In Western art from the 12th to the 16th centuries, the Annunciation was one of the most commissioned subjects in the Roman Catholic world. During the major years of the Crusades (1095 to 1272) with the large male population away fighting, women were responsible for managing the estates and particularly for the support of the Church. To honor women, the role of Mary was formally elevated to the role of Mother of God and Queen of Heaven, and Mary was seated next to God in the Last Judgment as an intercessor. Persons could appeal to the mother figure for forgiveness of their sins rather than to the sterner figure Christ/God. New churches grew as if they were seeds sown in fertile soil, and the naming of the churches inevitably began with Notre Dame, Our Lady. Scenes of Mary, particularly the Annunciation and the Coronation were commissioned in abundance.
At the Uffizi Gallery in Florence, Italy, the first Italian Renaissance painting a visitor encounters is the “Annunciation” by Simone Martini (1330) (8’8’’ x 10’) (tempera on wood panel). This spectacular Italian Gothic altarpiece is complete with the central panel containing the Annunciation, with side panels containing favorite Sienese Saints Margaret and Ansanus, and four round tondos’ at the top with images of Jeremiah, Ezekiel, Isaiah, and Daniel, Old Testament prophets of the coming of the Messiah. The altar is finished with an elaborate wood carved and gilded Gothic frame. As would become the tradition in religious art, the figures are depicted as royalty in robes edged with elegant gold trim, and with elongated bodies in elegant poses to emulate royalty. Note specifically Gabriel’s and Mary’s very long fingers.
Gabriel in gold, kneels before Mary, and with the right hand gestures upward toward the Dove of the Holy Spirit, seen in a mandorla centered in the main pointed arch and surround by eight angels. From Gabriel’s mouth, embossed in the golden background are the words, Ave Gratia Plena Dominus Tecum (“Hail, full of grace, the Lord is with thee.”) In Gabriel’s left hand is an olive branch he presents to Mary. The traditional symbol for the Annunciation was the white lily, representing the purity and virginity of Mary. Martini was a Sienese artist, and Siena’s greatest rival was the city of Florence whose flower symbol also was the lily. Since his altarpiece was for the Cathedral of Santa Maria of Siena, Martini replaced the rival lily with an olive branch, a symbol of peace. However, in keeping with tradition, Martini has placed a vase of lilies in the center of the composition, but at the back of the limited space. Martini is not technically able to create more than three feet of flat floor space, but he painted a narrow palatial marble floor with a small ledge.
Gabriel also wears an olive leaf crown and has magnificent wings. The clothing is completed with a Tartar pattern stole in gold and red toned plaid. The cloth was introduced into Italy c1300 when a trade in textiles was established between the Il-Khanid Mongol Empire (1256-1353) and Pope Boniface VIII. Martini was up to date with current fashion in Italy. A regal Mary is dressed in a rich black robe edged in gold with a deep red underdress. She is reading from a religious book and sitting on a carved wood throne inlaid with a Cosmati wood or ceramic mosaic design. The throne also illustrates the lack of accurate perspective in Martini’s time. All of the figures wear elaborately embossed gold halos.
One hundred years after Simoni Martini’s painting, Fra Angelico’s “Annunciation” (1430-42) (60.6’’ x 76’’) (tempera on panel) (Prado) represents the Italian’s newly discovered technique of perspective. A regally robed Gabriel and Mary are placed in an Italian style loggia that leads into Mary’s bedroom. Mary sits on a throne identifiable by the draped cloth of honor behind her. Although Fra Angelico struggled with perspective, some measure of space is achieved. The elegant Renaissance church ceiling was painted to depict a starry heaven, and encloses a loggia with Corinthian capitals on the columns. The columns appear too slender to provide much support and are too short. If standing, Gabriel and Mary would be taller than the columns and their heads would hit the ceiling. Note the black metal bars placed between the tops of the columns to add additional support. Sitting on the front metal bar is a small bird, possibly a sparrow symbol of freedom, joy, and protection.
Fra Angelico has placed the Garden of Eden with Adam and Eve being expelled on the left side of the panel. He has tied the Roman Catholic concept that Mary is the second Eve who dispels the sins of Eve, and Christ is the second Adam. God’s hand sends golden rays and the Dove of the Holy Spirit directly to Mary as a symbol of the incarnation of Christ. In the center of the composition on the loggia wall, God is sculpted into the tondo. The figures in the Garden are standing on a floral carpet, an elegant influence from French Gothic manuscripts that became popular in Italy, until the Italian Renaissance sought and achieved natural realism. Here the grass is a rich dark green, and numerous flowers and herbs grow in massive profusion. All are in bloom no matter the season, iconographic symbols of Mary’s virtues.
A slightly later Fra Angelico depiction of the “Annunciation” (1440-45) (69.25’’x 58.25’’) (he painted many), is a fresco on the plaster wall of the cloister of San Marco in
Florence. The painting was intentionally placed at the top of the only stairs leading into the corridor of monks’ cells. The translated text in the small band of gold at the base of the floor reads, “When you come before the image of the Ever-Virgin take care that you do not neglect to say an Ave.” Every time a monk climbed the stairs he is reminded of the significance of Mary.
Gabriel and Mary are again placed in a loggia, this one leading to an enclosed garden. Since the celebration of the Annunciation takes place on March 25, nine months before December 25, the garden in Spring becomes a popular setting. In this painting the floral carpet is enclosed by a wooden fence. Symbolism for the garden setting derive from the Old Testament Song of Solomon (4:12), “A garden enclosed is my sister, my spouse, a spring shut up, a fountain sealed.” Mary is a perpetual virgin, and also represents the three roles of women: virgin, mother, and widow.
