Women of the Romance Countries by John Robert Effinger
page 43 of 331 (12%)
page 43 of 331 (12%)
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without some reference to the influence which it exerted upon the art of
the time. Madonna pictures first appeared in the East, where the worship of such images had gained a firm foothold as early as the ninth century, but long before that time pictures of the Mother of God were known and many of them had become quite famous. Saint Luke the Evangelist is generally considered as the first of the religious painters, and the Vladimir Church at Moscow is in possession of a Madonna which is supposed to be the work of his hand. The Eastern Church was the first to feel the effect of this outburst of religious art, and it is but natural to find some of its earliest examples in various other Russian cities, such as Kieff, Kazan, and Novgorod. 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; but inasmuch as artistic endeavor shows that same lack of originality which was characteristic of all other forms of intellectual activity at this time, the germ took root but slowly, and for a number of centuries servile imitations of the highly decorated and decidedly soulless Byzantine Virgins were very common. One of these paintings may be found in almost every church throughout the length and breadth of Italy; but when you have seen one you have seen them all, for they all have the same expression. The eyes are generally large and ill shaped, the nose is long, the face is wan and meagre, and there is a peevish and almost saturnine expression in the wooden features which shows but slight affection for the Christ-child, and which could have afforded but scant comfort to any who |
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