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Giovannino Battista: a Study in Renaissance Religious Symbolism Author(S): Marilyn Aronberg Lavin Source: the Art Bulletin, Vol

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Giovannino Battista: a Study in Renaissance Religious Symbolism Author(S): Marilyn Aronberg Lavin Source: the Art Bulletin, Vol Giovannino Battista: A Study in Renaissance Religious Symbolism Author(s): Marilyn Aronberg Lavin Source: The Art Bulletin, Vol. 37, No. 2 (Jun., 1955), pp. 85-101 Published by: College Art Association Stable URL: http://www.jstor.org/stable/3050701 . Accessed: 07/01/2011 09:54 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. 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College Art Association is collaborating with JSTOR to digitize, preserve and extend access to The Art Bulletin. http://www.jstor.org GIOVANNINO BATTISTA: A STUDY IN RENAISSANCE RELIGIOUS SYMBOLISM* MARILYN ARONBERG LAVIN HE figureof the Infant St. John becamesuch a commonplacein fifteenthcentury art that it has rarely been thought to questionwhether or not there are specificsources for its appearance.Yet the problem acquiresparticular interest and importancewhen it is realized that the saint was almost never shown in this form before the Italian Renaissance.At that time the aged hermitof traditionwas transformedinto a child as young even as the Infant Christ with whom he was so frequently portrayed. Generally it has been believed that the numerous domestic scenes bearing such titles as Madonna and Child with the Infant St. John, or Holy Family with the Infant St. John, were simply manifestationsof Renaissancenaturalism, and that the reductionin John's age was merely a result of Florentine interest in the graces of child- hood.' However, art historicalexperience amply demonstratesthat Renaissanceartists were not in the habitof introducingnew representationalforms casuallyand without basisin tradition.Con- sequently,the hypothesisof naturalism,adequate or not as a definitionof the phenomenon'scause, is certainly unsatisfactoryas a descriptionof its source. Since this perhaps more than any other single religioussubject typifies the period,our ignoranceof its real meaningand origin constitutes a major gap in our knowledge of Renaissanceiconography. The main traditionfor representationsof the Infant St. John seems to begin in Italy in the thirteenth century." On the St. John Altar Frontal (ca. 1260-I270) in the Pinacoteca of Siena,' one of the panelson the left wing shows the Infant St. John with Elizabeth greeting the enthroned Madonnaand Child (Fig. 3). Mary is seated to the left holding Christ. Elizabeth kneels at the right and holds John before her, while he extends his hand in responseto Jesus' blessing. Curi- ously enough, no such scene is recordedby the Evangelists,' nor indeed does the New Testament make any mentionof John's childhood.On the other hand, if we turn to apocryphalliterature we find that Eastern traditionpreserved several versions of the story of John's youth."Among these * This topic was first defined by Dr. Erwin Panofsky, for 3. Cesare Brandi, La Regia Pinacoteca di Siena, Rome, 1933, whose extraordinary generosity and patience I am deeply grate- pp. 281-282, no. 14. ful. I also wish to thank Dr. H. W. Janson for his kind help 4. The only Biblical reference to John before the time of and encouraging guidance. the Baptism is the account of his birth in Luke x:x-8o. i. Girmoiiard de Saint-Laurent, "De 1'Iconographie de St. 5. The earliest extant aprocryphal description of John's in- Revue de Jean-Baptiste," l'art chritien, II, 1867, pp. 23-30; fancy is in the second century "Book of James," the so-called Bernard Berenson, Three Essays in Method, Oxford, 1927, pp. Protoevangelium (Apocryphal Gospels, Acts and Revelations, o101-113 Rosaline Schaff, "The Iconography of the Nativity Ante-Nicene Christian Library, ed., A. Roberts and J. Donald- in Florentine Painting of the Third Quarter of the Quattro- son, Edinburgh, 1873, xvI, p. 13). There it is related that to cento with Particular Reference to the Madonna and Child," escape the soldiers of Herod (cf. note 67), Elizabeth and her unpublished Master of Arts thesis, Institute of Fine Arts, New child John fled into the "hill country," where under the protec- York University, May, 1942, pp. 30-90. For other interpreta- tion of "an Angel of the Lord" they hid in a mountain which tions, see also Emil Mile, L'Art religieux du Xllle siecle en miraculously opened to receive them. The story of the Proto- France, Paris, 1932, p. 2483 Ulrich Middeldorf, "A