_Orcagna_ (part of the altar-piece, 569).
These panels are very rude and "conventional": nothing can be more
absurd, for instance, than the sleeping sheep and shepherds at the
top of the Nativity; but they are interesting, if only by comparison
with later pictures of the same subjects. Such a comparison shows
how constant the traditional ways of representing these events were,
and how individual choice was shown in beautifying the traditions.
From this point of view the Nativity is specially interesting. "This
beautiful little picture," says Mr. Hodgson, R.A., "is a good example
of the simplest and most perfectly symbolical treatment of the subject.
In design and composition the painter has thought only how to convey
the story with the utmost clearness and simplicity. It is what it was
intended to be, a Scripture story made visible to those who could not
read. Naturalism, _i.e._ the actual representation of the aspect of
nature, is not thought of, no more at least than was necessary to make
the meaning of the painted symbol equivalent to that of the word: rock
for rock, ox for ox, and ass for ass. The degree of naturalism aimed
at in such scenes can be tested pretty accurately by the treatment of
the nimbus. A flat circular expanse of gold inserted into a picture
must necessarily be destructive of all illusion--it is treated as
a symbol, a thing non-existent, but as a necessary traditional
observance. When naturalism was aimed at, the nimbus was looked upon
as an actual existing corona of golden light which the saint carried
about with him, and it was drawn in perspective, according to the
turn of his head" (_Magazine of Art_, 1890, p. 39). Turn next to the
Nativity by Piero della Francesca (908)--a picture painted 100 years
later. The symbolism is already mixed up with some conscious striving
after objects beautiful in themselves. To a generation later still
belongs Botticelli's "Nativity" (1034). It is full, as we shall see,
of doctrinal symbolism, but it strikes the imagination also by the
pomp and pageantry of the angelic host, and appeals to the senses by
its flowing lines and gorgeous colourings. Yet in all these pictures
of the Nativity there are certain fixed elements. One feature never
absent is the introduction of the ox and the ass, suggested by a text
from Habakkuk, iii. 4, "He shall lie down between the ox and the ass."
A second point is that Joseph "sits apart, apparently weary or in
meditation. Great care seems to have been taken to suggest that he in
a certain sense held aloof, and was no participator in the interest
of the scene; it was feared, perhaps, that were he to exhibit joy and
surprise, it might convey the idea of paternity; he is always a mere
impassive spectator." The scene of the Nativity is in the earliest
pictures always represented as a cavern; a grotto at Bethlehem is to
this day revered as the actual spot. In Margaritone's picture (564)
we have a bare cave in the rock. In Orcagna's the cave remains, but a
wooden portico or shed is added to shelter the Virgin and her Child.
Next the cave disappears altogether, but the shed remains (_e.g._ 908,
1034).
The Adoration of the Magi (574) was a favourite subject with the
Italian painters, for the three kings and their attendants gave them an
excuse for the most elaborate and picturesque detail. In the picture
before us Orcagna was restricted by the size and shape of the panel;
but even making the necessary allowances on this score, we see that we
have here a relatively simple treatment of the theme. Orcagna finds
room, however, for "a perfect menagerie. There are the sheep, with a
howling dog above; and below, an evil, badger-like dog, evidently much
ashamed of himself and his deeds, is sneaking along into a hole in the
rock. As for the amiable ox sitting upon his haunches, with his tail
turned round like a cat's, and the shy ass, showing the whites of his
eye: are they not delightful beauties?" (_The Beasts of the National
Gallery_, by Sophia Beale, in _Good Words_, July 1895). For the rest,
Orcagna's "Adoration" is limited to the necessary characters. By way
of contrast, look at Filippino Lippi's (1033), in which some seventy
figures are introduced, and the whole picture is alive with gay
colours and picturesque incident. Other representations of the same
subject in our Gallery are by Fra Angelico (582), Foppa (729), Dossi
(640), Peruzzi (167), and Veronese (268). A study of similarities and
differences in these various examples will disclose an immense number
of coincidences. The type survives, but each feature is the subject of
elaborate variations.