Titian: Presentation of the Virgin

  Today I republish my review article on David Rosand's magisterial interpretation of Titian's  Presentation of the Virgin. Despite the depth and comprehensiveness of Rosand's interpretation, I did disagree with him on one point. Back in 2012, I argued that the old woman featured prominently in the foreground was Anna, the prophetess, who appeared in the biblical account of the Presentation of Mary's infant son. I include my opinion at the end of this review.  

David Rosand’s essay, “Titian’s Presentation of the Virgin in the Temple and the Scuola della Carita” appeared in the Art Bulletin in March, 1976. * It would be hard to imagine a more thorough and better researched paper than this one by the late Columbia professor who during his long career became one of the leaders in the field of the Venetian Renaissance.

In his essay Rosand proposed to “take a new look at Titian’s painting, to consider it on its own terms, the details of the composition as well as its broader contexts….” He examined the patronage, the social function of the picture, the position of the image within the history of its type, the relationship of the picture to its physical site, as well as the conditions under which it was to be seen. 

He stressed that he was departing from the traditional nineteenth and early twentieth century view of the painting as an example of Renaissance naturalism with little attention to its iconography. Rosand’s study is primarily iconographical. He demonstrated that practically every detail in the painting is important, and that all the details fit together to form a unified whole. 

In this brief review I would like to highlight some of the most significant iconographic details that Rosand explored as a guide to viewing the painting. I would also like to disagree with his analysis on one significant point.  

Titian’s painting is still in the place in which it was originally meant to be seen although the nature of the site has changed around it. Venice’s Accademia, its famous art museum, was originally the church of S. Maria della Carita, the home of the Confraternity della Carita, one of the leading social and charitable organizations in sixteenth century Venice. 

Around 1534 the confraternity commissioned Titian to do a painting of the Presentation of the Virgin for a particular wall in one of its rooms. The Presentation was a very popular subject in Renaissance Venice both before and after the Reformation. The subject was based on the legendary story of Joachim and Anne, the parents of Mary. Giotto had immortalized the story back in the thirteenth century on the walls of the Scrovegni or Arena chapel in nearby Padua.

According to the legend Joachim was a prosperous sheep raiser whose offering was rejected by the priests of the Temple because he and his wife were childless, a sign of divine disfavor. Banned from the Temple, Joachim left his wife and went to live in the fields with his shepherds and flocks. However, he made an offering in the wilderness and not only was it accepted by God, but he was also told to return home to his wife, Anne, who had also been given a sign that they will be blessed with a child.  

They met at the Golden Gate of the city, exchanged a kiss, and Anne conceived and bore a daughter Mary. In thanksgiving the joyous couple resolved to offer their child to service in the Temple.

The offering of the child is the focal point of Titian’s painting although Titian depicts her ascending the steps seemingly on her own volition in much the same way that she appears to rise on her own in his earlier Assunta. Rosand noted that Titian surrounded the young Mary with “a full mandorla of golden light”, something unprecedented and full of meaning.

the Virgin does indeed rival and outshine the natural light entering through the windows of the room; she is the light beyond the light of nature, a radiance more brilliant than the sun….The wisdom texts, the basis of the Marian celebration, afford then a means of reading Titian’s Presentation, allowing us to determine the significance of many of its supposedly merely picturesque details within the context of a controlling thematic structure. [68]

Instead of mere naturalistic, pictorial details, the sunlight, the clouds, and the mountains in the background all relate to the theme of the painting: “the diffusion of … divine light into the world." 

Rising behind the pyramid is a great cumulus cloud, its luminous shape dominating the left side of the canvas….one ought to expect this form, moving so majestically over the landscape, to assume a meaning beyond its obvious naturalistic function. And I would suggest that this meaning derives from the same wisdom texts with which Titian was so evidently familiar. {Ecclesiasticus 24: 5-7} “as a cloud I covered all the earth: I dwell in the highest places, and my throne is a pillar of cloud.” In this form the divinity presides over Titian’s landscape, becoming with the pyramid a monumental hieroglyph of the divine immanence, while on the opposite side of the picture the Virgin’s radiance speaks of its ultimate incarnation for the salvation of mankind. [70]

In a section entitled “Dramatis Personae”, Rosand identified the various onlookers to the Virgin’s ascent up the steps of the Temple. He rejected the opinion of Vasari and others that these were merely portraits of contemporaries including Titian himself. The main characters relate to the theme of the painting and derive from scriptural sources.

Oddly enough Joachim and Anne, the parents of Mary, while centrally placed, are somewhat obscured. Joachim stands with his back to the viewer with his hand on his wife’s shoulder. Anne wears a little cap and certainly does not stand out as do other women in the painting.