Unlike Fra Angelico’s earlier work that was painted for a wealthy cloth merchant for his family chapel, this second Annunciation was commissioned by Cosimo de Medici, who founded the building of the convent for the monks, and as a holy and quiet refuge for himself. The setting and the clothing of Mary and Gabriel are simplified to match the simplicity of the convent, and the architecture echoes the functionality of the convent. Gabriel’s garment is decorated with gold trim, but Mary’s garments, although edged with small gold trim are relatively plain, and she sits on a simple wooden bench. Although Fra Angelico worked in Florence with artists who successfully depicted natural reality in their work, he adopted only some of their new techniques. He did not attempt to conquer accurate human anatomy or perspective. Born Guido de Pietro, Fra Angelico’s religious name was Fra Giovanni de Fiesole, but even during his life time he was known as Fra Angelico (Father Angel), whose paintings were dedicated to God and were intended to depict not this world but a heavenly one.
Fra Filippo Lippi, also a Catholic priest, was able to accomplish in perspective what Fra Angelico did not. Lippi’s “Annunciation” (1443-50) (6’8’’ x 6’1’’) brings the scene inside a small chapel that opens to a loggia and a small enclosed garden, and then to the larger garden of a convent. The architecture is an accurate depiction of the new Italian Renaissance style which combined the designs of the Greeks and Romans. Gabriel kneels on a parquet floor in front of an elegant low marble wall. Two white marble pilasters, topped with elaborate acanthus leaf capitals form the center of the composition. Three light green marble arches are supported by Ionic columns, and above, a white marble frieze is surrounded by the lower green architrave and the upper green cornice decorated with a Greek egg and dart design. Interested in depicting both his skill in perspective and Renaissance architecture, Lippi includes a second wall which supports a large green marble arch. Although the light color marbles, both pink and green, were used in Italian Renaissance architecture to show the various components of the design, many of the colors have faded with time. However, the color marbles were very visible in the Renaissance.
Mary, as often depicted, reads at a prie dieu (prayer desk). In keeping with the royal image both Gabriel and Mary are very tall figures, and Mary is elegantly dressed. Mary is shown barefooted to emphasize her humility. Gabriel holds a stalk of white lilies, five of which are in full bloom. Symbols of what is to come are often found in scenes such as these. The five lilies represent the five wounds that Christ will receive on the cross. Gabriel wears a halo of white and pink roses and there is a vase of white and pink roses on the prie dieu. Mary is the rose without thorns, thorns representing sin. Mary is the only human born without sin. Mary’s roses are symbolic of the rosary. The pink roses represent the joys of the Virgin and the white roses represent the glories of the Virgin, events she experiences as the Mother of Christ. Notice that Lippi has not included red roses that complete the symbolism, they represent the sorrow of Mary.
Uniquely, Gabriel’s wings are made of peacock feathers. Symbolically, each of the peacock’s feathers has an eye, representing the all-seeing eye of God or the 100 eyes of the church. More significantly, it is said that when the peacock dies, it does not decay. It is a symbol of Christ’s resurrection of the body and, therefore, also symbolic of eternity. God is depicted in the heavens at the upper left side. He is surrounded by several different types of angels, one of them standing on the earth holding a lily branch with six lilies, Christ the sixth lily, as His incarnation occurs. The Dove of the Holy Spirit descends toward Mary on a delicate woven golden web extending from the hands of God to Mary’s breast.
Annunciation paintings during the Italian Renaissance fulfilled the desire of the Catholic Church to represent a calm and peaceful atmosphere to promote contemplation. The settings were generally inside Mary’s room or outside in a garden. The day was clear and sunny, and quiet was maintained. Mary might be somewhat surprised at the appearance of Gabriel, but she is receptive “Behold, I am the handmaid of the Lord. May it be done to me according to your word.” (Luke 1: 38). As the times and arts evolve, at end of the 16th and into the 17th centuries quiet and calm are not the aims of the Church.
Tintoretto of Venice present a unique and quite different telling of the event. “Annunciation” (1582-87) (17’9” x 13’8”) (Scuola San Rocco, Venice) provides a striking contrast to earlier depictions. Gabriel does not come quietly into Mary’s bed chamber to kneel before her, but flies in quickly from above accompanied by a dozen cherubs. The Dove of the Holy Spirit leads the entourage and flies directly to Mary. Mary has dropped her book and leans back in surprise. Everything is in motion. The energy is increased by Tintoretto’s dramatic and well-placed use of light and shadow, and a variety of strong reds placed throughout the composition. The result is a state of momentary confusion. This is no royal palace or quiet convent. A falling brick and cement wall divides the inside from the outside. No gold decoration can be seen. The viewer sees a simple wooden chair and a bed with a red canopy. The floor appears to be simple terra cotta tile. Outside in a jumble of fallen wood, Joseph is trying to repair this fallen down house. Tintoretto has brought the reality of the Annunciation to a different level. No longer is Mary royalty, but the simple woman of Nazareth betrothed to the carpenter Joseph.
Beverly Hall Smith was a professor of art history for 40 years. Since retiring with her husband Kurt to Chestertown six years ago, she has taught art history classes at WC-ALL and Chesapeake College’s Institute for Adult Learning. She is also an artist whose work is sometimes in exhibitions at Chestertown RiverArts and she paints sets for the Garfield Center for the Arts.
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