Search Results (12)

This paper examines the iconography of the Mother of God holding a book in Early Christian and Medieval art, focusing on representations in which a book or scroll functions as an attribute of the Virgin Mary. Particular attention is given to scenes depicting Mary in relation to the Christ Child, Christ Pantocrator, and the Magnificat. The study explores the symbolic significance of the book and scroll through the textual tradition of the Church Fathers. Adopting the methodological approach to the iconographical structure developed by André Grabar, the paper centers on three interconnected case studies. First, it offers a close re-examination of a Marian scene on the ivory relief of the Werden casket (9th c.) of which the meaning is hard to understand. Second, it analyzes the depiction of the Mother of God in the vault of the crypt of Epiphanius at San Vincenzo al Volturno (9th c.), with particular emphasis on motifs that associate the image with the theme of Mary’s Triumph. Finally, it considers a fresco of Mary and Christ enthroned from the Egyptian monastery of Deir al-Suryan (10th c.), treating these works as semantically and conceptually related. Through this comparative analysis, the paper advances several interpretations of the Magnificat as articulated in Early Christian visual culture and developed in later periods with the contribution of the Byzantine theology. Given the well-established influence of Early Christian art on both the Carolingian Renaissance in the West and the Byzantine East, the shared iconographical details identified here—both formal and conceptual—are understood as deriving from a common visual tradition rooted in Antiquity. Full article

The Shrine Madonna is a unique form of cult statuary within the wider Madonna and Child tradition, linked to broader Marian iconography. Building on previous scholarship, this article focuses on the visual relationship between the Virgin and the worshiper, giving primacy to the Shrine Madonna’s gaze. Analyzing three key examples: the Boubon, Rhineland, and Morlaix, Shrine Madonnas reveal how these objects function as mediators of sacred presence, theology, and compassion. Theoretical frameworks surrounding gaze theory and medieval concepts of vision and visuality buttress a discussion of three distinct gazes—direct, mutual, and averted—that facilitate a compassionate response and establish divine hierarchy. This work argues for a shift from viewing Shrine Madonnas as static devotional objects toward recognizing their dynamic role in mediating affective spiritual exchange. Shrine Madonnas are active subjects who command theological space and engage viewers through a reciprocal gaze that alters perception. Rather than passively being observed, they watch back, reflecting and redirecting the viewer’s desire, thereby implicating and transforming them. Full article

This article aims to explain why, in some European representations of the Annunciation, a bundle of rays of light comes from the mouth of God the Father toward the head/ear of the Virgin Mary. In order to find a satisfactory answer to this problem, the author first studies a series of biblical, patristic, theological, and liturgical sources referring to the supernatural human conception of the Word of God in Mary’s immaculate womb. He then analyzes eleven images of the Annunciation that present this peculiarity. Finally, through a comparative analysis between the doctrinal texts and these exceptional images, the author concludes that the latter illustrate as visual metaphors the textual metaphors contained in the writings of some Church Fathers, medieval theologians, and liturgical hymnographers; that is to say, the beam of rays of light emitted by the mouth of the Most High to the Virgin’s head/ear metaphorizes the human conception/incarnation of the Word of God in the virginal womb of Mary. Full article

This article sheds light on the repercussions of the Proverbs sentence “Wisdom has built her house” on Christian doctrine and on the Marian iconography of the Annunciation. To achieve his objectives, the author uses a double comparative analysis as a methodology. To begin with, he analyzes a vast corpus of texts in which numerous Fathers, theologians, and liturgical hymnographers of Eastern and Western Churches interpret this biblical locution according to Mariological and Christological projections. Secondly, he analyzes eight pictorial Annunciations from the Italian Renaissance in which Mary’s house in Nazareth is depicted as a luxurious palace. As a result of these two sets of analyses, the author concludes that the interpretations of the Fathers, theologians, and hymnographers about the house built by Wisdom and the form of the house/palace in images of the Annunciation allude to the dogma of God the Son’s supernatural human conception/incarnation in Mary’s virginal womb. Full article

The ferry from Havana to Regla, Cuba, transports visitors from today’s cruise ship docks across a brief stretch of water in about 20 min. Despite its brevity, this watery passage symbolically foregrounds the Marian devotion on the southern rim of the grand harbor. In this way, water conjoins African diasporic histories of enslavement, labor, survival, resistance, daily life, and religiosity within Havana Bay, into which two urban geographies project. Regla historically served as a municipality for dockworkers and shipwrights and became an enclave for identity creation, civil association, and religious worship for people of African descent. The church and sanctuary of Nuestra Señora de Regla (“Our Lady of Regla”) has nurtured this connection as it houses effigies of the venerated Virgin, adorned in blue. The Virgin of Regla represents one of two, along with El Cobre, of the most important Marian devotions on the island of Cuba and is the focus of insular and diasporic pilgrimage. In Regla, the Virgin’s nautical iconography decorates the sanctuary and historically connects her to the working populations who sustained this devotion as they serviced Havana Harbor with their labor. Adjacent to the church is a waterfront park that looks out on the water and the city of Havana beyond. Bordered on one side by a low wall, the park incorporates a large ceiba tree, ceiba pentandra, also known as the silk cotton or kapok tree, a tropical species with a large trunk and spreading tree canopy native to Mexico and Central America, the Caribbean, northern South America, and West Africa (with a similar variety found in South and Southeast Asia). This article considers landscape as a methodology for examining the interplay of this tree and the adjacent church as interwoven and mutually reinforcing sites of devotion for the worship of the Virgin Mary and the oricha Yemayá in Regla, Cuba, with a view toward a broader set of local and global spaces. Full article