Rosand followed the lead of Leo Steinberg in identifying the young woman dressed in gold and white at the foot of the steps as Mary’s elder cousin, Elizabeth, the future mother of John the Baptist.  

 

The beautiful young woman at the foot of the stairs, so often carelessly identified as Anna, acquires by her prominence within the composition a rather distinctive significance…. care has been taken to distinguish her from the rest of the procession. Dressed in gold and white, stately yet modest, seen in pure profile, she seems to reflect in her larger person the figure of the Virgin herself, and this connection is made explicit by the indication of her companion. [73-4]

Again following Steinberg’s suggestion, Rosand identified the younger priest at the top of the stairs as another major figure in the Infancy narrative, Zacharias, the future husband of Elizabeth. 

At the top of the stairs stands the second priest, receiving special focus by the upturned glance of the young acolyte; he too is in profile, but facing left. These two figures…are isolated as a couple within the composition, formally responding to one another across the distance of the staircase. 

Rosand departed from earlier guesses and argued that the figures at the left of the painting, dressed mainly in black, must be the patrons. “The eight obvious portraits in Titian’s picture must surely represent the chief officers of the Carita…” In particular, the one in red must be the Guardino Grande who for solemn feasts would be dressed in “crimson robes and ducal sleeves.” [74]

The woman at the left holding a baby and stretching out her hand is a mendicant, a personification of Charity, the primary work of the confraternity. “Titian elevates her, or rather the entire action to the status of a personification, or enactment, of Caritas…”

Finally, at the outset of his paper Rosand admitted that the old woman looking on besides the steps has perhaps been the greatest single mystery of the painting. 

The old egg-seller in front of the stairs has inspired more comment than any other single figure in the composition. [56]

 He noted that most interpreters see her as a mere “pictorial detail” but argued that she represented much more. Panofsky had seen her as a personification of Judaism but Rosand was more specific. 

Instead of a representatives of the Jews as such, we have here, then, a personification of Synagogue. And it is to this tradition that Titian’s old egg-seller, as the unreconstructed Synagogue, belongs. [72]

However, his description of the traditional appearance of Synagogue does not fit his explanation.

an old woman dressed in tattered black garments. In her right hand she holds, inverted, the Tablets of the Law; in her left is the broken Roman vexillum, a red banner emblazoned with the gold letters S.P.Q.R [73]

Actually, the figure in black behind the two priests at the top of the stairs fits the description better. 

The egg-seller is old but her clothing indicates an elevated, even exalted status. Her gown is the same blue as the young Virgin’s and her head is covered with a white shawl that Titian had sometimes used in depictions of the Madonna. Rosand had argued that the gold and white of Elizabeth’s garments indicated her status but why ignore the garments of the old woman? Cima da Conegliano in an earlier version of the Presentation, that is often compared with Titian’s, also clothed the egg seller in blue and white. 

I believe that the old woman could very well be Anna the Prophetess, who appeared in the gospel account of the Presentation of Jesus in the Temple. Scripture records that she had been a Temple denizen for years and it is not hard to imagine that Venetian artists would have wanted to also depict her attendance at the Presentation of Mary. 

It is true that she does not look at the young Mary ascending the steps. But her back is turned to the Temple and she looks toward or perhaps past the assembled figures who are also illuminated by the divine light that comes from the left. 

###

*David Rosand: Titian’s Presentation of the Virgin in the Temple and the Scuola della Carita. The Art Bulletin, Vol. 58. No. 1 (Mar., 1976), pp. 55-84.

Review: David Rosand, Presentation of the Virgin

 Today I republish my review article on David Rosand's magisterial interpretation of Titian's  Presentation of the Virgin. Despite the depth and comprehensiveness of Rosand's interpretation, I did disagree with him on one point. Back in 2012, I argued that the old woman featured prominently in the foreground was Anna, the prophetess, who appeared in the biblical account of the Presentation of Mary's infant son. I include my opinion at the end of this review.  

David Rosand’s essay, “Titian’s Presentation of the Virgin in the Temple and the Scuola della Carita” appeared in the Art Bulletin in March, 1976. * It would be hard to imagine a more thorough and better researched paper than this one by the late Columbia professor who during his long career became one of the leaders in the field of the Venetian Renaissance.

In his essay Rosand proposed to “take a new look at Titian’s painting, to consider it on its own terms, the details of the composition as well as its broader contexts….” He examined the patronage, the social function of the picture, the position of the image within the history of its type, the relationship of the picture to its physical site, as well as the conditions under which it was to be seen. 

He stressed that he was departing from the traditional nineteenth and early twentieth century view of the painting as an example of Renaissance naturalism with little attention to its iconography. Rosand’s study is primarily iconographical. He demonstrated that practically every detail in the painting is important, and that all the details fit together to form a unified whole. 

