Madonna and Child, unknown maker from Italy

Artwork Overview

Madonna and Child
Madonna and Child
Madonna and Child
circa 1200s
Madonna and Child , circa 1200s
Where object was made: Republic of Florence or Republic of Venice (present-day Tuscany, Italy)
Material/technique: polychromy; wood
Dimensions:
Object Height/Width/Depth (Height x Width x Depth): 94 x 28.9 x 27.9 cm
Object Height/Width/Depth (Height x Width x Depth): 37 1/2 x 11 3/8 x 11 0.9843 in
Credit line: Museum purchase
Accession number: 1957.0001
Not on display
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Images

Label texts

Exhibition Label: "Corpus," Apr-2012, Chassica Kirchhoff The form of this Madonna and Child is known as the Sedes Sapientiae, or “Seat of Wisdom.” It reached the height of its popularity during the 12th century. The solemn sculpture was meant to convey the teaching mission of Jesus and the role of his mother Mary as the source of divine knowledge through her son’s birth. This sculpture would have played a dynamic role in the religious life of the small church that it inhabited, functioning as both a focus for devotion near the altar and as the center of liturgical performances and elaborate processions. The importance of Mary as a mother is integral to the theme of the “Seat of Wisdom.” This type of sculpture focuses on motherhood as the origin, not only of human life, but of spiritual salvation. While the child’s appearance and gesture recall a mature teacher more than an innocent babe, this sculpture would still have resonated with viewers as an image of the parental bond. Label Sep-2009: This Italian statue of the Virgin and Child follows a compositional formula that was common in the Romanesque period. This compositional formula is known as the “Throne of Wisdom” because the rig¬idly frontal pose of the Virgin suggests she is a throne for her majestic child. The sculpture, made of painted wood, was probably part of the altar decoration of a church. In addition, because the carving is relatively small and light, it was easily transportable and likely used as part of religious processions and celebratory parades. The mobility of these sculptures was an essential ele¬ment as they were meant to function as easily accessible figures for public devotion. The sculpture has sustained damage typical for objects of its age and medium, such as the loss of extremities like hands and feet, however, the Spencer’s Madonna and Child is still in remarkably good condition over¬all. Having undergone extensive restoration in the 1970s, much of the medieval paint can still be seen today, thus it retains a close connection with its origi¬nal appearance.

Resources

Audio

Didactic – Art Minute
Didactic – Art Minute
Episode 75. I’m David Cateforis with another art minute from the Spencer Museum of Art. A painted wood sculpture in the Spencer collection represents the enthroned Madonna and Child in majesty. The roughly three-foot-tall sculpture was carved in Italy in the thirteenth century, probably for a provincial Catholic church in Tuscany. The frontal Madonna sits rigidly upright while the Christ child perches stiffly on her left knee, holding an orb in his left hand and making a blessing gesture with his right. Like many medieval artworks, this one has suffered damage over the centuries. The paint surface is worn and the Virgin’s feet and left hand are missing. She probably originally wore a crown and held a short scepter in her right hand, while a brooch was likely attached to her chest. Even with these elements missing, we sense the regal power of this sculpture, in which the Virgin serves symbolically as the throne of Christ, an iconographic type known as the Throne of Wisdom. This image likens the Virgin to the Throne of Solomon - the Old Testament king revered for his wisdom - and refers to her status as the vessel of the Incarnation - the bearer of the son of God, Christ, in whom the Wisdom of God became human. From the Spencer Museum of Art, I’m David Cateforis.