Marian art in the Catholic Church

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(Redirected from
Catholic Marian art
)
Gabriel
are also depicted.

Botticelli.[1]

Marian art forms part of the fabric of Catholic Marian culture through their emotional impact on her veneration. Images such as

Hidalgo and Zapata flew Guadalupan flags and depictions of the Virgin of Guadalupe continue to remain a key unifying element in the Mexican nation.[3] The study of Mary via the field of Mariology is thus inherently intertwined with Marian art.[4]

The body of teachings that constitute

Marian papal encyclicals and Apostolic Letters
.

Part of a series on the
Mariology
of the Catholic Church
Immaculate Conception
Immaculate Conception by Bartolomé Esteban Murillo (c. 1675)
Overview
Titles of Mary
hymns
Devotional practices
Movements and societies
Apparitions
Approved, with widespread liturgical
veneration endorsed by the Holy See:
Key Marian feast days
Catholicism portal

Blending of art, theology and spirituality

See also: Marian devotions, Silent preaching, and Rosary devotions and spirituality
Salus Populi Romani, a popular icon in Rome.

Art has been an integral element of Catholic identity since Late antiquity.[5] Medieval Catholicism cherished relics and pilgrimages to visit them were common. Churches and specific works of art were commissioned to honor the saints and the Virgin Mary has always been seen as the most powerful intercessor among all saints—her depictions being the subject of veneration among Catholics worldwide.[5]

Catholic Mariology does not simply consist of a set of theological writings, but also relies on the emotional impact of art, music and architecture.

Catholic Marian churches interact with Marian art as key components of Mariology, e.g. the construction of major Marian churches gives rise to major pieces of art for the decoration of the church.[6][7][8][9]

In the 16th century,

rules of language" shaped the Catholic reinterpretations of the Virgin Mary in the 16th and 17th centuries and fostered and promoted Marian devotions such as the Rosary.[10][11]

An example of the interaction of Marian art, culture and churches is

Queenship of Mary
. The image was carried from Santa Maria Maggiore around Rome as part of the celebration of the Marian year and the proclamation of the Queenship of Mary.

Another example is

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 it every Wednesday using a replica of the icon, which is also widely displayed in houses, buses and public transport in the Philippines.[14][15][16] Devotions to the icon have spread from the Philippines to the United States, and remain popular among Asian-Americans in California.[17][18]
As recently as 1992, the song The Lady Who Wears Blue and Gold 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 can give rise to feast days, Cathedrals and Marian music.

Praying at Our Lady of the Gate of Dawn in Lithuania.

The use of Marian art by Catholics worldwide accompanies specific forms of

Catholic culture. The Rosary remains the prayer of choice among Catholics who visit Lourdes or venerate the Lourdes statues worldwide.[19][20][21][22]

Historically, Marian art has not only impacted the image of Mary among Catholics, but that of Jesus. The early "

Franciscan development of a "tender image of Jesus" via the construction of Nativity scenes changed 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 Nativity art reinforced the image of God not as severe and punishing, but himself humble at birth and sacrificed at death.[27] As the tender joys of the Nativity 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 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 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 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 artistic items in households in the Paris area.[32] In the 18th century Saint Alphonsus Liguori attributed his own recovery from near death to a statue of the Virgin of Mercy brought to his bedside.[33]

In his apostolic letter Archicoenobium Casinense in 1913,

Benedictine monks of the Beuron 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 aid to the liturgy".[34]

Diversity of Marian art

The Madonna of humility by Domenico di Bartolo 1433 has been described as one of the most innovative devotional images from the early Renaissance[35]

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 meaning can only be recovered by detailed scholarly analysis. Entire books, academic theses or lengthy scholarly works have been written on various aspects of Marian 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:

  • Other subjects include:

The tradition of Catholic Marian art has continued in the 21st century by artists such as Miguel Bejarano Moreno and Francisco Cárdenas Martínez.

Early veneration

The Earliest fresco of the Virgin Mary, in the Catacomb of Priscilla from the early 3rd century

Early veneration of Mary is documented in the Catacombs of Rome. In the catacombs paintings show Mary with Jesus. More unusual and indicating the burial ground of Saint Peter, was the fact that excavations in the crypt 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 second century.[42] In one, Mary is shown with the infant Jesus on her lap. The Priscilla catacomb also includes the oldest known fresco of the Annunciation, dating to the 4th century.[43]

After the

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 date to the 5th century, such as Santa Maria in Trastevere, Santa Maria Antiqua and Santa Maria Maggiore, and these churches were in turn decorated with significant works of art through the centuries.[45][46] The interaction of Marian art and church construction thus influenced the development of Marian art.[47]

The Virgin Mary has since become a major subject of Western Art. Masters such as

Botticelli, Leonardo da Vinci, Giotto, Duccio
and others produced masterpieces with Marian themes.

