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Virgin Mary Statue Made of Bullets New Mexican Art

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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 building roofing a range of topics have been produced, from masters such as Michelangelo and Botticelli to works made past unknown peasant artisans.[i]

Marian art forms part of the material of Cosmic Marian civilisation through their emotional impact on the veneration of the Blessed Virgin. Images such every bit Our Lady of Guadalupe and the many creative renditions of it as statues are not merely works of art but are a central elements of the daily lives of the Mexican people.[2] Both Hidalgo and Zapata flew Guadalupan flags and depictions of the Virgin of Guadalupe go on to remain a key unifying chemical element in the Mexican nation.[3] The written report of Mary via the field of Mariology is thus inherently intertwined with Marian art.[4]

The torso of teachings that constitute Catholic Mariology consist of iv basic Marian dogmas: Perpetual virginity, Mother of God, Immaculate Conception and Assumption into Sky, derived from Biblical scripture, the writings of the Church Fathers, and the traditions of the Church. Other influences on Marian art have been the Feast days of the Church, 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 Apostolic Letters.

Each of these fundamental Mariological beliefs has given rise to Catholic Marian art that has become function of Mariology, by emphasizing Marian veneration, being historic in specific Marian feasts, or condign part of key Catholic Marian churches. This article'southward focus is primarily on how the artistic component of Catholic Mariology has represented the central 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 element of the Catholic identity since the very beginning.[five] Medieval Catholicism cherished relics and pilgrimages to visit them were common. Churches and specific works of fine art were deputed to accolade the saints and the Virgin Mary has always been seen equally the most powerful intercessor amidst all saints—her depictions being the subject of veneration amid Catholics worldwide.[5]

Cosmic Mariology does not just consist of a set up of theological writings, but also relies on the emotional impact of art, music and architecture. Catholic Marian music and Catholic Marian churches collaborate with Marian art as key components of Mariology, e.m. the construction of major Marian churches gives rise to major pieces of art for the ornament of the church.[vi] [7] [eight] [9]

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

An example of the interaction of Marian art, civilisation and churches is Salus Populi Romani, a key Marian icon in Rome at Santa Maria Maggiore, the earliest Marian church 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 (after Pope Pius XII) said his offset Holy Mass in front end of it at the Santa Maria Maggiore. 50 years later on, he physically crowned this picture equally function of the first Marian year in Church history, as he proclaimed the Queenship of Mary. The image was carried from Santa Maria Maggiore around Rome as part of the celebration of the Marian twelvemonth and the declaration of the Queenship of Mary.

Another example is Our Mother of Perpetual Help. Catholics have, for centuries, prayed before this icon, usually in reproductions, to intercede on their behalf to Christ.[13] Over the centuries, several churches dedicated to Our Mother of Perpetual Help have been constructed. Pope John Paul II held mass at the National Shrine of Our Mother of Perpetual Help in the Philippines where the devotion is very pop and many Catholic churches hold a Novena and Mass honoring it every Wednesday using a replica of the icon, which is besides widely displayed in houses, buses and public send in the Philippines.[14] [15] [sixteen] Devotions to the icon have spread from the Philippines to the United States, and remain pop among Asian-Americans in California.[17] [xviii] As recently every bit 1992, the song The Lady Who Wears Blue and Gold was equanimous in California then performed at St. Alphonsus Liguori Church in Rome, where the icon resides. This illustrates how a medieval work of art can give rise to feast days, Cathedrals and Marian music.

The use of Marian art by Catholics worldwide accompanies specific forms of Marian devotion and spirituality. The widespread Catholic apply of replicas of the statue of Our Lady of Lourdes emphasizes devotions to the Immaculate Formulation and the Rosary, both reported in the Lourdes letters. To Catholics, the distinctive blueish and white Lourdes statues are reminders of the accent of Lourdes on Rosary devotions and the millions of pilgrimages to the Rosary Basilica at Lourdes shows how Churches, devotions and fine art intertwine within Cosmic culture. The Rosary remains the prayer of choice amid Catholics who visit Lourdes or venerate the Lourdes statues worldwide.[nineteen] [20] [21] [22]

Historically, Marian fine art has not only impacted the paradigm of Mary among Catholics, but that of Jesus. The early "Kyrios image" of Jesus as "the Lord and Master" was specially emphasized in the Pauline Epistles.[23] [24] [25] The 13th century depictions of the Nativity of Jesus in art and the Franciscan development of a "tender image of Jesus" via the structure of Birth 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 birth depicted in Nascency art reinforced the image of God not as severe and punishing, but himself humble at nativity and sacrificed at expiry.[27] As the tender joys of the Birth were added to the agony of Crucifixion (as depicted in scenes such as Stabat Mater) a whole new range of approved religious emotions were ushered in via Marian art, with broad-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 French republic used the motif of the protective mantle of the Virgin Mary which shielded the kneeling abbots and abbesses. In the 13th century Caesarius of Heisterbach was also aware of this motif, which somewhen led to the iconography of the Virgin of Mercy and an increased focused on the concept of Marian protection.[31] Past the beginning of the 16th century, depictions of the Virgin of Mercy were among the preferred artistic items in households in the Paris area.[32] In the 18th century Saint Alphonsus Liguori attributed his own recovery from well-nigh death to a statue of the Virgin of Mercy brought to his bedside.[33]

