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Mother of the Church and Mary in Christian Art Pages 131171

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Iconographic depiction of Virgin Mary in Catholic Churches

The Blessed Virgin Mary has been one of the major subjects of Western Art for centuries. Numerous pieces of Marian art in the Catholic Church covering a range of topics have been produced, from masters such equally Michelangelo and Botticelli to works made past unknown peasant artisans.[ane]

Marian art forms function of the cloth of Cosmic Marian culture through their emotional impact on the veneration of the Blest Virgin. Images such equally Our Lady of Guadalupe and the many artistic renditions of it as statues are non just works of fine art just are a fundamental elements of the daily lives of the Mexican people.[2] Both Hidalgo and Zapata flew Guadalupan flags and depictions of the Virgin of Guadalupe continue to remain a primal unifying element in the Mexican nation.[3] The report of Mary via the field of Mariology is thus inherently intertwined with Marian art.[iv]

The torso of teachings that constitute Catholic Mariology consist of four bones Marian dogmas: Perpetual virginity, Mother of God, Immaculate Conception and Assumption into Heaven, derived from Biblical scripture, the writings of the Church Fathers, and the traditions of the Church. Other influences on Marian art have been the Banquet days of the Church building, Marian apparitions, writings of the saints and pop devotions such equally the rosary, the Stations of the Cross, or total consecration, and also papal initiatives, and Marian papal encyclicals and Churchly Letters.

Each of these fundamental Mariological beliefs has given rise to Catholic Marian art that has become part of Mariology, by emphasizing Marian veneration, being historic in specific Marian feasts, or becoming part of primal Catholic Marian churches. This article's focus is primarily on how the artistic component of Catholic Mariology has represented the fundamental Marian doctrines of the Catholic Church, and has thus interacted with them, creating a force that has shaped Catholic Mariology over the centuries.

Blending of art, theology and spirituality [edit]

Art has been an integral chemical element of the Catholic identity since the very beginning.[5] Medieval Catholicism cherished relics and pilgrimages to visit them were common. Churches and specific works of art were deputed to honour the saints and the Virgin Mary has always been seen equally the most powerful intercessor amid all saints—her depictions existence the subject field of veneration amid Catholics worldwide.[5]

Catholic Mariology does not simply consist of a ready of theological writings, just also relies on the emotional touch on of art, music and architecture. Catholic Marian music and Catholic Marian churches collaborate with Marian art as key components of Mariology, e.g. the construction of major Marian churches gives ascent to major pieces of fine art for the ornamentation of the church building.[half-dozen] [7] [8] [9]

In the 16th century, Gabriele Paleotti's Discourse on Sacred and Profane Images became known as the "Catechism of images" for Catholics, given that it established key concepts for the employ of images as a class of religious instruction and indoctrination via silent preaching (muta predicatio).[10] [11] Paleotti's arroyo was implemented by his powerful gimmicky Saint Charles Borromeo and his focus on "the transformation of Christian life through vision" and the "nonverbal rules of language" shaped the Cosmic reinterpretations of the Virgin Mary in the 16th and 17th centuries and fostered and promoted Marian devotions such as the Rosary.[x] [xi]

An example of the interaction of Marian art, culture and churches is Salus Populi Romani, a cardinal Marian icon in Rome at Santa Maria Maggiore, the earliest Marian church building in Rome. The practice of crowning the images of Mary started at Santa Maria Maggiore in Rome by Pope Clement VIII in the 17th century.[12] In 1899 Eugenio Pacelli (afterwards Pope Pius XII) said his kickoff Holy Mass in front of it at the Santa Maria Maggiore. Fifty years later, he physically crowned this picture as part of the get-go Marian year in Church history, as he proclaimed the Queenship of Mary. The paradigm was carried from Santa Maria Maggiore around Rome as function of the celebration of the Marian yr and the proclamation of the Queenship of Mary.

Another instance is Our Mother of Perpetual Assist. Catholics have, for centuries, prayed before this icon, usually in reproductions, to intercede on their behalf to Christ.[13] Over the centuries, several churches defended to Our Female parent of Perpetual Aid accept been constructed. Pope John Paul Two held mass at the National Shrine of Our Mother of Perpetual Help in the Philippines where the devotion is very popular and many Catholic churches hold a Novena and Mass honoring information technology every Midweek using a replica of the icon, which is as well widely displayed in houses, buses and public transport in the Philippines.[fourteen] [xv] [16] Devotions to the icon accept spread from the Philippines to the United States, and remain popular among Asian-Americans in California.[17] [18] As recently every bit 1992, the song The Lady Who Wears Blue and Gilt was composed in California and then performed at St. Alphonsus Liguori Church in Rome, where the icon resides. This illustrates how a medieval work of art tin can requite ascension to feast days, Cathedrals and Marian music.

The utilise of Marian art by Catholics worldwide accompanies specific forms of Marian devotion and spirituality. The widespread Cosmic use of replicas of the statue of Our Lady of Lourdes emphasizes devotions to the Immaculate Formulation and the Rosary, both reported in the Lourdes messages. To Catholics, the distinctive blue and white Lourdes statues are reminders of the emphasis of Lourdes on Rosary devotions and the millions of pilgrimages to the Rosary Basilica at Lourdes shows how Churches, devotions and art intertwine within Catholic culture. The Rosary remains the prayer of choice amidst Catholics who visit Lourdes or venerate the Lourdes statues worldwide.[19] [twenty] [21] [22]

Historically, Marian fine art has not only impacted the image of Mary among Catholics, only that of Jesus. The early "Kyrios image" of Jesus as "the Lord and Master" was especially emphasized in the Pauline Epistles.[23] [24] [25] The 13th century depictions of the Nascence of Jesus in art and the Franciscan development of a "tender image of Jesus" via the structure of Nativity scenes inverse that perception and was instrumental in portraying a softer image of Jesus that contrasted with the powerful and radiant image at the Transfiguration.[26] The emphasis on the humility of Jesus and the poverty of his nativity depicted in Nascency fine art reinforced the prototype of God not as severe and punishing, merely himself apprehensive at birth and sacrificed at death.[27] Every bit the tender joys of the Nativity were added to the agony of Crucifixion (as depicted in scenes such equally Stabat Mater) a whole new range of canonical religious emotions were ushered in via Marian art, with wide-ranging cultural impacts for centuries thereafter.[28] [29] [30]

The spread of devotions to the Virgin of Mercy are another example of the blending of art and devotions among Catholics. In the 12th century Cîteaux Abbey in France used the motif of the protective drapery of the Virgin Mary which shielded the kneeling abbots and abbesses. In the 13th century Caesarius of Heisterbach was too aware of this motif, which eventually led to the iconography of the Virgin of Mercy and an increased focused on the concept of Marian protection.[31] By the beginning of the 16th century, depictions of the Virgin of Mercy were among the preferred creative items in households in the Paris area.[32] In the 18th century Saint Alphonsus Liguori attributed his own recovery from nearly death to a statue of the Virgin of Mercy brought to his bedside.[33]

