' .;, ' :'>'; V-^.r ,;,:p. THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES MBS. CLEMENT'S ART HANDBOOKS. A HANDBOOK OF LEGENDARY AND MYTHOLOGICAL ART. By CLARA ERSKINE CLEMENT. A new edition, revised and enlarged. Fully illustrated, and with complete index. Crown 8vo, $3.25 ; half calf, or morocco, $5.00; full morocco, or tree calf, $7.00. A perfect storehouse of facts relative to symbolism in art, and the leg- ends, stories, and myths associated with them. The wonderful and touch- ing histories of the Christian saints and martyrs are told with a freshness and fullness which give to the book an intrinsic value quite distinct from its ulterior design. Christian Union. PAINTERS, SCULPTORS, ARCHITECTS, ENGRAVERS, AND THEIR WOKKS. By CLARA ERSKINE CLEMENT. With illustra- tions and monograms. Fifth edition, revised. Crown 8vo, $3.25; half calf, or morocco, $5.00; tree calf, or full morocco, $7.00. Indispensable to every person interested in pictures and artists. It gives not only the biography of artists, but lists of engravings from their works, and by means of cross-references and copious indexes is a complete hand- book. It is liberally illustrated by representations of standard works of art, and the curious monograms of painters are given with the biographies. ARTISTS OF THE NINETEENTH CENTURY AND THEIR WORKS. A Handbook containing 2,050 Biographical Sketches. By CLARA ERSKINE CLEMENT and LAURENCE HUTTON. With indexes. 2 vols. crown 8vo, $5.00. These two volumes include biographical sketches of 2,050 artists, of all nations in which there exists sufficient intellectual and aesthetic develop- ment to foster productive art. Of these artists the best attainable infor- mation is given, with an account of their works, the departments to which they belong, their characteristic styles, and the opinions entertained of them by competent critics. The Introduction comprises a concise but comprehensive account of the academies and schools of art of all countries, describing their various systems of study and instruction. HOUGHTON, MIFFLTN & CO., PUBLISHERS, BOSTON. A HANDBOOK LEGENDARY AND MYTHOLOGICAL ART. CLARA ERSKINE CLEMENT, AUTHOR OP " A SIMPLE STORY OP THE ORIENT." SDc^crigtifce THIRTEENTH EDITION. BOSTON: HOUGHTON, MIFFLIN AND COMPANY. Htoersfte Press, 1881. Entered according to Act of Congress, in the year 1871, by CLARA ERSKINE CLEMENT, in the Office of the Librarian of Congress, at Washington RIVERSIDE, CAMBR1DGB. STEREOTYPED AND PRINTED B* H. 0. HOUOHTON AND COMPAHT. PEEFAOE. Art Library N S315 VV31 188! THIS book, originating in my own experience of the want of gome hand-book of reference, both in reading and in visiting art galleries when travelling, has been written with a threefold motive. I have endeavored to produce something that would interest and instruct my children, to whom this as well as all the labors of my life are dedicated ; to acquire, for myself, a more exact knowledge of the subjects herein treated ; and to make this effort to supply my own necessity the means of use- fulness to others who feel the same need. The study and research thus occasioned have accomplished the most selfish of my desires ; if the others shall be realized, even imperfectly, my ambition will be satisfied. Were I to make my acknowledgments to all the authorities which I have consulted, the book would be enlarged by some pages, but I would mention Alban Butler's " Lives of the r o ' Saints ; " Didron's " Christian Iconography ; " Mrs. Jameson's Works ; " La Legende Doree ; " Perkins' " Tuscan and Italian Sculptors;" Miller's "Ancient Art and its Remains;" Ml Perfetto Legendario ; " " History of Painting in