Meditating on the Assumption

Andrea dal Castagno, The Assumption of the Virgin with Saints Julian
and Minas (Miniato) of Florence
Italian, c. 1440-1450
Berlin, Gemäldegalerie der Staatliche Museen zu Berlin

Most mages of the Assumption of the Blessed Virgin Mary depict the scene as one in which the astonished Apostles watch from the ground as the Virgin rises through the sky. (Many instances can be found in the first four essays in the "In the Spotlight" section of the right hand side bar on this page.)  

The Apostles  are frequently shown standing at her empty tomb, which may be filled with lilies, the symbol of Mary’s purity.  However, there are some other images that offer a different slant on the same theme.  

These other images depict, not the event of the Assumption, rather they offer a reflection on it.  What distinguishes these images from the mainstream is their somewhat static nature and the presence of figures other than Mary's contemporaries, such as the Apostles.  These non-Apostolic figures are usually saints who have in some way contributed to the theological reflection on Mary's role in the history of salvation, as the mother of Jesus Christ.  Alternatively, they may be the patron saints of the church in which they were located or of the person who commissioned the picture.  

One example is found in the image above, painted by Andrea dal Castagno in the 1440s.  Castagno and his workshop painted the Virgin of the Assumption between Saints Julian and Miniato as part of an altarpiece for the church of San Miniato fra le Torri in Florence.  Saint Minas (or Miniato) is the patron saint of that church and Saint Julian is the patron of inn keepers.  Both Julian's profession and Miniato's patronage would appear to have played a role in its composition.

Other examples are:

Luca Signorelli and Workshop, Our Lady of the Assumption with Saints Michael and Benedict
Italian, c. 1493-1496
New York, The Metropolitan Museum of Art, Department of European Paintings

This was painted by Signorelli and his workshop as part of the altarpiece for a the monastery dedicated to Saint Michael built for the members of the Olivetan branch of the Benedictine order in the city of Cortona.  The saints chosen are the patron saint of the monastery and the founder of the Benedictine Order.

Assumption with Saints Francis of Assisi, Elizabeth of Hungary, Anthony of Padua and Catherine of Alexandria

Italian, c. 1500-1525

Avignon, Musée du Petit Palais

This image of the Assumption venerated by three Franciscan saints and the very popular Saint Catherine of Alexandria points to a commission from a Franciscan church.

Pietro Perugino, The Assumption with Saints Bernardo degli Uberti, Giovanni Gualberto, Benedict and Michael
Known as the Vallombrosa Altarpiece
Italian, c. 1497- 1500
Florence, Galleria degli Uffizi

This altarpiece was commissioned from Perugino and his workshop for the monastery of Valllombrosa.  The monastery housed a group of monks following the Benedictine rule.  With the exception of the Archangel Michael, the saints depicted are Saint Benedict and two of his followers.  Saint Giovanni Gualberto was the founder of the monastery of Vallombrosa.  One of Perugino's assistants who worked on the commission was the young Raphael.

Andrea del Sarto, The Assumption of the Virgin
Known as the Assunta Passerini
Italian, c. 1525-1526
Florence, Galleria Palatina, Palazzo Pitt

In this image Andrea del Sarto presents both a conventional narrative view of the Assumption as witnessed by the Apostles and the more p ersonal meditative vision of the Assumption viewed by saints.  In the lower level we see Saints Nicholas (looking at us over his shoulder) and Saint Margaret of Cortona (in white at the right).  Both these saints had personal ties to the person who commissioned the work.  She was named Margarkta Passerini and she was the daughter and mother of men whose name was Nicolo.  Hence, the saints she requested as alternate witnesses have names intimately related to her human life.

Federico Zuccaro, Our Lady of the Assumption with Saints John the Baptist and Catherine of Alexandria
Italian, c. 1566
Cortona, Museo Diocesano

There may be some personal message here, but it is unknown.  However, one can comment that these two saints were among the most popular throughout the history of Christianity.  Saint John the Baptist, with his symbol of the lamb, was the cousin of Jesus and acted as his precursor, preaching a baptism of repentance.  Saint Catherine of Alexandria, with her symbol of the broken wheel, was an early Christian martyr.

Jacques Stella, The Assumption of the Virgin Mary
French, c. 1625-1627
Nantes, Musée d'Arts

This looks like a standard picture of the Assumption until one notices the figure of the young man in the lower right corner.  He may be the donor of the picture or he may be someone who is being commemorated by the donor.

Carlo Maratti, Our Lady of the Assumption and the Doctors of the Church
Italian,  1689
Rome,  Church of Santa Maria del Popolo, Cybo Chapel

The four doctors are:  Saints Augustine, John the Evangelist, John Chrysostom and Gregory the Great, all of whom had written about the Virgin Mary and her role in salvation.

This painting of a discussion between four doctors of the church who were instrumental in directing the thought of the Church to the role of Mary seems an appropriate place to end this exploration of the imagery (iconography) associated with her Assumption.

©  M. Duffy, 2025