Sacred and legendary art, volume 1 (of 2): Containing legends of the angels and archangels, the evangelists, the Apostles, the doctors of the church, and St. Mary magdalene, as represented in the fine arts.Jameson, Mrs. (Anna)
Religion
Sacred and legendary art, volume 1 (of 2): Containing legends of the angels and archangels, the evangelists, the Apostles, the doctors of the church, and St. Mary magdalene, as represented in the fine arts.
Jameson, Mrs. (Anna)
Christian art and symbolism; Christian saints in art
It is the martyrdom in the boiling oil which gives St. John the right
to bear the palm, with which he is occasionally seen.
8. St. John, habited in priest’s garments, descends the steps of an
altar into an open grave, in which he lays himself down, not in death,
but in sleep, until the coming of Christ; ‘being reserved alive with
Enoch and Elijah (who also knew not death), to preach against the
Antichrist in the last days.’ This fanciful legend is founded on the
following text: ‘Peter, seeing the disciple whom Jesus loved following,
saith unto Jesus, Lord, and what shall this man do? Jesus saith unto
him, If I will that he tarry till I come, what is that to thee? Then
went this saying abroad among the brethren that that disciple should
not die.’ (John xxi. 21, 22.)
The legend which supposes St. John reserved alive has not been
generally received in the Church, and as a subject of painting it is
very uncommon. It occurs in the Menologium Græcum,[139] where the grave
into which St. John descends is, according to the legend, ‘_fossa in
crucis figuram_’ (in the form of a cross). In a series of the deaths
of the Apostles,[140] St. John is ascending from the grave; for,
according to the Greek legend, St. John died without pain or change,
and immediately rose again in bodily form, and ascended into heaven to
rejoin Christ and the Virgin.
In a small and very curious picture which I saw at Rome,[141] forming
part of a Predella, there is a tomb something like the Xanthian tombs
in form: one end is open; St. John, with a long grey beard, is seen
issuing from it, and, as he ascends, he is met by Christ, the Virgin,
St. Peter, and St. Paul, who are descending from above; while figures
below look up with astonishment. On the ancient doors of San Paolo he
is lying in an open grave or sarcophagus.
* * * * *
Of the miracles performed by John after his death, two are singularly
interesting in the history of Art; both have been treated in sculpture.
9. When the Empress Galla Placidia was returning from Constantinople to
Ravenna with her two children (A.D. 425), she encountered a terrible
storm. In her fear and anguish she vowed a vow to St. John the
Evangelist, and, being landed in safety, she dedicated to his honour a
magnificent church. When the edifice was finished, she was extremely
desirous of procuring some relics of the evangelist, wherewith to
consecrate his sanctuary; but as it was not the manner of those days
to exhume, and buy and sell, still less to steal, the bodies of holy
men and martyrs, the desire of the pious empress remained unsatisfied.
However, as it is related, St. John himself took pity upon her; for
one night, as she prayed earnestly, he appeared to her in a vision;
and when she threw herself at his feet to embrace and kiss them, he
disappeared, leaving one of his slippers or sandals in her hand, which
sandal was long preserved.
Public-domain text, read in full here on John Shaqi.
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