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Filippo Lippi, The Coronation of the Virgin Italian, c. 1467-1469 Spoleto, Cathedral |
This idea of Mary as Queen originated with the meditations of the early Church on Mary's position as the Second Eve, as part of a divine pairing with her son, Jesus Christ, the Second Adam. This is as old as the second century, just after the deaths of the first apostles. But, as the mediations of theologians and the faithful progressed another equation between Mother and Son developed. If Christ is the King of the Universe, then Mary is Queen Mother. Therefore, she reigns with Him in heaven as its queen. Every queen has a crown and, if she has a crown, she also must have had a coronation. Imagining such a coronation has resulted in a great deal of poetry and art, which I examine below.
As a tribute to this year of coronation I have decided to repost this article from last year.
Although the memorial of the Queenship of Mary was instituted in 1954 by Pope Pius XII in the encyclical “Ad Caeli Reginam”1 the idea of Mary’s Queenship of Heaven is a very old one. Its antiquity is testified by the number of medieval images (following a visual tradition that goes back even further as demonstrated below) and by the several well-known medieval hymns that present it, the Salve Regina, Ave Regina Caelorum and Regina Caeli among them, and, of course, the final decade of the Rosary, which has been prayed for centuries, is the Coronation of the Blessed Virgin Mary.There is clearly a close relationship between the Assumption of Mary and her Queenship. It is, therefore, appropriate that the memorial of the Queenship of Mary, which was originally placed on May 31 by Pius XII, was moved by Pope Paul VI in 1969 to August 22, the octave of the Assumption, replacing the memorial of the Sacred Heart of Mary. 2
In the visual arts the image of Mary as Queen exists in two types: the Coronation of the Virgin and Mary as Queen of Heaven. The image of the Queen of Heaven is older than that of the Coronation. However, although the Coronation is the newer theme chronologically, it is a logical development from the image of Mary as Queen of Heaven for, if Mary is a crowned queen, there must have been a moment of coronation, and therefore, this is the subject of this discussion.
The earliest images concentrate on the simplest form of the story, on the figures of Mary and Christ. Further, although less favored in the later middle ages and beyond, this form of simple storytelling was never entirely abandoned. It recurs frequently, if not in great quantity.
From the period of the High Renaissance (beginning around 1500 in central Italy) through the Baroque and later periods all of these themes were incorporated into the images of the Coronation of the Virgin that were produced by artists.
In the nineteenth century the tradition continued, but in a reduced form. It seems to have lost some of its popularity to other images of the Virgin such as the Immaculate Conception, which received greater attention during the period.
In the visual arts the image of Mary as Queen exists in two types: the Coronation of the Virgin and Mary as Queen of Heaven. The image of the Queen of Heaven is older than that of the Coronation. However, although the Coronation is the newer theme chronologically, it is a logical development from the image of Mary as Queen of Heaven for, if Mary is a crowned queen, there must have been a moment of coronation, and therefore, this is the subject of this discussion.
The Coronation of the Virgin
The images of the Coronation of the Virgin tend to fall into several distinct groupings, based on from whom Mary receives her crown.
She may receive it:
- from the hands of Jesus, when only the two of them are present
- from the hands of Jesus and attended by angels
- from the hands of angels in the presence of Jesus
- surrounded by music making angels
- from God the Father
- from God the Father and Jesus
- from Jesus accompanied by the Holy Spirit (I have only found one image of this type, but there may be more)
- from the entire Holy Trinity of God the Father, God the Son and God the Holy Spirit (who is usually, but not always present in the form of a dove)
- in front of the entire Court of Heaven, composed of angels and saints
There is also a group of images that present the Coronation as part of the entire story of Mary's death and Assumption into Heaven.
Medieval Images: 1100-1500
Although there are images of Mary as Queen of Heaven prior to 1100, I have not found images of the subject of her Coronation as Queen of Heaven before the middle of the twelfth century. This is not to say that they may not have existed and still may exist, just that to date I have not found them.
