MARIOLATRY
753
MARIOLATRY
tion, a sinless birth, resurrection and ascension to heav- en, and a participation of all power in heaven and earth. She became the centre of devotion, cultus, and art, and the popular symbol of power, of glor}', and of the final victory of Catholicism over all heresies" (ii, 424, 4'25). In the 6th century the practice became general witliin the Church, both in the East and in the ^\'est, and the writers, commencing with the post-Nicene period, which had brought in this innovation with many others, down to the 16th century, are now found to relate the untold privileges of the Virgin, and with an enthusiasm con- stantly growing until checked by the opposition of the Reformers, we are told of the efKcacy of Mary as a me- diator with her Son. This devotional enthusiasm was carried to its greatest height by St. Bernard (q. v.), and still more so by Bonaventura (cited above), who. Dr. Wiseman says, was one of the saints and luminaries of the Roman Catholic Church, and every Roman Cath- olic prays that he may be enlightened by his teaching and benefited by his prayers. It is Bonaventura who gave the following version of the 51st Psalm: "Have pity upon me, O great Queen, who art called the Mother of Mercy; and, according to the tenderness of that mercy, purify me from my iniquities." And so it runs throughout. The 149th Psalm is — "Sing a new song in honor of our Queen. Let the just publish her praises in their assemblies. Let the heavens rejoice in her glory ; let the isles of the sea and all the earth rejoice therein. Let water and fire, cold and heat, brightness and light, praise her. Let the mouth of the just glorify her; let her praises resound in the triumphant company of tlie saints. City of God, place thy joy in blessing her, and let songs of praise continually be sung to her by thy illustrious and glorious inhabitants."
Promotion of Mariolatrij by rdiijious Art. — Ever since the condemnation of Nestorius the popular doc- trine had found its ablest support in art. The repre- sentation of that beautifid group, since popularly known as the Madonna and Child, became the expression of the orthodox faith. " Every one who wished to prove his hatred of the arch-heretic exhibited the image of the maternal Virgin holding in her arms the infant God- head, either in his house as a picture, or embroidered on his garments, or on his furniture, or his personal orna- ments— in short, wherever it could be introduced" (Mrs. Jameson, Legends of the Madonna, p. xxi). With the extension and popularity of the worship of the Virgin, the multiplication of her image, in every form and ma- terial, naturally enough spread throughout Christendom, until sutldenly checked by the iconoclastic movements of the 8th century [sec Iconoclas.m], and, descending the Middle Ages, we find Christian art generally at its lowest ebb in the 10th and 11th centuries. The pil- grimages to the Holy Land and the Crusades mark the renaissance, but it was not until the 13th century that Mariolatry received more aiol from religious art. Then the popular enthusiasm was kindled anew by the exer- tions of Bonaventura, and by the formation of many chivalric brotherhoods that vowed her especial ser\-ice (as the Serrtii, who were called in France les esclavcs de 3Iarie), and by the action of the great religious com- munities, at this time comprehending all the enthusi- asm, learning, and influence of the Church. These had placed themselves solemnly and especiallj' under the protection of the Virgin. " The Cistercians wore white in honor of her purity; the Servi wore black in respect to her sorrows; the Franciscans had enrolled themselves as champions of the immaculate conception; and the Dominicans introduced the Rosary. All these richly- endowed communities vied with each other in multiply- ing churches, chapels, and pictures in honor of their patroness, and expressive of her several attributes. The devout painter, kneeling before his easel, addressed him- self to tlic task of portraying these heavenly lineaments, which had visited him perhaps in dreams. IVIany of the professed monks and friars became themselves ac- complished artists" (Mrs. Jameson). Poetry also came v.— B Ii B