Note on evangelium was greatly expanded in the "Life of John the Two Pictures by Tintoretto," Gazette des Beaux-Arts, xxvr, Baptist" written by the Egyptian Bishop Serapion between 385 1944, p. 250 n. 0o. and 395 (ed. and trans., A. Mingana, Bulletin of the John 2. To my knowledge there is only one representation of the Rylands Library, Manchester, xI, 1927, pp. 438ff., reprinted Infant St. in before the thirteenth the in Woodbrooke John Italy century, i.e., Studies, Cambridge, I, 1927, pp. 234-2873 niche of the Three Holy Mothers in the right aisle of Santa cited by Hugh J. Schonfield, The Lost "Book of the Nativity Maria Antiqua, Rome (Myrtilla Avery, "The Alexandrian Style of John," Edinburgh, 1929, p. 21, and app., pp. 69ff.). This at Santa Maria Antiqua, Rome," ART BULLETIN, VII, 1924-25, version of the legend tells that after leaving the mountain, pp. 132ff., esp. p. 143 and n. 62, fig. 37). Elizabeth and John wandered in the desert for five years until 86 THE ART BULLETIN ancientlegends a visit of Elizabeth and John to Mary and Christ is first describedin the fourth century,"and later in a Slavonictext entitled "The Story of the Birth of John the Precursorand of the Killing of his Father Zachariah";'here it appearsin precisely the form which is repre- sented on the frontal: "[Joseph and his family] fled to Galilee in the city of Nazareth. And it happenedthat Elizabeth was also there; and Mary and Elizabeth, Jesus and John greeted each other.""(Chap. vIII, vv. 2-3) A secondpanel of this frontal shows the Infant St. John being carriedthrough the desert on the shouldersof an Angel (Fig. 4). Again the Slavonic text provides a literary explanationof the scene.It relatesthat an angel was sent by God to protectElizabeth and John in the mountain, where they had fled from the soldiers of Herod;' the angel is identifiedas the ArchangelUriel, into whose care John was given: ". .. afterwardswhen John was five years old, he was delivered into the hands of the Archangel."(Chap. ix, v. I) This latter scene had visual as well as literary precedent,for the angel leading John in the desert had been representedin Byzantineart as early as the eleventh century.10 Thus this Sienesefrontal introducesus to a fact basicto the iconographyof the Infant St. John, namely that the subjectis entirely apocryphaland Eastern in origin.? Indeed it would seem that influencefrom the East beganto inspirerepresentations of the youthful St. John in Italy just after the middle of the thirteenthcentury. The Infant accompaniedby Uriel is again representedin the frescos of the Parma Baptistry, which are to be dated ca. 1259-1270.1" Slightly later in the century the old woman died. In order to help with the burial, Jesus schichte der Altchristlichen Literatur, ed., Gebhart and Har- and Mary are miraculously transported from Egypt. They stay nack, N.F., Band ii, Leipzig, 1904). Schonfield (op.cit., p. with John for seven days and teach him how to live in the 12) believes it is somewhat later. A brief English redaction is desert. The Serapion text thus contains the first description of a given by M. R. James, Lost Apocrypha of the Old Testament, meeting of the Madonna and Child with John in the desert. "Translations of Early Documents, Series I, Palestinian Jewish As we shall see, this legendary incident, later transmitted to the Texts (Pre-Rabbinic)," London, 1920, pp. 75-77. The German West, was of prime importance for Renaissance iconography of translation is quoted by Ilse Falk, Studien zu Andrea Pisano, the Infant John. (See below, note io, for another Eastern Hamburg, 1940, pp. 90-93* version of the Meeting.) 8. Falk (ibid., p. 126) concludes from this relationship that The Serapion text, incidentally, also provides the explanation the frontal is dependent on a Syrian-Palestinian tradition of of a very puzzling illumination in the Chludoff Psalter (Mos- apocryphal illustration. See note 30 for another representation cow: Mus. Historical, gr. 129, fol. 85r, probably ninth cen- of this scene. tury; J. J. Tikkanen, Die Psalterillustration im Mittelalter, 9. Cf. note 5. Acta Societatis Scientiarum Fennicae, xxxI, p. 5o, no. 5. Cf. also Cf. Paris, gr. 74, fol. (Henri Omont, tvangiles Barberini Psalter, Vat. Barb. gr. 372, fol. 40ovi Theodore avecxo. peintures byzantines du XIexo7v siecle, Paris, 1908, II, p. 95 Psalter, Brit. Mus., Ms. Add. i9352, fol. II3v, both of the [2]). eleventh century; Kurt Weitzmann, Illustrations in Roll and In the usual Byzantine type the Infant John is led from left Codex, Princeton, 1947, p.
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