Something Beautiful

Dormition of Mary (Duccio)

May has traditionally been the Month of Mary, the mother of Jesus, in western culture. As the month draws to a close, I recommend these six panels which tell the story of Mary's death and burial. They were all painted by the Italian artist Duccio. The six panels actually form part of Duccio's extraordinary Maestà, which he painted during the years 1308-1311. They form part of the front crowning section. Please note that the story they tell is based on legend rather than on the Gospels.

* * *

Panel 1: Annunciation of the Approach of Death

Here the angel Gabriel comes to tell Mary that she will soon die. He offers a palm branch, known as the palma mortis (palm of death) to Mary. (If you look for it, you will see that the palm is found in all six of Duccio's panels, as both an emblem of death and a symbol of paradise to come.)

Panel 2: Parting from St. John

Here Mary and St. John, the beloved disciple, bid each other their earthly farewell. The gesture between them is one of affection and intimacy. St. John has a special status among the Apostles because he was the one to whom Christ, on the point of death, had entrusted his mother.

Outside the room, the other disciples are present, having been gathered together from points throughout the world by miraculous means. Sts. Peter and Paul, in particular, are reunited and they embrace. (These scenes are based on stories of the Virgin according to a tradition handed down by several literary sources).

Panel 3: Parting from the Apostles

In this scene, Mary and the other apostles take their earthly leave of each other. The slender pillar in the foreground effectively divides the scene into two. The standing apostle is St. Paul. He is clearly outlined against the dark space formed by the open door. His vertical figure balances the horizontal image of Mary.

* * *

Panel 4: Death of Mary

Here Mary has just died. On the left are Sts. Paul, Peter and John. As before, St. John holds the palm of death (palma mortis). Christ himself stands next to his mother's deathbed, holding her animula (small being who represents the soul). A multitude of heavenly beings (presumably angels and saints) have joined the Apostles in the death-chamber. We may understand that they will join Christ in escorting her soul to Heaven.

Panel 5: Funeral Procession

St. John, still holding the palma mortis, is seen on the right, leading the funeral procession. St. Paul is just behind him. In the front, on the left, St. Peter has turned around in apparent distaste over a layperson who is making a disturbance. The polygonal building of white marble in the background indicates that the funeral is taking place in Jerusalem.

Panel 6: Burial  

The disciples are grouped quietly round the tomb in attitudes of sadness. St. Peter is on the left, and St. Paul on the right. St. John, on the other side of the body, still holds the palm. Another disciple on the left lifts his hand to his mouth in grief. The background of deeply indented rocks with small leafy trees evokes the valley of Jehoshaphat where the burial took place.

 

Making decisions (inherently sacred)

Once again I am going through some very unhappy times with my family. In reaching out to art, philosophy and spirituality for some comfort, I came across a book called Decision Making and Spiritual Discernment, by Nancy Bieber.

Nancy Bieber is a Quaker and a very interesting lady. I've found comfort and nourishment in reading just the few pages at her website.

I've also ordered her book. Here are two sentences from its early pages:

Making decisions is inherently sacred work, even when we don't recognize it as such. Through our decisions, we shape our unique and sacred lives."

To me, those two sentences are truly beautiful.

Illuminated Manuscripts (at the NGA)

Inspired by yesterday's post, I've been looking around the newly revamped NGA site. The NGA has always, in my opinion, been a little stingy with its images. That is still true in some areas, but now much less so in others. Here is a page full of wonderful, zoomable images from illuminated manuscripts. There are 16 images in the top half of the page. Don't miss the additional 19 images further down.

NGA's 25 most requested images

I love this page. It displays the thumbnails of the 25 most requested images at the website of the National Gallery of Art, Washington, D.C. Just seeing so many great works on one page somehow has an effect on one's body. (Note that 25 more images are available on the very next page.)

New cathedrals & churches site

The Gotik-Romanik.de site is brand new to me. I've only just begun exploring it, but so far it looks amazing.

Google Art Project (v. 2)

So, you've heard about the updated Google Art Project, right? This extraordinary undertaking appeared in version 1.0 in February 2011. Version 2.0, just made public, is a substantial expansion. Last year only 17 museums were represented. This year a grand total of 151 institutions and collections make appearances. More than 32,000 artworks are included! (Further background is available in this New York Times article.)

You can explore the art through several approaches:

- Artists 

- Artworks

- Collections

As one might expect with Google, there is also a Search feature.

 

Jupiter and Io

Proposed: this photo of Io is beautiful.

The Passion, by Duccio (part 6) (end)

Here are the last three panels of Duccio's graphic retelling of the story of the Passion and Resurrection:

- Three Marys at the Empty Tomb
- Christ appears to Mary Magdalen (Noli Me Tangere)
- Road to Emmaus

- - -

Recap: We've been looking at panels from the Maestà, a famous altarpiece by Duccio di Buoninsegna, done in the years 1308-11.

