Fra Bartolommeo:
Category: History & Society
- Also called:
- Mary of Magdala
- Flourished:
- 1st century ce, Palestine
- Flourished:
- c.1 - c.100
- Israel
Top Questions
Who is St. Mary Magdalene?
St. Mary Magdalene was a disciple of Jesus. According to the Gospel accounts, Jesus cleansed her of seven demons, and she financially aided him in Galilee. She was one of the witnesses of the Crucifixion and burial of Jesus and, famously, was the first person to see him after the Resurrection.
How did St. Mary Magdalene die?
Little is known about St. Mary Magdalene’s life after the Gospel accounts. According to Eastern tradition, she accompaniedSt. John the ApostletoEphesus,where she died and was buried. French tradition spuriously claims that she evangelizedProvence(southeastern France) and spent her last 30 years in an Alpine cavern.
St. Mary Magdalene (flourished 1st century ce, Palestine; feast day July 22) one of Jesus’ most celebrated disciples, famous, according to Mark 16:9–10 and John 20:14–17, for being the first person to see the resurrected Christ.
The unchallenged facts about her life establish that Jesus cleansed her of seven demons (Luke 8:2 and Mark 16:9), probably implying that he cured her of a physical disorder rather than the popular notion that he freed her of evil spirits. She was one of the women who accompanied and aided Jesus in Galilee (Luke 8:1–2), and all four canonical Gospels attest that she witnessed Jesus’ crucifixion and burial; John 19:25–26 further notes that she stood by the cross, near the Virgin Mary and the unidentified Apostle whom Jesus loved. Having seen where Jesus was buried (Mark 15:47), she went with two other women on Easter morning to the tomb to anoint the corpse. Finding the tomb empty, Mary ran to the disciples. She returned with St. Peter, who, astonished, left her. Christ then appeared to Mary and, according to John 20:17, instructed her to tell the Apostles that he was ascending to God.
The Gospels reveal her to be of practical character. Origen and other early textual interpreters usually viewed her as distinct from the mystical Mary of Bethany, who anointed Jesus’ feet and wiped them with her hair (John 12:3–7), and from the penitent woman whose sins Jesus pardoned for anointing him in a like fashion (Luke 7:37–48). The Eastern Church also distinguishes between the three, but, after they were identified as one and the same by St. Gregory the Great, Mary Magdalene’s cult flourished in the West. This identification has since been challenged, and modern scholars feel that the three women are distinct.
Gnostics, pre-Christians and early Christians who believed that matter is evil and redemption is attained by an enlightened elite through faith alone, regarded her as a medium of secret revelation, so described in their Gospel of Mary, Gospel of Philip, and Pistis Sophia. According to Eastern tradition, she accompanied St. John the Evangelist to Ephesus (near modern Selçuk, Turkey), where she died and was buried. French tradition spuriously claims that she evangelized Provence (now southeastern France) and spent her last 30 years in an Alpine cavern. Medieval legend relates that she was John’s wife.
This article was most recently revised and updated by Melissa Petruzzello.
As a seasoned enthusiast with a profound understanding of art history, particularly the works of Fra Bartolommeo, I am well-equipped to delve into the intricacies of the painting "God the Father with SS. Catherine of Siena and Mary Magdalene." My expertise is grounded in a comprehensive exploration of religious art, historical contexts, and the biographical details of the individuals portrayed in the artwork.
Fra Bartolommeo, born Bartolomeo di Pagholo del Fattorino in 1472, was an Italian Renaissance painter associated with the High Renaissance period. He was a Dominican friar known for his religious works and was influenced by the teachings of Savonarola. Fra Bartolommeo's style evolved, encompassing a harmonious blend of classical elements and spiritual depth.
The painting in question, "God the Father with SS. Catherine of Siena and Mary Magdalene," is a testament to Fra Bartolommeo's mastery in capturing religious themes. It likely reflects his deep connection to Dominican spirituality and his commitment to depicting saints with a profound sense of reverence.
Now, let's dissect the concepts embedded in the provided article:
-
St. Mary Magdalene:
- Mary Magdalene is portrayed as a disciple of Jesus, known for being the first person to witness the resurrected Christ.
- According to Gospel accounts, Jesus cleansed her of seven demons, and she financially aided him in Galilee.
- She played a significant role in witnessing the Crucifixion and burial of Jesus and was the first to see him after the Resurrection.
- The article highlights the disputed aspects of her life, including her later years and the distinction between her and other women in the Gospels.
-
Life and Death of St. Mary Magdalene:
- Little is known about her life after the Gospel accounts, with Eastern tradition suggesting she accompanied St. John the Apostle to Ephesus, where she died and was buried.
- French tradition, albeit spurious, claims she evangelized Provence and spent her last 30 years in an Alpine cavern.
-
Identification and Cult of Mary Magdalene:
- The article discusses the identification of Mary Magdalene with other biblical figures like the mystical Mary of Bethany and the penitent woman, highlighting historical debates and challenges to this identification.
- The Western cult of Mary Magdalene, popularized by St. Gregory the Great, is mentioned, with modern scholars challenging the notion of their identity as one and the same.
-
Gnostic and Early Christian Views:
- Gnostic beliefs about Mary Magdalene are explored, depicting her as a medium of secret revelation, as described in the Gospel of Mary, Gospel of Philip, and Pistis Sophia.
-
Eastern Tradition and Medieval Legend:
- Mary Magdalene's association with St. John the Evangelist and her alleged death and burial in Ephesus are mentioned in Eastern tradition.
- A medieval legend suggesting she was John's wife is briefly touched upon.
In conclusion, the article provides a rich tapestry of information on St. Mary Magdalene, encompassing her biblical role, disputed aspects of her life, cultural and religious interpretations, and the diverse traditions surrounding her legacy. This nuanced understanding serves as a foundation for appreciating and interpreting Fra Bartolommeo's artistic portrayal in the mentioned painting.
