Tag: Durer

Saint Sebastian and Saint Roch

Saint Sebastian and Saint Roch

Saints and Symbols in the Age of Pandemic

Recognizing saints in paintings is like solving a hidden picture puzzle, only the clues are palm branches, halos, arrows, a sword, a pilgrim staff, or even sometimes dogs! Once you know what to look for, every museum visit or church interior becomes a visual treasure hunt. This is about a visual language that painters used for centuries to tell stories and signal virtues. But it is not only about symbols. It is also about understanding the role these saints played in the lives of the people who venerated them. In the case of Sebastian and Roch, their images gave people hope and comfort during the darkest periods of the Black Death and recurring plague epidemics. These saints were more than just recognizable figures. They were spiritual companions in times of fear, loss and recovery.

Saint Sebastian and Saint Roch (1631), Ernst van Schayck III (Dutch, active 1567 -1631) 164x140cm, Centraal Museum, Utrecht, The Netherlands.

In this crash course, we will meet two saints who are frequently and vividly depicted in western art: Roch and Sebastian. Once you know the tricks and symbols, you will start to see them everywhere and you will know exactly who they are. In short: Sebastian is the one pierced by arrows, Roch is the pilgrim lifting his tunic to reveal a swollen sore on his thigh, the visible sign of the plague disease.

Saint Sebastian and Saint Roch (c.1496), Die Heiligen Sebastian und Rochus Albrecht Dürer (German, 1471 – 1528), 20×20, Pen drawing, Städel Museum, Frankfurt am Main.

Here are the topics we’ll explore:

Let’s start!

Saint Sebastian: arrows, endurance, and healing

The earliest written account of Sebastian’s life comes from a fifth-century text known as the Passio Sancti Sebastiani. According to this biography, Sebastian was a high-ranking Roman officer under Emperor Diocletian, around the year 300. Though he served at the heart of the Roman Empire, Sebastian was a committed Christian, using his position to support fellow believers and convert others. His defiance did not go unnoticed. When Sebastian continued to preach after being ordered to stop, Diocletian condemned him to death.

Saint Sebastian (c.1457), Andrea Mantegna (Italian, c.1431 – 1506), 68x30cm, Kunsthistorisches Museum, Vienna.
The Martyrdom of Saint Sebastian (1475), Antonio del Pollaiuolo (Italian, c.1432 – 1498) and Piero del Pollaiuolo (Italian, c.1441 – c.1496), 292x203cm, National Gallery, London.

Sebastian was tied to a post and shot with arrows; so many that, according to the Passio, his body looked “like a hedgehog.” Remarkably, he survived. A Christian woman named Irene found him still alive, took him into her home, and nursed him back to health.

Saint Sebastian tended by Irene (1625), Hendrick Terbrugghen (Dutch, 1588 – 1629), 149×119cm, Allen Memorial Art Museum, Oberlin College, Oberlin OH.

After being healed by Irene and rather than flee, Sebastian returned to confront the emperor and continue his mission. This time there would be no escape. He was beaten to death with clubs, and his body was thrown into a Roman sewer. Christians later recovered his remains and buried them in the catacombs along the Via Appia, a burial site that became an early pilgrimage destination.

Saint Sebastian (c.1615), Guido Reni (Italian,1575 – 1642), 128x98cm, Musei Capitolini, Rome.

Sebastian’s martyrdom was not just remembered, it grew! During outbreaks of plague in cities like Rome and Pavia, he became known as a powerful intercessor. People turned to him in desperation, hoping for protection or healing. Part of this devotion came from a visual connection: plague often brought painful skin lesions, which to the medieval eye resembled the wounds from arrows that pierced Sebastian’s body. Yet in his story, Sebastian miraculously survives these wounds. If he could heal, perhaps they could too. His body, punctured but intact, became a symbol of endurance and hope in the face of disease.

The Martyrdom of Saint Sebastian (1600), Joachim Anthonisz Wtewael (Dutch, 1566 – 1638), 169x125cm, The Nelson-Atkins Museum of Art, Kansas City, MO.

By the fifteenth century, as waves of plague, typhus, and dysentery overwhelmed European cities, his image spread rapidly in churches, chapels, and altarpieces. Sebastian was no longer just a martyr, but a solitary protector standing between humanity and divine interaction.