Crowning By Jesus Alone
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The Coronation of the Virgin From Miniatures of the Life of Christ French, c. 1170-1180 New York, Pierpont Morgan Library MS M 44, fol. 16r |
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| Hainricus the Sacristan, The Coronation of the Virgin From a Gradual German (Weingarten), c. 1225-1250 New York, Pierpont Morgan Library MS M 711, fol. 53r |
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Giacomo Torriti, The Coronation of the Virgin Italian, Mosaic, 1296 Rome, Santa Maria Maggiore |
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| The Coronation of the Virgin From a Book of Hours French, 14th Century Paris, Bibliotheque nationale de France MS Nouvelle acquisition latine 560, fol. 128r |
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The Coronation of the Virgin French (Paris), c. 1320 London, Victoria and Albert Museum |
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Nardo di Cione. The Coronation of the Virgin Italian, c. 1340-1360 London, Victoria and Albert Museum |
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| The Coronation of the Virgin From Speculum humanae salvationis French (Alsace), c. 1370-1380 Paris, Bibliotheque nationale de France MS Latin 511, fol. 49r |
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| Workshop of Petrus Parmensis, The Coronation of the Virgin From a Book of Hours Italian (Rome), c. 1380-1420 New York, Pierpont Morgan Library MS M 3, fol. 40v |
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| The Coronation of the Virgin in Alabaster English, 15th Century London, Victoria and Albert Museum |
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| Jean Colombe and Workshop, The Coronation of the Virgin From a Book of Hours French (Bourges), c. 1465-1470 New York, Pierpont Morgan Library MS M 248, fol. 60r Jean Colombe (the painter who completed the pages of the famous Tres Riches Heures of the Duc de Berry left unfinished at the death of the last of the Limbourg Brothers) seems to have really liked this particular composition. He repeated it at least two more times. |
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| Jean Colombe, The Coronation of the Virgin From Hours of Anne of France French (Bourges), 1473 New York, Pierpont Morgan Library MS M 677, fol. 165r |
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| Jean Colombe and Workshop, The Coronation of the Virgin From a Book of Hours French (Bourges), c. 1475-1485 New York, Pierpont Morgan Library MS M 330, fol. 54r |
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| Jean Pichore, Coronation of a Queen and Coronation of the Virgin From Chants royaux du puy Notre-Dame d'Amiens French (Paris), 1518 Paris, Bibliotheque nationale de France MS Francais 145, fol. 18v This illustration comes from a rather peculiar book. It is made up of poems in praise of the Virgin Mary by several poets. The scenes are often very unusual as is this image in which Mary's coronation is done not by the adult Jesus but by the Infant Jesus whom she holds in her arms. She may be imagined as a statue, one of the "Beautiful Madonnas" surrounded by the activities of worldly royalty. This type of image was largely replaced during the Renaissance through early Baroque periods, but returned later in the history of art. |
Adding the Presence of Angels
Pretty soon it didn't seem enough to present just the figures of Mary and Jesus, so artists added angels, at first just one or two, but later entire choirs of angels participated as onlookers.
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The Coronation of the Virgin From a Book of Hours French (Paris), c. 1230-1240 New York, Pierpont Morgan Library MS M 92, fol. 14r |
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The Coronation of the Virgin Gothic, ca. 1250 Strasbourg, Cathedral |
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The Coronation of the Virgin French, 1250-1260 Paris, Musée du Louvre |
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| The Coronation of the Virgin From Psalter-Hours of Yolande de Soissons French, c. 1280-1300 New York, Pierpont Morgan Library MS M 729, fol. 405r |
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| School of Simone del Crocifissi, The Coronation of the Virgin Italian, 14th Century Paris, Musée du Louvre |
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| Jean Pucelle, The Coronation of the Virgin From the Breviary of Belleville French (Paris), c. 1323-1326 Paris, Bibliotheque nationale de France MS Latin 10484, fol. 290v Occasionally, in illuminated manuscripts such as this, one finds that the faces of the holy figures have been eradicated. This may have happened as a deliberate effort during the Reformation to eliminate what might have been thought of as a "graven image". Alternately, it might have happened from centuries of devout fingers rubbing the faces of the Virgin and Christ. It can be hard to tell which scenario the current state of the manuscript reflects. You will note that the faces of the angels are completely legible. |
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| Tommaso del Mazza, The Coronation of the Virgin Italian, c. 1350-1375 Paris, Musée du Louvre |
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| The Coronation of the Virgin From the Egmont Breviary Dutch (Utrecht), c. 1435-1445 New York, Pierpont Morgan Library MS M 87, fol. 404v |
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Jean Colombe, The Coronation of the Virgin From Hours of Jean Robertet French (Bourges), c. 1460-1475 New York, Pierpont Morgan Library MS M 834, fol. 76v |
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| Workshop of Jean Pichore, The Coronation of the Virgin From a Book of Hours French (Paris), Late 15th Century Paris, Bibliotheque nationale de France MS Latin 823, fol. 50r |
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| Master of Petrarch's Triumphs, The Coronation of the Virgin From a Book of Hours French (Paris), c. 1500-1515 New York, Pierpont Morgan Library MS M 618, fol. 45v |
Using Angels to Crown the Virgin
From about the middle of the fourteenth century the task of actually placing the crown on Mary's head was often given to angels. They may hold the crown suspended above her head, actually place it gently on her head, or appear to be dive bombing her. All of this is done in the presence of Jesus who imparts a blessing to his mother.
