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Life
of Mary. |
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Life of the Virgin Marie
Life of Marie Collection: Please The art Publisher: Desclée Of Brouwer This volume introduces by H.Herrmann, appeared under the title ‘' Marienleben ' ' to the Herder editions, in the "Bilderkereis" collection directed by H.Lutzeler Life Of Marie "Marie's Life" according to the Bible begins with the Annunciation of the angel to Joseph's virginal fiancé. Then she/it relates a lot of events of the beginning of the motherhood, of Marie,; then, jumping several years, her backward to the Mother of the child of twelve years come to the temple. Again, she/it is quiet until the Marriages of Died and until this enigmatic day of Capharnaüm, or the parents of the Jesus, wanting to subtract the Lord to his/her/its public activity, brought with them Marie that, yet, doesn't say anything. Without speech, she/it holds to the foot of the Cross; she/it prays in the middle of the Apostles who wait with faith for the coming down of the Holy spirit. "Mayor's Life" according to the faith begins with to the birth of the immaculate at his/her/its mother, holy Anne, and it also recognizes the blissful death and the coronation in the sky of God's mother, The CC according to the art is the richest, because she draws in all traditions, those of l‘Écriture, the one of the faith, and the one of the devout legends, that surrounds the two other as trailing plants. At the head of our small "Life of Marie" descended of the domain (1) of the art, we place a fragment of the Titian's famous picture representing the first gone up to Marie's Temple, event that, in fact, is not returned us by the Bible. It is an illuminating symbol of the character that since the beginning of Marie's life, of his/her/its total abandonment to the divine conduct, donned. Before Titian's small Marie, beaming and surrounded of rays, begin to gleam Trusted it that will be held then, immense and exclusive, above his/her/its life. (2)Comme nearly toues the representations of Marie's birth, the scene of a majestic beauty of Saint-Marie-Of-Transtévère breathes a secret intimacy is the security, when one compares him poverty and the abandonment of the Savior's birth. The mother, holy Anne, is surrounded with numerous maids who take care of her and of the child; herself, in his/her/its graceful rest and nobility, presses something of his/her/its child's secret, toward that will come the angel carrier of an extraordinary message maybe. Then, Annunciation is the big opening of this life to the course which Marie will become "the Mother of the Faith" (3) Konrad Witz, with that the means age passed the apogee of his/her/its spirituality obviously, but that found a new and powerful language, made of precise shapes of color honestly contrasted,--Korand Witz doesn't know how to give to the face closed of farmer, house moved by the message of the angel, of Marie a quiet power only, power that comes of in top and that is as the feminine reflection of the power of the angel to the moment or he fulfills his/its mission; he/it knows how to make also eloquent the walls and the beams, of the tiles and the window,; he/it makes exult the clothes, in a big harmony of green, of road and white, about the grace that has just appeared here, and on the mat gold of hair, he/it makes gleam the supernatural gold of the predestination. The one that has just been thus filled with grace hurries in the mountains toward his/her/its cousin Elisabeth to that, in an advanced age, has just been granted the grace miraculous of the conception, announced to Marie by the angel in sign of his/her/its mission. At the time of the charming meeting of two mothers, the testimony of the holy mind announces by a greeting and a song of praise Marie's incomparable happiness. It is at the heart of this happiness, for (4) so to say, there or she/it accomplishes the passage toward the highest, to the most conscious climbs, that the old master catalan penetrated, it seems: In the embrassement of the two women, in Marie's big eyes, it is a destiny soothsayers who look at us. In all pictures of the following times of Marie's life, it is not anymore Marie who is the center, it is Jesus. Is probably this hers that he/it belongs of surroundings, and innumerable pictures of Madonnas tried to return the intimacy of this Mother and this Child. But more pictures contain faith, more Marie ‘shows ' ' his/her/its Child; she/it becomes witness and prophetess of the salute that, by this Child, descends on all the universe. Thus, the shelf of ivory of the Christ's birth (5) in Cologne is characterized by Marie's big gesture, stretched out, show the manger above her; Mayor has an expression of very deep contemplation and very deep emotion, but in a sense nearly impersonal; she/it is more a testimony that a witness of the salute. The Birth of the Christ of Hans Baldung Grien transformed (6) in grace the severity of the old ivory; at home light spilled on Marie is however, also, only the reflection of light that comes of the child. Okay with the writing, the worship of the Maguses (7) Aldorfer, animate and colorful, is before all homage returned to the child, and no to the Mother, who wants to be only the King's Throne toward which foreign came in pilgrimage of their faraway countries. But the Marie erasing is agreed so joyously that it is precisely while seeing bigger than she resting on his/her/its breast that the purity and the size of his/her/its own being radiate in all the burst of the mystery captured by the hoops of stone full of whispers, by the murmuring foliage, by the wavering of the clouds, mystery that seems to hover in the sky illuminated of stars. While the art presents the Virgin of Bethlehem again gladly in his/her/its girl's gentleness, it makes to Marie, at the time of the Presentation of the Temple, in woman's full maturity, like a mother already marked by his/her/its Son's vocation, appear. So to see it Roger (8) of the Pasture, while she/it welcomes in the stern and reserved clarity the prophecy of Siméon. The tie, unique in his/her/its kind, that unites the destiny of this Mother and this Child in the divine plan of the salute, detaches them all two (9) in the painting of Giotto, of their setting, and separates them