In his churchly letter Archicoenobium Casinense in 1913, Pope Pius X echoed the aforementioned sentiment regarding the blending of art, music and organized 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 chant by the Benedictines of Solesmes Abbey and wrote, "...together with sacred music, this art proves itself to be a powerful assistance to the liturgy".[34]

Diversity of Marian fine art [edit]

Catholic Marian art has expressed a wide range of theological topics that chronicle to Mary, ofttimes in ways that are far from obvious, and whose meaning can only be recovered by detailed scholarly analysis. Unabridged books, academic theses or lengthy scholarly works take been written on various aspects of Marian art in full general and on specific topics such every bit 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 Catholic Marian art has connected in the 21st century by artists such as Miguel Bejarano Moreno and Francisco Cárdenas Martínez.

Early veneration [edit]

Early on veneration of Mary is documented in the Catacombs of Rome. In the catacombs paintings show the Blessed 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 comprise the known oldest Marian paintings, dating from the middle of the second century[42] In one, Mary is shown with the babe Jesus on her lap. The Priscilla catacomb also includes the oldest known fresco of the Declaration, dating to the 4th century.[43]

After 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 fine art flourished. Some of the primeval Marian churches in Rome appointment to the 5th century, such as Santa Maria in Trastevere, Santa Maria Antiqua and Santa Maria Maggiore, and these churches were in plough busy with pregnant works of art through the centuries.[45] [46] The interaction of Marian fine art and church construction thus influenced the development of Marian fine art.[47]

The Virgin Mary has since go a major discipline of Western Art. Masters such equally 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 only the theological implications of this were defined and confirmed by the Council of Ephesus (431). Different aspects of Mary'south position as mother have been the subject of a large number of works of Catholic fine art.

There was a corking expansion of the cult of Mary afterward the Council of Ephesus in 431, when her status as Theotokos was confirmed; this had been a subject of some controversy until and 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 later the council, she is not nonetheless shown with a halo, and she is also not shown in Birth scenes at this date, though she is included in the Admiration 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 group of icons surviving from this period, at Saint Catherine'southward Monastery in Egypt. This type of depiction, with subtly irresolute differences of emphasis, has remained the mainstay of depictions of Mary to the present day. The epitome 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 Nascence was taking the course, centred on Mary, that it has retained up to the present 24-hour interval 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 beingness evolved, relying on apocryphal sources to fill in her life before the Annunciation to Mary. Past this time the political and economic collapse of the Western Roman Empire meant that the Western, Latin, church was unable to compete in the evolution of such sophisticated iconography, and relied heavily on Byzantine developments.

The primeval surviving image in a Western illuminated manuscript of the Madonna and Child comes from the Volume of Kells of virtually 800 and, though magnificently decorated in the manner of Insular art, the cartoon of the figures can merely be described as rather crude compared to Byzantine work of the menstruation. This was in fact an unusual inclusion in a Gospel book, and images of the Virgin were slow to appear in big numbers in manuscript art until the volume of hours was devised in the 13th century.

Nativity of Jesus [edit]

Representation of the Birth on the Throne of Maximianus in Ravenna

The Nascence of Jesus has been a major subject of Christian fine art since the early 4th century. Information technology has been depicted in many dissimilar media, both pictorial and sculptural. Pictorial forms include murals, panel paintings, manuscript illuminations, stained glass windows and oil paintings. The earliest representations of the Nascency itself are very uncomplicated, just showing the infant, tightly wrapped, lying almost 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 sixth-century Palestine, was to ready the essential grade of Eastern Orthodox images downwardly to the present solar day. The setting is now a cavern - or rather the specific Cave of the Nativity in Bethlehem, already underneath the Church of the Nativity, and well-established as a place of pilgrimage, with the approval of the Church.

Western artists adopted many of the Byzantine iconographic elements, but preferred the scriptural stable to the cavern, though Duccio's Byzantine-influenced Maestà version tries to have both. During the Gothic period, in the Northward earlier than in Italy, increasing closeness betwixt mother and child develops, and Mary begins to agree her baby, or he looks over to her. Suckling is very unusual, but is sometimes shown.

The image in later medieval Northern Europe was ofttimes influenced by the vision of the Nascency of Saint Bridget of Sweden (1303–1373), a very popular mystic. Soon before her death, she described a vision of the infant Jesus equally lying on the ground, and emitting light himself.

