Legends of the Madonna, as represented in the fine arts. Forming the third series of Sacred and legendary art (1852) (14778229574)

Identifier: legendsofmadonna1852jame (find matches)
Title: Legends of the Madonna, as represented in the fine arts. Forming the third series of Sacred and legendary art
Year: 1852 (1850s)
Authors: Jameson, Mrs. (Anna), 1794-1860
Subjects: Mary, Blessed Virgin, Saint Mary, Blessed Virgin, Saint
Publisher: London, Longman, Brown, Green, and Longmans
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University



Text Appearing Before Image:
is worth nothing unless he who runs may read, has inundated the world with frivolousand pedantic criticism. A picture or any other work of Art, isworth nothing except in so far as it has emanated from mind, andis addressed to mind. It should, indeed, be read like a book. Pic-tures, as it has been well said, are the books of the unlettered, butthen we must at least understand the language in which they arewritten. And further,—if, in the old times, it was a species ofidolatry to regard these beautiful representations as endued witha specific sanctity and power ; so, in these days, it is a sort ofatheism to look upon them reckless of their significance, regardlessof the influences through which they were produced, without ac-knowledgment of the mind which called them into being, withoutreference to the intention of the artist in his own creation. itontinnal luhjtrtH. PART I. 1. LA VERGINE GLORIOSA. 2. LINCOE-ONATA. 3. LA MADONNA DI MISERICORDIA. 4. LA MADRE DOLOROSA.6. LA CONCEZIONE.
Text Appearing After Image:
The Virgin of Ravenna. (Greek Bas-relief. 6th Century.) €f)t Wivsin toitfeout tfee Cftillr. The Virgin Mary. Lat. 1. Virgo Gloriosa. 2. Virgo SponsaDei. 3. Virgo Potens. 4. VirgoVeneranda. 5. Virgo Praedicanda. 6. Virgo Clemens. 7. Virgo Sa-pientissima. 8. Sancta Virgo Virginum. Ital. La Vergine Gloriosa.La Gran Vergine delle Vergini. Fr. La Grande Vierge. There are representations of the Virgin, and among themsome of the earliest in existence, which place her before usas an object of religious veneration, but in which the pre-dominant idea is not that of her maternity. No doubt itwas as the mother of the Saviour Christ that she wasoriginally venerated; but in the most ancient monuments of B 2 LEGENDS OF THE MADONNA. w. c. 3. the Christian faith, the sarcophagi, the rude paintings in thecatacombs, and the mosaics executed before the seventhcentury, she appears simply as a veiled female figure, notin any respect characterised. She stands, in a subordinateposition, on one side of Chri