Assumption Art Series: Correggio

 

 

This 16th century late Italian Renaissance fresco is The Assumption of the Virgin is by Correggio.  It covers the dome of the Cathedral in Parma, Italy. The fresco measures 11.9 yards by 13 yards. Aside from Jesus, Mary, angels, and the Apostles, it depicts Adam, Eve, and Judith with the head of Holofernes. 

It was painted during the first decade of the Protestant Reformation and affirms Catholic doctrines that the Reformation attacked:

Transubstantiation:  Protestants denied the Real Presence of Christ in the Eucharist.  The fresco shows Christ descending toward the high altar such that when the priest elevated the Eucharist he did so toward this image of Christ, thus affirming transubstantiation.

Mary's role:  Protestants denied Mary's role, claiming "Sola  Christo" (Christ alone).  The image of Mary shows her in her glorified body rising toward heaven as our mediatrix of graces.

Church hierarchy:  Protestants denied the importance of the church hierarchy claiming "Sola Scriptura" (scripture alone). The fresco shows that the Apostles are the foundation and anchor of the Church.

It should also be noted that Italy was in turmoil at the time (the Italian Wars) which is a topic way too complex to describe here.

Assumption Art Series: Titian

 

Here is Titian's 16th century artwork Assumption of the Virgin.  It is oil on panel, measures approximately 22 feet by 11 feet, and is found in the Church of Santa Maria Gloriosa de Frari, Venice, Italy.

This painting shows the departure of Western religious art from Eastern iconography.  The departure can be seen when Titian's work is compared to Giotto's artwork of the Assumption earlier in this series. Giotto still retains some elements of traditional Eastern iconography (e.g. the deathbed and Jesus holding Mary as an infant).  Titian focuses on Mary in her glorified body joyfully being assumed into heaven.

The Eastern iconography which Giotto still retains to some extent can be seen in the icon by Theophanese the Greek earlier in this series.

There is a tremendous amount of theology packed into the differences between these artworks and between Western and Eastern religious art, going to core differences regarding the Immaculate Conception as well as the Assumption.

What is important for Roman Catholics to bear in mind is the doctrinal statement issued in 1950 in the Apostolic Constitution Munificentissimus Deus defining the doctrine of the Assumption.  In short, it declares that Mary was assumed body and soul into heavenly glory.  It leaves open the question of whether she died first.

Assumption Art Series: Theophanese the Greek

 

This is the 14th century Icon of the Dormition of the Theotokos by Theophanese the Greek.  It is found in the Tretyakov Gallery in Moscow.

This icon depicts the Eastern Orthodox view of the end of Mary's earthly life.  It is posted here both for its beauty and for comparison with later Western images that present the Western view of Mary's Assumption.

As I understand it, the Eastern view is that Mary died and Jesus immediately took hold of her soul (depicted as a newborn infant) as she entered eternal life.  Then three days later Our Lord will assume her glorified body into heaven.

As most readers likely already know, the Eastern Orthodox churches call this event the Dormition.   Since the word "dormition" comes from the Latin verb dormire - to sleep - it would be easy to think it means that she fell asleep in the common meaning of sleep.  But it does not.  The Eastern view is that Mary actually died and that the sleep referred to is a special state she was in while awaiting her glorified body. This  would occur in three days, mirroring Jesus three days in the tomb.