Italy," by Crowe and Cnvalcaselle ; Winckelmann's " History of Ancient Art among the Greeks," and Westropp's " Handbook of Archae- ology, Egyptian, Greek, Roman, and Etruscan," in connec- tion with the first portion of the book. The legends of place have been principally drawn from Ger- man literature. Must of the English translations of these le- gends that come within the reach of travellers, are the work of 958718 iv PREFACE. Germans, and so imperfectly rendered, that a knowledge of their own language is almost necessary in order to comprehend their English. The mythological portion embraces all subjects of that char- acter which are illustrated in painting or sculpture in tlie gal- leries of Rome, Florence, the Louvre, Munich, Vienna, Dresden, and Berlin. The illustrations are intended as a key or guide in the con- sideration of their subjects. I would call attention to the frontis- piece as being the first example, so far as I am able to learn, of an American picture in any work connected with art. The elegance of the book has been subordinated to the desire to make it compact and convenient as a hand-book in travelling ; this being a purpose for which it was especially written. c. E. a CLEMENT FARM, August 28, 1870. PREFACE TO REVISED EDITION. IN the revision of this book I have used notes made during eight years, both here and in Europe. The Index has been entirely re- made and much enlarged. Three Appendices have been added. In that relating to " Myths Illustrated in Art," I have included a concise account of the principal events connected with the Trojan War, and another of the Gods of Egypt. A few important " Le- gends of Place " are added which had before been overlooked, and I believe the whole book to be much improved and better suited to the needs of travellers and students. CLARA ERSKLNE CLEMENT. ' "CLEMENT FARM," October, 1878. TABLE OF CONTENTS. PAGE SYMBOLISM IN ART . .... .1 LEGENDS AND STORIES ILLUSTRATED IN ART . . 31 LEGENDS OF PLACE .318 ANCIENT MYTHS WHICH HAVE BEEN ILLUSTRATED IN ART 418 LIST OF ILLUSTRATIONS. SPALATRO. By Washington Allston. Frontispiece. PAftl ACHILLES SEIZING ARMS AT SCYROS 419 ACT.EON 420 ADONIS, DKATH OF 420 ADORATION OF THE MAGI. Taddeo Gaddi 191 AGNES, ST. 37 AJAX. /Egina Marbles 423 AMAZONS. Sarcophagus at Rome 424 AMPHION AND ZETHUS 424 ANDREW, ST. Peter Vischer 42 ANGEL 3 ANNA, ST., WITH VIRGIN AND CHILD 43 ANNUNCIATION, THE. J. Van Eyck 187 ANTONY OF PADUA, ST., MIRACLE OF. Pesillino 46 ARIADNE. Painting at Pompeii 427 ARTEMIS. (Diana.) Mus. Florence 428 ATLAS. Farnese Collection, Naples 431 AUGUSTINE, ST., VISION OF. Murillo 49 BADGE OF THE ORDER OF MERCY 30 BEI.LEKOPHON SLAYING THE CHIM.ERA 433 BERNARD OF CLAIRVAUX, ST. Fra Angelico 57 BERNARD OF CLAIRVAUX, ST., WRITING THE "Missus EST " ... 58 BERNARDINO OF SIENA, ST. 59 BONAVENTURA, ST. Raphael 61 BOREAS. Bas-relief. Athens 434 BRUNO, ST. La Sueur .63 CASSANDRA AND APOLLO 435 CATHERINE, ST., BORNE TO MT. SINAI. Miicke 65 CATHERINE, ST., MARRIAGE OF. Titian 66 CATHERINE OF SIENA, ST., RECEIVING THK STIGMATA. Razzi . 68 CKCILIA, ST. Raphael '. 69 CENTAUR. Bas-relief at Athens 436 CERBERUS. Bronze Statue 437 CHRISTINA, ST. Johan Schoreel 73 CHRISTOPHER, ST. Albert Durer 76 CLARA, ST. Portrait at Assisi 78 CONSTANTINE, EMPEROR 80 CROSSES . 3 viii LIST OF ILLUSTRATIONS CROWNS 5, 6 CUNEGUNDA, ST., TESTED BY ORDEAL 134 D^DALUS MAKING WlNGS FOB ICARUS 46C DANAIDS. Mus. Piso Clem 440 DIONYSUS. (Bacchus.) Painting found at Pompeii 432 DIRCE. Naples 425 DOMINICK, ST .88 DOROTHEA, ST. German 90 DUNSTAN, ST., AT THE FEET OF CHRIST. Drawn by himself ... 91 EAGLE 10, 20 EI,OY, ST., OF NOYON. Or-San-Michele. Florence .... 