In this brief review I would like to highlight some of the most significant iconographic details that Rosand explored as a guide to viewing the painting. I would also like to disagree with his analysis on one significant point.  

Titian’s painting is still in the place in which it was originally meant to be seen although the nature of the site has changed around it. Venice’s Accademia, its famous art museum, was originally the church of S. Maria della Carita, the home of the Confraternity della Carita, one of the leading social and charitable organizations in sixteenth century Venice. 

Around 1534 the confraternity commissioned Titian to do a painting of the Presentation of the Virgin for a particular wall in one of its rooms. The Presentation was a very popular subject in Renaissance Venice both before and after the Reformation. The subject was based on the legendary story of Joachim and Anne, the parents of Mary. Giotto had immortalized the story back in the thirteenth century on the walls of the Scrovegni or Arena chapel in nearby Padua.

According to the legend Joachim was a prosperous sheep raiser whose offering was rejected by the priests of the Temple because he and his wife were childless, a sign of divine disfavor. Banned from the Temple, Joachim left his wife and went to live in the fields with his shepherds and flocks. However, he made an offering in the wilderness and not only was it accepted by God, but he was also told to return home to his wife, Anne, who had also been given a sign that they will be blessed with a child.  

They met at the Golden Gate of the city, exchanged a kiss, and Anne conceived and bore a daughter Mary. In thanksgiving the joyous couple resolved to offer their child to service in the Temple.

The offering of the child is the focal point of Titian’s painting although Titian depicts her ascending the steps seemingly on her own volition in much the same way that she appears to rise on her own in his earlier Assunta. Rosand noted that Titian surrounded the young Mary with “a full mandorla of golden light”, something unprecedented and full of meaning.

the Virgin does indeed rival and outshine the natural light entering through the windows of the room; she is the light beyond the light of nature, a radiance more brilliant than the sun….The wisdom texts, the basis of the Marian celebration, afford then a means of reading Titian’s Presentation, allowing us to determine the significance of many of its supposedly merely picturesque details within the context of a controlling thematic structure. [68]

Instead of mere naturalistic, pictorial details, the sunlight, the clouds, and the mountains in the background all relate to the theme of the painting: “the diffusion of … divine light into the world." 

Rising behind the pyramid is a great cumulus cloud, its luminous shape dominating the left side of the canvas….one ought to expect this form, moving so majestically over the landscape, to assume a meaning beyond its obvious naturalistic function. And I would suggest that this meaning derives from the same wisdom texts with which Titian was so evidently familiar. {Ecclesiasticus 24: 5-7} “as a cloud I covered all the earth: I dwell in the highest places, and my throne is a pillar of cloud.” In this form the divinity presides over Titian’s landscape, becoming with the pyramid a monumental hieroglyph of the divine immanence, while on the opposite side of the picture the Virgin’s radiance speaks of its ultimate incarnation for the salvation of mankind. [70]

In a section entitled “Dramatis Personae”, Rosand identified the various onlookers to the Virgin’s ascent up the steps of the Temple. He rejected the opinion of Vasari and others that these were merely portraits of contemporaries including Titian himself. The main characters relate to the theme of the painting and derive from scriptural sources.

Oddly enough Joachim and Anne, the parents of Mary, while centrally placed, are somewhat obscured. Joachim stands with his back to the viewer with his hand on his wife’s shoulder. Anne wears a little cap and certainly does not stand out as do other women in the painting.

Rosand followed the lead of Leo Steinberg in identifying the young woman dressed in gold and white at the foot of the steps as Mary’s elder cousin, Elizabeth, the future mother of John the Baptist.  

 

The beautiful young woman at the foot of the stairs, so often carelessly identified as Anna, acquires by her prominence within the composition a rather distinctive significance…. care has been taken to distinguish her from the rest of the procession. Dressed in gold and white, stately yet modest, seen in pure profile, she seems to reflect in her larger person the figure of the Virgin herself, and this connection is made explicit by the indication of her companion. [73-4]

Again following Steinberg’s suggestion, Rosand identified the younger priest at the top of the stairs as another major figure in the Infancy narrative, Zacharias, the future husband of Elizabeth. 

At the top of the stairs stands the second priest, receiving special focus by the upturned glance of the young acolyte; he too is in profile, but facing left. These two figures…are isolated as a couple within the composition, formally responding to one another across the distance of the staircase. 

Rosand departed from earlier guesses and argued that the figures at the left of the painting, dressed mainly in black, must be the patrons. “The eight obvious portraits in Titian’s picture must surely represent the chief officers of the Carita…” In particular, the one in red must be the Guardino Grande who for solemn feasts would be dressed in “crimson robes and ducal sleeves.” [74]

The woman at the left holding a baby and stretching out her hand is a mendicant, a personification of Charity, the primary work of the confraternity. “Titian elevates her, or rather the entire action to the status of a personification, or enactment, of Caritas…”

Finally, at the outset of his paper Rosand admitted that the old woman looking on besides the steps has perhaps been the greatest single mystery of the painting. 

