Difference between revisions of "Madonna"
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== Cyclopedia of Biblical, Theological and Ecclesiastical Literature <ref name="term_49483" /> == | |||
<p> (Italian, My Laddy), a term applied in the language of art to representations of the [[Virgin]] Mary. Such representations first made their appearance after the 5th century, when the Virgin was declared to be the "Mother of God." The face of the mother is generally full, oval, and of a mild expression; a veil adorns the hair. At first the lineaments of the Virgin's countenance were copied from the older pictures of Christ, according to the tradition which declared that the [[Savior]] resembled his mother. A chronological arrangement of the pictures of the Virgin would exhibit in a remarkable manner the development of the [[Roman]] [[Catholic]] doctrine on this subject. The [[Madonna]] has been a principal subject of the pencils of the great masters. The grandest success has been achieved by [[Raphael]] (q.v.), in whose pictures of the Madonna there prevails now the loving mother, now the ideal of feminine beauty, until in that of St. [[Sixtus]] there is reached the most glorious representation of the "Queen of Heaven." Murillo's "Conceptions" also should be noticed here. (See [[Murillo]]). One of these has lately been presented to the American public in chromo by the American art publisher Prang, of Boston. </p> <p> Among symbolic representations may be mentioned Mary with the white mantle, i.e. the mantle of love under which she receives the faithful; and the Virgin with the half-moon or with the globe under her feet, according to the meaning put upon the twelfth chapter of Revelation. The Virgin was never represented without the [[Child]] until comparatively recent times. See Mrs. Jameson's delightful work, Legends of the Madonna (3d ed. Lond. 1863, 8vo); [[Christian]] Remembrancer, 1868 (July), p. 130; Old and New, 1872 (April). </p> | <p> (Italian, My Laddy), a term applied in the language of art to representations of the [[Virgin]] Mary. Such representations first made their appearance after the 5th century, when the Virgin was declared to be the "Mother of God." The face of the mother is generally full, oval, and of a mild expression; a veil adorns the hair. At first the lineaments of the Virgin's countenance were copied from the older pictures of Christ, according to the tradition which declared that the [[Savior]] resembled his mother. A chronological arrangement of the pictures of the Virgin would exhibit in a remarkable manner the development of the [[Roman]] [[Catholic]] doctrine on this subject. The [[Madonna]] has been a principal subject of the pencils of the great masters. The grandest success has been achieved by [[Raphael]] (q.v.), in whose pictures of the Madonna there prevails now the loving mother, now the ideal of feminine beauty, until in that of St. [[Sixtus]] there is reached the most glorious representation of the "Queen of Heaven." Murillo's "Conceptions" also should be noticed here. (See [[Murillo]]). [[One]] of these has lately been presented to the [[American]] public in chromo by the American art publisher Prang, of Boston. </p> <p> [[Among]] symbolic representations may be mentioned [[Mary]] with the white mantle, i.e. the mantle of love under which she receives the faithful; and the Virgin with the half-moon or with the globe under her feet, according to the meaning put upon the twelfth chapter of Revelation. The Virgin was never represented without the [[Child]] until comparatively recent times. [[See]] Mrs. Jameson's delightful work, Legends of the Madonna (3d ed. Lond. 1863, 8vo); [[Christian]] Remembrancer, 1868 (July), p. 130; [[Old]] and New, 1872 (April). </p> | ||
== The Nuttall Encyclopedia <ref name="term_76594" /> == | |||
<p> The name given to pictures of the [[Virgin]] with the infant Christ, and more generally to all sacred pictures in which the Virgin is a prominent figure; the Virgin has been a favourite subject of art from the earliest times, the first representation of her being, according to legend, by St. Luke; different countries and schools have depicted their Madonnas, each in its own characteristic style; the greatest of all are the [[Sistine]] and Della Sedia of Raphael. </p> | |||
==References == | ==References == | ||
<references> | <references> | ||
<ref name="term_49483"> [https://bibleportal.com/encyclopedia/cyclopedia-of-biblical-theological-and-ecclesiastical-literature/madonna Madonna from Cyclopedia of Biblical, Theological and Ecclesiastical Literature]</ref> | <ref name="term_49483"> [https://bibleportal.com/encyclopedia/cyclopedia-of-biblical-theological-and-ecclesiastical-literature/madonna Madonna from Cyclopedia of Biblical, Theological and Ecclesiastical Literature]</ref> | ||
<ref name="term_76594"> [https://bibleportal.com/encyclopedia/the-nuttall-encyclopedia/madonna Madonna from The Nuttall Encyclopedia]</ref> | |||
</references> | </references> | ||
Revision as of 20:21, 11 October 2021
Cyclopedia of Biblical, Theological and Ecclesiastical Literature [1]
(Italian, My Laddy), a term applied in the language of art to representations of the Virgin Mary. Such representations first made their appearance after the 5th century, when the Virgin was declared to be the "Mother of God." The face of the mother is generally full, oval, and of a mild expression; a veil adorns the hair. At first the lineaments of the Virgin's countenance were copied from the older pictures of Christ, according to the tradition which declared that the Savior resembled his mother. A chronological arrangement of the pictures of the Virgin would exhibit in a remarkable manner the development of the Roman Catholic doctrine on this subject. The Madonna has been a principal subject of the pencils of the great masters. The grandest success has been achieved by Raphael (q.v.), in whose pictures of the Madonna there prevails now the loving mother, now the ideal of feminine beauty, until in that of St. Sixtus there is reached the most glorious representation of the "Queen of Heaven." Murillo's "Conceptions" also should be noticed here. (See Murillo). One of these has lately been presented to the American public in chromo by the American art publisher Prang, of Boston.
Among symbolic representations may be mentioned Mary with the white mantle, i.e. the mantle of love under which she receives the faithful; and the Virgin with the half-moon or with the globe under her feet, according to the meaning put upon the twelfth chapter of Revelation. The Virgin was never represented without the Child until comparatively recent times. See Mrs. Jameson's delightful work, Legends of the Madonna (3d ed. Lond. 1863, 8vo); Christian Remembrancer, 1868 (July), p. 130; Old and New, 1872 (April).
The Nuttall Encyclopedia [2]
The name given to pictures of the Virgin with the infant Christ, and more generally to all sacred pictures in which the Virgin is a prominent figure; the Virgin has been a favourite subject of art from the earliest times, the first representation of her being, according to legend, by St. Luke; different countries and schools have depicted their Madonnas, each in its own characteristic style; the greatest of all are the Sistine and Della Sedia of Raphael.