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| The Coronation of the Virgin From the Hours of Jeanne de Navarre French (Paris), c. 1336-1340 Paris, Bibliotheque nationale de France MS Nouvelle acquisition latine 3145, fol. 54v |
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| The Coronation of the Virgin From a Book of Hours French (Paris), c. 1375-1400 New York, Pierpont Morgan Library MS M 229, fol. 200r |
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| The Boucicaut Master, The Coronation of the Virgin From Hours of Jeanne Bessonnelle French (Paris), c. 1400-1425 Paris, BNF MS Latin 1161, fol. 91r |
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| Master of Morgan 453, The Coronation of the Virgin From Hours of Charlotte of Savoy French (Paris), c. 1415-1430 New York, Pierpont Morgan Library MS M 1004, fol. 58v It is around this time that God, represented by either the Father or the Son (as here) begins to be shown wearing a crown with three levels. This kind of image, referencing the three Persons in the Holy Trinity, was the image behind the Papal Tiara, a real object with three stacked crowns. The last time the Papal Tiara was used was at the inauguration of Pope Paul VI in June 1963. Although the triple tiara remains a papal symbol, it has not been worn by any recent pope. |
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| Master of the Hours of Troyes, The Coronation of the Virgin From Hours of Michel and Catherine Berthier Franch (Troyes), c. 1415-1420 Paris, Bibliotheque nationale de France MS Latin 924, fol. 109r |
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| The Bedford Master and Workshop, The Coronation of the Virgin From a Book of Hours French (Paris), c. 1419-1437 New York, Pierpont Morgan Library MS M 359, fol. 69r |
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| Master of Morgan 453, The Coronation of the Virgin From a Book of Hours French (Paris), c. 1420-1435 New York, Pierpont Morgan Library MS M 453, fol. 90v |
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| The Coronation of the Virgin From a Book of Hours French (Rennes), c. 1425-1435 New York, Pierpont Morgan Library MS M 173, fol.68r |
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| The Coronation of the Virgin From Pelerinage de Jesus Christ by Guillaume de Digulleville French (Rennes), c. 1425-1450 Paris, Bibliotheque nationale de France MS Francais 376, fol. 232r |
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| Master of Marguerite d'Orleans, The Coronation of the Virgin From Hours of Marguerite d'Orleans French (Rennes), c. 1430 Paris, Bibliotheque nationale de France MS Latin 1156 B, fol. 114r |
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| The Coronation of the Virgin From a Book of Hours French (Paris), c. 1435-1445 New York, Pierpont Morgan Library MS M 303, fol. 62r |
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| Master of Jeanne de Laval, The Coronation of the Virgin From a Book of Hours French (Nantes), c. 1435-1445 New York, Pierpont Morgan Library MS M 63, fol. 55r |
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| The Coronation of the Virgin From a Book of Hours French (Lyons), c. 1445-1465 New York, Pierpont Morgan Library MS M 1066, fol. 82v |
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| Master of Peter Danielssoen, The Coronation of the Virgin From Spiegel van den laven ons Heren and other works Flemish (Brabant), c. 1450-1460 New York, Pierpont Morgan Library MS M 868, fol. 64v |
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| The Coronation of the Virgin From a Book of Hours French (Lyon), c. 1460 Paris, Bibliotheque nationale de France MS Nouvelle acquisition latine 3213, fol. 74r |
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| Master of the Rouen Echevinage, The Coronation of the Virgin From a Book of Hours French (Rouen), c. 1465-1475 New York, Pierpont Morgan Library MS M 1093, fol. 73r |
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| Georges Trubert, The Coronation of the Virgin From a Book of Hours French (Avignon), c. 1480-1490 New York, Pierpont Morgan Library MS M 348, fol.106r |
Angels Making Music
Such a momentous moment seems to deserve music, as the mention of the great medieval hymns in the opening paragraph of this essay indicates. And at about the time those hymns were being composed and sung for the first time, music making angels appeared in the images of the Coronation of the Virgin. We can see them playing harps, trumpets, and other musical instruments as Mary receives her celestial crown.
