By John Boyden
Special to The CS&T
As the month of the rosary draws to a close, this series
on artistic representations of its mysteries concludes
with the final group, the glorious mysteries. The new
life that was won by Jesus in his suffering and crucifixion
finds its fruition in His triumph over death.
The paintings I have chosen to depict those mysteries
are taken from the Vatican collection and the Church of
Santa Maria in Vallicella, commonly known as the Chiesa
Nuova in Rome.
The clean lines of Pietro Perugino portray the glory of
the resurrection of Christ, one of the central beliefs
of Christianity. His arm is raised and His index finger
points upward, indicating that it was of His own divine
power that He was restored to life. His other hand grasps
the victory banner, as a nimbus, or elongated halo, surrounds
Him. The empty tomb has the appearance of many altars
in Roman churches, which serves to connect the glorified
Christ with His Eucharistic presence at Mass. Two Roman
guards sleep while another shows surprise at this amazing
event.
Almost a century later, Girolomo Muziano used softer tones
to show the Ascension of Jesus, 40 days after His resurrection
Muziano centralizes Christ on a golden background, which
takes the appearance of clouds of smoke, illustrating
the ascending movement of Jesus. The Apostles, Mary and
others surrounding Him look on with reverential awe, some
of the faces even betraying traces of sadness as Jesus
leaves them. But He does not leave without blessing them,
which His right hand indicates.
As Jesus had promised, nine days after His ascension,
the Holy Spirit descended on the Apostles as they were
assembled in the upper room. Artistic iconography usually
employs the dove — the scriptural image of the Holy
Spirit — above the Apostles’ heads. Muziano,
however, indicates the Holy Spirit as a burst of light
and flame, radiating from a source outside the parameters
of the painting. The assembly’s faces are turned
upward toward this sudden, dynamic manifestation. Some
show surprise, though none is afraid: This is the Paraclete
that Jesus promised. The Virgin Mary, seated centrally
in the painting, seems to know precisely what is occurring,
as though she has been expecting it.
When her earthly life was finished, Mary was taken body
and soul into heaven. In Giovanni Cerrini’s depiction
of that miraculous event, he employs a pronounced contrast
of light and shadow, a typically Baroque effect that adds
a dramatic element to the scene. Mary’s extended
arms recall the orans, or praying position, that is found
in early Christian catacomb paintings, indicating someone
who has attained salvation. Small, winged putti [baby
boy angels] accompany their queen to heaven.
Mary’s unique role as the mother of God has given
her an exalted place. Having taken human nature, Christ
is identified as king of all creation, so Mary may properly
be called its queen. The last of the glorious mysteries
of the rosary celebrates that privilege of hers.
Bernardino Di Betto Pinturicchio, a contemporary of Perugino,
uses imagery similar to his resurrection for his own work,
“The Coronation.”
Since Mary is queen of both heaven and earth, Pinturicchio
portrays both spheres witnessing the event; the apostles
and various saints watch the celestial scene from earth.
In heaven, music-making angels and seraphim hover in attendance.
Mary kneels in characteristic humility as her Son crowns
her in glory.
This series on the rosary concludes with a final picture
of Mary, Queen of the Rosary, from the altar piece of
Dominican Parish, a few blocks from St. Peter’s
basilica. Its late 19th century wood reredos [freestanding
screens behind an altar] take up the noble simplicity
of the early Rennaissance, setting Mary, enthroned with
her Son, on a brilliant gold background. Mary’s
red tunic represents her humanity and mortality as a creature
of God; the blue mantle recalls her noble role as the
mother of God. The Infant Jesus perches joyfully in her
lap, looking out toward the viewer and extending His arms.
Flanking them are two saints dressed in the habit of the
Dominican order: St. Dominic, founder of the order, and
St. Catherine of Siena, a 14th century Dominican mystic
and doctor of the Church.
In her hands, Mary holds a rosary, the devotional article
that generations of Catholics have used to meditate on
the major events in the life of Jesus and other mysteries
of the faith.
Our Lady of the Holy Rosary, Pray for us.
Drexel Hill native John Boyden lives in Rome, where
he works giving tours of the Vatican Museum.
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