Madonna - Scholars | Britannica Kids

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early Christian and Byzantine art</a></li><li><a href="#400468-toc">Madonna in the art of the Middle Ages, the Renaissance, and Baroque</a></li><li><a href="#400469-toc">Madonna on her own and after the 17th century</a></li></ul><div class="toc-nav-footer"></div></nav>  <div class="resources-node high hidden-xs" id="resources-node"> <h6><strong>Related resources for this article</strong></h6> <ul class="nav"> <li data-ga="Related Resources|Display high resources|Related Articles"> <a id="main" data-article-id="49913" data-url-title="Madonna" class="" href="/high/article/Madonna/49913/related#nodeId=main&page=1"> <span class="related-icon"><i class="fontello-icon-doc-text"></i></span> Articles </a> </li> <li data-ga="Related Resources|Display high resources|Primary Sources & E-books"> <a id="primarySources" data-article-id="49913" data-url-title="Madonna" class="" href="/high/article/Madonna/49913/related#nodeId=primarySources&page=1"> <span class="related-icon"><i 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<input type="hidden" id="includeLevelOne" name="includeLevelOne" value="false"> <input type="hidden" id="includeLevelTwo" name="includeLevelTwo" value="false"> <input type="hidden" id="includeLevelThree" name="includeLevelThree" value="false"> </form> </div> </div>  </div> <div class="col-md-9 col-sm-8">  <OBJECT id="tts-object-player" class="tts-object" CLASSID="CLSID:6BF52A52-394A-11d3-B153-00C04F79FAA6" type="application/x-oleobject"> <PARAM NAME="SendPlayStateChangeEvents" VALUE="True"> <PARAM name="uiMode" value="mini"> <PARAM name="PlayCount" value="1"> </OBJECT> <article xmlns:fn="http://www.w3.org/2005/xpath-functions" class="content clearfix" role="main"><section class="toc-anchor" id="intro"><header><h2>Introduction <button class="btn btn-default toc-invoker" rel="tooltip" title="Table of Contents" data-trigger="hover"><i class="fontello-icon-list"></i></button></h2></header> <figure><a href="/scholars/article/Madonna/49913/media?assemblyId=12771" data-article-id="49913" data-assembly-id="12771"><div class=""><img class="lazy" width="220" height="331" data-original="https://cdn.britannica.com/52/2252-004-A81FC670.jpg" title="Raphael: The Grand Duke's Madonna"></div></a><figcaption>Scala/Art Resource, New York</figcaption></figure><p class="p-first">Madonna, in <a class="reflink" href="/scholars/article/Christianity/105945">Christian</a> art, depiction of the Virgin <a class="reflink" href="/scholars/article/Mary/51208">Mary</a>; the term is usually restricted to those representations that are devotional rather than narrative and that show her in a nonhistorical context and emphasize later doctrinal or sentimental significance. The Madonna is accompanied most often by the infant <a class="reflink" href="/scholars/article/Jesus/106456">Christ</a>, but there are several important types that show her alone.</p> <figure><a href="/scholars/article/Madonna/49913/media?assemblyId=321153" data-article-id="49913" data-assembly-id="321153"><div class="interactive-thumb-container"><img class="lazy" width="220" height="61" data-original="https://cdn.britannica.com/32/263932-101-D3753E71/default.html" title="The Nativity in 25 Artworks"><div class="content-type-interactive"><span class="fontello-icon-retweet"></span><span class="content-type-interactive-text">Interactive</span></div></div></a><figcaption>Encyclopædia Britannica, Inc.</figcaption></figure><p> </p> </section><section class="toc-anchor" id="400467-toc"><header><h2>Madonna in early Christian and Byzantine art<button class="btn btn-default toc-invoker" rel="tooltip" title="Table of Contents" data-trigger="hover"><i class="fontello-icon-list"></i></button></h2></header><p>The theme of the Madonna and Child was rare in the first centuries of early Christian art (c. 3rd–6th century). In 431 <span class="smallcaps">ce</span>, however, the establishment of Mary’s title of Theotokos (“Mother of God”) definitively affirmed the full deity of Christ. Thereafter, to emphasize this concept, an enthroned Madonna and Child were given a prominent place in monumental church decoration.</p><figure><a href="/scholars/article/Madonna/49913/media?assemblyId=321168" data-article-id="49913" data-assembly-id="321168"><div class=""><img class="lazy" width="220" height="327" data-original="https://cdn.britannica.com/98/263698-004-17019EC8.jpg" title="Our Lady of Vladimir"></div></a><figcaption>© Fine Art Images/Heritage Images—Hulton Archive/Getty Images</figcaption></figure><p> <a class="reflink" href="/scholars/article/Byzantine-art/18408">Byzantine art</a> developed a great number of Madonna types. All are illustrated on icons, and one or another type was usually pictured prominently on the eastern wall of Byzantine churches below the image of Christ; the location dramatized her role as mediator between Christ and the congregation. The major types of the Madonna in Byzantine art are the <em>nikopoia</em> (“bringer of victory”), an extremely regal image of the Madonna and Child enthroned; the <em>hodēgētria</em> (“she who points the way”), showing a standing Virgin holding the Child on her left arm; and the <em>blacherniotissa</em> (from the Church of the Blachernes, which contains the icon that is its prototype), which emphasizes her role as intercessor, showing her alone in an orant, or prayer posture, with the Child pictured in a medallion on her breast. The Virgin also figured prominently as an intercessor in the group of the Deësis, where she and <a class="reflink" href="/scholars/article/St-John-the-Baptist/43819">St. John the Baptist</a> appear as intercessors on either side of Christ. In addition to these rather ceremonial types, the Virgin also appears in the less-frequently represented, more intimate types of the <em>galaktotrophousa,</em> in which she nurses the Child, and the <em>glykophilousa,</em> in which the Child caresses her cheek while she seems sadly to contemplate his coming <a class="reflink" href="/scholars/article/Passion-of-Jesus/638339">Passion</a>.