The old egg-seller in front of the stairs has inspired more comment than any other single figure in the composition. [56]

 He noted that most interpreters see her as a mere “pictorial detail” but argued that she represented much more. Panofsky had seen her as a personification of Judaism but Rosand was more specific. 

Instead of a representatives of the Jews as such, we have here, then, a personification of Synagogue. And it is to this tradition that Titian’s old egg-seller, as the unreconstructed Synagogue, belongs. [72]

However, his description of the traditional appearance of Synagogue does not fit his explanation.

an old woman dressed in tattered black garments. In her right hand she holds, inverted, the Tablets of the Law; in her left is the broken Roman vexillum, a red banner emblazoned with the gold letters S.P.Q.R [73]

Actually, the figure in black behind the two priests at the top of the stairs fits the description better. 

The egg-seller is old but her clothing indicates an elevated, even exalted status. Her gown is the same blue as the young Virgin’s and her head is covered with a white shawl that Titian had sometimes used in depictions of the Madonna. Rosand had argued that the gold and white of Elizabeth’s garments indicated her status but why ignore the garments of the old woman. Cima da Conegliano in an earlier version of the Presentation, that is often compared with Titian’s, also clothed the egg seller in blue and white. 

I believe that the old woman could very well be Anna the Prophetess, who appeared in the gospel account of the Presentation of Jesus in the Temple. Scripture records that she had been a Temple denizen for years and it is not hard to imagine that Venetian artists would have wanted to also depict her attendance at the Presentation of Mary. 

It is true that she does not look at the young Mary ascending the steps. But her back is turned to the Temple and she looks toward or perhaps past the assembled figures who are also illuminated by the divine light that comes from the left. 

###

*David Rosand: Titian’s Presentation of the Virgin in the Temple and the Scuola della Carita. The Art Bulletin, Vol. 58. No. 1 (Mar., 1976), pp. 55-84.

Titian: Presentation of the Virgin

Today I republish my review article on David Rosand's magisterial interpretation of Titian's  Presentation of the Virgin. This article originally appeared here in September 2017 but I inadvertently deleted it. Despite the depth and comprehensiveness of Rosand's interpretation, I did disagree with him on one point. Back in 2012, I argued that the old woman featured prominently in the foreground was  Anna, the prophetess, who appeared in the biblical account of the Presentation of Mary's infant son. I include my opinion at the end of this review.  

David Rosand’s essay, “Titian’s Presentation of the Virgin in the Temple and the Scuola della Carita” appeared in the Art Bulletin in March, 1976. * It would be hard to imagine a more thorough and better researched paper than this one by the late Columbia professor who during his long career became one of the leaders in the field of the Venetian Renaissance.

In his essay Rosand proposed to “take a new look at Titian’s painting, to consider it on its own terms, the details of the composition as well as its broader contexts….” He examined the patronage, the social function of the picture, the position of the image within the history of its type, the relationship of the picture to its physical site, as well as the conditions under which it was to be seen. 

He stressed that he was departing from the traditional nineteenth and early twentieth century view of the painting as an example of Renaissance naturalism with little attention to its iconography. Rosand’s study is primarily iconographical. He demonstrated that practically every detail in the painting is important, and that all the details fit together to form a unified whole. 

In this brief review I would like to highlight some of the most significant iconographic details that Rosand explored as a guide to viewing the painting. I would also like to disagree with his analysis on one significant point.  

Titian’s painting is still in the place in which it was originally meant to be seen although the nature of the site has changed around it. Venice’s Accademia, its famous art museum, was originally the church of S. Maria della Carita, the home of the Confraternity della Carita, one of the leading social and charitable organizations in sixteenth century Venice. 

Around 1534 the confraternity commissioned Titian to do a painting of the Presentation of the Virgin for a particular wall in one of its rooms. The Presentation was a very popular subject in Renaissance Venice both before and after the Reformation. The subject was based on the legendary story of Joachim and Anne, the parents of Mary. Giotto had immortalized the story back in the thirteenth century on the walls of the Scrovegni or Arena chapel in nearby Padua.

According to the legend Joachim was a prosperous sheep raiser whose offering was rejected by the priests of the Temple because he and his wife were childless, a sign of divine disfavor. Banned from the Temple, Joachim left his wife and went to live in the fields with his shepherds and flocks. However, he made an offering in the wilderness and not only was it accepted by God, but he was also told to return home to his wife, Anne, who had also been given a sign that they will be blessed with a child.  They met at the Golden Gate of the city, exchanged a kiss, and Anne conceived and bore a daughter Mary. In thanksgiving the joyous couple resolved to offer their child to service in the Temple.

