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In paintings, Mary is traditionally portrayed in blue. This tradition can trace its origin to the Byzantine Empire , from circa 500 AD, where blue was "the color of an empress". A more practical explanation for the use of this color is that in Medieval and Renaissance Europe , the blue pigment was derived from the rock lapis lazuli , a stone ...
Painted for private devotion, it shows a full-length Mary holding Jesus. Mother and son are surrounded by four angels; the two above Mary are adorned with large colourful wings and hold a golden crown, symbolising her role as Queen of Heaven [4] while another two, each bearing large wings, sit on either side of her playing a harp and lute respectively.
The Boucicaut Master's "Visitation" (c. 1405) is a rare example of Mary with attendant angels who touch her garments. The Virgin birth is indicated by the red bed and red womb-shaped curtain-sack. During the early 15th century hanging beds or curtain-sacks became symbols of the Incarnation, and "served to affirm [Christ's] humanity".
Two angels dressed in liturgical garments, stand to either side of the throne slightly behind the two saints. The angel to the left plays a portable organ; the one on the opposite side has a harp. The martyr virgin saint, St Catherine of Alexandria kneels in front of Mary to the left; opposite is St Barbara reading a missal. [1]
Scenes depicting the Annunciation represent the perpetual virginity of Mary via the announcement by the angel Gabriel that Mary would conceive a child to be born the son of God. The scene is an invariable one in cycles of the Life of the Virgin, and often included as the initial scene in those of the Life of Christ.
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A smiling angel, wearing a crown of myrtle, offers them a bowl containing twelve ears of wheat and grapes. The child raises a hand in benediction , and Mary holds one of the ears of corn. The scene may be set in a walled garden or hortus conclusus , symbolic of Mary's virginity, with a landscape of hills and a river visible through an opening ...
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