Mother of God

Theodore and angels, 6th century, Saint Catherine's Monastery
.

Mary's status as the

Council of Ephesus
(431). Different aspects of Mary's position as mother have 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 subject 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 yet shown with a halo, and she is also not shown in Nativity scenes at this date, 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 group of icons surviving from this period, at Saint Catherine's Monastery in Egypt. This type of depiction, with subtly changing differences of emphasis, has remained the mainstay of depictions of Mary to the present day. The image at Mount Sinai succeeds in combining two aspects of Mary described in the Magnificat, her humility and her exaltation above other humans.

At this period the

Annunciation to Mary. By this time the political and economic collapse of the Western Roman Empire meant that the Western, Latin, church was unable to compete in the development of such sophisticated iconography
, and relied heavily on Byzantine developments.

The earliest surviving image in a Western

Gospel book, and images of the Virgin were slow to appear in large numbers in manuscript art until the book of hours
was devised in the 13th century.

Nativity of Jesus

Main article: Nativity of Jesus in art
Representation of the Nativity on the Throne of Maximianus in Ravenna

The Nativity of Jesus has been a major subject of Christian art since the early 4th century. It has been depicted in many different media, both pictorial and sculptural. Pictorial forms include murals, panel paintings, manuscript illuminations, stained glass windows and oil paintings. The earliest representations of the Nativity itself are very simple, just showing the infant, tightly wrapped, lying near 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 set the essential form of Eastern Orthodox images down to the present day. The setting is now a cave – 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.

Nativity at Night (c. 1490) by Geertgen tot Sint Jans

Western artists adopted many of the Byzantine iconographic elements, but preferred the scriptural stable to the cave, though Duccio's Byzantine-influenced Maestà version tries to have both. During the Gothic period, in the North earlier than in Italy, increasing closeness between mother 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 image in later medieval Northern Europe was often influenced by the vision of the Nativity of

Saint Bridget of Sweden
(1303–1373), a very popular mystic. Shortly before her death, she described a vision of the infant Jesus as lying on the ground, and emitting light himself.

From the 15th century onwards, the Adoration of the Magi increasingly became a more common depiction than the Nativity proper. From the 16th century plain Nativities with just the Holy Family, become a clear 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

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 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 birth to Jesus, is found in many depictions of the Nativity of Jesus in art.[50]

Madonna

Filippo Lippi, 1459
Main article: Madonna (art)

The depiction of the

Cretan school, under Venetian
rule, was the source of great numbers of icons exported to the West, and the artists there could adapt their style to Western iconography when required.

Santo Domingo de Silos Abbey

In the Romanesque period free-standing statues, typically about half life-size, of the enthroned Madonna and Child were an original Western development, since monumental sculpture was forbidden by Orthodoxy. The Golden Madonna of Essen of c. 980 is one of the earliest of these, made of gold applied to a wooden core, and still the subject 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, especially 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 matter, such works quickly became popular in monasteries, parish churches, and later 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

Our Lady of Sorrows by Moreno, hermitage in Warfhuizen, the Netherlands.

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

Some Madonnas are known by a general name and concept rendered or depicted by various artists. For instance,

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.g. for Our Lady of Kibeho
apparitions.

Some Madonnas become the subject of widespread devotion, and the Marian shrines dedicated to them attract millions of pilgrims per year. An example is

Saint Peter's Basilica in Vatican City, and receives more pilgrims per year than any other Catholic Marian church in the world.[51]

Latin America

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 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:

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
Sistine Madonna, Raphael 1513
Central and Northern Europe

Mary in the Life of Christ

Chora Church
, 16th century
Main article: Life of the Virgin

Scenes of Mary and Jesus together fall into two main groups: those with an infant Jesus, and those from the last period of his life. After 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

Elizabeth. Leonardo da Vinci's Virgin of the Rocks is a famous example. Gatherings of the whole extended family 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 later childhood of Jesus, the Finding in the Temple
.

