_Unknown_ (Sienese School: 14th or early 15th Century).
This is one of the stock subjects in which the evolution of Italian
art may be most clearly traced. Everybody knows the beautiful and
celebrated "Sposalizio" of Raphael at Milan, which in its turn was
copied, with some characteristic modifications, from Perugino's
picture, now at Caen. Comparing those versions of the subject with an
early one such as this, every one will be struck by the difference in
general effect, but not less remarkable are the resemblances. The type,
so far as the component parts are concerned, remains constant. The
basis of the tale which Italian painters told for century after century
is found in two of the apocryphal gospels. In them we read how the
"Virgin of the Lord" was brought up, like Samuel, within the precincts
of the temple, and how the High Priest summoned the suitors to an
ordeal. Every man of them was to take a rod, and he whose rod should
miraculously put forth leaves and blossom was to be chosen as husband.
The common features of all "Sposalizio" pictures adhere closely to this
legend. Thus the action always takes place within or just outside the
temple. In the centre stands the High Priest with a long gray beard and
(almost always) a high-peaked mitre, the Italian painters' idea of a
Jewish ephod. He joins the hands of the pair in betrothal. The rod of
Joseph blossoms, and above its foliage hovers the Holy Spirit in the
form of a dove. One of the suitors is about to strike Joseph in his
passion; another is engaged in breaking his rod in vexation. Raphael
makes the mien of the suitors much more gentle. He leaves out "the
passionate suitor" altogether, but gives to the "disappointed suitor"
a prominent place as an opportunity for a graceful attitude. In this
picture he is very much in the background (in the extreme left-hand
corner).