From the 15th century onwards, the Adoration of the Magi increasingly became a more than common depiction than the Nativity proper. From the 16th century plainly Nativities with just the Holy Family unit, become a clear minority, although Caravaggio led a return to a more than 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 non only at her virginal conception of Jesus Christ at the Proclamation (that she was a virgin before, during and after giving nascency to him) is alluded to in some forms of Nascence art: Salome, who according to the story in the 2nd-century Nativity of Mary [49] received physical proof that Mary remained a virgin fifty-fifty in giving nativity 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 ancient pictorial and sculptural traditions that informed the earliest Christian communities throughout Europe, Northern Africa and the Eye East. Important to Italian tradition are Byzantine icons, particularly those created in Constantinople (Istanbul), the capital letter of the longest, enduring medieval civilization whose icons, such equally 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 Middle Ages, the Cretan school, under Venetian rule, was the source of neat numbers of icons exported to the Due west, and the artists there could adjust their style to Western iconography when required.

In the Romanesque flow free-continuing statues, typically about one-half life-size, of the enthroned Madonna and Child were an original Western development, since awe-inspiring sculpture was forbidden past Orthodoxy. The Golden Madonna of Essen of c. 980 is one of the earliest of these, made of aureate practical to a wooden core, and still the discipline of considerable local veneration, as is the 12th century Virgin of Montserrat in Catalonia, a more developed treatment.

With the growth of monumental panel painting in Italy during the 12th and 13th centuries, this type was frequently painted at the image of the Madonna gains prominence outside of Rome, particularly throughout Tuscany. While members of the mendicant orders of the Franciscan and Dominican Orders are some of the first to commission panels representing this subject affair, such works quickly became popular in monasteries, parish churches, and later homes. Some images of the Madonna were paid for past lay organizations called confraternities, who met to sing praises of the Virgin in chapels institute inside the newly reconstructed, spacious churches that were sometimes defended to her.

Some key Madonnas [edit]

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

Some Madonnas are known by a general name and concept rendered or depicted past various artists. For instance, 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 7 swords in her heart, 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's largest church) is an important icon in Poland. The term Our Lady of Sorrows is also used in other contexts, without a Madonna, e.thou. for Our Lady of Kibeho apparitions.

Some Madonnas become the field of study of widespread devotion, and the Marian shrines dedicated to them attract millions of pilgrims per year. An example is Our Lady of Aparecida in Brazil, whose shrine is surpassed in size just past Saint Peter's Basilica in The holy see, and receives more pilgrims per yr than any other Catholic Marian church building 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 commodity. The Due south American tradition of Marian art dates back 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 United mexican states. It is the second most visited pilgrimage shrine in Mexico, after Our Lady of Guadalupe.
  • The Virgin of Ocotlán is a statue of the Virgin Mary in Ocotlán, Tlaxcala, United mexican states.
  • Our Lady of Navigators is a highly venerated Madonna in Brazil. The devotion started by the 15th century Portuguese navigators, praying for a safe render to their homes and 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]

Italy and Spain [edit]

  • The Madonna of humility by Domenico di Bartolo, 1433, is considered one of the well-nigh innovative devotional images from the early Renaissance.[35]
  • Raphael's Sistine Madonna. The painting, originally commissioned for the church of San Sisto, Piacenza, is now at the Gemäldegalerie Alte Meister in Dresden (Germany). It is considered a key example of loftier 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 altar of Milan Cathedral is an outstanding case of Bizarre Marian art
  • Murillo's Dolorosa Madonna in Seville, Spain is a central example of a sorrowful Madonna
  • Madonna of the Colonnade 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 Spain is a highly venerated statue and the patron saint of Catalonia.
Fundamental and Northern Europe [edit]
  • The Black Madonna of Częstochowa is Poland's holiest relic, and ane of the land's national symbols.
  • Dutch painter Jan van Eyck'due south Lucca Madonna at the Städel Museum in Frankfurt is a proficient example of iconography where the Virgin Mary is portrayed as the Throne of Wisdom, with Jesus sitting on her lap.
  • Michelangelo'due south statue of the Virgin Mary and a standing Jesus known every bit the Madonna of Bruges at the Church building 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 pregnant popular following in central Europe and has since been called the Female parent Thrice Admirable Madonna, as a symbol of the Schoenstatt Movement.[55] [56] [57]

Mary in the Life of Christ [edit]

Scenes of Mary and Jesus together fall into two main groups: those with an infant Jesus, and those from the concluding menstruum of his life. Afterwards the episodes of the Nascence, 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, Flight into Egypt, and less specific scenes of Mary and Jesus with his cousin John the Baptist, sometimes with John's mother Elizabeth. Leonardo da Vinci's Virgin of the Rocks is a famous example. Gatherings of the whole extended family of Jesus course a bailiwick known as the Holy Kinship, pop in the Northern Renaissance. Mary appears in the background of the only incident in the Gospels from the later childhood of Jesus, the Finding in the Temple.

Mary is then usually absent from scenes of the period of Christ'southward life between his Baptism and his Passion, except for the Wedding at Cana, where she is placed in the Gospels. A non-scriptural subject of Christ taking leave of his Mother (before going to Jerusalem at the start of his Passion) was oftentimes painted in 15th- and early 16th-century Germany. Mary is placed at the Crucifixion of Jesus by the Gospels, and is almost 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 cantankerous common in medieval Western churches had statues of Mary and John flanking a central crucifix. Mary is shown as present at the Deposition of Christ and his Entombment; in the tardily Middle Ages the Pietà emerged in Germany as a carve up subject, especially in sculpture. Mary is as well included, though this is not mentioned in whatever of the scriptural accounts, in depictions of the Ascension of Jesus. After the Ascension, she is the centrally-placed figure in depictions of Pentecost, which is her latest appearance in the Gospels.