Michelangelo's Pietà, 1498

Mary is then usually absent from scenes of the period of Christ's life between his

Deposition of Christ and his Entombment; in the late Middle Ages the Pietà emerged in Germany as a separate subject, especially in sculpture. Mary is also included, though this is not mentioned in any 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, formed part 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

Fresco of the Annunciation at the Pantheon, Rome, 15th century

The

Jesus Christ. The 2nd-century work originally known as the Nativity of Mary pays special attention to Mary's virginity.[60]

This dogma is often represented in Catholic art in terms of 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 Annunciation is one 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 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 Catholic Marian churches for centuries and it has been a topic addressed by 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 Catacomb of Priscilla in Rome.[65] In most (but not all) Catholic, and indeed Western, depictions Gabriel is shown on the left, while in the Eastern Church he is more often depicted on the right.[66]

Annunciation mosaic, Santa Maria in Trastevere, Rome, 1291.

It has been one of the most frequent subjects of Christian art particularly during the

lily, symbolic of Mary's 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's fresco at the church of Santa Maria Novella in Florence (1486) and Donatello's gilded sculpture at the church of Santa Croce, Florence
(1435) are famous examples.

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

Immaculate Conception

Murillo's 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 subject mostly dates to periods after the 15th century and is absent from Renaissance art. But with support from popular opinion, the Franciscans and theologians such as Duns Scotus, the popularity of the doctrine increased and a feast-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 calendar, but suppressed the existing special Mass for the feast, directing that the Mass for the Nativity of Mary (with the word "Nativity" replaced by "Conception") be used instead.[68] Part 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 usually a Latin motto; frequently an explanatory epigram was added. Emblem books were very popular.[70]

Drawing on the emblem tradition,

cherubs. In some paintings the cherubim are holding lilies and roses
, flowers often associated with Mary.

The

Apostolic Constitution Ineffabilis Deus
, in 1854.

Depiction of the Immaculate Conception

Piero di Cosimo Immaculate Conception, 1505

Many artists in the 15th century faced the problem 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 "

Song of Solomon,[71] a number of symbolic objects drawn from the imagery of the Song, and often already associated with the Annunciation and the Perpetual Virginity, were combined in versions of the Hortus conclusus ("enclosed garden") subject. This gave a rather cluttered subject, and usually was impossible to combine with correct perspective, so never caught on outside 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 faithful.

Immaculate Conception by Diego Velázquez, 1618

The definitive iconography for the Immaculate Conception, drawing on the emblem tradition, seems to have been established by the master and then father-in-law of Diego Velázquez, the painter and theorist Francisco Pacheco (1564–1644), to whom the Inquisition in Seville also 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 one that is closest to the holy revelation of the Evangelist and approved by the Catholic Church on the authority of the sacred and holy interpreters... In this loveliest of mysteries Our Lady should be painted as a beautiful young girl, 12 or 13 years old, in the flower 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 be painted wearing a white tunic and a blue mantle... She is surrounded by the sun, an oval sun of white and ochre, which sweetly blends into the sky. Rays of light emanate from her head, around which is a ring of twelve stars. An imperial crown adorns her head, without, however, hiding the stars. Under her feet is the moon. Although it is a solid globe, I take the liberty of making it transparent so that the landscape shows through."[72][73]

Assumption of Mary

Main article: Assumption of the Virgin Mary in art
Titian Assumption, 1516

The Catholic doctrine of the

Pius XII deliberately left open the question of whether Mary died before 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 Assumption.[76] Saint John was not only interested in the Assumption, but also supported the use 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 ancestor, leaps, and with him the angels lead the dance."

The Eastern Church held the feast 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 being bodily assumed. 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 Death of the Virgin in the West. As the nature of the Assumption became controversial during the High Middle Ages, the subject was often avoided, but depiction continued to be common until the Reformation. The last major Catholic depiction is Caravaggio's Death of the Virgin
of 1606.

Meanwhile, depictions of the Assumption had been becoming more frequent during the late Middle Ages, with the Gothic Siennese school a particular source. By the 16th century they had become the norm, initially in Italy, and then elsewhere. They were sometimes combined with the Coronation of the Virgin, as the Trinity waited in the clouds. The subject was very suited to Baroque treatment.

Queen of Heaven

Main article: Queen of Heaven
Salus Populi Romani crowned by Pope Pius XII

The Catholic teaching that Mary is far above all other creatures in dignity, and after

Jesus Christ possesses primacy over all goes back to the early church. Saint Sophronius said: "You have surpassed every creature" and Saint Germain of Paris (496–576) stated: "Your honor and dignity surpass the whole of creation; your greatness places you above the angels." Saint John of Damascus went further: "Limitless is the difference between God's servants and His Mother."[79][80]

Coronation of the icon by Pope Pius XII in 1954

The feast of the

Queenship of Mary was only formally established in 1954 by Pope Pius XII in his encyclical Ad Caeli Reginam. Pius XII also declared the first Marian year and a number of Catholic Church 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 subject of a good number of artistic works. Some of these paintings built on the third phase of the Assumption of Mary in which following her Assumption, she is crowned as the Queen of Heaven.

