The subject of the Sleeping Christ is beautifully varied by the introduction of St. John; as where Mary lifts the veil and shows her Child to the little St. John, kneeling with folded hands:  Raphael’s well-known “Vierge a la Diademe” is an instance replete with grace and expression.[1] Sometimes Mary, putting her finger to her lip, exhorts St. John to silence, as in a famous and oft-repeated subject by Annibale Caracci, of which there is a lovely example at Windsor.  Such a group is called in Italian, Il Silenzio, and in French le Sommeil de Jesus.

[Footnote 1:  Louvre, 376.  It is also styled la Vierge au Linge]

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Another group of three figures consists of the Mother, the Child, and St. Joseph as foster-father.  This group, so commonly met with in the later schools of art, dates from the end of the fifteenth century.  Gerson, an ecclesiastic distinguished at the Council of Constance for his learning and eloquence, had written a poem of three thousand lines in praise of St. Joseph, setting him up as the Christian, example of every virtue; and this poem, after the invention of printing, was published and widely disseminated.  Sixtus IV. instituted a festival in honour of the “Husband of the Virgin,” which, as a novelty and harmonizing with the tone of popular feeling, was everywhere acceptable.  As a natural consequence, the churches and chapels were filled with pictures, which represented the Mother and her Child, with Joseph standing or seated by, in an attitude of religious contemplation or affectionate sympathy; sometimes leaning on his stick, or with his tools lying beside him; and always in the old pictures habited in his appropriate colours, the saffron-coloured robe over the gray or green tunic.

In the Madonna and Child, as a strictly devotional subject, the introduction of Joseph rather complicates the idea; but in the domestic Holy Family his presence is natural and necessary.  It is seldom that he is associated with the action, where there is one; but of this also there are some beautiful examples.

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1.  In a well-known composition by Raphael (Grosvenor Gal.), the mother withdraws the covering from the Child, who seems to have that moment awaked, and, stretching out his little arms, smiles in her face:  Joseph looks on tenderly and thoughtfully.

2.  In another group by Raphael (Bridgewater Gal.), the Infant is seated on the mother’s knee, and sustained by part of her veil; Joseph, kneeling, offers flowers to his divine foster-Son, who eagerly stretches out his little hand to take them.

In many pictures, Joseph is seen presenting cherries; as in the celebrated Vierge aux Cerises of Annibale Caracci. (Louvre.) The allusion is to a quaint old legend, often introduced in the religious ballads and dramatic mysteries of the time.  It is related, that before the birth of our Saviour, the Virgin Mary wished to taste of certain cherries which hung upon a tree high above her head; she requested Joseph to procure them for her, and he reaching to pluck them, the branch bowed down to his hand.