The main scenes above, showing incidents celebrated as feast days by the church building, formed part of cycles of the Life of the Virgin (though the selection of scenes in these varied considerably), likewise every bit the Life of Christ.

Perpetual virginity [edit]

The dogma of the perpetual virginity of Mary is the earliest of the four Marian dogmas and Cosmic liturgy has repeatedly referred to Mary as "ever virgin" for centuries.[58] [59] The dogma means that Mary was a virgin earlier, during and after giving nascency to Jesus Christ. The 2nd-century work originally known as the Nascence of Mary pays special attention to Mary'south virginity.[lx]

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

Frescos depicting this scene have appeared in Catholic Marian churches for centuries and it has been a topic addressed by many artists in multiple media, ranging from stained drinking glass to mosaic, to relief, to sculpture to oil painting.[64] The oldest fresco of the announcement is a 4th-century depiction in the Catacomb of Priscilla in Rome.[65] In most (merely not all) Catholic, and indeed Western, depictions Gabriel is shown on the left, while in the Eastern Church he is more frequently depicted on the right.[66]

It has been one of the well-nigh frequent subjects of Christian art particularly during the Middle Ages and Renaissance. The figures of the Virgin Mary and the Archangel Gabriel, being allegorical of purity and grace, were favorite subjects of many painters such equally Sandro Botticelli, Leonardo da Vinci, Caravaggio, Duccio and Murillo among 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'due south fresco at the church of Santa Maria Novella in Florence (1486) and Donatello'south golden sculpture at the church 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 busy arches to a higher place doorways.

Immaculate Conception [edit]

Murillo'southward Immaculate Conception, 1650

Given that up 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 art on the discipline by and large dates to periods afterward the 15th century and is absent from Renaissance fine art. But with support from pop opinion, the Franciscans and theologians such as Blessed Duns Scotus, the popularity of the doctrine increased and a feast-24-hour interval for it was promoted.

Swiss keepsake, 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 feast, directing that the Mass for the Nativity of Mary (with the discussion "Nativity" replaced by "Conception") be used instead.[68] Role 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 employ.[69]

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

Drawing on the emblem tradition, Francisco Pacheco established an iconography that influenced artists such every bit Murillo, Diego Velázquez and others. This style of representation of the immaculate Formulation then spread to the balance of Europe, and has since remained the usual depiction.

The dogmatic definition of Immaculate Conception was performed by 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 Conception" and the faithful believing her to exist the Blessed Virgin Mary.

Delineation 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 trouble of how to depict an abstract idea such as the Immaculate Conception, and the problem was not fully solved for 150 years.

Since a key Scriptural text pointed to in support of the doctrine was "Tota pulchra es...", "Yard art all fair, my honey; at that place is no spot in thee", poesy 4.7 from the Song 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") field of study. This gave a rather cluttered subject, and usually was impossible to combine with correct perspective, and then never caught on outside Frg and the Depression Countries. Piero di Cosimo was among those artists who tried new solutions, simply none of these became generally adopted and then that the subject would be immediately recognisable to the faithful.

The definitive iconography for the Immaculate Conception, cartoon on the emblem tradition, seems to accept been established by the master so father-in-constabulary of Diego Velázquez, the painter and theorist Francisco Pacheco (1564–1644), to whom the Inquisition in Seville too contracted the approving 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 one that is closest to the holy revelation of the Evangelist and approved by the Catholic Church building on the authority of the sacred and holy interpreters... In this loveliest of mysteries Our Lady should exist painted equally a cute young girl, 12 or thirteen years erstwhile, in the bloom of her youth... And thus she is praised by the Husband: tota pulchra es amica mea, a text that is always written in this painting. She should exist painted wearing a white tunic and a bluish curtain... She is surrounded by the dominicus, an oval sun of white and ochre, which sweetly blends into the heaven. Rays of low-cal emanate from her head, around which is a ring of twelve stars. An royal crown adorns her head, without, however, hiding the stars. Under her feet is the moon. Although information technology is a solid world, I take the liberty of making it transparent and so that the landscape shows through."[72] [73]

Castilian artists such as Bartolomé Murillo (peculiarly), Diego Velázquez and others adopted this formula, with variations, and it and then spread to the rest of Europe, since when it has remained the usual depiction.

This item representation of The Immaculate Conception has since remained the best known artistic delineation of the concept: in a heavenly realm, moments after her creation, the spirit of Mary (in the grade of a young woman) looks up in awe at (or bows her head to) God. The moon is nether her feet and a halo of twelve stars environs her head, mayhap a reference to "a woman clothed with the sun" from Revelation 12:i-2. Additional imagery may include clouds, a golden light, and cherubs. In some paintings the cherubim are holding lilies and roses, flowers often associated with Mary.