Apparitions

Our Lady of Fatima includes several Catholic elements, such as being apparition-based, being a crowned statue and holding a Rosary. One of the bullets that wounded Pope John Paul II in St. Peter's Square in 1981 was placed in the crown of the statue.[81]

Catholic devotion to Mary has at times been driven by

Our Lady of Fatima in 1917.[82]

Although every year over five million pilgrims visit Lourdes and Guadalupe each, the volume of Catholic art to accompany this enthusiasm has been essentially restricted to popular images. Hence although apparitions have resulted in the construction of very large Marian churches at

Miguel Hidalgo and Emiliano Zapata flew Guadalupan flags as their protector, and Zapata's 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 Mexico.[3]

Apparition-based art is at times considered miraculous by Catholics. Replicas of the distinctive blue and white statue of

Our Lady of Fatima "miraculous" and Pope John Paul II attributed his survival after the 1981 assassination attempt to its intercession, donating one of the bullets that wounded him to the Sanctuary in Fatima.[81][86]

Distinguishing characteristics

The Catholic approach to Marian art is quite distinct from the way other Christians (such as the Protestant and 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 it have remained minimal, given that most Protestants reject Marian veneration and view it as a Catholic excess.[87][88][89]

Brown Scapular
is a distinguishing feature of Catholic art.

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

Catholic Marian images are almost entirely devotional depictions and do not have an official standing within 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 best known Western artists from

Our Lady of Fatima
emphasize a totally Catholic form of Marian art.

Apart from stylistic issues, significant doctrinal differences separate Catholic Marian art from other Christian approaches. Three examples are the depictions that involve 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 usually shown sleeping surrounded by saints, while Catholic depictions often show Mary rising to Heaven.[93][98]

Galleries of Marian art

Annunciation

For a larger gallery, see Annunciation in Christian art.

Birth of Jesus

For more images, see Salome (disciple).

Adoration of the shepherds

For a larger gallery, see
Adoration of the shepherds § Gallery of art
.

Adoration of the Magi

Madonna paintings

Wikimedia Commons has media related to Madonna structured gallery.

Pre 15th century

15-16th century

Post 16th century

Madonna frescos

Wikimedia Commons has media related to Madonna structured gallery#Frescos.

Madonna statues

Wikimedia Commons has media related to Madonna structured gallery#Statues.

Mary in the Life of Christ

Immaculate Conception

For a larger gallery, see Immaculate Conception § Artistic representation.

Assumption into Heaven

For a larger gallery, see Assumption of the Virgin Mary in art.

Queen of Heaven

For a larger gallery, see Queen of Heaven § Gallery of art.