98 EROS (Cupid) 445 ETHELREDA'S, ST., DREAM. Ancient Sculpture .... 100 EUPHEMIA, ST. Andrea Mantegna 101 EUROPA. Stosch Collection 445 EUSTACE, ST. Domenichino . 102 FELIX DE CANTALICIO, ST. 105 FERDINAND, ST. Murillo 106 FLIGHT INTO EGYPT (N. Poussin) 195 FORTUNA. British Museum 446 FRANCESCA ROMANA, ST. Domenichino 109 FRANCIS, ST., ESPOUSALS OF. School of Giotto Ill FRANCIS DE PAULA, ST 114 GABRIEL, ARCHANGEL 117 GENEVIEVE OF PARIS, ST. Gue"rin 119 GEORGE OF CAPPADOCIA, ST. Raphael 121 GILES, ST. Lucas von Leyden 124 HADES. Vatican, Rome 448 HEAD OF VIRGIN. Early Florentine Sculpture 185 HECTOR. Mgina. Marbles 450 HELENA, ST. Boisser^e Gallery 130 HENRY, ST. I. v. Melem 133 HERCULES AND HOUSES OF DIOMEDES 454 HERCULES AND CERBERUS 455 HEHCULES AND OMPHALE. Farnese Group, Naples 456 HERMES. Museo Borbonico 457 HUBERT, ST. Wilhelm von Koln 137 HUGH, ST., PRESENTING A VOTARY 138 IAGO ST. Carreno de Miranda 144 IGNATIUS, ST., MARTYRDOM OF. Greek MS. 140 IGNATIUS LOYOLA, ST. Rubens 141 IMMACULATE CONCEPTION, THE. Guido 204 [RIS. Ancient Vase 461 JEROME, ST., PENANCE OF. Titian 14f JEROME SAVONAROLA AS ST. PETER MARTYR. Fra Bartolomeo . . 255 JOACHIM, ST., MEETING ANNA. Albert Durer 151 JOHN, ST. Raphael 153 JOHN CHRYSOSTOM, ST., PENANCE OF. A. Durer .... 158 JOHN GUALBERTO, ST. Fra Augelico 159 LIST OF ILLUSTRATIONS. ix PAfll JUPITER, OLYMPIAN, HEAD OF 462 JUSTA, ST., AND ST. RUFINA. Murillo 172 JU8TINA, ST., AND ALPHONSO I. OF FfiRRARA. II. MorettO . . 84 LAOCOON. Vatican 463 LAURKNCE, ST. Pinturicchio 174 LEONARD, ST. Old Fresco 177 LIMES 5 LION 18, 19, 20 LIPS. Bas-relief. Athens 465 LOHENZO GIUSTINIANA, ST. Gentil Bellini 179 Louis, ST. Ancient Glass 180 LUCIA, ST. Crivelli 182 MADONNA, ENTHRONED. Garofalo 207 MADONNA, ST. DOMINICK, AND ST. BARBARA. Francesco Francia . 209 MAROARET, ST. Lucas von Leyden 211 MARGARET, ST. Henry VII.'s Chapel 212 MARIA, ST. Cimabue. Florence 202 MARTIN, ST. Martin Schoen 217 MARY OF EGYPT, ST., DEATH OF. Pietro da Cortona .... 220 MARY MAGDALENE, ST. Donatello. Statue 221 MATER AMABILIS. Fra Bartolomeo 208 MATTHEW, ST. 225 MAURICF,, ST. Hemshirk 226 MEDEA AND HER CHILDREN. Museo Borbonico 461 MEDUSA. Marble. Munich 448 MKLEAGER. Painting of Pompeii 466 MICHAEL, ST. About Seventh Century 228 MICHAEL, ST. Martin Schoea 230 MINERVA. Athens 467 NATIVITY, THE 189 NICHOLAS OF MYRA, ST., CHARITY OF. Angelico da Fiesole . . 235 NICHOLAS OF TOLENTINO, ST 239 NILUS, ST., MIRACLE OF. Fresco at Grotta Ferrata .... 240 NIOBE AND HER CHILDREN. Florence 470 NOTRE DAME DES SEPT DOULEURS 274 NOTUS. Bas-relief. Athens . 470 ORPHKUS. Mosaic 473 OTTILIA, ST. Old German Missal ." 245 Ox 18,19 PALMS 5 PAN. Bronze Relief. Pompeii 473 PATKOCLUS. ^Egina Marbles 475 PAUL, ST. Greek, Eleventh Century 247 PENELOPE. British Museum 477 PETER OF ALCANTARA, ST 252 PETER, ST., REPENTANCE OF. Third Century 249 PETER NOLASCO, ST. Claude de Mellan 254 PREDESTINATION. Miniature 205 PROPHECY OF THE SIBYL. Baldassare Peruzzi 277 x LIST OF ILLUSTRATIONS. PAGl RAPHAEL, ST. Murillo . 263 REOINA VIRGINUM 203 RHKA OR CYBELE . 483 ROBBER, THE. Zuccaro . 194 ROCH, ST. Carotto .265 ROMUALDO, ST. National Gallery . 268 SEBALD, ST. Peter Vischer. Nuremberg 272 SIGISMOND, ST . 279 SILENUS. Bronze of Pompeii 486 SISYPHUS, IXION, AND TANTALUS 487 STEPHEN, ST. V. Carpaccio 282 SYMBOLS OF THE EVANGELISTS 18, 19, 20 TKTKAMORPH. Union of the ' Beasts" which symbolize the Evangelists 17 THECLA, ST. Lorenzo Costa 286 THERESA, ST 288 THOMAS, ST 290 THOMAS A BECKET, ST 293 TRITON 490 ULYSSES AND TIRESIAS 491 ULYSSES AND THE SIRENS 492 URSULA, ST. Hans Hemling, Bruges 305 VENTI. Vatican Virgil 493 VENUS (Aphrodite), AND EROS (Cupid) 494 VERONICA, ST. Andrea Sacchi 309 VIRGIN OF SAN VENANZIO. Greek Mosaic, A. D. 642 .... 