Assumption of Mary [edit]

The Catholic 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 only officially declared a dogma by Pope Pius XII in his Apostolic Constitution Munificentissimus Deus in 1950, its roots in Cosmic culture and art get back many centuries. While Pope Pius XII deliberately left open the question of whether Mary died earlier her Assumption, the more common teaching of the early Fathers is that she did.[74] [75]

An early supporter of the Assumption was Saint John of Damascus (676–794), a Doctor of the Church who is often called the Doctor of the Supposition.[76] Saint John was not merely interested in the Assumption, merely also supported the use of holy images in response to the edict past 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 ancestor, leaps, and with him the angels lead the dance."

The Eastern Church held the banquet of the Assumption as early as the second 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 existence bodily assumed. The Orthodox term for the death is the Dormition of the Virgin. Byzantine depictions of this were the ground for Western images, the subject beingness known as the Death of the Virgin in the West. Equally the nature of the Supposition became controversial during the High Middle Ages, the bailiwick was often avoided, but depiction continued to exist mutual until the Reformation. The last major Catholic depiction is Caravaggio's Decease of the Virgin of 1606.

Meanwhile, depictions of the Assumption had been becoming more frequent during the belatedly Middle Ages, with the Gothic Siennese school a particular source. Past the 16th century they had become the norm, initially in Italian republic, and then elsewhere. They were sometimes combined with the Coronation of the Virgin, equally the Trinity waited in the clouds. The field of study was very suited to Bizarre handling.

Queen of Sky [edit]

The Catholic teaching that Mary is far in a higher place all other creatures in dignity, and after Jesus Christ possesses primacy over all goes dorsum to the early on church building. Saint Sophronius said: "Y'all accept surpassed every creature" and Saint Germain of Paris (496–576) stated: "Your laurels and nobility surpass the whole of cosmos; your greatness places you above the angels." Saint John of Damascus went further: "Limitless is the deviation between God's servants and His Mother."[79] [fourscore]

The banquet of the Queenship of Mary was just formally established in 1954 by Pope Pius XII in his encyclical Ad Caeli Reginam. Pius XII as well declared the start Marian year and a number of Catholic Church rededications took place, eastward.yard. the 1955 rededication of the church of Saint James the Great in Montreal with the new championship Mary, Queen of the Earth Cathedral a championship proclaimed by Pius XII.

Nonetheless, long earlier 1954 the Coronation of the Virgin had been the subject of a practiced number of artistic works. Some of these paintings congenital on the tertiary stage of the Assumption of Mary in which following her Assumption, she is crowned as the Queen of Heaven.

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

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

This icon has 2 Gospel passages written on it. The commencement one is, Mark 14:72.

Immediately the rooster crowed the 2nd fourth dimension. And then Peter remembered the word Jesus had spoken to him: "Before the rooster crows twice you volition disown me three times." And he broke down and wept.

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

When they had finished breakfast, Jesus said to Simon Peter, "Simon son of Jonas, practise you dearest me more these?" He said to him, "Yes, Lord; y'all know that I love you." Jesus said to him, "Feed my lambs. "A 2d time he said to him, "Simon son of Jonas do you love me?" He said to him, "Yep, Lord; y'all know that I beloved you." Jesus said to him, "Tend my sheep. "He said to him the third time, "Simon son of Jonas do you honey me?" Peter felt hurt because he said to him the third fourth dimension "Practice you love me?" And he said to him, "Lord, you know everything; you know that I dearest you." Jesus said to him, "Feed my sheep. Very truly, I tell you, when you were younger, you used to fasten your own belt and to go wherever you wished. But when you grow old, you will stretch out your hands, and someone else will fasten a belt around you and have yous where you do not wish to go." He said this to indicate the kind of decease past which he would glorify God. After this he said to him, "Follow me."

As nosotros know by tradition, the apostle Peter was in charge of the rest of the xi apostles since the start even before when Jesus told him, "And I tell you that y'all are Peter, and on this stone I will build my church building, and the gates of Hades will not overcome information technology." Matthew xvi:18.

This means that from the time when Peter denied Jesus and the rooster crowed on Holy Th, till the fourth dimension when Jesus appeared to his disciples for the third time after he was raised from the expressionless and asked him iii times if he loves Him, no one was in charge of the church characterized by the faithful and the apostles, simply instead of Peter, Mary the Mother of Jesus was in charge of it, and that is why this icon depicts her with ii keys in her hands given to her by Jesus Himself depicted as a child to bear witness that this was already planned by God the Father beforehand.