In his apostolic alphabetic character Archicoenobium Casinense in 1913, Pope Pius Ten echoed the same sentiment regarding the blending of art, music and religion past comparing the creative efforts of the Benedictine monks of the Beuron Fine art School (who had previously produced the "Life of the Virgin" series), to the revival of the Gregorian dirge by the Benedictines of Solesmes Abbey and wrote, "...together with sacred music, this art proves itself to be a powerful help to the liturgy".[34]

Diversity of Marian fine art [edit]

Catholic Marian art has expressed a wide range of theological topics that relate to Mary, often in ways that are far from obvious, and whose pregnant tin only be recovered by detailed scholarly analysis. Entire books, bookish theses or lengthy scholarly works have been written on diverse aspects of Marian fine art in general and on specific topics such as the Black Madonna, Our Lady of San Juan de los Lagos, Virgin of Mercy, Virgin of Ocotlán, or the Hortus conclusus and their doctrinal implications. [36] [37] [38] [39] [40]

Some of the leading Marian subjects include:

The tradition of Cosmic Marian art has connected in the 21st century by artists such equally Miguel Bejarano Moreno and Francisco Cárdenas Martínez.

Early on veneration [edit]

Early on veneration of Mary is documented in the Catacombs of Rome. In the catacombs paintings testify the Blest Virgin with her son. More unusual and indicating the burial footing of Saint Peter, was the fact that excavations in the catacomb of Saint Peter discovered a very early fresco of Mary together with Saint Peter.[41] The Roman Priscilla catacombs contain the known oldest Marian paintings, dating from the middle of the 2d century[42] In ane, Mary is shown with the infant Jesus on her lap. The Priscilla crypt also includes the oldest known fresco of the Annunciation, dating to the quaternary century.[43]

Subsequently the Edict of Milan in 313 Christians were permitted to worship and build churches openly. The generous and systematic patronage of Roman Emperor Constantine I changed the fortunes of the Christian church, and resulted in both architectural and artistic development.[44] The veneration of Mary became public and Marian art flourished. Some of the earliest Marian churches in Rome engagement to the 5th century, such as Santa Maria in Trastevere, Santa Maria Antiqua and Santa Maria Maggiore, and these churches were in plough decorated with significant works of fine art through the centuries.[45] [46] The interaction of Marian fine art and church building construction thus influenced the development of Marian art.[47]

The Virgin Mary has since become a major subject of Western Fine art. Masters such as Michelangelo, Botticelli, Leonardo da Vinci, Giotto, Duccio and others produced masterpieces with Marian themes.

Mother of God [edit]

Mary's status as the Female parent of God was not made clear in the Gospels and Pauline Epistles simply the theological implications of this were defined and confirmed past the Quango of Ephesus (431). Different aspects of Mary's position as mother take been the subject of a large number of works of Catholic art.

There was a great expansion of the cult of Mary after the Council of Ephesus in 431, when her status as Theotokos was confirmed; this had been a field of study of some controversy until then, though mainly for reasons to do with arguments over the nature of Christ. In mosaics in Santa Maria Maggiore in Rome, dating from 432 to 40, just after the council, she is not all the same shown with a halo, and she is too not shown in Nascence scenes at this engagement, though she is included in the Adoration of the Magi.[46] [48]

By the next century the iconic depiction of the Virgin enthroned carrying the infant Christ was established, as in the example from the only grouping of icons surviving from this period, at Saint Catherine'south Monastery in Arab republic of egypt. This type of delineation, with subtly changing differences of emphasis, has remained the mainstay of depictions of Mary to the nowadays day. The image at Mountain Sinai succeeds in combining two aspects of Mary described in the Magnificat, her humility and her exaltation above other humans.

At this period the iconography of the Nativity was taking the form, centred on Mary, that information technology has retained up to the present mean solar day in Eastern Orthodoxy, and on which Western depictions remained based until the High Middle Ages. Other narrative scenes for Byzantine cycles on the Life of the Virgin were being evolved, relying on apocryphal sources to fill in her life before the Annunciation to Mary. By this time the political and economic plummet of the Western Roman Empire meant that the Western, Latin, church building was unable to compete in the development of such sophisticated iconography, and relied heavily on Byzantine developments.

The earliest surviving epitome in a Western illuminated manuscript of the Madonna and Child comes from the Book of Kells of about 800 and, though magnificently decorated in the fashion of Insular fine art, the cartoon of the figures tin can only exist described as rather crude compared to Byzantine work of the catamenia. This was in fact an unusual inclusion in a Gospel book, and images of the Virgin were boring to announced in large numbers in manuscript art until the book of hours was devised in the 13th century.

Nativity of Jesus [edit]

Representation of the Nascence on the Throne of Maximianus in Ravenna

The Nativity of Jesus has been a major field of study of Christian art since the early on 4th century. Information technology has been depicted in many different media, both pictorial and sculptural. Pictorial forms include murals, panel paintings, manuscript illuminations, stained drinking glass windows and oil paintings. The earliest representations of the Nativity itself are very unproblematic, just showing the infant, tightly wrapped, lying nigh the ground in a trough or wicker basket.

A new form of the image, which from the rare early versions seems to have been formulated in 6th-century Palestine, was to prepare the essential course of Eastern Orthodox images down to the nowadays solar day. The setting is now a cave - or rather the specific Cave of the Nascence in Bethlehem, already underneath the Church of the Birth, and well-established equally a place of pilgrimage, with the approval of the Church building.

Western artists adopted many of the Byzantine iconographic elements, but preferred the scriptural stable to the cave, though Duccio'south Byzantine-influenced Maestà version tries to have both. During the Gothic period, in the Northward earlier than in Italian republic, increasing closeness between female parent and child develops, and Mary begins to hold her baby, or he looks over to her. Suckling is very unusual, but is sometimes shown.

The paradigm in later medieval Northern Europe was oft influenced by the vision of the Nativity of Saint Bridget of Sweden (1303–1373), a very popular mystic. Shortly before her expiry, she described a vision of the infant Jesus as lying on the basis, and emitting calorie-free himself.

From the 15th century onwards, the Adoration of the Magi increasingly became a more common delineation than the Nascence proper. From the 16th century evidently Nativities with just the Holy Family, become a articulate minority, although Caravaggio led a return to a more realistic treatment of the Adoration of the Shepherds.