206 VIRGIN, THE BLESSED. Moretto of Brescia 207 VIRGIN AND CHILD. Martin Schoen 207 VIRGO SAPIENTISSIMA. Van Eyck 203 WINE GKNIUS. Mosaic, Pompeii 447 ZENOBIO, ST., REVIVES A DEAD CHILD. Masaccio .... 316 ZKPHYHUS. Athens, Bas-relief 496 ZEUS. Medal in British Museum 498 SYMBOLISM IN AET ST. AUGUSTINE calls the repre- sentations of art, " libri idiotarum " (the books of the simple), and there is no doubt that the first object of Christian art was to teach ; and the aim of the artist was to render the truth he desired to present without regard to the beauty of the rep- resentation ; he adhered to the actual, and gave no play to imagi- nation or aesthetics. But later in its history, this art has been in- fluenced by legends and doctrines in the choice of subjects, and these have been variously ren- dered, in accordance with the char- acter, the aesthetic cultivation, and the refinement of the artist. But from its infancy to the present time, there have been certain character- istic figures, attributes or symbols, which have made a part of the language of what may be called Christian Art. These are meaningless, or worse, perhaps a deformity to the eye of one who understands them not ; but they add much to the power of a representation, to the depth of sentiment and expres- sion when rightly apprehended. These symbols are used in two ways : to express a general fact or sentiment, or as the especial attribute or characteristic of the person represented. My present limits allow but an imperfect and superficial consideration of this subject. I. GENERAL SYMBOLS. THE GLORY, AUREOLE, AND NIMBUS, all represent light or bright- ness, and are the symbols of sanctity. The nimbus surrounds the head ; the aureole encircles the whole body, and the glory is the 1 2 SYMBOLISM IN ART. union of the nimbus and aureole. The nimbus belongs to all holy persons and saints as well as to the representations of divinity. The aureole, strictly speaking, belongs only to the persons of the God head, but the Virgin Mary is invested with it, (1) when sh holds the Saviour in her arms ; (2) in pictures of the Assumption (3) when she is represented as the intercessor for humanity at the last judgment ; (4) when represented as the Woman of the Apocalypse. The aureole has also been used as a symbol of the apotheosis of holy persons ; but this is a degeneration from its orig- inal design and the use assigned it in ancient traditions. The Glory also belongs especially to God and the Virgin. The oblong aureole is called in Latin, vesica piscis ; in Italian, the mandorla : (almond). The cruciform or triangular nimbus, or the figure of a 2ross in the nimbus, belong properly to the persons of the Trinity ; the nimbus of saints and lesser beings should be circular. A square nimbus is used for persons still living when the representation was made ; the hexagonal nimbus for allegorical personages. These symbols did not appear in Christian art until the fifth century, and during the fifteenth and sixteenth centuries they disappeared. They are, however, employed in the present day, although not with the careful distinction in the employment of the various forms which characterized their earliest use. The color of these symbols in painting is golden, or that which represents light ; in some in- stances, in miniatures, or on glass, they are of various colors. Didron believes these to be symbolical, but is not sure of the sig- nification of the colors. THE FISH. A fish, most frequently a dolphin, was the earliest and most universal of the Christian symbols. It