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On these grounds Mrs. Jameson treats of the Poetry of Sacred and Legendary Art. Her first volume contains a general sketch of the legends connected with angels, with the scriptural personages, and the primitive fathers. Her second, the histories of most of “those sainted personages who lived, or are supposed to have lived, in the first ages of Christianity, and whose real history, founded on fact or tradition, has been so disfigured by poetical embroidery that they have in some sort the air of ideal beings.” Each story is followed by a series of short but brilliant criticisms on those pictures in which the story has been embodied by painters of various schools and periods, and illustrated by numerous spirited etchings and woodcuts, which add greatly to the value and intelligibility of the work. A future volume is promised which shall contain the “legends of the monastic orders, and the history of the Franciscans and the Dominicans, considered merely in their connection with the revival and the development of the fine arts in the thirteenth and fourteenth centuries”–a work which, if it equal the one before us, will doubtless be hailed by those conversant with that wonderful phase of human history as a valuable addition to our psychologic and aesthetic literature.

We ought to petition, also, for a volume which should contain the life of the Saviour, and the legends of the Virgin Mary; though this latter subject, we are afraid, will be too difficult for even Mrs. Jameson’s tact and delicacy to make tolerable to English readers, so thoroughly has the Virgin Mary, as especial patroness of purity, been intermixed in her legends with every form of prudish and prurient foulmindedness. {199}

{199} Since this was written, Mrs. Jameson’s volume on the Legends of the Madonna has succeeded excellently in giving us, if not a complete, yet still a readable and modest picture of medieval Mariolatry.

The authoress has wisely abstained from all controversial matters. In her preface she begs that it may be clearly understood, “that she has taken throughout the aesthetic and not the religious view of these productions of art; which, in as far as they are informed with a true and earnest feeling, and steeped in that beauty which emanates from Genius inspired by Faith, may cease to be religion, but cannot cease to be poetry; and as poetry only,” she says, “I have considered them.” In a word, Mrs. Jameson has done for them what schoolmasters and schoolboys, bishops and Royal Academicians, have been doing for centuries, by Greek plays and Greek statues, without having incurred, as we said above, the slightest suspicion of wanting to worship heathen gods and goddesses.

Not that she views these stories with the cold unbelieving eye of a Goethe, merely as studies of “artistic effect;” she often transgresses her rule of impartiality, and just where we should wish her to do so. Her geniality cannot avoid an occasional burst of feeling, such as concludes her notice of the stories about the Magdalene and the other “beatified penitents.”

Poets have sung, and moralists and sages have taught, that for the frail woman there was nothing left but to die; or if more remained for her to suffer, there was at least nothing left for her to be or do–no choice between sackcloth and ashes and the livery of sin. The beatified penitents of the early Christian Church spoke another lesson–spoke divinely of hope for the fallen, hope without self- abasement or defiance. We, in these days, acknowledge no such saints; we have even done our best to dethrone Mary Magdalene; but we have martyrs–“by the pang without the palm”–and one, at least, among these who has not died without lifting up a voice of eloquent and solemn warning; who has borne her palm on earth, and whose starry crown may be seen on high even now amid the constellations of Genius.–Vol. ii. p. 386.