Apparitions

See also

Notes

  1. ISBN 978-0-9712981-9-4
  2. ^
    ISBN 1-4051-2051-7
    p. 45
  3. ^
    ISBN 0-7425-2284-9
    pp. 41–43
  4. ISBN 978-0-8245-1760-1
  5. ^
    ISBN 0-8091-3750-X
    pp. 96–98
  6. ISBN 978-0-89870-849-3
  7. ISBN 9783937406404
  8. ^ University of Dayton Marian Music https://udayton.edu/imri/mary/b/birth-of-mary-meditation-and-illustrations.php
  9. ISBN 978-0-312-19503-8
  10. ^
    ISBN 0-8147-9591-9
    pp. 37–42
  11. ^
    ISBN 1-933146-34-6
    p. 288
  12. ^ Catholic encyclopedia
  13. ISBN 0-87973-910-X
    pp. 431–433
  14. ^ Vatican website: Pope John Paul II in the Philippines
  15. ISBN 0-313-30415-7
    p. 58
  16. ISBN 1-56518-250-2
    p. 129
  17. ISBN 0-8147-1630-X
    p. 355
  18. ISBN 0-8223-4547-1
    pp. 278–280
  19. ISBN 90-04-12654-6
    p. 339
  20. ISBN 1-59276-441-X
    p. 123
  21. ISBN 0-8147-9591-9
    p. 193
  22. ISBN 0-520-21326-2
    pp. 6–7
  23. ISBN 0-86554-373-9
    pp. 520–525
  24. ISBN 0-8028-3167-2
    pp. 113, 179
  25. ISBN 0-664-22117-3
    pp. 11–13
  26. ISBN 0-521-78291-0
    pp. 183–184
  27. ISBN 0-8146-3184-3
    pp. 86–87
  28. ISBN 0-8369-2378-2
    pp. 110–112
  29. ISBN 0-7425-5157-1
    pp. 3–5
  30. ISBN 0-7614-1475-4
    p. 109
  31. ISBN 978-1-57918-355-4
    pp. 725–737
  32. ISBN 0-674-53180-9
    p. 145
  33. ^ Saint Alphonsus Liguori by Saint Alfonso Maria de' Liguori, Richard Paul Blakeney 1852 p. 20
  34. ^ Acta Apostolicae Sedis 5, 1913, pp. 113–117
  35. ^
    ISBN 0-7546-0689-9 p. 15 [1]
  36. ^ Roten S.M., Johann G., "Birth of Mary: Meditation and Illustration", International Marian Research Institute, University of Dayton
  37. ^ The Madonna della Misericordia in the Italian Renaissance by Carol McCall Rand, 1987, Thesis, Virginia Commonwealth University
  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. 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. ISBN 1568545576
    page 29
  44. ISBN 0520074122
    Univ California Press page 303
  45. ISBN 8882652173
    pages 33-35
  46. ^
    ISBN 097129819X
    pages 37-40
  47. ISBN 0967637120
    pages 9-12
  48. ISBN 0877790442
    page 408
  49. ^ Infancy Gospel of James, chapter 20 Archived 2008-06-11 at the Wayback Machine
  50. ISBN 1-57958-009-2
    p. 904
  51. ISBN 1576072231
    pages 308-309
  52. ISBN 0826334598
  53. ISBN 0-7425-3184-8
    p. 78
  54. ISBN 0-8135-3285-X
    p. 74
  55. ^ Schoenstatt website "Father's Shepherds". Schoenstatt Movement. August 14, 2009. Archived from the original on 2009-10-10. Retrieved 2008-07-18.
  56. ^ Research 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, 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. ISBN 0-8160-5023-6
    .
  62. ISBN 0-313-29329-5
    p. 99
  63. ^ Christian iconography: a study of its origins by André Grabar 1968 Taylor & Francis p. 130
  64. ISBN 0-7148-4447-0
  65. ISBN 1-56854-557-6
    p. 29
  66. ISBN 0-19-866165-7
    p. 24
  67. 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 "Birth of Mary: Meditation and Illustrations". All About Mary. International Marian Research Institute, University of Dayton. Archived from the original on 2008-12-11. Retrieved 2008-12-05.
  71. ^ The whole text Archived 2011-05-29 at the Wayback Machine
  72. ISBN 90-429-0955-2
    p. 676
  73. ISBN 0-19-514557-7
    p. 98
  74. Original Sin, which is chiefly Death. http://www.newadvent.org/fathers/3819.htm
    Nicea II Session 6 Decree
  75. ^ Nicaea II Definition, "without blemish"
  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. ^ Dictionary of Mary, Catholic Book Publishing Co., New York, 1985
  80. ^ Ad Caeli Reginam 40
  81. ^
    ISBN 0-8160-4134-2
    .
  82. ISBN 0-87973-454-X
  83. ISBN 90-232-1457-9
    p. 174
  84. ISBN 0-8263-1620-4
    p. 68
  85. ISBN 0-7546-6789-8
    p. 38
  86. ^ a b Encyclical Ad Caeli Reginam on the Vatican website
  87. ISBN 0-415-92472-3
    pp. 171–173
  88. ISBN 0-9712981-9-X
    p. 61
  89. ISBN 0-19-280328-X
    pp. 102–106
  90. ^
    ISBN 0-202-36298-1
    pp. 4–9
  91. ISBN 963-9241-61-X
    pp. 45–48
  92. ^ Encyclopedia of Catholicism by Frank K. Flinn, J. Gordon Melton 2007 ISBN pp. 244–245
  93. ^
    ISBN 0-9745618-0-0
    pp. 177–178
  94. ISBN 0-252-07551-X
    pp. 56–57
  95. ISBN 0-8192-1910-X
    , 2002 p. 48
  96. ISBN 0-8160-6141-6
    pp. 33–34
  97. ISBN 978-1-882972-06-7
    pp. 64–70
  98. ISBN 0-86012-257-3
    p. 147

References

Further reading

External links

  • Christian Iconography from Augusta State University – see under Virgin Mary, after alphabet of saints
  • Birth of Mary in Art, All About Mary The University of Dayton's Marian Library/International Marian Research Institute (IMRI) is the world's 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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