has several signifi- cations. The Greek word for fish, IX0Y2, is composed of the ini- tial letters of the Greek 'I^trotjs XpioTos, eou Yio?, ^orrr/p, the Latin translation of which is, Jesus Christ us Dei filius Salvator thus form- ing the initial anagram of this title of Jesus ; and these characters are found in many ancient inscriptions, and upon works of art. The fish is an emblem of water and the rite of baptism ; of the vocation of the Christian apostle, or " fisher of men," especially in the hands of St. Peter and others who were eminently successful in making con- verts ; it is emblematic of Christians generally, they being likened to fish in the call of the Apostles (Matt. iv. 19), and also typified by the miraculous draught of fishes (John xxi). But it is not true that the fish is always a Christian emblem ; according to Didron it is never met as such in Greek art, and he believes that this emblem on the tombs in the catacombs at Rome, signified the occupation of the person buried in them. THE CROSS has a deeper meaning than that of other symbols ; it is in a certain sense not merely the instrument of the sufferings of Christ, but himself suffering " ubi crux est martyr ibi" In Chris- tian iconography, the cross holds a most important place. Accord- SYMBOLISM IN ART. r (2.) ing to the tradition or legend of the True Cross, it was coexistent with the world, and will appear at the last judgment. Chosroes believed that in possessing the cross of Christ he possessed the Sa- viour, and so it was enthroned at his right hand. Thus in early representations of the three persons of the godhead the cross without the figure was considered not only to recall Christ to the mind but actually to show him. There are four differently formed crosses : The Latin or Roman cross (1) is believed to be like that on which Christ suffered, and is the one placed in the hand of a saint. This cross is in the form of a man with the arms extended ; the distance from the head to the shoulders being less than from the shoulders to the feet, and the length of the arms less than that of the whole figure. The Greek cross (2) has four {/ (3.) X s ) (4.) equal branches. The cross of Saint Andrew (3) is a cross saltier or an X ; and the Egyptian or " Tau " cross (4), has but three branches, like the letter T. This last is also called St. Anthony's Cross, because this saint is repre- sented with a crutch in the shape of the " Tau," and it is embroid- ered on his vestments. It is also assigned as the cross of the Old Tes- tament, and the brazen serpent is represented on a pole with this form. The Patriarchal Cross is of the same shape as the Latin Cross, but has two horizontal bars. There are numerous varieties of the Greek and Latin crosses, such as the Maltese Cross, the Cross of Dorat and various others which pertain in some cases to certain localities. The cross is often interlaced or combined with the first two letters of the name of Christ in Greek. This monogram itself is called the Labarum, or the Cross of Constantino, this being the form of the legendary cross which he saw in the sky, and which was in- scribed, according to Eusebius, EN TOYTO NIKA, " Conquer by this." Frequently when the cross was made of gold or silver, the five wounds of Christ were represented by inserting in it as many car- buncles or rubies, there being one in the centre and one at each extremity. THE LAMB has been an emblem of the Saviour from the earliest period of Christian art. It was the type of Him in the Old Testa- ment and the name given Him by St. John the Baptist (John i. 28). When standing, bearing the cross or a banner, with a nimbus about