The perpetual character of Mary's virginity, namely that she was a virgin all her life and not only at her virginal conception of Jesus Christ at the Annunciation (that she was a virgin before, during and after giving birth to him) is alluded to in some forms of Nativity fine art: Salome, who according to the story in the 2nd-century Nativity of Mary [49] received physical proof that Mary remained a virgin even in giving nascence to Jesus, is found in many depictions of the Nativity of Jesus in art.[50]

Madonna [edit]

The depiction of the Madonna has roots in aboriginal pictorial and sculptural traditions that informed the earliest Christian communities throughout Europe, Northern Africa and the Middle East. Of import to Italian tradition are Byzantine icons, especially those created in Constantinople (Istanbul), the capital of the longest, indelible medieval civilization whose icons, such as the Hodegetria, participated in civic life and were celebrated for their miraculous properties. Western depictions remained heavily dependent on Byzantine types until at to the lowest degree the 13th century. In the late Center Ages, the Cretan school, under Venetian rule, was the source of nifty numbers of icons exported to the W, and the artists in that location could adapt their style to Western iconography when required.

In the Romanesque period gratuitous-standing statues, typically about one-half life-size, of the enthroned Madonna and Child were an original Western evolution, since monumental sculpture was forbidden by Orthodoxy. The Golden Madonna of Essen of c. 980 is 1 of the earliest of these, made of gilded practical to a wooden core, and even so the subject field of considerable local veneration, as is the twelfth century Virgin of Montserrat in Catalonia, a more adult handling.

With the growth of monumental panel painting in Italia during the 12th and 13th centuries, this blazon was frequently painted at the image of the Madonna gains prominence outside of Rome, peculiarly throughout Tuscany. While members of the mendicant orders of the Franciscan and Dominican Orders are some of the start to commission panels representing this field of study thing, such works chop-chop became popular in monasteries, parish churches, and later on homes. Some images of the Madonna were paid for by lay organizations called confraternities, who met to sing praises of the Virgin in chapels found within the newly reconstructed, spacious churches that were sometimes dedicated to her.

Some key Madonnas [edit]

A number of Madonna paintings and statues have gathered a following every bit important religious icons and noteworthy works of art in diverse regions of the world.

Some Madonnas are known by a general proper noun and concept rendered or depicted by various artists. For example, Our Lady of Sorrows is the patron saint of several countries such as Slovakia and Philippines. It is represented as the Virgin Mary wounded by seven swords in her eye, a reference to the prophecy of Simeon at the Presentation of Jesus. Our Lady of Sorrows, Queen of Poland located in the Sanctuary of Our Lady of Licheń (Poland'south largest church) is an important icon in Poland. The term Our Lady of Sorrows is also used in other contexts, without a Madonna, e.m. for Our Lady of Kibeho apparitions.

Some Madonnas become the field of study of widespread devotion, and the Marian shrines dedicated to them concenter millions of pilgrims per year. An example is Our Lady of Aparecida in Brazil, whose shrine is surpassed in size only past Saint Peter'due south Basilica in The holy see, and receives more than pilgrims per year than any other Catholic Marian church in the world.[51]

Latin America [edit]

There is a rich tradition of building statues of the Madonna in South America, a sampling of which is shown in the galleries section of this article. The S American tradition of Marian art dates dorsum to the 16th century, with the Virgin of Copacabana gaining fame in 1582.[52] Some noteworthy examples are:

  • Our Lady of San Juan de los Lagos is located in the small town of San Juan de los Lagos in Mexico. It is the second most visited pilgrimage shrine in United mexican states, afterwards Our Lady of Guadalupe.
  • The Virgin of Ocotlán is a statue of the Virgin Mary in Ocotlán, Tlaxcala, Mexico.
  • Our Lady of Navigators is a highly venerated Madonna in Brazil. The devotion started past the 15th century Portuguese navigators, praying for a safe return to their homes and then spread in Brazil.

Images of, and devotions to, Madonnas such as Our Lady of San Juan de los Lagos have spread from Mexico to the United States.[53] [54]

Italia and Spain [edit]

  • The Madonna of humility by Domenico di Bartolo, 1433, is considered i of the most innovative devotional images from the early Renaissance.[35]
  • Raphael's Sistine Madonna. The painting, originally commissioned for the church of San Sisto, Piacenza, is at present at the Gemäldegalerie Alte Meister in Dresden (Germany). It is considered a fundamental example of high Renaissance art.
  • Madonna della Strada at the Church of the Gesu in Rome is a historic icon and the patron saint of the Jesuits
  • The Madonna statue at the chantry of Milan Cathedral is an outstanding example of Baroque Marian fine art
  • Murillo's Dolorosa Madonna in Seville, Spain is a cardinal example of a sorrowful Madonna
  • Madonna of the Pillar at Zaragoza, Spain is a highly venerated statue based on a legendary vision of Saint James the Greater.
  • The Virgin of Montserrat at the Santa María de Montserrat monastery in Espana is a highly venerated statue and the patron saint of Catalonia.
Fundamental and Northern Europe [edit]
  • The Black Madonna of Częstochowa is Poland'due south holiest relic, and one of the land's national symbols.
  • Dutch painter Jan van Eyck's Lucca Madonna at the Städel Museum in Frankfurt is a good example of iconography where the Virgin Mary is portrayed as the Throne of Wisdom, with Jesus sitting on her lap.
  • Michelangelo'south statue of the Virgin Mary and a continuing Jesus known as the Madonna of Bruges at the Church of Our Lady, Bruges, Belgium shares some similarities with his Pieta which was completed sometime earlier.
  • The 1898 Refugium Peccatorum Madonna by the Italian artist Luigi Crosio has gathered significant pop following in central Europe and has since been chosen the Mother Thrice Admirable Madonna, as a symbol of the Schoenstatt Move.[55] [56] [57]

Mary in the Life of Christ [edit]

Scenes of Mary and Jesus together fall into ii principal groups: those with an infant Jesus, and those from the last period of his life. Subsequently the episodes of the Nativity, there are a number of further narrative scenes of Mary and the infant Jesus together which are often depicted: the Circumcision of Christ, Presentation of Jesus at the Temple, Flying into Egypt, and less specific scenes of Mary and Jesus with his cousin John the Baptist, sometimes with John's female parent Elizabeth. Leonardo da Vinci's Virgin of the Rocks is a famous example. Gatherings of the whole extended family unit of Jesus form a subject known as the Holy Kinship, popular in the Northern Renaissance. Mary appears in the background of the only incident in the Gospels from the afterward childhood of Jesus, the Finding in the Temple.

Mary is then usually absent from scenes of the period of Christ's life between his Baptism and his Passion, except for the Hymeneals at Cana, where she is placed in the Gospels. A non-scriptural subject of Christ taking leave of his Female parent (before going to Jerusalem at the commencement of his Passion) was often painted in 15th- and early 16th-century Federal republic of germany. Mary is placed at the Crucifixion of Jesus by the Gospels, and is virtually invariably shown, with Saint John the Evangelist, in fully depicted works, as well as often being shown in the background of earlier scenes of the Passion of Christ. The rood cross common in medieval Western churches had statues of Mary and John flanking a key crucifix. Mary is shown equally present at the Deposition of Christ and his Entombment; in the belatedly Middle Ages the Pietà emerged in Germany as a carve up discipline, peculiarly in sculpture. Mary is also included, though this is non mentioned in any of the scriptural accounts, in depictions of the Ascension of Jesus. Later the Rise, she is the centrally-placed effigy in depictions of Pentecost, which is her latest appearance in the Gospels.