Saint Sebastian (c.1600), Aegidius Sadeler II (c,1570 – 1629) after design by Jacopo Palma il Giovane (c.1548 – 1628), Engraving, 44x31cm, Rijksmuseum, Amsterdam.

For Renaissance artists, Sebastian offered something else: the ideal male nude. His pierced yet miraculously preserved body gave painters a sacred excuse to explore human anatomy, grace, and even sensuality. Painters emphasized his physical beauty, strength, and sometimes his erotic vulnerability. Over time, Saint Sebastian became a complex figure: part Roman soldier, part Christian martyr, part symbol of erotic endurance.

Saint Sebastian tended by Irene, (c.1623), Dirck van Baburen (Dutch, c.1592 – 1624), 109x153cm, Hamburger Kunsthalle, Hamburg.

The figure of Irene, who rescues and heals him, became popular in art during the Counter Reformation. She brought a renewed focus on compassion and quiet heroism, a contrast to the spectacle of violence. Her inclusion also emphasized that Sebastian’s story was not just about suffering, but about survival, healing, and of course about unshakable faith.

Saint Roch: the plague pilgrim and his faithful dog

According to tradition, Roch (or Rocco or Rochus) was born around 1348 in Montpellier, just as the Black Death was sweeping across Europe. Orphaned young, he gave away his inheritance, took up the pilgrim’s staff, and devoted himself to caring for plague victims as he traveled through France and Italy. Wherever he went, the sick recovered. His healing touch — and his refusal to abandon the afflicted — made him a figure of immense compassion and courage.

Saint Roch (c.1580), Engraving by Jan Sadeler I (Flemish, 1550 – 1600), after design by Marten de Vos (Flemish, 1532 – 1603), 20x15cm, Rijksmuseum, Amsterdam.

But his life of service eventually turned against him. In the city of Piacenza, Roch himself caught the plague. To avoid infecting others, he withdrew into the forest, prepared to die alone. There, a small miracle occurred: a dog appeared daily, bringing him bread and licking his wounds. Artists portrayed him as a weary pilgrim, often lifting his tunic to reveal a swollen sore on his thigh, the visible sign of plague. He is nearly always accompanied by his faithful dog, a symbol of loyalty, compassion, and daily grace.

Saint Roch (c.1584), Gaspar Dias (c.1515 – c.1591), 350x300cm, Museum of São Roque, Lisbon.

Once healed, Roch returned to Montpellier. But his suffering was not over. Mistaken for a spy and unrecognized, he was thrown into prison, where he eventually died. Like Sebastian, Roch became one of the great plague saints of the Renaissance. He was the saint who had been there, not struck down in noble martyrdom, but sick, rejected, exiled, and healed. That made him deeply relatable. For many, he offered a vision of healing and survival through suffering.

Saint Roch (c.1480), Carlo Crivelli (Italian, c.1430 – before 1495), 40x12cm, The Wallace Collection, London.

His popularity surged during the Counter Reformation, especially in Catholic countries. He appeared in altarpieces, processions, and protective prints, sometimes shown receiving divine inspiration from an angel or being appointed by Christ himself as patron of the plague-stricken.

Christ Appointing Saint Roch as Patron Saint of Plague Victims (c.1623), Peter Paul Rubens (Flemish, 1577 – 1640), 412x258cm, Sint Martinus Church, Aalst, Belgium.

In Rubens’ dramatic vision, Roch is formally appointed by Christ himself as the patron of the plague victimes. In the upper part of the panel, we see an angel who holds a tablet with the inscription “Eris in peste patronus” which means “You will be the patron in times of plague.” In the lower part of the painting, figures suffering from the disease implore the saint’s protection.

Companions in crisis: Saint Sebastian and Saint Roch together

As plague returned again and again to Europe between the fourteenth and seventeenth centuries, artists and worshippers turned not to one protector, but to two. Saint Sebastian and Saint Roch began to appear side by side, in altarpieces, processions, chapels, and prints, forming a kind of alliance in the battle against disease.

The Virgin and Child with Saints Roch and Sebastian (c.1521), Lorenzo Lotto (Italian, c.1480 – 1556), 82x109cm, National Gallery of Canada, Ottawa ON.