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Puccio di Simone, The Coronation of the Virgin Italian, c. 1350 Ghent, Museum voor Schone Kunsten |
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| Puccio di Simone, The Coronation of the Virgin Italian, c. 1354-1357 Avignon, Musée du Petit Palais |
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Paolo and Giovanni Veneziano, The Coronation of the Virgin Italian, 1358 New York, Frick Collection |
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| The Coronation of the Virgin Italian, c. 1360-1370 London, Victoria and Albert Museum |
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| The Coronation of the Virgin Italian, Late 14th Century New York, Metropolitan Museum of Art, The Cloisters Collection |
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| Niccolo di Buonaccorso, The Coronation of the Virgin Italian, c. 1380 New York, Metropolitan Museum of Art, Robert Lehman Collection |
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| Master of the Trinity, The Coronation of the Virgin From Petites heures de Jean de Berry French (Bourges), c. 1385-1390 Paris, Bibliotheque nationale de France MS Latin 18014, fol. 48v |
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| Workshop of the Boucicaut Master, The Coronation of the Virgin From a Book of Hours French (Paris), c. 1415-1425 New York, Pierpont Morgan Library MS M 1000, fol. 102r |
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| Master of Morgan 78, The Coronation of the Virgin From a Book of Hours Flemish (Tournai), c. 1450-1460 New York, Pierpont Morgan Library MS M 78, fol.093v |
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| Giovanni di Paolo, The Coronation of the Virgin Italian, c. 1455 New York, Metropolitan Museum of Art, Robert Lehman Collection |
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| Workshop of the Master of the Rouen Echevinage, The Coronation of the Virgin From a Book of Hours French (Rouen), c. 1475-1485 New York, Pierpont Morgan Library MS M 131, fol.063r |
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| Master of the Ango Hours, The Coronation of the Virgin From the Ango Hours FRench (Rouen), c. 1515 Paris, Bibliotheque nationale de France MS Nouvelle acquisition latine 392, fol. 76r |
Crowning by the Trinity
Frequently, from the later part of the middle ages come images of Mary receiving her crown from the hands of the Holy Trinity. These images seem to appear around the year 1400 and continue for centuries thereafter. They reflect a more theological, less sentimental reflection on the idea of Mary as Queen of Heaven, for though she is only the human mother of the Second Person of the Trinity, she is placed in a way no other human ever was or ever will be in relation to the Trinity. Thus, it is appropriate for the Persons of the Trinity to crown her and not her Son alone.
This relationship is expressed by artists in several ways.