The other title Our Lady of the cease of Times, is given to her considering due to the confusion in the church that we are experiencing today, she is non merely in accuse of the church building instead of the successor of Peter equally she was earlier after Peter'south deprival of Jesus, only she has this double championship due to the terminate of times as prophesied past many mystics and in the Bible itself.[ commendation needed ]

Apparitions [edit]

Catholic devotion to Mary has at times been driven by religious experiences and visions of simple and modest individuals (in many cases children) on remote hilltops which in time have created strong emotions among big numbers of Catholics. Examples include Saint Juan Diego in 1531 as Our Lady of Guadalupe, Saint Bernadette Soubirous as 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 v million pilgrims visit Lourdes and Guadalupe each, the volume of Cosmic art to accompany this enthusiasm has been essentially restricted to popular images. Hence although apparitions have resulted in the structure of very large Marian churches at Lourdes and Guadalupe they have not so far had a similar impact on Marian fine art. Yet images such every bit Our Lady of Guadalupe and the creative renditions of it as statues are not merely works of fine art but are a central elements of the daily lives of the Mexican people.[2] Both Miguel Hidalgo and Emiliano Zapata flew Guadalupan flags equally their protector, and Zapata's men wore the Guadalupan prototype around their necks and on their sombreros.[83] [84] Depictions of the Virgin of Guadalupe proceed to remain a key unifying element in the Mexican nation, and every bit the main national symbol of Mexico.[three]

Bogeyman-based fine 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 built in houses and Catholic neighborhoods worldwide and are the field of study 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 II attributed his survival after the 1981 assassination attempt to its intercession, donating ane of the bullets that wounded him to the Sanctuary in Fatima.[81] [86]

Distinguishing characteristics [edit]

The Catholic approach to Marian fine art is quite distinct from the way other Christians (such every bit the Protestant and the Eastern Orthodox) treat the depictions of the Virgin Mary. From the very beginning of the Protestant Reformation its leaders expressed their discomfort with the depictions of saints in general. While over time a Protestant tradition of art adult, the depictions of the Virgin Mary within it accept remained minimal, given that nearly Protestants turn down Marian veneration and view information technology equally a Catholic backlog.[87] [88] [89]

Unlike the bulk of the Protestants, the Eastern Orthodox Church venerates Marian images, only in a different style and with a different accent from the Catholic tradition. While statues of the Virgin Mary abound in Cosmic churches, in that location are specific prohibitions against all 3-dimensional representations (of Mary or any other any saints) within the Orthodox Church building, for they are regarded as remnants of pagan idolatry. Hence the Orthodox simply produce and venerate two-dimensional images.[90] [91] [92] [93]

Catholic Marian images are most entirely devotional depictions and do not have an official continuing within liturgy, simply Eastern icons are an inherent office of Orthodox liturgy. In fact, there is a 3 way, carefully coordinated coaction of prayers, icons and hymns to Mary within Orthodox liturgy, at times with specific feasts that chronicle to the Theotokos icons and the Akathists.[90] [93] [94]

While there is a tradition for the best known Western artists from Duccio to Titian to depict the Virgin Mary, well-nigh painters of Eastern Orthodox icons have remained anonymous for the production of an icon is non viewed as a "work of art" but every bit a "sacred arts and crafts" practiced and perfected in monasteries.[90] To some Eastern Orthodox the natural looking Renaissance depictions used in Catholic fine art are not conducive to meditation, for they lack the kenosis needed for Orthodox contemplation. The rich background representation of flowers or gardens found in Catholic art are not present in Orthodox depictions whose primary focus is the Theotokos, often with the Kid Jesus.[95] [96] Bogeyman-based images such as 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 Brown Scapular on the statues of Our Lady of Fatima emphasize a totally Catholic form of Marian fine art.

Apart from stylistic issues, significant doctrinal differences carve up Cosmic Marian fine art from other Christian approaches. Iii examples are the depictions that involve the Immaculate Formulation, Queen of Sky and the Assumption of Mary. Given that the Immaculate Formulation is a mostly Cosmic doctrine, its depictions inside other Christian traditions remain rare.[97] The same applies to Queen of Sky, for long an element of Catholic tradition (and eventually the subject field of the encyclical Ad Caeli Reginam) but its representation within themes such as the Coronation of the Virgin continue to remain mostly Cosmic.[86] While the Eastern Orthodox support the Dormition of the Theotokos, they do not back up the Catholic doctrines of the Assumption of Mary and hence their depictions of the dormition are distinct and the Virgin Mary is normally shown sleeping surrounded by saints, while Catholic depictions frequently show Mary ascent to Heaven.[93] [98]

Galleries of Marian art [edit]

Perpetual virginity [edit]

  • Perpetual virginity

Nascence of Jesus [edit]

  • Nativity of Christ

  • Adoration of the Magi, ivory, 15th century

Admiration of the shepherds [edit]

  • Adoration of the shepherds

Admiration of the Magi [edit]

  • Adoration of the Magi

Madonna paintings [edit]

Pre 15th century [edit]

  • Pre 15th century

  • Russian Theotokos icon, tenth century

  • Madonna and Angels, Duccio, 1282

15-16th century [edit]

  • fifteen-16th century

Mail service 16th century [edit]

  • Post 16th century

Madonna frescos [edit]

  • Pre 15th century

Madonna statues [edit]

  • Madonna statues

  • Supposition statue, Attard, Republic of 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 Formulation, 1650

Assumption into Heaven [edit]

  • Supposition

  • 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

Come across besides [edit]