The pairing made sense. Sebastian had endured violence and lived, if only briefly. Roch had fallen ill and survived. One was pierced, the other wounded. Both had skin lesions, which was so very recognisable for the ones suffering from the plague. Artists often placed them at either side of the Virgin and Child, turning them into protective witnesses for the sick and the fearful.

Mary with Saint Roch and Saint Sebastian (c.1633), Engraving by Cornelis Bloemaert II, (Dutch, 1603 – c.1684) after design by Federico Barocci (Italian, 1528 – 1612), 37x28cm, Rijksmuseum, Amsterdam.

Closing notes

Once you know the clues, it’s easy to identify Sebastian and Roch. The first one with the arrows, tied up and pierced; Roch, the second one, the pilgrim with a swollen plague-sore on his thigh. Sebastian’s idealized, youthful body stands for sacrifice and beauty even in suffering. Roch’s older figure emphasizes humility and compassion. And both of them are on a path of recovery.

Together, they became companions in crisis. In times of fear, they offered a sense that the suffering had been seen, shared, somehow sanctified, and maybe even healed! A visual and spiritual double act, shaped by public need for hope and support in the dark days of the Black Death.

Bonus: Sebastian, Resurrection, and the path to Heaven.

As a bonus, let’s have a look at Sebastian on the Triptych of The Resurrection (c.1490) by Hans Memling from the Louvre, Paris. Three panels, and showing from left to right the path from suffering to heaven.

Saint Sebastian and the Triptych of The Resurrection (c.1490), Hans Memling (South Netherlandish, c.1435 – 1494), central panel 62x45cm, Louvre, Paris.

On the left panel, Sebastian is being pierced by arrows. That is the figure with whom the viewer suffering from the plague or disease might identify. Moving to the central panel, we see the resurrection of Christ from death. That must have given hope to beat the plague and rise and shine again. And to complete the path to healing and salvation, look at the panel on the right, with the ascension into heaven. You can just see Christ’s feet dangling in the top part of the panel, ascending into heavenly light.

So when you suffer from the plague, read this triptych from left to right. Hope to resurrect from the disease and heal. Or alternatively, ascend into heaven. Either way, a happy ending!

Storytelling. The narrative power of printmaking

Storytelling. The narrative power of printmaking

Draiflessen Collection, Mettingen

15 October, 2023 – 28 April, 2024

This showcase exhibition “Storytelling. The Narrative Power of Printmaking” delves into the fascinating world of printmaking, which kicked off a groundbreaking transformation in the fifteenth century with its novel way of disseminating images. Before this time, works of art such as altarpieces and paintings were usually only accessible to a privileged audience. With the advent of the new media of woodcut and copperplate engraving, images could suddenly be produced and distributed quickly, cheaply, and in large editions. The exhibition impressively shows how printmaking, with its unique narrative form, helped to make images and the stories they contain accessible to a broad public for the first time. It also shows that, with the new medium, what was depicted also changed.

The Milkmaid (1510), Lucas van Leyden (Netherlandish, c.1494 – 1533), Engraving, 11x16cm), Draiflessen Collection, Mettingen.
In a print that has been described as the earliest Dutch image of a milkmaid, a buxom lass and a strapping lad seem keenly aware of each other. The cowherd’s (and the viewer’s) focus on the farmgirl would have brought to mind the slang word melken (to milk), meaning to attract or lure. The term’s origin is more or less explained in an anonymous Dutch book of 1624, Nova poemata (subtitled “New Low German poems and riddles”), in which a woman in the act of milking a cow (“A sinewy thing she has seized with joy,” and so on) is compared with grabbing a man’s . . . attention. (Thanks to metropolitan Museum of Art, new York)

While the artists were initially still strongly influenced by religion and therefore also rendered mainly religious motifs, profane everyday scenes were now increasingly pushing their way into the center of the picture. But what purpose did these secular pictures serve? Which zeitgeist is reflected in them? And how did the artists manage to convey to the contemporary viewer not only an image, but at the same time an entire story or message on just a few square centimeters of paper? In contrast to the viewers of that time, who naturally understood the multilayered allusions conveyed through pictorial language, today we often lack this knowing gaze. “Storytelling” therefore invites us to decipher the hidden stories in the depictions and thus to (re)discover answers to the above-mentioned questions. 