The main scenes in a higher place, showing incidents historic as banquet days past the church, formed office of cycles of the Life of the Virgin (though the selection of scenes in these varied considerably), as well as the Life of Christ.

Perpetual virginity [edit]

The dogma of the perpetual virginity of Mary is the earliest of the four Marian dogmas and Catholic liturgy has repeatedly referred to Mary as "ever virgin" for centuries.[58] [59] The dogma means that Mary was a virgin before, during and after giving birth to Jesus Christ. The 2nd-century piece of work originally known as the Birth of Mary pays special attending to Mary's virginity.[60]

This dogma is often represented in Catholic art in terms of the annunciation to Mary by the Archangel Gabriel that she would conceive a kid to be born the Son of God, and in Nascency scenes that include the figure of Salome. The Declaration is 1 of the most frequently depicted scenes in Western art.[61] Declaration scenes also amount to the most frequent appearances of Gabriel in medieval art.[62] The depiction of Joseph turning away in some Nativity scenes is a discreet reference to the fatherhood of the Holy Spirit, and the doctrine of Virgin Birth.[63]

Frescos depicting this scene have appeared in Cosmic Marian churches for centuries and it has been a topic addressed past many artists in multiple media, ranging from stained glass to mosaic, to relief, to sculpture to oil painting.[64] The oldest fresco of the annunciation is a 4th-century depiction in the Crypt of Priscilla in Rome.[65] In virtually (simply non all) Catholic, and indeed Western, depictions Gabriel is shown on the left, while in the Eastern Church building he is more often depicted on the right.[66]

It has been one of the most frequent subjects of Christian art peculiarly during the Middle Ages and Renaissance. The figures of the Virgin Mary and the Archangel Gabriel, being emblematic of purity and grace, were favorite subjects of many painters such every bit Sandro Botticelli, Leonardo da Vinci, Caravaggio, Duccio and Murillo amongst others. In many depictions the angel may be property a lily, symbolic of Mary'southward virginity.[67] The mosaics of Pietro Cavallini in Santa Maria in Trastevere in Rome (1291), the frescos of Giotto in the Scrovegni Chapel in Padua (1303), Domenico Ghirlandaio'southward fresco at the church building of Santa Maria Novella in Florence (1486) and Donatello's gold sculpture at the church building of Santa Croce, Florence (1435) are famous examples.

The natural limerick of the scene, consisting of ii figures facing each other, also made it suitable for decorated arches above doorways.

Immaculate Conception [edit]

Murillo's Immaculate Formulation, 1650

Given that upward to the 13th century a series of saints including Bernard of Clairvaux, Bonaventure, Thomas Aquinas, and the Dominicans in general had either opposed or questioned this doctrine, Catholic fine art on the field of study generally dates to periods afterwards the 15th century and is absent from Renaissance fine art. But with back up from popular opinion, the Franciscans and theologians such as Blessed Duns Scotus, the popularity of the doctrine increased and a feast-solar day for it was promoted.

Swiss emblem, 16th century.

Pope Pius V, the Dominican Pope who in 1570 established the Tridentine Mass, included the feast (but without the adjective "Immaculate") in the Tridentine Agenda, only suppressed the existing special Mass for the banquet, directing that the Mass for the Nativity of Mary (with the word "Nascence" replaced by "Conception") be used instead.[68] Function of that earlier Mass was revived in the Mass that Pope Pius IX ordered to be used on the feast and that is still in use.[69]

In the 16th century there was a widespread intellectual fashion for emblems in both religious and secular contexts. These consisted of a visual representation of the symbol (pictura) and ordinarily a Latin motto; ofttimes an explanatory epigram was added. Emblem books were very popular.[70]

Drawing on the emblem tradition, Francisco Pacheco established an iconography that influenced artists such equally Murillo, Diego Velázquez and others. This manner of representation of the immaculate Formulation so spread to the rest of Europe, and has since remained the usual depiction.

The dogmatic definition of Immaculate Conception was performed past Pope Pius IX in his Apostolic Constitution Ineffabilis Deus, in 1854. The dogma gained additional significance from the apparitions of Our Lady of Lourdes in 1858, with the lady in the apparition identifying herself equally "the Immaculate Formulation" and the faithful believing her to exist the Blessed Virgin Mary.

Depiction of the Immaculate Conception [edit]

From an art historical perspective, the depiction of the Immaculate Conception involves a number of interesting issues. Many artists in the 15th century faced the problem of how to depict an abstract idea such every bit the Immaculate Conception, and the trouble was not fully solved for 150 years.

Since a key Scriptural text pointed to in support of the doctrine was "Tota pulchra es...", "Thou fine art all fair, my love; there is no spot in thee", verse 4.seven from the Vocal of Solomon,[71] a number of symbolic objects drawn from the imagery of the Song, and often already associated with the Announcement and the Perpetual Virginity, were combined in versions of the Hortus conclusus ("enclosed garden") subject. This gave a rather cluttered bailiwick, and normally was impossible to combine with correct perspective, so never caught on exterior Germany and the Low Countries. Piero di Cosimo was among those artists who tried new solutions, but none of these became generally adopted so that the subject would be immediately recognisable to the true-blue.

The definitive iconography for the Immaculate Conception, cartoon on the emblem tradition, seems to accept been established by the master and and then father-in-law of Diego Velázquez, the painter and theorist Francisco Pacheco (1564–1644), to whom the Inquisition in Seville besides contracted the approval of new images. He described his iconography in his Art of Painting (Arte de la Pintura, published posthumously in 1649):

"The version that I follow is the 1 that is closest to the holy revelation of the Evangelist and approved by the Catholic Church on the dominance of the sacred and holy interpreters... In this loveliest of mysteries Our Lady should be painted every bit a beautiful young daughter, 12 or 13 years quondam, in the flower of her youth... And thus she is praised by the Husband: tota pulchra es amica mea, a text that is ever written in this painting. She should be painted wearing a white tunic and a blueish pall... She is surrounded by the lord's day, an oval sunday of white and ochre, which sweetly blends into the sky. Rays of light emanate from her caput, around which is a band of twelve stars. An imperial crown adorns her head, without, still, hiding the stars. Under her feet is the moon. Although it is a solid world, I accept the liberty of making it transparent then that the landscape shows through."[72] [73]

Spanish artists such equally Bartolomé Murillo (especially), Diego Velázquez and others adopted this formula, with variations, and it and then spread to the residue of Europe, since when it has remained the usual depiction.

This particular representation of The Immaculate Formulation has since remained the best known artistic delineation of the concept: in a heavenly realm, moments subsequently her creation, the spirit of Mary (in the form of a young woman) looks upwards in awe at (or bows her head to) God. The moon is under her anxiety and a halo of twelve stars surround her caput, peradventure a reference to "a adult female clothed with the sun" from Revelation 12:1-2. Additional imagery may include clouds, a golden light, and cherubs. In some paintings the cherubim are holding lilies and roses, flowers oftentimes associated with Mary.

