O. Zöckler�� .)

Bibliography: The Biblical side of the subject is treated with more or less completeness in the works on the life of Christ. An extensive bibliography, particularly of the earlier works on the entire subject, appears in HauekHersog, RE, xii. 309, 314, 323-324. Among the sources should be included the Apocryphal gospels which deal with the life of Mary, especially those which are translated in ANF, viii. 381-415. For Mary in the Bible, in early patristica and in the Apocrypha of the N. T., consult: F. W. Genthe, Die Junyfrau Maria, ihre Evangelien und ihre Wunder, Halle, 1852; K. Benrath, in TSK, lix (1888), 1-28 (cf. the reply to Benrath by F. Linsenmann, in TQ, 1888, pp. 285-299); F. A. von Lehner, Die Marienverehruny in den ereten Jahrhundertan, Stuttgart, 1886 (Roman Catholic); J. B. Lightfoot, in his commentary on Galatians, London, 1890; T. Livius, Mary in the Epaetks. ib. 1891; idem, The Blessed Virgin in the Packers of the Pirst Century, ib. 1893 (also Roman Catholic); O· Bardenhewer, Der Name Maria, in Biblieehs Studien, i ., part 1, Freiburg, 1895; J. Nirnchl, Dos Grab der heiligen Junpfrau Maria, Mainz, 1898; A. Schifer, Die Gottes mutter in den heiligen Schrift, Münster, 1900; J. Richard, La Maternit4 de Marie ches les plrea du t. si≤, Lyons, 1901; DD, iii . 286-293; BB, iii. 2952-89; DCG, ii. 140-142.

On the history of various phases of development of the cult consult: J. C. W. Auguet~ Handbuch der christlichen Archaeologie, i. 559-665, Leipsic, 1838; Review of Maiol atry, Liturgical, Devotional, Doctrinal, London, 1869; K. Benrath, in TSK, lix (1886), 197-267 (on the Middle Ages); F. G. Holweck, Pasti Mariani, Freiburg, 1892; J. C. L. Dubose de Pesquidoux, L'Immaculle Conception. Hist. d'un Dogma, 2 vols., Tours, 1898; B. Saint John, The Blessed Virgin in the 19th Century, London, 1903; E. Bishop, Origins of the Peast of the Conception of the Virgin Mary, ib. 1904; J. Lemann, La Vierpe Marie dens Hist. de l'orient chritien, Paris, 1904 S. Beissel, Geschichte der Verehruny M arsas in Deutschland w4hrend des Mittel alters, Freiburg, 1909; Schaff, Christian Church, ii. 281-284, iii. 409 sqq., 425 sqq., 716 sqq., 807, v. 1, pp. 831 sqq.; idem, Creeds, i. 108-128; Neander, Christian Church, vole . ii; v. passim; Harnack, Dogma, vols. ii.-vii. passim; KL, viii. 711-727, 802-.826, 831-859.

Controversial or dogmatic presentations are: J. E. Tyler, Worship of the Blessed Virgin Mary . . . Contrary to Holy Scripture, London, 1847; E. B. Pussy, Eirenicon, pp. 101-190, Oxford, 1865 (cf. J. H. Newman, Letter to Pussy on his Eirenicon, pp. 28-159, London, 1866); E. Preuss. The Romish Doctrine of as Immaculate Conception Traced from its Source, Edinburgh, 1867; A. Kurz, Mariologia odor Ldra der katnolieAen Kirche über die

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Jungfrau Maria, Regensburg, 1881; H. Lasserre, Our Lady of Lourdes, Leamington, 1886; idem, Miraculous Episodes of Lourdes, ib. 1884; R. Montague, The Sower and the Virgin, ib. 1887 (against the Immaculate Conception); J. B. Terrien, La Mere de Dieu, 2 vols., Paris, 1900 (Roman Catholic); J. J. T. von Döllinger, Do# Papstthum, pp. 282 sqq., 533-534,, Munich, 1892; J. Wilhelm and T. B. Scannell, Manual of Catholic Theology, ii. 122-126, 208-224, London, 1898; J. S. Mulholland, The World's Madonna; a Hist. of the Blessed Virgin Mary, ib. 1909.

On Mary in literature and art consult: W. B. M&rriott, The Catacombs,. pp. 1-63, London, 1870; J. S. Northcote and W. S. Brownlow, Rome; Sotteranea, ii. 133 sqq., ib. 1879; V. Schultze, Archaeologische Studien über altchriStliche Monuments, Vienna 1880; idem, Die Katakomben, pp. 150 sqq., Leipsic, 1882; B. Eckl, Die Madonna ale Gegenatand christlicher Kunatmalerei, Brixen,' 1883; J. Liell, Daratetlungen der . . . Jungfrau auf den KunZ~ m81em der Katakomben, Freiburg, 1887; A. Mussafis, in Sitzungaberichte der Wiener Akademie, vols. cxiii., cxv., cxix., 1887-89 (on medieval legends); H. A. Guerber, Legends of the Virgin with Special Reference to Art, London, 1896; E. M. Hurll, The Madonna in Art, ib. 1898; A. Venturi, The Madonna. A pictorial Representation of the Mother of Christ, London, 1902; E. L. Taunton, The Little Ofce of our Lady, ib. 1903; Mrs. A. B. Jameson, Legends of the Madonna, ib. 1904; A. Bartle, The Mrdonna of the Poets, ib. 1906; M. Siebert, Die Madonnendar.tellung in der altniederlandischen Kunst von Jan van Eyck bis su den Manieristen, Stmaburg, 1906.