The Offer Of Love or The Ill-Assorted Couple (c.1495), Albrecht Dürer (German, 1471 – 1528), Engraving, 15x14cm, Draiflessen Collection, Mettingen.
The theme of the unequal couple has been taken up as a moral satire from ancient times up to today. Due to the spread of prints, the motif gained great popularity north of the Alps in the last quarter of the 15th century. The depictions reflected the way of life of the class society and its order as well as the prevailing moral concepts. One of Albrecht Dürer’s first engravings shows the meeting of a young, well-off lady and an older gentleman at the edge of the forest outside the city. It quickly becomes clear that Dürer is not depicting a couple in love in his depiction: the gestures of the protagonists indicate that this is not true love, but rather a relationship for sale. The old man takes money out of his bag with his wrinkled hand and gives it to the young woman, who willingly accepts it. While the woman’s clothing, with a lavish bonnet and tight-fitting bodice, corresponds to the latest fashion, the depiction of the gentleman is ridiculed by the old-fashioned Tappert, his fur hat on the floor and his pointed shoes – and thus the old man’s madness in love. Dürer shows his iconographic ingenuity through further elements: the man’s bag with two small bags hangs directly in front of his lap, while the horse rubs itself sensually against a tree. The steeply upward broken branch to which the animal is tied is reminiscent of a phallic symbol. (Thanks to Staatsgalerie Stuttgart)

The exhibition presents a variety of artistically impressive and inventive prints, which to this day remain both aesthetically pleasing and, in terms of narrative, highly captivating. “Storytelling” provides a glimpse into late fifteenth- and early sixteenth-century printmaking, while purposefully directing the eye to experience contemporary messages and artistic expression in a new way.

Lucas van Leyden, The Twelve Apostles

Lucas van Leyden, The Twelve Apostles

Lucas van Leyden was a Dutch Renaissance painter and printmaker. He was born in Leiden, The Netherlands, in 1494, and died there in 1533 at the age of 39. Lucas van Leyden was one of the most important artists of the Northern Renaissance. He was known for his intricate and detailed engravings in various genres, including religious subjects, portraits, and landscapes; with a particular interest in capturing the expressions and emotions of his subjects. Lucas van Leyden’s style combined the influences of the Italian Renaissance with the local traditions of the Netherlands. His religious works originate from the traditional Catholic background, as that was the widely accepted and almost exclusive religion during Lucas van Leyden’s life and that of his contemporaries. The Reformation started only during his lifetime.

In 1510 Lucas van Leyden produced a series of fourteen engravings with Christ as Salvator Mundi, Paul and the Twelve Apostles. Let’s have a look.

Lucas van Leyden (Netherlandish, c.1494 – 1533), Jesus Christ as Salvator Mundi, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA.

“Salvator Mundi” is a Latin term that translates to “Savior of the World”. In the context of art, “Salvator Mundi” refers to a specific subject matter that has been depicted in Christian religious art. “Salvator Mundi” typically portrays Jesus Christ as the savior of humanity. The subject is often depicted with Jesus blessing the viewer with his right hand and holding a globe or crystal orb symbolizing his role as the ruler of the world.

Lucas van Leyden (Netherlandish, c.1494 – 1533), Peter, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA.

The Apostles are the twelve disciples who were chosen by Jesus Christ to be his closest followers and to spread his teachings. They played a central role in the formation and early development of Christianity. Paul, not part of the original group of twelve, is considered so important in spreading the word of God, that he often is included in the group of apostles. Together with Jesus Christ himself, the group as depicted by Lucas van Leyden in 1510 consists of 14: Jesus Christ as Salvator Mundi, Paul and the Twelve Apostles.

Their names and symbols, in sequence of the series by Lucas van Leyden, are as follows:

  1. Jesus Christ as Salvator Mundi
  2. Peter, with the Keys, representing his role as the “keeper of the keys” to the Kingdom of Heaven
  3. Paulus with a sword as a reminder of the means of his martyrdom.
  4. Andrew, with an X-shaped cross known as the saltire or St. Andrew’s Cross, as he was crucified on such a cross.
  5. John, holding a chalice or cup with a serpent in it, representing the cup of poisoned wine that he drank without harm, symbolising Christian faith prevailing over death, signified by the serpent.
  6. James the Greater, with a pilgrim staff and bag, and a hat with scallop shells, symbol of pilgrimage.
  7. Thomas, with a spear, referring to his martyrdom.
  8. James the Less, with a club, as he was beaten to death.
  9. Bartholomew, with a knife, alluding to the tradition that he was martyred by being skinned alive.
  10. Philip with a cross, referring to his crucifixion.
  11. Judas Thaddeus with a builder’s square, as he was an architect of the Christian church.
  12. Simon, with a saw, as he was reportedly martyred by being sawn in two.
  13. Matthew, A halberd, symbol of his martyrdom.
  14. Matthias, with an axe, or cleaver, symbol of martyrdom.

