taught by him the principles of his own art; but she had instincts for all,—taste for music,—a feeling for poetry,—and a delicate appreciation of the drama. These gifts—in her youth rarer in combination than they are now (when the connection of the arts is becoming understood, and the love of all increasingly diffused)—were, during part of Mrs. Jameson's life, turned to the service of education.—It was not till after her marriage, that a foreign tour led her into authorship, by the publication of "The Diary of an Ennuyée," somewhere about the year 1826.—It was impossible to avoid detecting in that record the presence of taste, thought, and feeling, brought in an original fashion to bear on Art, Society, Morals.—The reception of the book was decisive.—It was followed, at intervals, by "The Loves of the Poets," "Memoirs of Italian Painters," "The Lives of Female Sovereigns," "Characteristics of Women" (a series of Shakspeare studies; possibly its writer's most popular book). After this, the Germanism so prevalent five-and-twenty years ago, and now somewhat gone by, possessed itself of the authoress, and she published her reminiscences of Munich, the imitative art of which was new, and esteemed as almost a revelation. To the list of Mrs. Jameson's books may be added her translation of the easy, if not vigorous Dramas by the Princess Amelia of Saxony, and her "Winter Studies and Summer Rambles"—recollections of a visit to Canada. This included the account of her strange and solitary canoe voyage, and her residence among a tribe of Indians. From this time forward, social questions—especially those concerning the position of women in life and action—engrossed a large share of Mrs. Jameson's attention; and she wrote on them occasionally, always in a large and enlightened spirit, rarely without touches of delicacy and sentiment.—Even when we are unable to accept all Mrs. Jameson's conclusions, or to join her in the hero or heroine worship of this or the other favourite example, we have seldom a complaint to make of the manner of the authoress. It was always earnest, eloquent, and poetical.

Besides a volume or two of collected essays, thoughts, notes on books, and on subjects of Art, we have left to mention the elaborate volumes on "Sacred and Legendary Art," as the greatest literary labour of a busy life. Mrs. Jameson was putting the last finish to the concluding portion of her work, when she was bidden to cease forever.

There is little more to be told,—save that, in the course of her indefatigable literary career, Mrs. Jameson drew round herself a large circle of steady friends—these among the highest illustrators of Literature and Art in France, Germany, and Italy; and that, latterly, a pension from Government was added to her slender earnings. These, it may be said without indelicacy, were liberally apportioned to the aid of others,—Mrs. Jameson being, for herself, simple, self-relying, and self-denying;—holding that high view of the duties belonging to pursuits of imagination which rendered meanness, or servility, or dishonourable dealing, or license glossed over with some convenient name, impossible to her.—She was a faithful friend, a devoted relative, a gracefully-cultivated, and honest literary worker, whose mind was set on "the best and honourablest things."

* * * * *

Some months since Mrs. Jameson kindly consented to prepare for this edition of her writings the "Legends of the Madonna," "Sacred and Legendary Art," and "Legends of the Monastic Orders;" but, dying before she had time to fulfil her promise, the arrangement has been intrusted to other hands. The text of this whole series will be an exact reprint of the last English Edition.

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The portrait annexed to this volume is from a photograph taken in
London only a short time before Mrs. Jameson's death.

BOSTON, September, 1860.

AUTHOR'S PREFACE

TO THE FIRST EDITION.

In presenting to my friends and to the public this Series of the
Sacred and Legendary Art, few preparatory words will be required.

If in the former volumes I felt diffident of my own powers to do any justice to my subject, I have yet been encouraged by the sympathy and approbation of those who nave kindly accepted of what has been done, and yet more kindly excused deficiencies, errors, and oversights, which the wide range of subjects rendered almost unavoidable.

With far more of doubt and diffidence, yet not less trust in the benevolence and candour of my critics, do I present this volume to the public. I hope it will be distinctly understood, that the general plan of the work is merely artistic; that it really aims at nothing more than to render the various subjects intelligible. For this reason it has been thought advisable to set aside, in a great measure, individual preferences, and all predilections for particular schools and particular periods of Art,—to take, in short, the widest possible range as regards examples,—and then to leave the reader, when thus guided to the meaning of what he sees, to select, compare, admire, according to his own discrimination, taste, and requirements. The great difficulty has been to keep within reasonable limits. Though the subject has a unity not found in the other volumes, it is really boundless as regards variety and complexity. I may have been superficial from mere superabundance of materials; sometimes mistaken as to facts and dates; the tastes, the feelings, and the faith of my readers may not always go along with me; but if attention and interest have been exited—if the sphere of enjoyment in works of Art have been enlarged and enlightened, I have done all I ever wished—all I ever hoped, to do.

With regard to a point of infinitely greater importance, I may be allowed to plead,—that it has been impossible to treat of the representations of the Blessed Virgin without touching on doctrines such as constitute the principal differences between the creeds of Christendom. I have had to ascend most perilous heights, to dive into terribly obscure depths. Not for worlds would I be guilty of a scoffing allusion to any belief or any object held sacred by sincere and earnest hearts; but neither has it been possible for me to write in a tone of acquiescence, where I altogether differ in feeling and opinion. On this point I shall need, and feel sure that I shall obtain, the generous construction of readers of all persuasions.

INTRODUCTION

I. ORIGIN AND HISTORY OF THE EFFIGIES OF THE MADONNA.

Through all the most beautiful and precious productions of human genius and human skill which the middle ages and the renaissance have bequeathed to us, we trace, more or less developed, more or less apparent, present in shape before us, or suggested through inevitable associations, one prevailing idea: it is that of an impersonation in the feminine character of beneficence, purity, and power, standing between an offended Deity and poor, sinning, suffering humanity, and clothed in the visible form of Mary, the Mother of our Lord.

To the Roman Catholics this idea remains an indisputable religious truth of the highest import. Those of a different creed may think fit to dispose of the whole subject of the Madonna either as a form of superstition or a form of Art. But merely as a form of Art, we cannot in these days confine ourselves to empty conventional criticism. We are obliged to look further and deeper; and in this department of Legendary Art, as in the others, we must take the higher ground, perilous though it be. We must seek to comprehend the dominant idea lying behind and beyond the mere representation. For, after all, some