of Joseph and the others that all matched quality of committed accompanists only in bloom to God's service, because the Mother, who is held, introverted, on the docile donkey, and The child that, in a gesture of a marvelous impetus, look for his/her/its shelter by it, seem enveloped in a divine protection all particular. Rest during her (10) Flight in Egypt of Isembrant is of a delicious abandonment and full of a melodic perfection clean to the Netherlanders to one time or all landscape contemplated with love was again for them transparent as the changing garment of the one that created the earth and has it again (11) sanctified by his/her/its Incarnation, The stage or Mother of God, happy and serene, to rest with his/her/its Child, if one detaches it of the circumstances of the Flight, is to the origin of a lot of pictures of Madonnas. With Jesus recovered at the Temple begin in Marie's life these stages in which Marie is prepared by the pain on time or she should hold to the foot of the Cross without the valor of his/her/its faith. She/it will always have to advantage to grow in this faith for that is asked him and that to this moment announces his/her/its requirements. The old picture of the Code of Egbert, so full of expression, makes (12) to appear something of the manner of which, Marie relies on a stronger faith than his/her/its trouble. Even to the marriages of Died, the Lord sends back his/her/its Mother to the celestial Father who fixed of the Son the hour of the action. Here, Marie is not disconcerted unsympathetic more nor as to the Temple, but she accompanies, as well as him (13) shows the rétable of Vreden by the stupendous union of the fires faces, of a look confiding the gesture of blessing of his/her/its Son,; his/her/its hands levees don't only express the surprise, but at the same time they adore the one that for the first time shows his/her/its glory. It is the separation full of faith of with his/her/its Son who speaks, until in the embrace herself, the moving small picture that the Book of the Saint-Cunegonde Passion dedicates, in (14) the vibrant style of the middle top ages, to the meeting of Marie and the man of covered Pain of injuries. Strength given by the faith to God's Mother with the foot of the Cross was so big that a lot of artists didn't take to the letter the testimony of the writing, that represents it standing up firmly, but they showed it the most often to the apogee of the pain, collapsed or in a beneficent unconsciousness. But in the Crucifixion of Cranach, that quivers supernatural dOrages, (15) we find it up, twisting the hands and not letting his/her/its look divert itself/themselves from his/her/its Son on the Cross to listen to the consolations of Jean saint; she/it is full of an inexhaustible pain, but unshakable in his/her/its faith in him. (16) the Marie of the Deposition of Cross of Duccio Buoninsegna di is not, it either, broken; a supernatural suavity, a firmness expresses themselves in the gesture of which it receives the slippery body toward it, his/her/its supportive and affectionate right hand the head all at once. To the contrary, Marie's face, that collapses, house the powerful Deposition of (17) Cross of Roger of the Pasture appears to us shattering: with his/her/its Son's life, it is the most intimate of his/her/its own life that seems to escape, and it is nearly the same paleness of death that marks his/her/its face and the body (18) of Crucified it. At the Spanish Liuis Borrassa, the bitterness of Roger and the grace of Duccio summaries appear in the magnificent austerity of the abandonment to the pain, and in bitterness imprinted of Spanish size. But the même(19) Altdorfer, whose brush made be born the magic Worship, show us in his/her/its Entombment a Marie so desperate in his/her/its will to repulse all consolation that in look of this painful ecstasy all human compassion must stay mute. The tradition, of an unanimous voice, affirms us that the Lord appeared to his/her/its Mother the morning of Easter, in order to explain to him, as to the disciples of Emmaüs, that it had to have suffered in order to enter in his/her/its glory. The picture of (20) Roger recalls us the one of the Presentation of the Temple and his/her/its Prophecy of Siméon. It is the same woman, there as here, but she/it is aged more, she/it is marked of the stroke of sword that pierced him the heart, his/her/its face is furrowed of tears; with a happy fright, she/it raises hands, in a gesture of worship and standby; this gesture doesn't have the same significance that the one of Marie-Madeleine. Marie is ready from this moment - and she had been even though this stage had not taken place - to take rank among the members full of faith, of the young Church, to not to ask for anything for it of individual. However, in nearly touts the pictures of the Pentecost, for example in the Thuringian Hermann Psalter, Marie to him (21) middle of the Apostles, as them in the waiting and as them happy, seem to be their real center. Also the legend and the art saw its blissful death gladly in the middle of the troop of the Apostles. The imposing and animate picture of Hugo sieve Goes der shows all (22) the Apostles, and every face is to it only an universe and a history; but the universe most imposing and the most sublime history reflects themselves in Marie's face, that hardly even present in his/her/its body, he raises his/her/its Savior and his/her/its Son who come to his/her/its meeting with the choir of the Angels; The unique privilege is conferred him then to be welcomed at the sky by his/her/its Son, to the very instant or his/her/its body transfigured has just fallen asleep. (23) The mystery of his/her/its Assumption is contained in the Ivory of Saint-Gall with a marvelous measure, in very delicate allusions and of as much more persuasive. Marie's life comes true in the coronation in the sky. The pure music of the Coronation of Starsbourg (24) marvelous during Marie's Death, of an unsurpassable beauty, of the same cathedral, concludes by the celestial meeting of the crowned Mother and the Son that crowns it, the pilgrimage, of the one of which life, since his/her/its first beginnings, was pure abandonment and that carries the prayer now (25) the crown of the eternal life. |
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