Their symbols serve as visual cues to help identify and distinguish the individual Apostles in religious art and iconography. It’s worth noting that some variations and interpretations of the symbols may exist in different traditions or artistic representations.

Lucas van Leyden (Netherlandish, c.1494 – 1533), Paul, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA.

An engraving is a printmaking technique that involves incising or carving a design onto a hard surface, typically a metal plate. The process is typically done with a sharp tool called a burin, although other tools can be used as well. Here’s a general overview of the engraving process:

  1. Plate Preparation: The artist begins with a flat, smooth metal plate, often made of copper, zinc, or steel. The plate is polished and cleaned to create a clean surface for the engraving.
  2. Incising the Design: Using a burin or another engraving tool, the artist cuts lines directly into the plate. The lines are incised with varying depths and thicknesses to create the desired effects of light, shade, and texture.
  3. Ink Application: After the engraving is complete, ink is applied to the plate. The ink is usually spread across the surface, filling the incised lines.
  4. Wiping and Printing: The excess ink is carefully wiped off the plate’s surface, leaving ink only in the incised lines. A sheet of paper is then placed on top of the plate, and both are passed through a printing press. The pressure transfers the ink from the incised lines onto the paper, creating the printed image.

Engravings can produce highly detailed and precise images with a distinctive quality. The process allows for intricate line work and shading effects, making it suitable for capturing fine details and subtle variations in tone. Engravings are often characterized by their crisp lines and rich contrasts. Engravings have been used for centuries by artists, particularly during the Renaissance and Baroque periods. They have also been utilized for illustrations, bookplates, currency printing, and decorative purposes.

Lucas van Leyden (Netherlandish, c.1494 – 1533), Andrew, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA.
Lucas van Leyden (Netherlandish, c.1494 – 1533), John, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA.
Lucas van Leyden (Netherlandish, c.1494 – 1533), James the Greater, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA.
Lucas van Leyden (Netherlandish, c.1494 – 1533), Thomas, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA.
Lucas van Leyden (Netherlandish, c.1494 – 1533), James the Less, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA. I am following the Rijksmuseum distinction here, that names this Lucas van Leyden print as James the Less; in the system of the Philadelphia Museum of Art, this is Judas Thaddeus.
Lucas van Leyden (Netherlandish, c.1494 – 1533), Bartholomew, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA.
Lucas van Leyden (Netherlandish, c.1494 – 1533), Philip, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA.
Lucas van Leyden (Netherlandish, c.1494 – 1533), Judas Thaddeus, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA. I am following the Rijks museum distinction here, that names this Lucas van Leyden print as Judas Thaddeus; in the system of the Philadelphia Museum of Art, this is James the Less.
Lucas van Leyden (Netherlandish, c.1494 – 1533), Simon, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA.
Lucas van Leyden (Netherlandish, c.1494 – 1533), Matthew, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA.
Lucas van Leyden (Netherlandish, c.1494 – 1533), Matthias, from the series Christ, Paul and the Twelve Apostles (c.1510), Engraving, 12×7cm, Philadelphia Museum of Art, Philadelphia, PA.

Hereunder a timetable linking the Italian Renaissance and Northern Renaissance, and linking the invention of book printing to the spread of the Reformation over the continent. Lucas van Leyden lived and worked at the dawn of the Reformation. His work originates from the tradition Catholic background. As reference, Rembrandt and the Dutch Golden Age are a century later.

  • 1433, Jan van Eyck

    Northern Renaissance artists, such as Jan van Eyck and Albrecht Dürer incorporated new techniques like oil painting and printmaking, contributing to the advancement of artistic practices.

    Jan van Eyck (Flemish, c.1390 – 1441), Portrait of a Man, Self-portrait (1433), National Gallery, London.