Assumption of Mary [edit]

The Cosmic doctrine of the Assumption of Mary into Sky states that Mary was transported into Heaven with her body and soul united. Although the Assumption was simply officially declared a dogma past Pope Pius XII in his Apostolic Constitution Munificentissimus Deus in 1950, its roots in Catholic culture and art become dorsum many centuries. While Pope Pius XII deliberately left open the question of whether Mary died before her Supposition, the more common teaching of the early Fathers is that she did.[74] [75]

An early supporter of the Supposition was Saint John of Damascus (676–794), a Physician of the Church who is often called the Doctor of the Assumption.[76] Saint John was not just interested in the Supposition, but also supported the apply of holy images in response to the edict by the Byzantine Emperor Leo III, banning the worship or exhibition of holy images.[77] He wrote: "On this day the sacred and life-filled ark of the living God, she who conceived her Creator in her womb, rests in the Temple of the Lord that is not made with hands. David, her antecedent, leaps, and with him the angels atomic number 82 the dance."

The Eastern Church held the banquet of the Supposition every bit early on as the second one-half of the 6th century, and Pope Sergius I (687–701) ordered its observance in Rome.[78]

The Orthodox tradition is clear that Mary died normally, before being bodily causeless. The Orthodox term for the death is the Dormition of the Virgin. Byzantine depictions of this were the basis for Western images, the subject being known as the Decease of the Virgin in the West. As the nature of the Supposition became controversial during the Loftier Middle Ages, the subject was ofttimes avoided, but depiction continued to exist common until the Reformation. The last major Cosmic depiction is Caravaggio'due south Expiry of the Virgin of 1606.

Meanwhile, depictions of the Supposition had been condign more frequent during the belatedly Middle Ages, with the Gothic Siennese schoolhouse a item source. Past the 16th century they had become the norm, initially in Italy, and then elsewhere. They were sometimes combined with the Coronation of the Virgin, every bit the Trinity waited in the clouds. The subject was very suited to Bizarre handling.

Queen of Heaven [edit]

The Catholic teaching that Mary is far to a higher place all other creatures in dignity, and later on Jesus Christ possesses primacy over all goes back to the early on church building. Saint Sophronius said: "Y'all have surpassed every creature" and Saint Germain of Paris (496–576) stated: "Your honour and dignity surpass the whole of creation; your greatness places yous to a higher place the angels." Saint John of Damascus went further: "Limitless is the difference between God's servants and His Mother."[79] [80]

The feast of the Queenship of Mary was only formally established in 1954 by Pope Pius XII in his encyclical Advertising Caeli Reginam. Pius XII also declared the first Marian year and a number of Catholic Church building rededications took place, e.g. the 1955 rededication of the church of Saint James the Great in Montreal with the new title Mary, Queen of the World Cathedral a title proclaimed by Pius XII.

Yet, long before 1954 the Coronation of the Virgin had been the field of study of a adept number of creative works. Some of these paintings built on the third stage of the Assumption of Mary in which following her Assumption, she is crowned equally the Queen of Sky.

Our Lady of the Keys and of the end of Times [edit]

Our Lady of the Keys and of the end of Times (by Vito Petrus).jpg

This icon has two Gospel passages written on it. The outset one is, Mark xiv:72.

Immediately the rooster crowed the second fourth dimension. Then Peter remembered the word Jesus had spoken to him: "Before the rooster crows twice you will disown me three times." And he broke down and wept.

The second one is, John 21:15-19.

When they had finished breakfast, Jesus said to Simon Peter, "Simon son of Jonas, do you love me more than these?" He said to him, "Yes, Lord; you know that I beloved you lot." Jesus said to him, "Feed my lambs. "A second time he said to him, "Simon son of Jonas exercise you honey me?" He said to him, "Aye, Lord; y'all know that I love you." Jesus said to him, "Tend my sheep. "He said to him the 3rd time, "Simon son of Jonas do you love me?" Peter felt hurt because he said to him the third time "Do yous love me?" And he said to him, "Lord, y'all know everything; you know that I love you." Jesus said to him, "Feed my sheep. Very truly, I tell you, when you lot were younger, you used to fasten your own belt and to get wherever you lot wished. But when you abound old, you will stretch out your easily, and someone else will fasten a belt around you and have you where y'all do not wish to become." He said this to indicate the kind of decease past which he would glorify God. Afterward this he said to him, "Follow me."

Equally we know by tradition, the campaigner Peter was in charge of the rest of the 11 apostles since the beginning even before when Jesus told him, "And I tell y'all that yous are Peter, and on this rock I will build my church, and the gates of Hades will not overcome it." Matthew sixteen:xviii.

This means that from the time when Peter denied Jesus and the rooster crowed on Holy Thursday, till the time when Jesus appeared to his disciples for the tertiary time after he was raised from the dead and asked him three times if he loves Him, no one was in accuse of the church characterized by the faithful and the apostles, merely instead of Peter, Mary the Mother of Jesus was in accuse of it, and that is why this icon depicts her with two keys in her hands given to her by Jesus Himself depicted equally a child to bear witness that this was already planned past God the Father beforehand.

The other championship Our Lady of the end of Times, is given to her because due to the defoliation in the church that we are experiencing today, she is not but in charge of the church instead of the successor of Peter as she was before after Peter's denial of Jesus, but she has this double title due to the end of times every bit prophesied by many mystics and in the Bible itself.[ citation needed ]

Apparitions [edit]

Catholic devotion to Mary has at times been driven by religious experiences and visions of simple and pocket-sized individuals (in many cases children) on remote hilltops which in time have created stiff emotions among large numbers of Catholics. Examples include Saint Juan Diego in 1531 every bit Our Lady of Guadalupe, Saint Bernadette Soubirous every bit Our Lady of Lourdes in 1858 and Lucia dos Santos, Jacinta Marto and Francisco Marto as Our Lady of Fatima in 1917.[82]

Although every year over 5 one thousand thousand pilgrims visit Lourdes and Guadalupe each, the book of Cosmic art to accompany this enthusiasm has been substantially restricted to popular images. Hence although apparitions accept resulted in the structure of very large Marian churches at Lourdes and Guadalupe they have not and so far had a similar touch on on Marian fine art. All the same images such as Our Lady of Guadalupe and the artistic renditions of information technology as statues are not merely works of art just are a central elements of the daily lives of the Mexican people.[2] Both Miguel Hidalgo and Emiliano Zapata flew Guadalupan flags as their protector, and Zapata'southward men wore the Guadalupan image around their necks and on their sombreros.[83] [84] Depictions of the Virgin of Guadalupe continue to remain a key unifying element in the Mexican nation, and as the main national symbol of United mexican states.[3]

