Sacred and legendary art, volume 1 (of 2): Containing legends of the angels and archangels, the evangelists, the Apostles, the doctors of the church, and St. Mary magdalene, as represented in the fine arts.Jameson, Mrs. (Anna)
Religion
Sacred and legendary art, volume 1 (of 2): Containing legends of the angels and archangels, the evangelists, the Apostles, the doctors of the church, and St. Mary magdalene, as represented in the fine arts.
Jameson, Mrs. (Anna)
Christian art and symbolism; Christian saints in art
The middle of the thirteenth century was an era of religious excitement
all over the south of Europe. A sudden fit of penitence—‘una subita
compunzione,’ as an Italian author calls it—seized all hearts; relics
and pilgrimages, and penances and monastic ordinances, filled all
minds. About this period, certain remains, supposed to be those of Mary
Magdalene and Lazarus, were discovered at a place since called St.
Maximin, about twenty miles north of Toulon. The discovery strongly
excited the devotion and enthusiasm of the people; and a church was
founded on the spot by Charles, Count of Provence (the brother of
St. Louis), as early as 1279. A few years afterwards, this prince
was vanquished and taken prisoner by the king of Aragon, and when at
length set free after a long captivity, he ascribed his deliverance
particularly to the intercession of his chosen patroness, Mary
Magdalene. This incident greatly extended her fame as a saint of power;
and from this time we may date her popularity, and those sculptural
and pictorial representations of her, under various aspects, which,
from the fourteenth century to the present time, have so multiplied,
that scarcely any Catholic place of worship is to be found without her
image. In fact, it is difficult for us, in these days, to conceive,
far more difficult to sympathise with, the passionate admiration and
devotion with which she was regarded by her votaries in the middle
ages. The imputed sinfulness of her life only brought her nearer to
them. Those who did not dare to lift up their eyes to the more saintly
models of purity and holiness,—to the martyrs who had suffered in
the cause of chastity,—took courage to invoke her intercession. The
extravagant titles bestowed upon her in the middle ages—‘_l’amante
de Jésus-Christ_,’ ‘_la bien-aimée du Sauveur_,’ ‘_la très-saincte
demoiselle pécheresse_,’—and others which I should hardly dare to
transcribe, show the spirit in which she was worshipped, particularly
in the south of France, and the kind of chivalrous sentiment which
mingled with the devotion of her adorers. I found in an old French
sermon a eulogium of Mary Magdalene, which for its eloquence and
ingenuity seems to me without a parallel. The preacher, while
acknowledging the excesses which brought her a penitent to the feet of
Christ, is perfectly scandalised that she should be put on a par with
common sinners of the same class, and that on the faith of a passage in
St. Luke, ‘on a osé flétrir une des plus belles âmes qui soient jamais
sorties des mains du Créateur!’ He rather glorifies her as a kind of
Aspasia, to whom, indeed, he in a manner compares her.[297]
Public-domain text, read in full here on John Shaqi.
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