The offering of the child is the focal point of Titian’s painting although Titian depicts her ascending the steps seemingly on her own volition in much the same way that she appears to rise on her own in his earlier Assunta. Rosand noted that Titian surrounded the young Mary with “a full mandorla of golden light”, something unprecedented and full of meaning.

the Virgin does indeed rival and outshine the natural light entering through the windows of the room; she is the light beyond the light of nature, a radiance more brilliant than the sun….The wisdom texts, the basis of the Marian celebration, afford then a means of reading Titian’s Presentation, allowing us to determine the significance of many of its supposedly merely picturesque details within the context of a controlling thematic structure. [68]

Instead of mere naturalistic, pictorial details, the sunlight, the clouds, and the mountains in the background all relate to the theme of the painting: “the diffusion of … divine light into the world. “

Rising behind the pyramid is a great cumulus cloud, its luminous shape dominating the left side of the canvas….one ought to expect this form, moving so majestically over the landscape, to assume a meaning beyond its obvious naturalistic function. And I would suggest that this meaning derives from the same wisdom texts with which Titian was so evidently familiar. {Ecclesiasticus 24: 5-7} “as a cloud I covered all the earth: I dwell in the highest places, and my throne is a pillar of cloud.” In this form the divinity presides over Titian’s landscape, becoming with the pyramid a monumental hieroglyph of the divine immanence, while on the opposite side of the picture the Virgin’s radiance speaks of its ultimate incarnation for the salvation of mankind. [70]

In a section entitled “Dramatis Personae”, Rosand identified the various onlookers to the Virgin’s ascent up the steps of the Temple. He rejected the opinion of Vasari and others that these were merely portraits of contemporaries including Titian himself. The main characters relate to the theme of the painting and derive from scriptural sources.

Oddly enough Joachim and Anne, the parents of Mary, while centrally placed, are somewhat obscured. Joachim stands with his back to the viewer with his hand on his wife’s shoulder. Anne wears a little cap and certainly does not stand out as do other women in the painting.

Rosand followed the lead of Leo Steinberg in identifying the young woman dressed in gold and white at the foot of the steps as Mary’s elder cousin, Elizabeth, the future mother of John the Baptist.  

 

The beautiful young woman at the foot of the stairs, so often carelessly identified as Anna, acquires by her prominence within the composition a rather distinctive significance…. care has been taken to distinguish her from the rest of the procession. Dressed in gold and white, stately yet modest, seen in pure profile, she seems to reflect in her larger person the figure of the Virgin herself, and this connection is made explicit by the indication of her companion. [73-4]

Again following Steinberg’s suggestion, Rosand identified the younger priest at the top of the stairs as another major figure in the Infancy narrative, Zacharias, the future husband of Elizabeth. 

At the top of the stairs stands the second priest, receiving special focus by the upturned glance of the young acolyte; he too is in profile, but facing left. These two figures…are isolated as a couple within the composition, formally responding to one another across the distance of the staircase. 

Rosand departed from earlier guesses and argued that the figures at the left of the painting, dressed mainly in black, must be the patrons. “The eight obvious portraits in Titian’s picture must surely represent the chief officers of the Carita…” In particular, the one in red must be the Guardino Grande who for solemn feasts would be dressed in “crimson robes and ducal sleeves.” [74]

The woman at the left holding a baby and stretching out her hand is a mendicant, a personification of Charity, the primary work of the confraternity. “Titian elevates her, or rather the entire action to the status of a personification, or enactment, of Caritas…”

Finally, at the outset of his paper Rosand admitted that the old woman looking on besides the steps has perhaps been the greatest single mystery of the painting. 

The old egg-seller in front of the stairs has inspired more comment than any other single figure in the composition. [56]

 He noted that most interpreters see her as a mere “pictorial detail” but argued that she represented much more. Panofsky had seen her as a personification of Judaism but Rosand was more specific. 

Instead of a representatives of the Jews as such, we have here, then, a personification of Synagogue. And it is to this tradition that Titian’s old egg-seller, as the unreconstructed Synagogue, belongs. [72]

However, his description of the traditional appearance of Synagogue does not fit his explanation.

an old woman dressed in tattered black garments. In her right hand she holds, inverted, the Tablets of the Law; in her left is the broken Roman vexillum, a red banner emblazoned with the gold letters S.P.Q.R [73]

Actually, the figure in black behind the two priests at the top of the stairs fits the description better. 

The egg-seller is old but her clothing indicates an elevated, even exalted status. Her gown is the same blue as the young Virgin’s and her head is covered with a white shawl that Titian had sometimes used in depictions of the Madonna. Rosand had argued that the gold and white of Elizabeth’s garments indicated her status but why ignore the garments of the old woman. Cima da Conegliano in an earlier version of the Presentation, that is often compared with Titian’s, also clothed the egg seller in blue and white. 