Father and Son Crown Mary
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| The Coronation of the Virgin Austrian, 15th Century New York, Metropolitan Museum of Art, The Cloisters Collection |
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| Giovanni di Nicolo Bellini, The Coronation of the Virgin Italian, c. 1436-1440 Ferrara, Pinacoteca Nazionale di Ferrara |
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| The Coronation of the Virgin From the Hours of Louis of Savoy French (Savoy), c. 1445-1460 Paris, Bnibliotheque nationale de France MS Latin 9473, fol. 64v |
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| Follower of Antoine de Lonhy, The Coronation of the Virgin From a Book of Hours French (Besancon), c. 1465-1475 New York, Pierpont Morgan Library MS M 196, fol. 60v |
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| Workshop of the Master of Edward IV, The Coronation of the Virgin From a Book of Hours Flemish (Ghent), c. 1480-1490 New York, Pierpont Morgan Library MS M 278, fol.100v |
God the Father Alone Crowns Mary
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The Coronation of the Virgin From the De Lisle Hours England (possibly York), c. 1316-1331 New York, Pierpont Morgan Library MS G 50, fol. 163r |
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Associate of the Lucon Master, The Coronation of the Virgin From a Book of Hours French (Paris), c. 1395-1405 New York, Pierpont Morgan Library MS S 9, fol. 91r |
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| The Coronation of the Virgin From a Book of Hours French (Paris), 15th Century Paris, Bibliotheque nationale de France MS Nouvelle acquisition latine 3115, fol.89r |
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| From a Book of Hours, The Coronation of the Virgin French (Brittany), c. 1420-1430 New York, Pierpont Morgan Library MS M 865, fol. 89v |
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| Dunois Master, The Coronation of the Virgin From the Hours of Guillaume Jouvenel des Ursins French (Paris), c. 1445-1450 Paris, Bibliotheque nationale de France MS Nouvelle acqusition latine 3226, fol. 32v |
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| The Coronation of the Virgin From a Book of Hours French, c. 1450-1475 Paris, Bibliotheque nationale de France MS Latin 1175, fol. 64r |
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| Follower of the Master of Jean Rolin, The Coronation of the Virgin From a Book of Hours French (Paris), c. 1455-1465 New York, Pierpont Morgan Library MS M 282, fol. 88v |
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| Workshop of the Master of the Rouen Echevinage, The Coronation of the Virgin From a Book of Hours French (Rouen), c. 1450-1475 New York, Pierpont Morgan Library MS M 1160, fol. 74v |
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| A Follower of the Coetivy Master, The Coronation of the Virgin From a Book of Hours French (Rouen), c. 1460-1480 New York, Pierpont Morgan Library MS M 1055, fol. 61v |
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The Coronation of the Virgin From a Book of Hours French (Tours), c. 1460-1470 New York, Pierpont Morgan Library MS M 161, fol. 72r |
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Master of Jean Rolin II, The Coronation of the Virgin From a Book of Hours French (Paris), c. 1460-1470 New York, Pierpont Morgan Library MS M 1027, fol.115r |
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| The Coronation of the Virgin From a Book of Hours Flemish (Bruges), c. 1465-1475 New York, Pierpont Morgan Library MS M 59, fol. 98v |
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| The Coronation of the Virgin From a Book of Hours French (Paris), c. 1470-1480 New York, Pierpont Morgan Library MS M 239, fol. 48r |
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| Follower of Guillaume Vrelant, The Coronation of the Virgin From a Book of Hours Flemish (Bruges), c. 1475-1485 New York, Pierpont Morgan Library MS M 493, fol. 72v |
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| The Coronation of the Virgin From a Book of Hours French (Rouen), c. 1485-1495 New York, Pierpont Morgan Library MS M 144, fol. 48r |
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| The Coronation of the Virgin From a Book Of Hours French (Paris), c. 1490-1500 The Hague, Koninklijk Bibliotheek MS KB 76 F 14, fol. 52r |
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| The Coronation of the Virgin From a Book of Hours French (Paris), c. 1500-1510 New York, Pierpont Morgan Library MS M 160, fol. 34r |
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| Follower of Jean Poyer, The Coronation of the Virgin From a Book of Hours French (Paris), c. 1515-1525 New York, Pierpont Morgan Library MS M 290, fol.043v |
Jesus and the Holy Spirit Crown Mary
This is a rare image. So far I have only found one example.
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| The Coronation of the Virgin From a Book of Hours French (Tours), c. 1500-1525 New York, Pierpont Morgan Library MS M 31, fol.98r |
The Entire Trinity Crowns Mary as Queen
From its introduction in the early fifteenth century this image of the Virgin Mary crowned by all the Persons of the Trinity became by far the most popular. How the Trinity was depicted differed from time to time. At most times the Trinity if represented as an older man (God the Father), a young man (God the Son) and a white dove (God the Holy Spirit). At other times Father and Son may look like identical twins. At still others all three Persons may have human form, and may even look like triplets.