These panels are, more specifically, on the back of this famous work. There are fourteen such panels altogether, telling the story of the Passion and Resurrection of Christ.

The Passion, by Duccio (part 5)

According to the Nicene Creed, Jesus 'descended into Hell' after his death but before his resurrection from the dead.

- Descent into Hell

This event is not mentioned in the canonical gospels, but is related in the apocryphal Gospel of Nicodemus. Here Christ has arrived in limbo and now sets his forefathers free. He helps Adam to rise. As he does so, he treads on a hideous Satan, who lies vanquished and blind with rage.

The Passion, by Duccio (part 4)

- Deposition
- Burial

The Passion, by Duccio (part 3)

In these two panels of the Maesta, c. 1310, Duccio portrays Christ on his way to Calvary, where he would be crucified, and the crucifixion itself:

- Way to Calvary
- Crucifixion

The Passion, by Duccio (part 2)

In these panels, Duccio portrays the arrest, trials and torture of Christ:

- Christ Arrested
- Christ before Annas, Peter's First Denial
- Christ before Caiaphas, Peter's Second Denial
- Christ Mocked, Peter's Third Denial
- Christ Accused by the Pharisees
- Pilate's First Interrogation of Christ
- Christ before Herod
- Christ before Pilate Again
- The Flagellation
- Crown of Thorns
- Pilate Washing His Hands

The Passion, by Duccio (part 1)

Here are the first six scenes from the Passion as depicted by Duccio c. 1310:

- Entry into Jerusalem
- Washing the Feet of the Apostles
- Last Supper
- Christ Taking Leave of the Apostles
- Pact of Judas
- Agony in the Garden

The Passion, by Duccio (intro)

The final week of Lent, traditionally known as Holy Week, began this past Sunday. The art devoted to the events of this week is so vast and so wonderful that it's difficult to get a real handle on it. One approach is simply to consult the Maestà altarpiece of Duccio di Buoninsegna.

More specifically, the panels on the back of this famous work tell the story of the Passion of Christ in a clear yet aesthetically pleasing way.  

- page 1
- page 2
- page 3

In order to 'read' these fourteen panels, begin at the bottom left, then proceed from left to right on the lower row; then from left to right on the upper row, ending in the top right.

Meditate.
Live purely.
Be quiet.
Do your work with mastery.

Like the moon, come out from behind the clouds.......Shine!
- Gautama Buddha

Blushing unseen, wasting one's sweetness

I love these two lines:

Full many a flower is born to blush unseen,
And waste its sweetness on the desert air.

They come from the much-loved poem Elegy Written in a Country Churchyard, written by Thomas Gray in 1750. The two lines state a simple truth, I think, not only about certain flowers but about many acts and deeds and even people. The point is made straightforwardly but oh, so poignantly.

Jupiter and Venus

Last night as I was walking home, I couldn't help but be struck by two bright objects in the night sky.  They appear to have been Jupiter and Venus, making an all-time great simultaneous appearance.   If you haven't seen them yet, I highly recommend a trip outside tonight.   Caution: this is a very limited engagement! 

St. Jerome and the lion (4)

According to the legend, the lion, from whose paw St. Jerome had removed the thorn, remained with Jerome for the rest of his life. He therefore appears in paintings that depict scenes from Jerome's later life. Here are two paintings that show Jerome returning to his monastery accompanied by the lion. The other clerics are afraid and some of them flee:

St. Jerome and the lion arrive, c. 1480 (?), by Leonardo Bastiani

St. Jerome and the lion arrive, 1502, by Vittorio Carpaccio

Because St. Jerome was a scholar, he is often shown in his study, surrounding by his writing tools and by books. Here again, he is often shown with the lion nearby:

St. Jerome in his study, 1451, by Antonio da Fabriano

St. Jerome in his study, 1525, by Lucas Cranach the Elder

St. Jerome and the lion (3)

Here are some paintings that show just Jerome and the lion. Each being is shown in an act of trust toward the other -- each trusts the other not to hurt him.

St. Jerome removing the thorn, c. 1453, by Lianori (if photo does not appear, click on re-load)

St. Jerome removing the thorn, c. 1450, by Rogier van der Weyden

St. Jerome removing the thorn, c. 1485, by Hans Memling

St. Jerome and the lion (2)

Quite a few artists have portrayed St. Jerome as he actually removes the thorn from the poor lion's paw. 

Two of them depict Jerome's gentle courage as he does so, in contrast to his fellow clerics' fear and panic:

St. Jerome Removing the Thorn, c. 1450, by an unknown Italian master

St. Jerome Removing the Thorn, c. 1452, by Benozzo Gozzoli