  • 1450, Gutenberg Bible

    The Gutenberg Bible was the first “printed” book. It was printed by Johannes Gutenberg in Mainz, Germany in 1450. The Gutenberg Bible is a landmark achievement in the history of printing and played a significant role in the dissemination of knowledge and the spread of the Protestant Reformation.

  • 1479, Sandro Botticelli

    One of the prominent artists of the Italian Renaissance whose works exemplify the ideals and themes of the classical mythology, humanism, and the exploration of perspective and proportion.

    Sandro Botticelli (Florentine, 1446 – 1510), Portrait of Giuliano de’ Medici (c.1479), National Gallery of Art, Washington.

  • 1498, Albrecht Dürer

    Painter, printmaker, and theorist; one of the most renowned figures associated with the Northern Renaissance. Dürer’s mastery of printmaking allowed for the wider dissemination of his works and ideas throughout Europe.

    Albrecht Dürer (German, 1471 – 1528), Self-portrait at 26 (1498), Prado, Madrid.

  • Lucas van Leyden (Netherlandish, 1494 – 1533) Series with Christ, Paul and the Twelve Apostles (c.1510)

  • 1517, Maarten Luther 

    On 31 October 1517, Martin Luther (1483 – 1546) nailed his 95 Theses to the door of All Saint’s Church in Wittenberg protesting at the sale of papal indulgences. This led to public debate about corruption in the Catholic Church and about church doctrine itself, and sparked off the Reformation.

    Lucas Cranach the Elder (German, 1472 – 1553), Portrait of Martin Luther (1528), Veste Coburg Art Collections, Coburg, Germany.

  • 1550, Johannes Calvin

    Johannes Calvin (1509 – 1564) was a French theologian and key figure of the Protestant Reformation. His teachings and writings, particularly the concept of predestination, shaped the development of Reformed theology and had a lasting impact on Protestant Christianity.

    Portrait by unknown painter (c.1550), Museum Catharijne Convent, Utrecht, The Netherlands.

  • 1566

    The “Beeldenstorm” (Iconoclastic Fury) refers to a series of violent outbreaks in the Netherlands in 1566. Protestant reformers expressed their opposition to the Catholic Church and its practices by vandalizing and destroying religious images and statues, particularly those found in churches and monasteries. The “Beeldenstorm” became the starting point of the Eighty Years’ War or Dutch Revolt (1566 – 1648), the protracted conflict where the Dutch provinces fought for independence from Spanish (and Catholic) rule, ultimately leading to the establishment of the Dutch Republic.

  • 1629, Rembrandt

    Rembrandt (Netherlandish, 1606 – 1669), Self-Portrait, Age 23 (1629), Isabella Stewart Gardner Museum, Boston, MA.

The Visitation: Mary meets Elizabeth

The Visitation: Mary meets Elizabeth

“Baby Shower for two”

As we near December and Christmas, all our attention turns to the story of the birth of Jesus. But how about his mother Mary? How about Mary’s pregnancy, and what did she do in those nine months before giving birth to Jesus? Around May that year, when Mary was 2 months pregnant with Jesus, she travelled some 150km from her home in Nazareth to a small town in Judea, to visit her relative Elizabeth who was 8 months pregnant of John the Baptists. This visit of Mary to Elizabeth is called the “Visitation” and is told in the Bible in the chapter that’s the Gospel of Luke (1:39-56). The Visitation took place on May 31st and Mary stayed with Elizabeth for three months, during which Elizabeth gave birth to John the Baptist, on June 24th.

Rogier van der Weyden (c.1400 – 1464), “Visitation” (c.1437), 58x36cm, Museum der Bildenden Künste, Leipzig.
Mary meets Elizabeth, both pregnant, in front of Elizabeth and Zacharias’ house. Although the story is set in Judea, Rogier van der Weyden choose a Flemish setting, which will have appealed to the contemporary viewers.

Elizabeth and her husband Zacharias were both very old and without children. Miraculously Elizabeth suddenly got pregnant, which was predicted to Zacharias by the angel Gabriel. Zacharias could hardly believe this, as his wife was too old to get a baby. Here is a similarity with the message Maria got from the same angel Gabriel: “Ave Maria, you will be pregnant and give birth to Jesus!” When Mary got pregnant, her fiancé Joseph could also hardly believe what had happened.