I believe that the old woman could very well be Anna the Prophetess, who appeared in the gospel account of the Presentation of Jesus in the Temple. Scripture records that she had been a Temple denizen for years and it is not hard to imagine that Venetian artists would have wanted to also depict her attendance at the Presentation of Mary. 

It is true that she does not look at the young Mary ascending the steps. But her back is turned to the Temple and she looks toward or perhaps past the assembled figures who are also illuminated by the divine light that comes from the left. 

###

*David Rosand: Titian’s Presentation of the Virgin in the Temple and the Scuola della Carita. The Art Bulletin, Vol. 58. No. 1 (Mar., 1976), pp. 55-84.

David Rosand on Veronese's Mary Magdalen

The late Venetian art historian David Rosand contributed an essay on a Veronese painting in the same June 2011 edition of the Burlington Magazine that featured Renata Segre’s discovery of the inventory of Giorgione’s estate. Segre’s archival find attracted much attention but Rosand’s essay provided much more insight into the work of Giorgione and other Venetian Renaissance artists.*

Paolo Veronese: The Conversion of Mary Magdalen, c. 1548
National Gallery, London, oil on canvas, 117.5 x `63.5 

Rosand discussed a work by the twenty-year-old Paolo Veronese that London’s National Gallery had labelled “Christ addressing a kneeling woman.” Rosand noted that the painting has variously been thought to depict Christ with the woman taken in adultery; Mary Magdalen laying aside her jewels; or Christ and the woman with the issue of blood. A few years ago, a National Gallery catalog leant toward the “Woman with the issue of blood” but now its website has accepted Rosand's identification of the painting as the Conversion of Mary Magdalen.

Not only did Rosand agree with those who saw Mary Magdalen in the painting but he also found a source text for Veronese’s depiction. The National Gallery catalog had rejected the Magdalen interpretation because there is no mention of a scene like this one in either the gospels or the apocrypha. However, Rosand discovered that Pietro Aretino, the notorious scoundrel and self-promoter who was also a close friend of Titian’s, had written a popularization of the gospels that provided a fourteen page description of the events surrounding the conversion of Mary Magdalen.

Written in 1535 the name of the work was "Humanita di Christo" and it was extremely popular until it and other works like it were banned by the Church after the Council of Trent. Today it is almost impossible to find. A search of the New York Public Library’s vast online catalog found nothing. Rosand’s extensive quotes were from a 1539 Italian edition. **

In Rosand’s words Aretino’s text provided an “imaginative expansion of the generally laconic text of the Gospels ” that his artist friends were quick to exploit. Aretino gave artists “a new novelistic gospel replete with pictorial possibilities.”

Aretino’s description of the conversion of the Magdalen begins the evening before her meeting with Christ. Her sister Martha had persuaded her to go to the Temple but the courtesan decides to throw a party and have one last fling. She puts on a sumptuous banquet “to celebrate her hedonistic life.” Aretino dwells on her worldly beauty and her “fine linen gown trimmed in gold and studded with pearls.”

The next morning Mary Magdalen sets out for the Temple looking like a “rising sun” and followed by a great multitude “drawn to this vision of splendid beauty.” Nevertheless, the meeting with Jesus is life changing.

Jesus addresses her in an intimate tone…and then proceeds to inflect her worldly beauty to a spiritual one, her eroticism to divine love: her splendour can only have a higher source, a gift from heaven.

Afterwards, Martha leads her contrite sister home where she locks herself in her room and “throws her jewels to the ground.”

Bernardino Luini: Martha and Mary Magdalen

In the Burlington essay Rosand did not spend much time discussing the other figures in the painting. He did not even call the modestly dressed woman supporting the Magdalen by name even though it must be Martha. He did not mention the man in the foreground with the red cap who appears to be dropping a small notebook. Could this be the Magdalen’s procurer discarding her client list? What about the man clutching the column on the left? Is he suffering from the previous evening’s celebration? There is also a nude youth and a dog. Were they normal parts of a courtesan’s retinue?

There can be no doubt that Rosand has found the source of Veronese’s painting in Aretino’s gospel popularization. However, one question remains. What was the source of Aretino’s account? Did he just make up his embellishment of the conversion of the Magdalen or did he draw from an already existing tradition?

Pietro Aretino was born in 1492 into a poor family in Arezzo. At about the age of fourteen he left his hometown to make his own way in the world. He didn’t journey to nearby Florence but for reasons unknown walked the 50 miles to Perugia. According to James Cleugh’s biography, “The Divine Aretino,” Pietro probably arrived in Perugia around 1506 and stayed for about six years.