  • Catholic fine art
  • Cosmic 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-ix-4
  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 past Maxwell Due east. Johnson 2003 ISBN 0-7425-2284-9 pp. 41–43
  4. ^ Caroline Ebertshauser et al. 1998 Mary: Art, Culture, and Organized religion through the Ages ISBN 978-0-8245-1760-1
  5. ^ a b Distinctively Catholic: an exploration of Catholic 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-three
  7. ^ Edel 2006, Madonna: Sacred Fine art And Holy Music ISBN 9783937406404
  8. ^ University of Dayton Marian Music https://udayton.edu/imri/mary/b/nascency-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 civilization by John Barber 2008 ISBN ane-933146-34-six p. 288
  12. ^ Catholic encyclopedia
  13. ^ Ann Ball, 2003 Encyclopedia of Catholic Devotions and Practices ISBN 0-87973-910-10 pp. 431–433
  14. ^ Vatican website: Pope John Paul II in the Philippines
  15. ^ Civilisation and customs of the Philippines by Paul A. Rodell 2001 ISBN 0-313-30415-7 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 0-8147-1630-10 p. 355
  18. ^ Religion at the corner of elation and nirvana by Lois Ann Lorentzen 2009 ISBN 0-8223-4547-one pp. 278–280
  19. ^ The encyclopedia of Christianity, Volume iii by Erwin Fahlbusch, Geoffrey William Bromiley 2003 ISBN ninety-04-12654-6 p. 339
  20. ^ Our Sunday Company'south Catholic Almanac by Matthew Bunson 2008 ISBN one-59276-441-X p. 123
  21. ^ The Mystery of the Rosary by Nathan Mitchell 2009 ISBN 0-8147-9591-ix p. 193
  22. ^ China'due south Catholics past Richard Madsen 1998 ISBN 0-520-21326-2 pp. 6–seven
  23. ^ Mercer lexicon of the Bible by Watson East. Mills, Roger Aubrey Bullard 1998 ISBN 0-86554-373-nine pp. 520–525
  24. ^ Lord Jesus Christ: Devotion to Jesus in Earliest Christianity by Larry W. Hurtado 2005 ISBN 0-8028-3167-ii pp. 113, 179
  25. ^ II Corinthians: a commentary past Frank J. Matera 2003 ISBN 0-664-22117-three pp. 11–13
  26. ^ The image of St Francis by 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-iii pp. 86–87
  28. ^ The vitality of the Christian tradition past George Finger Thomas 1944 ISBN 0-8369-2378-2 pp. 110–112
  29. ^ La vida sacra: contemporary Hispanic sacramental theology by James L. Empereur, Eduardo Fernández 2006 ISBN 0-7425-5157-1 pp. 3–5
  30. ^ Philippines past Lily Rose R. Tope, Detch P. Nonan-Mercado 2005 ISBN 0-7614-1475-4 p. 109
  31. ^ Arthur Calkins, Marian Consecration 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 0-674-53180-9 p. 145
  33. ^ Saint Alphonsus Liguori past Saint Alfonso Maria de' Liguori, Richard Paul Blakeney 1852 p. xx
  34. ^ Acta Apostolicae Sedis 5, 1913, pp. 113–117
  35. ^ a b Art and music in the early modern period past Franca Trinchieri Camiz, Katherine A. McIver ISBN 0-7546-0689-9 p. fifteen [ane]
  36. ^ Roten Southward.K., Johann G., "Nascence of Mary: Meditation and Analogy", International Marian Research Institute, University of Dayton
  37. ^ The Madonna della Misericordia in the Italian Renaissance by Carol McCall Rand, 1987, Thesis, Virginia Republic Academy
  38. ^ Virgen de San Juan Shrine, by 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 development of the hortus conclusus by Rob Aben, Saskia de Wit 1999 ISBN 90-6450-349-iv
  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 Announcement To Mary past Eugene LaVerdiere 2007 ISBN 1568545576 folio 29
  44. ^ Early Christian Art and Architecture by R. L. P. Milburn (Feb 1991) ISBN 0520074122 Univ California Printing page 303
  45. ^ Paradigm and Relic: Mediating the Sacred in Early on Medieval Rome by Erik Thun 2003 ISBN 8882652173 pages 33-35
  46. ^ a b Mary in Western Fine art by Timothy Verdon 2005 ISBN 097129819X pages 37-40
  47. ^ Michael Rose, 2004, In Tiers of Glory: The Organic Development of Catholic Church building Architecture through the Ages Mesa Folio editions, ISBN 0967637120 pages 9-12
  48. ^ Merriam-Webster'southward Encyclopedia of World Religions 2000 ISBN 0877790442 folio 408
  49. ^ Infancy Gospel of James, chapter 20 Archived 2008-06-xi at the Wayback Automobile
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  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 past Kelly Donahue-Wallace 2008 ISBN 0826334598
  53. ^ Mapping the Catholic cultural mural by 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-X p. 74
  55. ^ Schoenstatt website "Archived copy". Archived from the original on 2009-10-10. Retrieved 2008-07-18 . {{cite spider web}}: CS1 maint: archived copy as championship (link)