Apparition-based art is at times considered miraculous by Catholics. Replicas of the distinctive blue and white statue of Our Lady of Lourdes are widely used by Catholics in devotions, and small grottos with it are congenital in houses and Catholic neighborhoods worldwide and are the subject of prayers and petitions.[85] In Ad Caeli Reginam, Pope Pius XII called the statue of Our Lady of Fatima "miraculous" and Pope John Paul Two attributed his survival afterwards the 1981 bump-off attempt to its intercession, altruistic 1 of the bullets that wounded him to the Sanctuary in Fatima.[81] [86]

Distinguishing characteristics [edit]

The Catholic approach to Marian art is quite distinct from the style other Christians (such every bit the Protestant and the Eastern Orthodox) treat the depictions of the Virgin Mary. From the very commencement of the Protestant Reformation its leaders expressed their discomfort with the depictions of saints in general. While over time a Protestant tradition of art developed, the depictions of the Virgin Mary within information technology accept remained minimal, given that most Protestants reject Marian veneration and view it as a Catholic excess.[87] [88] [89]

Unlike the majority of the Protestants, the Eastern Orthodox Church building venerates Marian images, but in a dissimilar manner and with a different emphasis from the Catholic tradition. While statues of the Virgin Mary grow in Cosmic churches, at that place are specific prohibitions against all three-dimensional representations (of Mary or whatsoever other any saints) within the Orthodox Church, for they are regarded as remnants of pagan idolatry. Hence the Orthodox only produce and venerate ii-dimensional images.[90] [91] [92] [93]

Cosmic Marian images are almost entirely devotional depictions and practise not have an official standing inside liturgy, but Eastern icons are an inherent part of Orthodox liturgy. In fact, there is a three way, carefully coordinated interplay of prayers, icons and hymns to Mary within Orthodox liturgy, at times with specific feasts that relate to the Theotokos icons and the Akathists.[90] [93] [94]

While there is a tradition for the all-time known Western artists from Duccio to Titian to depict the Virgin Mary, most painters of Eastern Orthodox icons have remained anonymous for the production of an icon is not viewed as a "work of art" but as a "sacred craft" practiced and perfected in monasteries.[xc] To some Eastern Orthodox the natural looking Renaissance depictions used in Catholic art are not conducive to meditation, for they lack the kenosis needed for Orthodox contemplation. The rich background representation of flowers or gardens plant in Catholic art are non present in Orthodox depictions whose primary focus is the Theotokos, often with the Kid Jesus.[95] [96] Apparition-based images such equally the statues of the Our Lady of Lourdes accentuate the differences in that they are based on apparitions that are purely Catholic, as well as being 3-dimensional representations. And the presence of Sacramentals such as the Rosary and the Dark-brown Scapular on the statues of Our Lady of Fatima emphasize a totally Cosmic form of Marian art.

Apart from stylistic issues, meaning doctrinal differences separate Catholic Marian art from other Christian approaches. 3 examples are the depictions that involve the Immaculate Conception, Queen of Sky and the Assumption of Mary. Given that the Immaculate Conception is a mostly Catholic doctrine, its depictions within other Christian traditions remain rare.[97] The same applies to Queen of Sky, for long an chemical element of Catholic tradition (and eventually the discipline of the encyclical Ad Caeli Reginam) but its representation within themes such as the Coronation of the Virgin continue to remain mostly Catholic.[86] While the Eastern Orthodox back up the Dormition of the Theotokos, they do not support the Catholic doctrines of the Assumption of Mary and hence their depictions of the dormition are distinct and the Virgin Mary is unremarkably shown sleeping surrounded by saints, while Catholic depictions oftentimes prove Mary rising to Sky.[93] [98]

Galleries of Marian art [edit]

Perpetual virginity [edit]

  • Perpetual virginity

Birth of Jesus [edit]

  • Birth of Christ

  • Adoration of the Magi, ivory, 15th century

Adoration of the shepherds [edit]

  • Adoration of the shepherds

Adoration of the Magi [edit]

  • Adoration of the Magi

Madonna paintings [edit]

Pre 15th century [edit]

  • Pre 15th century

  • Russian Theotokos icon, 10th century

  • Madonna and Angels, Duccio, 1282

15-16th century [edit]

  • 15-16th century

Mail 16th century [edit]

  • Post 16th century

Madonna frescos [edit]

  • Pre 15th century

Madonna statues [edit]

  • Madonna statues

  • Supposition statue, Attard, Malta

  • Our Lady of Saúde, Portugal

  • Assumption statue, Għaxaq, Malta, 1808

Mary in the Life of Christ [edit]

  • Mary in the Life of Christ

Immaculate Formulation [edit]

  • Immaculate conception

  • Murillo Immaculate Conception, 1650

Assumption into Sky [edit]

  • Assumption

  • Rubens Assumption of the Virgin, 17th century

Queen of Heaven [edit]

  • Queen of Heaven

  • Crowning of the Virgin by Rubens, 17th century

Apparitions [edit]

  • Apparitions

Run into also [edit]

  • Catholic art
  • Catholic Marian churches
  • Marian devotions
  • Hymns to Mary
  • Madonna (art)
  • Fountain of Life
  • Theotokos
  • Icon of the Hodegetria

Notes [edit]