This article aims to highlight the privileged status granted by Christianity to the Virgin Mary when considering her the Queen of Heaven. From the very early centuries of our era, this sublime title was assigned to the Virgin Mary, for her condition of Mother of God, by an increasing number of Church Fathers and theologians. Later, it was expounded by an uncountable number of medieval liturgical hymns. Finally, from the 12th century onwards, these textual proclamations were shaped in sculptures and paintings according to various iconographic types. The author will proceed by first analyzing a large corpus of texts by many Church Fathers, theologians, and hymnographers. Then, he will consider twenty sculptures and paintings which reflect the heavenly royalty of Mary according to five iconographic types. Full article

This paper presents the results of non-invasive diagnostic investigations performed on the canvas oil painting depicting the Marian iconography “Mater Boni Consilii”. The painting, whose author and origin are unknown, was found in an old shop in Florence following the overflowing of the Arno River in 1966. In order to define the importance of the artwork, a multianalytical analysis was performed on the painting, using multispectral imaging, X-ray fluorescence (XRF), and Fourier Transform Infrared Spectroscopy (FTIR-ATR) for the definition of materials, with a particular focus on the identification of pigments. The results allowed for the drawing up of a color palette, composed mainly of ochre and earth pigments, cinnabar, lithopone, lead white, and ultramarine pigments. After cross-referencing the acquired information with other findings, it was possible to place the painting in the period between the end of the XIXth and the beginning of the XXth centuries. Full article

This article aims to highlight the rich doctrinal meanings underlying the textual and iconic designation of the Virgin Mary as the gate of Heaven, a highly brilliant metaphor used by writers and artists to symbolize her saving mediation before her divine Son on behalf of humankind. To justify our interpretations of this textual and iconic symbol, we will proceed first by analyzing an abundant set of fragments of medieval liturgical hymns, which designate the Virgin Mary as the “gate of Paradise” (porta Paradisi) or “gate of Heaven” (ianua Coeli) and other expressions alluding to her power to facilitate the eternal salvation of the faithful. In a second step, we will analyze ten sculptural and pictorial artworks that represent Mary as the gate of celestial paradise or the mediator before God in favor of believers to facilitate their eternal salvation. Full article

This article tries to highlight the deep doctrinal meanings underlying the vase that is often included in artistic depictions of the Annunciation. This apparently banal everyday object has been deliberately placed there in a prominent position to symbolize the Virgin Mary in her condition as the virginal mother of God the Son, and the bearer of all virtues to the highest degree. As methodological resources to justify our iconographic interpretations of that symbol in these images, our study is based on the analysis of texts by several Church Fathers and medieval theologians, as well as numerous liturgical hymns, which for more than a millennium agreed to designate the Virgin Mary as a “vase”, “vessel”, and other types of containers. Thus, this ancient patristic, theological and hymnographic tradition legitimizes our iconographic interpretation of the “vase” included in fifteen paintings of the Annunciation produced by artists from Italy, Flanders and Spain during the 14th and 15th centuries. Full article

This article highlights the artistic and conceptual relevance of the iconographic type of the Coronation of Mary in Italy during the Late Middle Ages and Early Modernity. We have analyzed 14 Italian Renaissance paintings, aiming to discover the possible doctrinal sources that inspire them. From a conceptual perspective, we have specified that the iconography of The Coronation of the Virgin in Italy is directly inspired by the comments of some Church Fathers and medieval theologians and hymnographers. From the formal perspective, we discover that three different iconographyc types complement each other as progressively more complex variants of a similar basic structure. Full article

This article analyzes Marian art in Spain from the tenth to nineteenth centuries in order to show how popular piety represented Mary’s motherhood. Through art, including architecture, painting, sculpture, and oral preaching, a popular image of Mary emerged and, in turn, became key for understanding the history of the family in western Catholic countries. Studying the evolution of Marian iconography during this thousand-year period reveals a kind of grandeur, and then a certain crisis, surrounding Mary’s motherhood. This crisis specifically involves the meaning of the body as an effective sign of the personal gift-of-self. We argue that this process ran parallel to growing problems in theological culture related to reconciling the natural and supernatural realms, and we further sustain that it contains a true cultural revolution, a shift that is at the origin of many later transformations. This interpretation helps better understand the dilemmas surrounding the history of the family in the West, and specifically of motherhood, from the point of view of the Christian tradition. Full article

This paper considers Marian iconography in which the Virgin is depicted sitting on the ground, known as the Virgin of Humility. The creation of this Marian type coincides with Saint Thomas’s systematization of the virtues, which resulted in a decline in the importance of the virtue of Humility. The combination of both cultural traditions has led to a correspondence between the virtue of Humility and the images of the Virgin of Humility. The genesis of this latter type is based on the textual sources and part of the visual representation of Humility, which was replaced during the 14th and 15th centuries. Full article