  56. ^ Research on Luigi Crosio Archived 2012-06-29 at archive.today
  57. ^ Academy of Dayton Archived 2012-05-09 at the Wayback Auto
  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, Understanding 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 (Second ed.). p. 183. ISBN0-8160-5023-six.
  62. ^ Medieval fine art: a topical dictionary by Leslie Ross 1996 ISBN 0-313-29329-five p. 99
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  64. ^ Declaration Fine art, Phaidon Press, 2004, ISBN 0-7148-4447-0
  65. ^ The Proclamation to Mary by Eugene Laverdiere 2007 ISBN 1-56854-557-6 p. 29
  66. ^ The Oxford Companion to Christian Art and Architecture by Peter Murray 1996 ISBN 0-19-866165-seven p. 24
  67. ^ Medieval art: a topical dictionary past Leslie Ross 1996 ISBN 0-313-29329-5 p. 16
  68. ^ Paul Cavendish, "The Tridentine Mass"
  69. ^ Marion A. Habig, "Land of Mary Immaculate"
  70. ^ Emblems for Immaculate Conception "Archived re-create". Archived from the original on 2008-12-11. Retrieved 2008-12-05 . {{cite spider 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-ii p. 676
  73. ^ Divine Mirrors: The Virgin Mary in the Visual Arts by Melissa R. Katz and Robert A. Orsi 2001 ISBN 0-xix-514557-7 p. 98
  74. ^ Every bit the Virgin Mary remained an always-virgin and sinless, it is viewed that the Virgin Mary could not thus suffer the consequences of Original Sin, which is chiefly Death. http://www.newadvent.org/fathers/3819.htm Nicea II Session 6 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 past Three Sermons on the Supposition London, 1899.
  78. ^ University of Dayton http://campus.udayton.edu/mary/resources/maryassump1.html
  79. ^ Lexicon of Mary, Cosmic Book Publishing Co., New York, 1985
  80. ^ Ad Caeli Reginam 40
  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 Sally Falk Moore, Barbara G. Myerhoff 1977 ISBN 90-232-1457-nine p. 174
  84. ^ Emiliano Zapata by Samuel Brunk 1995 ISBN 0-8263-1620-4 p. 68
  85. ^ Moved by Mary past Anna-Karina Hermkens 2009 ISBN 0-7546-6789-8 p. 38
  86. ^ a b Encyclical Ad 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 fine art by Timothy Verdon, Filippo Rossi 2005 ISBN 0-9712981-9-10 p. 61
  89. ^ Christian art by Beth Williamson 2004 ISBN 0-19-280328-X pp. 102–106
  90. ^ a b c The Eastern Orthodox Church: Its Thought and Life by Ernst Benz 2009 ISBN 0-202-36298-1 pp. 4–ix
  91. ^ Serbian orthodox fundamentals past Christos Mylonas 2003 ISBN 963-9241-61-Ten pp. 45–48
  92. ^ Encyclopedia of Catholicism past Frank K. Flinn, J. Gordon Melton 2007 ISBN pp. 244–245
  93. ^ a b c Ecclesiasticus Two: Orthodox Icons, Saints, Feasts and Prayer by George Dion Dragas 2005 ISBN 0-9745618-0-0 pp. 177–178
  94. ^ America'south religions: from their origins to the twenty-first 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-X, 2002 p. 48
  96. ^ The encyclopedia of earth religions by Robert S. Ellwood, Gregory D. Alles 2007 ISBN 0-8160-6141-half-dozen pp. 33–34
  97. ^ Mark Miravalle, 1993, Introduction to Mary, Queenship Publishing ISBN 978-1-882972-06-seven pp. 64–70
  98. ^ Butler'southward Lives of the Saints: Baronial by Alban Butler, Paul Burns 1998 ISBN 0-86012-257-three 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 Formulation in the Middle Ages and early Renaissance. College Art Association of America. ASIN B0007DEREA.
  • Beckwith, John (1969). Early Medieval Art. Thames and Hudson. ISBN 0-500-20019-10.
  • Arnold Hauser, Mannerism: The Crisis of the Renaissance and the Origins of Mod Art, Cambridge: Harvard University Press, 1965, ISBN 0-674-54815-nine
  • Levey, Michael (1961). From Giotto to Cézanne. Thames and Hudson,. ISBN 0-500-20024-half-dozen.
  • Myers, Bernard (1965, 1985). Landmarks of Western Art. Hamlyn. ISBN 0-600-35840-2.
  • Rice, David Talbot (1997). Art of the Byzantine Era. Thames and Hudson. ISBN 0-500-20004-i.

Further reading [edit]

  • Dupre, Judith. Total of Grace: Encountering Mary in Faith, Art, and Life, 2010 ISBN 1-4000-6585-2
  • Gustafson, Fred. The Black Madonna, 2008 ISBN 3-85630-720-6

External links [edit]

  • Christian Iconography from Augusta State University – see under Virgin Mary, afterward alphabet of saints
  • Nascence of Mary in Art, All Nearly Mary The University of Dayton's Marian Library/International Marian Research Institute (IMRI) is the world'due south largest repository of books, artwork and artifacts devoted to Mary, the mother of Christ, and a pontifical center 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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