  1. ^ Timothy Verdon, 2006, Mary in Western Fine art ISBN 978-0-9712981-9-four
  2. ^ a b A History of Modern Latin America by Teresa A. Meade 2009 ISBN i-4051-2051-vii p. 45
  3. ^ a b The Virgin of Guadalupe by Maxwell E. Johnson 2003 ISBN 0-7425-2284-9 pp. 41–43
  4. ^ Caroline Ebertshauser et al. 1998 Mary: Fine art, Culture, and Religion through the Ages ISBN 978-0-8245-1760-1
  5. ^ a b Distinctively Catholic: an exploration of Cosmic identity past Daniel Donovan 1997 ISBN 0-8091-3750-X pp. 96–98
  6. ^ Janusz Rosikon, 2001, The Madonnas of Europe: Pilgrimages to the Great Marian Shrines ISBN 978-0-89870-849-3
  7. ^ Edel 2006, Madonna: Sacred Art And Holy Music ISBN 9783937406404
  8. ^ University of Dayton Marian Music https://udayton.edu/imri/mary/b/nascence-of-mary-meditation-and-illustrations.php
  9. ^ Peter Mullen Shrines of Our Lady ISBN 978-0-312-19503-eight
  10. ^ a b The Mystery of the Rosary: Marian Devotion and the Reinvention of Catholicism by Nathan Mitchell 2009 ISBN 0-8147-9591-9 pp. 37–42
  11. ^ a b The road from Eden: studies in Christianity and culture past John Barber 2008 ISBN ane-933146-34-6 p. 288
  12. ^ Catholic encyclopedia
  13. ^ Ann Ball, 2003 Encyclopedia of Cosmic Devotions and Practices ISBN 0-87973-910-X pp. 431–433
  14. ^ Vatican website: Pope John Paul II in the Philippines
  15. ^ Culture and community of the Philippines by Paul A. Rodell 2001 ISBN 0-313-30415-seven p. 58
  16. ^ Relations between religions and cultures in Southeast Asia by Donny Gahral Adian, Gadis Arivia 2009 ISBN 1-56518-250-2 p. 129
  17. ^ Asian American religions by Tony Carnes, Fenggang Yang 2004 ISBN 0-8147-1630-X p. 355
  18. ^ Organized religion at the corner of bliss and nirvana by Lois Ann Lorentzen 2009 ISBN 0-8223-4547-1 pp. 278–280
  19. ^ The encyclopedia of Christianity, Volume 3 by Erwin Fahlbusch, Geoffrey William Bromiley 2003 ISBN xc-04-12654-6 p. 339
  20. ^ Our Sunday Company's Catholic Almanac by Matthew Bunson 2008 ISBN i-59276-441-X p. 123
  21. ^ The Mystery of the Rosary by Nathan Mitchell 2009 ISBN 0-8147-9591-9 p. 193
  22. ^ China'south Catholics past Richard Madsen 1998 ISBN 0-520-21326-2 pp. six–7
  23. ^ Mercer dictionary of the Bible by Watson E. Mills, Roger Aubrey Bullard 1998 ISBN 0-86554-373-9 pp. 520–525
  24. ^ Lord Jesus Christ: Devotion to Jesus in Earliest Christianity past Larry W. Hurtado 2005 ISBN 0-8028-3167-2 pp. 113, 179
  25. ^ II Corinthians: a commentary by Frank J. Matera 2003 ISBN 0-664-22117-three pp. xi–13
  26. ^ The paradigm of St Francis past Rosalind B. Brooke 2006 ISBN 0-521-78291-0 pp. 183–184
  27. ^ The tradition of Catholic prayer past Christian Raab, Harry Hagan, St. Meinrad Archabbey 2007 ISBN 0-8146-3184-3 pp. 86–87
  28. ^ The vitality of the Christian tradition by George Finger Thomas 1944 ISBN 0-8369-2378-2 pp. 110–112
  29. ^ La vida sacra: gimmicky Hispanic sacramental theology by James L. Empereur, Eduardo Fernández 2006 ISBN 0-7425-5157-i pp. 3–5
  30. ^ Philippines by Lily Rose R. Tope, Detch P. Nonan-Mercado 2005 ISBN 0-7614-1475-4 p. 109
  31. ^ Arthur Calkins, Marian Induction and Entrustment in Burke, Raymond L.; et al. (2008) Mariology: A Guide for Priests, Deacons, Seminarians, and Consecrated Persons ISBN 978-1-57918-355-four pp. 725–737
  32. ^ Life in Renaissance France by Lucien Febvre 1979 ISBN 0-674-53180-ix p. 145
  33. ^ Saint Alphonsus Liguori by Saint Alfonso Maria de' Liguori, Richard Paul Blakeney 1852 p. twenty
  34. ^ Acta Apostolicae Sedis 5, 1913, pp. 113–117
  35. ^ a b Art and music in the early modern period by Franca Trinchieri Camiz, Katherine A. McIver ISBN 0-7546-0689-nine p. fifteen [1]
  36. ^ Roten Southward.M., Johann Thou., "Birth of Mary: Meditation and Illustration", International Marian Research Institute, Academy of Dayton
  37. ^ The Madonna della Misericordia in the Italian Renaissance by Carol McCall Rand, 1987, Thesis, Virginia Commonwealth Academy
  38. ^ Virgen de San Juan Shrine, past Bonnie Robertson, 1980 ASIN: B0021ZHECE
  39. ^ Luis Nava Rodríguez, 1975 Historia de Nuestra Senora de Ocotlan Tlaxcala: Editoria de periodicos "La Prensa", MLCS 98/02238
  40. ^ The énclosed garden: history and evolution of the hortus conclusus past Rob Aben, Saskia de Wit 1999 ISBN 90-6450-349-4
  41. ^ M Guarducci Maria nelle epigrafi paleocristiane di Roma 1963, 248
  42. ^ I Daoust, Marie dans les catacombes, in "Esprit et Vie", n. 91, 1983.
  43. ^ The Annunciation To Mary by Eugene LaVerdiere 2007 ISBN 1568545576 page 29
  44. ^ Early Christian Art and Architecture past R. Fifty. P. Milburn (Feb 1991) ISBN 0520074122 Univ California Press folio 303
  45. ^ Image and Relic: Mediating the Sacred in Early Medieval Rome by Erik Thun 2003 ISBN 8882652173 pages 33-35
  46. ^ a b Mary in Western Art by Timothy Verdon 2005 ISBN 097129819X pages 37-twoscore
  47. ^ Michael Rose, 2004, In Tiers of Glory: The Organic Development of Catholic Church Architecture through the Ages Mesa Folio editions, ISBN 0967637120 pages ix-12
  48. ^ Merriam-Webster'due south Encyclopedia of World Religions 2000 ISBN 0877790442 page 408
  49. ^ Infancy Gospel of James, chapter 20 Archived 2008-06-11 at the Wayback Machine
  50. ^ Encyclopedia of Comparative Iconography past Helene Due east. Roberts 1998 ISBN 1-57958-009-2 p. 904
  51. ^ Religions of the World by J. Gordon Melton, Martin Baumann 2003 ISBN 1576072231 pages 308-309
  52. ^ Art and architecture of viceregal Latin America, 1521–1821 by Kelly Donahue-Wallace 2008 ISBN 0826334598
  53. ^ Mapping the Catholic cultural mural past Richard Fossey 2004 ISBN 0-7425-3184-8 p. 78
  54. ^ Globalizing the sacred: religion beyond the Americas by Manuel A. Vásquez, Marie F. Marquardt 2003 ISBN 0-8135-3285-Ten p. 74
  55. ^ Schoenstatt website "Archived copy". Archived from the original on 2009-10-x. Retrieved 2008-07-eighteen . {{cite web}}: CS1 maint: archived copy every bit title (link)
  56. ^ Enquiry on Luigi Crosio Archived 2012-06-29 at archive.today
  57. ^ University of Dayton Archived 2012-05-09 at the Wayback Machine
  58. ^ Marian Dogmas at University of Dayton http://campus.udayton.edu/mary/mariandogmas.html
  59. ^ Divine Liturgy of St John Chrysostom, Coptic Liturgy of St Basil, Liturgy of St Cyril Archived 2012-05-09 at WebCite, Liturgy of St James Archived 15 June 2008 at the Wayback Machine, Agreement the Orthodox Liturgy, etc.
  60. ^ L. Gambero, Mary and the Fathers of the Church trans. T. Buffer (San Francisco: Ignatius, 1991), p. 35.
  61. ^ Guiley, Rosemary Ellen (2004). The Encyclopedia of Angels (2d ed.). p. 183. ISBN0-8160-5023-six.
  62. ^ Medieval art: a topical dictionary by Leslie Ross 1996 ISBN 0-313-29329-five p. 99
  63. ^ Christian iconography: a report of its origins past André Grabar 1968 Taylor & Francis p. 130
  64. ^ Announcement Art, Phaidon Press, 2004, ISBN 0-7148-4447-0
  65. ^ The Annunciation to Mary by Eugene Laverdiere 2007 ISBN 1-56854-557-6 p. 29
  66. ^ The Oxford Companion to Christian Fine art and Architecture by Peter Murray 1996 ISBN 0-19-866165-7 p. 24
  67. ^ Medieval art: a topical dictionary by Leslie Ross 1996 ISBN 0-313-29329-5 p. 16
  68. ^ Paul Cavendish, "The Tridentine Mass"
  69. ^ Marion A. Habig, "Country of Mary Immaculate"
  70. ^ Emblems for Immaculate Formulation "Archived re-create". Archived from the original on 2008-12-11. Retrieved 2008-12-05 . {{cite web}}: CS1 maint: archived copy as title (link)
  71. ^ The whole text Archived 2011-05-29 at the Wayback Machine
  72. ^ Ésotérisme, gnoses & imaginaire symbolique: mélanges offerts à Antoine Faivre by Richard Caron, Antoine Faivre 2001 ISBN 90-429-0955-two p. 676
  73. ^ Divine Mirrors: The Virgin Mary in the Visual Arts by Melissa R. Katz and Robert A. Orsi 2001 ISBN 0-19-514557-7 p. 98
  74. ^ As the Virgin Mary remained an ever-virgin and sinless, it is viewed that the Virgin Mary could not thus suffer the consequences of Original Sin, which is importantly Death. http://www.newadvent.org/fathers/3819.htm Nicea II Session half dozen Decree
  75. ^ Nicaea II Definition, "without blotch"
  76. ^ Christopher Rengers, The 33 Doctors Of The Church, Tan Books & Publishers, 200, ISBN 0-89555-440-2
  77. ^ Mary H. Allies, St. John Damascene on Holy Images, Followed by Three Sermons on the Assumption London, 1899.
  78. ^ University of Dayton http://campus.udayton.edu/mary/resources/maryassump1.html
  79. ^ Lexicon of Mary, Catholic Book Publishing Co., New York, 1985
  80. ^ Ad Caeli Reginam twoscore
  81. ^ a b Guiley, Rosemary Ellen (2001). The Encyclopedia of Saints. Infobase Publishing. p. 162. ISBN0-8160-4134-2.
  82. ^ Michael Freze, 1993, Voices, Visions, and Apparitions, OSV Publishing ISBN 0-87973-454-X
  83. ^ Secular ritual by Emerge Falk Moore, Barbara Chiliad. Myerhoff 1977 ISBN xc-232-1457-9 p. 174
  84. ^ Emiliano Zapata by Samuel Brunk 1995 ISBN 0-8263-1620-4 p. 68
  85. ^ Moved by Mary by Anna-Karina Hermkens 2009 ISBN 0-7546-6789-viii p. 38
  86. ^ a b Encyclical Advertizing Caeli Reginam on the Vatican website
  87. ^ The encyclopedia of Protestantism edited past Hans Joachim Hillerbrand 2003 ISBN 0-415-92472-3 pp. 171–173
  88. ^ Mary in Western art by Timothy Verdon, Filippo Rossi 2005 ISBN 0-9712981-ix-X p. 61
  89. ^ Christian fine art past Beth Williamson 2004 ISBN 0-19-280328-10 pp. 102–106
  90. ^ a b c The Eastern Orthodox Church building: Its Thought and Life past Ernst Benz 2009 ISBN 0-202-36298-1 pp. 4–9
  91. ^ Serbian orthodox fundamentals by Christos Mylonas 2003 ISBN 963-9241-61-X pp. 45–48
  92. ^ Encyclopedia of Catholicism by Frank Thou. Flinn, J. Gordon Melton 2007 ISBN pp. 244–245
  93. ^ a b c Ecclesiasticus II: Orthodox Icons, Saints, Feasts and Prayer by George Dion Dragas 2005 ISBN 0-9745618-0-0 pp. 177–178
  94. ^ America's religions: from their origins to the 20-get-go century by Peter W. Williams 2008 ISBN 0-252-07551-10 pp. 56–57
  95. ^ Keeping silence: Christian practices for entering stillness by C. W. McPherson ISBN 0-8192-1910-Ten, 2002 p. 48
  96. ^ The encyclopedia of world religions by Robert S. Ellwood, Gregory D. Alles 2007 ISBN 0-8160-6141-6 pp. 33–34
  97. ^ Mark Miravalle, 1993, Introduction to Mary, Queenship Publishing ISBN 978-i-882972-06-7 pp. 64–70
  98. ^ Butler'southward Lives of the Saints: August by Alban Butler, Paul Burns 1998 ISBN 0-86012-257-3 p. 147

