The iconography of the Virgin Mary’s Assumption in the Italian Quattrocento’s painting from the prospective of its patristic and theological sources

Main Article Content

José María Salvador González
The iconographic subject of the Assumption of the Virgin Mary to the heaven is based on a certain oral tradition and on some apocryphal writings, as well on a lot of homilies and interpretations of several Church Fathers and Doctors, such as John of Thessalonica, Saint John of Damascus and Saint Andrew of Crete, and a great number of other medieval theologians. All those literary sources, apocryphal and canonical, constitute the conceptual basis on which the Church has based the liturgical feasts and the iconography of the Death and the Assumption of the Mother of God. The iconography of the Mary’s Death, widely expressed in the Byzantine art since the 11th century, will begin to acquire some relevance in Europe since the 12th century, associating the Virgin’s triumph to the one of Jesus Christ in three characteristic subjects: the Death, the Assumption and the Coronation of Mary. Through the analysis of nine Italian paintings of the Quattrocento, our paper aims to show that such patristic and theological sources constitute the conceptual “model” that inspires in a direct and essential way the medieval iconography of Mary’s Assumption.

Article Details

How to Cite
Salvador González, José María. “The iconography of the Virgin Mary’s Assumption in the Italian Quattrocento’s painting from the prospective of its patristic and theological sources”. Mirabilia: electronic journal of antiquity and middle ages, no. 12, pp. 189-20, https://raco.cat/index.php/Mirabilia/article/view/283178.

Most read articles by the same author(s)