In those years he tried his hand at a number of things and even studied painting. He achieved some competence but realized early that he would go nowhere as a painter. Nevertheless, there is one incident concerning Aretino that throws light on Veronese’s painting. Cleugh relates a prank attributed to the young Aretino.***

According to the Perugian poet Caporali he had been offended by the sight of a mediocre fresco in the Piazza Grande depicting Mary Magdalene at the feet of Christ. Her arms outspread in an absurdly awkward attitude of adoration and the two conspicuous tears rolling down her cheeks lent in Pietro's view an utterly incongruous aspect to the buxom citizeness who had been used as a model. He decided to correct this artistic impropriety and call the perpetrator to order in the only way he could be expected to understand--pictorially.

One morning, early risers were horrified to find that the pious Magdalene had been transformed overnight into the courtesan she was said to have been before her conversion. A lute had appeared in her hands and she was gazing at Jesus with a far from sorrowing expression. Pietro had spent a couple of hours the night before with his brushes and palette, and a discrete torch, on a ladder propped against the wall….

The joke, however, did not amuse the clergy or the ruling Baglioni family or the municipality of Perugia. Pietro could usually talk himself out of trouble, but this time his laughing apology did not help him. While the picture was being restored he was sternly given to understand that if he did not remove himself forthwith from the precincts of the city he could expect an examination by the Holy Inquisition.

Cleugh warns that practically anything by or about Pietro can be taken with a grain of salt but it would be impossible to doubt that there was a painting on a wall in Perugia that depicted a kneeling, penitent Magdalen at the feet of Christ, a scene only implied in the gospels. Moreover, it is not hard to imagine that this “Conversion of Mary Magdalen” by an unknown artist was not the only one in Perugia. Indeed, it is more than likely that such depictions could have been found all over Italy.

Faded image over door in Piazza S. Stefano, Venice

This incident should make us realize that what we have left of Renaissance art is but the tip of the proverbial iceberg. Time, weather, vandalism, and the efforts of Church reformers have left us only a very small percentage of the art that graced both the interior and exterior of churches, palaces, and homes over the entire peninsula. Of course, exceptional painters took these common devotional subjects to unprecedented heights but most must have been of the mediocre variety that Aretino playfully sought to improve.

Aretino’s scandalous writings have survived but Rosand noted in the Burlington Magazine that the Church banned works like his gospel popularization after the Council of Trent. Professor Rosand was correct to remind the National Gallery that there was more to the religious art of the Renaissance than could be found in the gospels or the apocrypha.

###

*David Rosand: “Veronese’s Magdalen and Pietro Aretino,” Burlington Magazine, 153, June 2011, pp. 392-395.

**All quotations from Aretino are taken from Rosand's article.

***James Cleugh, "The Divine Aretino", NY, 1966. p. 28.

Note. This post is a slightly revised version of one that appeared on Giorgione et al... in 2011. I plan to devote 2019 to reprising other early posts on artists other than Giorgione and Titian. 

Veronese: Mary Magdalen

Paolo Veronese: The Conversion of Mary Magdalen, c. 1548, oil on canvas, 117.5x163.5 cm (National Gallery, London).

Famed Venetian art historian David Rosand contributed an essay on a Veronese painting in the same June 2011 edition of the Burlington Magazine that featured Renata Segre’s discovery of the inventory of Giorgione’s estate. Segre’s archival find attracted much attention but Rosand’s essay could provide much more insight into the work of Giorgione and other Venetian Renaissance artists.*

Rosand discussed a work by the twenty-year-old Paolo Veronese that London’s National Gallery currently labels “Christ addressing a kneeling woman.” Rosand noted that the painting has variously been thought to depict Christ with the woman taken in adultery; Mary Magdalen laying aside her jewels; or Christ and the woman with the issue of blood. Actually, a recent National Gallery catalog leans toward the “Woman with the issue of blood” but its website still calls her only a kneeling woman.

Not only does Rosand agree with those who see Mary Magdalen in the painting but he also has found a source text for Veronese’s depiction. The National Gallery catalog rejected the Magdalen interpretation because there is no mention of a scene like this one in either the gospels or the apocrypha. However, Rosand discovered that Pietro Aretino, the notorious scoundrel and self-promoter who was also a close friend of Titian’s, had written a popularization of the gospels that provided a fourteen page description of the events surrounding the conversion of Mary Magdalen.

Written in 1535 the name of the work was "Humanita di Christo" and it was extremely popular until it and other works like it were banned by the Church after the Council of Trent. Today it is almost impossible to find. A search of the New York Public Library’s vast online catalog found nothing. Rosand’s extensive quotes were from a 1539 Italian edition. **

In Rosand’s words Aretino’s text provided an “imaginative expansion of the generally laconic text of the Gospels ” that his artist friends were quick to exploit. Aretino gave artists “a new novelistic gospel replete with pictorial possibilities.”