References [edit]

  • D'Ancona, Mirella Levi (1977). Garden of the Renaissance: Botanical Symbolism in Italian Painting. Firenze: Casa Editrice Leo S.Olschki. ISBN9788822217899.
  • D'Ancona, Mirella Levi (1957). The iconography of the Immaculate Conception in the Eye Ages and early Renaissance. Higher Art Clan of America. ASIN B0007DEREA.
  • Beckwith, John (1969). Early Medieval Fine art. Thames and Hudson. ISBN 0-500-20019-X.
  • Arnold Hauser, Mannerism: The Crunch of the Renaissance and the Origins of Modernistic Art, Cambridge: Harvard University Press, 1965, ISBN 0-674-54815-ix
  • Levey, Michael (1961). From Giotto to Cézanne. Thames and Hudson,. ISBN 0-500-20024-vi.
  • Myers, Bernard (1965, 1985). Landmarks of Western Art. Hamlyn. ISBN 0-600-35840-2.
  • Rice, David Talbot (1997). Fine art of the Byzantine Era. Thames and Hudson. ISBN 0-500-20004-1.

Further reading [edit]

  • Dupre, Judith. Full of Grace: Encountering Mary in Religion, Art, and Life, 2010 ISBN 1-4000-6585-ii
  • Gustafson, Fred. The Blackness Madonna, 2008 ISBN 3-85630-720-6

External links [edit]

  • Christian Iconography from Augusta State University – see under Virgin Mary, later alphabet of saints
  • Nascence of Mary in Art, All Most Mary The Academy of Dayton's Marian Library/International Marian Enquiry Institute (IMRI) is the world's largest repository of books, artwork and artifacts devoted to Mary, the mother of Christ, and a pontifical eye of research and scholarship with a vast presence in cyberspace.

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Source: https://en.wikipedia.org/wiki/Marian_art_in_the_Catholic_Church

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