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
7. St. Augustine, borne aloft by angels in an ecstatic vision, beholds
Christ in the opening heavens above, St. Monica kneeling below. This
fine picture, by Vandyck, is or was in the gallery of Lord Methuen
at Corsham: and at Madrid there is another example, by Murillo: St.
Augustine kneeling in an ecstasy sees a celestial vision; on one hand
the Saviour crucified, on the other the Virgin and angels.
* * * * *
[Illustration: 89 The Vision of St. Augustine (Murillo)]
This, however, is not the famous subject called, in general, 8.
‘The Vision of St. Augustine,’ which represents a dream or vision
related by himself. He tells us that while busied in writing his
Discourse on the Trinity, he wandered along the sea-shore lost in
meditation. Suddenly he beheld a child, who, having dug a hole in
the sand, appeared to be bringing water from the sea to fill it.
Augustine inquired what was the object of his task? He replied, that he
intended to empty into this cavity all the waters of the great deep.
‘Impossible!’ exclaimed Augustine. ‘Not more impossible,’ replied the
child, ‘than for thee, O Augustine! to explain the mystery on which
thou art now meditating.’
No subject from the history of St. Augustine has been so often treated,
yet I do not remember any very early example. It was adopted as a
favourite theme when Art became rather theological than religious, and
more intent on illustrating the dogmas of churchmen than the teaching
of Christ. During the 16th and 17th centuries we find it everywhere,
and treated in every variety of style; but the _motif_ does not vary,
and the same fault prevails too generally, of giving us a material
fact, rather than a spiritual vision or revelation. Augustine, arrayed
in his black habit or his episcopal robes, stands on the sea-shore,
gazing with an astonished air on the Infant Christ, who pauses, and
looks up from his task, holding a bowl, a cup, a ladle, or a shell
in his hand. Thus we have it in Murillo’s picture—the most beautiful
example I have seen: the child is heavenly, but not visionary,
‘palpable to feeling as to sense.’
Public-domain text, read in full here on John Shaqi.
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