Aretino’s description of the conversion of the Magdalen begins the evening before her meeting with Christ. Her sister Martha had persuaded her to go to the Temple but the courtesan decides to throw a party and have one last fling. She puts on a sumptuous banquet “to celebrate her hedonistic life.” Aretino dwells on her worldly beauty and her “fine linen gown trimmed in gold and studded with pearls.”

The next morning Mary Magdalen sets out for the Temple looking like a “rising sun” and followed by a great multitude “drawn to this vision of splendid beauty.” Nevertheless, the meeting with Jesus is life changing.

Jesus addresses her in an intimate tone…and then proceeds to inflect her worldly beauty to a spiritual one, her eroticism to divine love: her splendour can only have a higher source, a gift from heaven.

Afterwards, Martha leads her contrite sister home where she locks herself in her room and “throws her jewels to the ground.”

Bernardino Luini: Martha and Mary Magdalen

In the Burlington essay Rosand does not spend much time discussing the other figures in the painting. He doesn’t even call the modestly dressed woman supporting the Magdalen by name even though it must be Martha. He doesn’t mention the man in the foreground with the red cap who appears to be dropping a small notebook. Could this be the Magdalen’s procurer discarding her client list? What about the man clutching the column on the left? Is he suffering from the previous evening’s celebration? There is also a nude youth and a dog. Were they normal parts of a courtesan’s retinue?

There is no doubt that Rosand has found the source of Veronese’s painting in Aretino’s gospel popularization. However, one question remains. What was the source of Aretino’s account? Did he just make up his embellishment of the conversion of the Magdalen or did he draw from an already existing tradition?

Pietro Aretino was born in 1492 into a poor family in Arezzo. At about the age of fourteen he left his hometown to make his own way in the world. He didn’t journey to nearby Florence but for reasons unknown walked the 50 miles to Perugia. According to James Cleugh’s biography, “The Divine Aretino,” Pietro probably arrived in Perugia around 1506 and stayed for about six years.

In those years he tried his hand at a number of things and even studied painting. He achieved some competence but realized early that he would go nowhere as a painter. Nevertheless, there is one incident concerning Aretino that throws light on Veronese’s painting. Cleugh relates a prank attributed to the young Aretino.***

According to the Perugian poet Caporali he had been offended by the sight of a mediocre fresco in the Piazza Grande depicting Mary Magdalene at the feet of Christ. Her arms outspread in an absurdly awkward attitude of adoration and the two conspicuous tears rolling down her cheeks lent in Pietro's view an utterly incongruous aspect to the buxom citizeness who had been used as a model. He decided to correct this artistic impropriety and call the perpetrator to order in the only way he could be expected to understand--pictorially.

One morning, early risers were horrified to find that the pious Magdalene had been transformed overnight into the courtesan she was said to have been before her conversion. A lute had appeared in her hands and she was gazing at Jesus with a far from sorrowing expression. Pietro had spent a couple of hours the night before with his brushes and palette, and a discrete torch, on a ladder propped against the wall….

The joke, however, did not amuse the clergy or the ruling Baglioni family or the municipality of Perugia. Pietro could usually talk himself out of trouble, but this time his laughing apology did not help him. While the picture was being restored he was sternly given to understand that if he did not remove himself forthwith from the precincts of the city he could expect an examination by the Holy Inquisition.

Cleugh warns that practically anything by or about Pietro can be taken with a grain of salt but it would be impossible to doubt that there was a painting on a wall in Perugia that depicted a kneeling, penitent Magdalen at the feet of Christ, a scene only implied in the gospels. Moreover, it is not hard to imagine that this “Conversion of Mary Magdalen” by an unknown artist was not the only one in Perugia. Indeed, it is more than likely that such depictions could have been found all over Italy.

Faded image over door in Piazza S. Stefano, Venice

This incident should make us realize that what we have left of Renaissance art is but the tip of the proverbial iceberg. Time, weather, vandalism, and the efforts of Church reformers have left us only a very small percentage of the art that graced both the interior and exterior of churches, palaces, and homes over the entire peninsula. Of course, exceptional painters took these common devotional subjects to unprecedented heights but most must have been of the mediocre variety that Aretino playfully sought to improve.

Aretino’s scandalous writings have survived but Rosand noted in the Burlington Magazine that the Church banned works like his gospel popularization after the Council of Trent. Professor Rosand was correct to remind the National Gallery that there was more to the religious art of the Renaissance than could be found in the gospels or the apocrypha.

*David Rosand: “Veronese’s Magdalen and Pietro Aretino,” Burlington Magazine, 153, June 2011, pp. 392-395.

**All quotations from Aretino are taken from Rosand's article.

***James Cleugh, "The Divine Aretino", NY, 1966. p. 28.