Albrecht Dürer (1471 – 1528), “Visitation”, from The Life of the Virgin series (1503), Woodcut, 30x21cm, The Metropolitan Museum of Art, New York.
The Life of The Virgin is a series of 20 woodcuts, published as a book with the prints facing a page with Latin verses. These series focus on Mary as a human and even a mother, opposed the the suffering as in many other series of the life of Mary and Christ. Also, Dürer is using a very contemporary approach, look at the clothes of Mary and Elizabeth and Zacharias standing in the door of their house. This depicting of a “bourgeois” Mary will immediately have been familiar and attractive to Dürer’s clientele. From the moment of publishing, the woodcuts were copied and sold illegally, Dürer started many legal cases to protect his copyright.

Mary knew well that her cousin Elizabeth had grieved for so many years on account of being childless. Mary travelled all the way to share Elizabeth’s joy and of course to help her in her household affairs and be with her during birth and in the months after the birth of the little John. It was a mission of charity.

Rembrandt Harmensz van Rijn, (1606 – 1669), “Visitation” (1640), 57×48cm, Detroit Institute of Arts, Detroit, MI.
On the left the elderly Zacharias, husband of Elizabeth, easing himself down the stairs with the help of a young boy; on the right Joseph, Mary’s fiancé, climbing up the hill leading his donkey. Considering tradition and the need for security, Joseph probably accompanied Mary to Judea and then returned to Nazareth, to come again after three months to take his wife home. The dog symbolizes faithfulness. This painting may relate directly to Rembrandt’s life. The face of Elizabeth is reminiscent of the artist’s mother, who died in 1640 just as his wife was about to give birth.

Mary’s visit also brought divine grace to both Elizabeth and her unborn child, John the Baptist. Even though he was still in his mother’s womb, John became already aware of the presence of Jesus who was still in Mary’s womb. When Mary and Elizabeth met at the doorsteps of Zacharias’ house – the “Visitation” – Elizabeth spoke out with a loud voice and said to Mary: “Blessed are you among women and blessed is the fruit of your womb. Why am I so favored, that the mother of my Lord should come to me?” And Elizabeth said that as soon as she heard the voice of Mary’s greeting, her baby leaped in her womb for joy. At that moment the still to be born John the Baptist was filled with the Holy Spirit.

Drawn by Raphael (1483 – 1520) and finished by his workshop, “The Visitation” (c.1517), 200x145cm, Museo del Prado, Madrid.
The two figures can be told apart by their age. Mary is depicted as a young woman while Elizabeth, on the left, is an old woman, which emphasizes the miracle of her pregnancy, as the Bible texts have it. The scene takes place in a landscape and in the background we can see an event which would take place years later: Jesus being baptized by John the Baptist in the Jordan River. This work was drawn by Raphael, who was paid 300 escudos. He then had the painting done by one of his assistants, though it is not clear which one. 

Since the Medieval era, Elizabeth’s greeting, “Blessed are you among women, and blessed is the fruit of your womb,” has formed the second part of the “Ave Maria” or the “Hail Mary” song. The first part are the words the angel Gabriel said to Mary when he announced she will be pregnant of Jesus. One of the most famous composed music versions is Franz Schubert’s “Ave Maria” from 1825. Listen to it via the link, with English and Latin lyrics provided in the clip and hereunder.

Hail Mary, full of grace,
the Lord is with thee.
Blessed art thou amongst women,
and blessed is the fruit of thy womb, Jesus.
Holy Mary, Mother of God,
pray for us sinners,
now and at the hour of our death. Amen.

Ave Maria, gratia plena,
Dominus tecum.
Benedicta tu in mulieribus,
et benedíctus fructus ventris tui, Jesus.
Sancta Maria, Mater Dei,
ora pro nobis peccatoribus,
nunc et in hora mortis nostrae. Amen.
Domenikos Theotokopoulos (aka El Greco) (1541 – 1614), “Visitation” (c.1612), 97x71cm, Dumbarton Oaks, Washington, DC.
This Visitation painting was intended for the Church of San Vicente in Toledo, Spain, and the contract signed in 1607 stipulated “in the ceiling a story of the Visitation of Saint Elizabeth, … which is to be placed in a circle. ” By April 17, 1613, El Greco declared the paintings completed. However, it is not certain that The Visitation was installed. El Greco used quite some artistic – almost modern – abstractions in this 17th century work.  