</p></section><section class="toc-anchor" id="400468-toc"><header><h2>Madonna in the art of the Middle Ages, the Renaissance, and Baroque<button class="btn btn-default toc-invoker" rel="tooltip" title="Table of Contents" data-trigger="hover"><i class="fontello-icon-list"></i></button></h2></header><p>In the West, particularly with the spread of devotional images in Europe at the end of the <a class="reflink" href="/scholars/article/Middle-Ages/52537">Middle Ages</a>, the theme of the Madonna was developed into a number of additional types, in general less rigidly defined than those of the East but often modeled on Byzantine types. As a rule, Western types of the Madonna sought to inspire piety through the beauty and tenderness rather than the theological significance of the subject.</p><p>One of the earliest strictly Western Madonna types is a standing Gothic Madonna, a lyrical image of the smiling Virgin and playful Child, which was modeled on the Byzantine <em>hodēgētria</em> and found its finest expression in sculpture in the 13th century. When, in the 14th century, painted altarpieces became common, the Madonna enthroned, derived from the <em>nikopoia,</em> was a favorite subject for a time; it was particularly popular in Italy as the <em>maestà,</em> a very formal representation of the enthroned Madonna and Child surrounded by angels and sometimes saints.</p><p>More personal depictions of the figures began to emerge in the 14th century. By far the most popular type in the West throughout the <a class="reflink" href="/scholars/article/Renaissance-art/102627">Renaissance</a> and into the <a class="reflink" href="/scholars/article/Baroque-art-and-architecture/13445">Baroque</a> period was that derived from the <em>glykophilousa.</em> Though this type has many variants, it usually depicts a Virgin of grave expression, turning her gaze away from the playful Child.</p><figure><a href="/scholars/article/Madonna/49913/media?assemblyId=141410" data-article-id="49913" data-assembly-id="141410"><div class=""><img class="lazy" width="220" height="234" data-original="https://cdn.britannica.com/89/134089-004-E72FC6F8.jpg" title="Madonna and Child"></div></a><figcaption>Photograph by Joel Parham. Los Angeles County Museum of Art, gift of Samuel H. Kress Foundation, M.39.1</figcaption></figure><p> Other, less-intimate Madonna types are the Italian <em>sacra conversazione,</em> depicting a formal grouping of saints around the Madonna and Child, and the northern themes of the Madonna of the rose garden, which symbolizes Mary’s virginity, and the seven sorrows of Mary, showing seven swords piercing the Virgin’s heart.</p></section><section class="toc-anchor" id="400469-toc"><header><h2>Madonna on her own and after the 17th century<button class="btn btn-default toc-invoker" rel="tooltip" title="Table of Contents" data-trigger="hover"><i class="fontello-icon-list"></i></button></h2></header><p>Three major Madonna types showing the Virgin alone have theological significance. As the Madonna of mercy, which flourished in the 15th century, the Virgin spreads her mantle protectively over a group of the faithful. The <em>immacolata,</em> which in the 17th century emphasized her Immaculate Conception, or perpetual freedom from original sin, shows her as a young girl descending from the heavens, supported by a crescent moon and crowned by stars. The Madonna of the rosary, which until the 16th century also omitted the Child, shows the Virgin giving the rosary to <a class="reflink" href="/scholars/article/St-Dominic/30873">St. Dominic</a>, founder of the order that spread its use.</p><figure><a href="/scholars/article/Madonna/49913/media?assemblyId=107467" data-article-id="49913" data-assembly-id="107467"><div class=""><img class="lazy" width="220" height="278" data-original="https://cdn.britannica.com/48/103248-004-DB35386B.jpg" title="Giovanni Bellini: Madonna and Child"></div></a><figcaption>Photos.com/Jupiterimages</figcaption></figure><p> As did most religious art, the theme of the Madonna declined in the major arts after the 17th century. Representations of the Madonna and Child, however, continued to be important in popular art into the 21st century, most following 16th- and 17th-century models. <em>See also</em> <a class="reflink" href="/scholars/article/Piet%C3%A0/59976">Pietà</a>.</p><p>EB Editors</p></section></article> </div> </div> </div> </div> <div class="modal fade" id="gisted-article-modal" tabindex="-1" role="dialog"> <div class="modal-dialog modal-lg" role="document"> <div class="modal-content"> <div class="modal-body"> <button type="button" class="close" data-dismiss="modal" aria-label="Close"><span aria-hidden="true">×</span></button> <h2 class="text-center">It’s here: the NEW Britannica Kids website!</h2> <div class="bk-hero-copy"> <p class="text-center"> We’ve been busy, working hard to bring you new features and an updated design. We hope you and your family enjoy the <strong>NEW</strong> Britannica Kids. 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