In response to Elizabeth, Mary proclaims the famous words “My soul magnifies the Lord” in what is now called “Song of Mary” or “Magnificat”. Mary rejoices that she has the privilege of giving birth to Jesus. While Mary speaks to Elizabeth, she also turns a bit into a revolutionary as she continues looking forward to God transforming the world. “The proud will be brought low, and the humble will be lifted; the hungry will be fed, and the rich will go without.” In her answer to Elizabeth, Mary transforms herself from an obedient humble girl into an adult fighter for justice and protector of the poor. This “Magnificat” is nowadays banned in certain countries, as seen dangerous by the ruling oppressors. Johann Sebastian Bach put music to the words and created in 1723 his masterpiece “Magnificat”. Listen to it via the link, at least for the first few minutes. Lyrics in English and Latin hereunder.

My soul magnifies the Lord;
my spirit rejoices in God my Savior,
for He has looked with favor on His humble servant;  from this day all generations will call me blessed.
The Almighty has done great things for me, and holy is His Name,
He has mercy on those who fear Him in every generation.
He has shown the strength of his arm;
He has scattered the proud in their conceit.
He has cast down the mighty from their thrones, and has lifted up the humble.
He has filled the hungry with good things, and the rich He has sent away empty.

Magnificat anima mea Dominum;
Et exultavit spiritus meus in Deo salutari meo,
Quia respexit humilitatem ancillae suae; ecce enim ex hoc beatam me dicent omnes generationes.
Quia fecit mihi magna qui potens est, et sanctum nomen ejus,
Et misericordia ejus a progenie in progenies timentibus eum.
Fecit potentiam in bracchio suo;
Dispersit superbos mente cordis sui.
Deposuit potentes de sede, et exaltavit humiles.
Esurientes implevit bonis, et divites dimisit inanes.
Pontormo (1494 – 1557), “Visitation” (c.1529), 202x156cm, San Michele e San Francesco, Carmignano, Tuscany, Italy. This “Visitation” has remained in the church for which it was painted for almost its whole existence. In the foreground of the painting, we see Mary and Elizabeth, in the background two handmaids.

Mary, through her meeting with Elizabeth, is no longer a silent participant of the Christmas story. She is a protector of the suppressed and a revolutionary, a fighter for a better world. Celebrating Christmas, is celebrating hope for a better world, for true justice to come.

Johann Sadeler (I) (1550 – 1600) engraver, after Maerten de Vos (1531 – 1603) drawer, “Visitation” (c.1588), 2nd print from the series of 15, “Life and Passion of Christ and the Virgin”, Engraving, 19x14cm, RijksMuseum, Amsterdam. An almost nowadays meet and greet between two couples. Mary and Elizabeth, who are both pregnant, kiss and hug. And their husband, Joseph and Zacharias, shake hands.

And for the sake of completeness, here is the full text of the Bible story of The Visitation; Luke 1:39-56, in the new international version.

Mary Visits Elizabeth (39 - 45)

At that time Mary got ready and hurried to a town in the hill country of Judea,
where she entered Zechariah’s home and greeted Elizabeth.
When Elizabeth heard Mary’s greeting, the baby leaped in her womb, and Elizabeth was filled with the Holy Spirit.
In a loud voice she exclaimed: “Blessed are you among women, and blessed is the child you will bear!
But why am I so favored, that the mother of my Lord should come to me?
As soon as the sound of your greeting reached my ears, the baby in my womb leaped for joy.
Blessed is she who has believed that the Lord would fulfill his promises to her!”

Mary’s Song (46 - 55)

And Mary said: “My soul glorifies the Lord
and my spirit rejoices in God my Savior,
for he has been mindful of the humble state of his servant.
From now on all generations will call me blessed, for the Mighty One has done great things for me — holy is his name.
His mercy extends to those who fear him, from generation to generation.
He has performed mighty deeds with his arm; he has scattered those who are proud in their inmost thoughts.
He has brought down rulers from their thrones but has lifted up the humble.
He has filled the hungry with good things but has sent the rich away empty.
He has helped his servant Israel, remembering to be merciful
to Abraham and his descendants forever, just as he promised our ancestors.”

Mary stayed with Elizabeth for about three months and then returned home. (56)