Sometimes, the Second Person of the Trinity, Jesus will appear in the guise of the Man of Sorrows. Up to the beginning of the fifteenth century, Jesus had always been represented as a kingly figure, fully clothed and frequently wearing a crown. However, from the early fifteenth century on the figure of Jesus may be represented in the form of the Man of Sorrows. This image, which was an extremely popular one in the later Middle Ages and Renaissance, depicts Jesus with a bare torso, showing the wounds of the Crucifixion and often wearing the crown of thorns and/or carrying a cross. This alludes to the salvific act which was made possible through Mary when she accepted the words of the Angel Gabriel and formed his human body.
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| The Coronation of the Virgin English Alabaster, 15th Century London, Victoria and Albert Museum |
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| The Coronation of the Virgin English Alabaster, 15th Century London, Victoria and Albert Museum |
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| Maitre de la Mazarine, The Coronation of the Virgin From Hours of Philippe the Good known as the Hours of Joseph Bonaparte French (Paris), c. 1400-1425 Paris, Bibliotheque nationale de France MS Latin 10538, fol. 91r |
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Master of Rubielos de Mora, The Coronation of the Virgin Spanish, Early 15th Century Cleveland, Museum of Art |
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The Coronation of the Virgin From a Book of Hours Italian (Venice), 1420-1455 New York, Pierpont Morgan Library MS M 1089, fol. 89v |
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| The Coronation of the Virgin From a Book of Hours French (Anjou), 1440 New York, Pierpont Morgan Library MS M 157, fol. 81v |
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Follower of Master of Guillebert de Mets, The Coronation of the Virgin From a Book of Hours French, c. 1445-1455 New York, Pierpont Morgan Library MS M 287, fol. 81r |
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The Coronation of the Virgin English, c. 1450-1500 London, Victoria and Albert Museum |
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Jean Fouquet, The Coronation of the Virgin From the Hours of Etienne Chevalier French (Tours), c.1450 Chantilly, Musée Condé MS 71, fol. 87 This is a superb example of images of the Trinity as three identical figures. One may presume that God the Son is bestowing the crown on his earthly mother, God the Father sits on the central throne and God the Holy Spirit is shown holding an orb and making a gesture of blessing. However, in other images the orb and blessing gesture pertain to God the Father. |
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| Antoine de Lonhy, The Coronation of the Virgin From a Book of Hours Italian (Piedmont), c. 1465-1475 New York, Pierpont Morgan Library MS M 57, fol. 74v |
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| Master of Edward IV, The Coronation of the Virgin From a Book of Hours Flemish (Bruges), c. 1465-1480 New York, Pierpont Morgan Library MS W 31, fol. 94v |
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| Master of Morgan 366, The Coronation of the Virgin From a Book of Hours French (Tours), c. 1465-1475 New York, Pierpont Morgan Library MS M 366, fol. 74r |
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| Michael Pacher, The Coronation of the Virgin German, c. 1470-1480 Munich, Bayerische Staatsgemäldesammlungen, Alte Pinakothek |
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Master of Cornelis Croesinck, The Coronation of the Virgin From the Croesinck Hours Dutch, c. 1489-1499 New York, Pierpont Morgan Library MS M 1078, fol. 117v |
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| Masters of the Dark Eyes, The Coronation of the Virgin From a Book of Hours Dutch, c. 1490 The Hague, Koninklijk Bibliotheek MS KB 76 G 16, fol. 124v |
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| Workshop of the Master of Antoine Rolin, The Coronation of the Virgin From a Book of Hours Flemish (Cambrai), c. 1490-1500 New York, Pierpont Morgan Library MS M 116, fol. 167r |
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Robert Boyvin, The Coronation of the Virgin From a Book of Hours French (Rouen), c. 1495-1505 New York, Pierpont Morgan Library MS M 261, fol. 57r |
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| Late Follower of the Master of the Rouen Echevinage, The Coronation of the Virgin From a Book of Hours French (Rouen), c. 1495-1505 New York, Pierpont Morgan Library MS M 151, fol. 44r |
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The Coronation of the Virgin From a Book of Hours Flemish (Liege), c. 1500 The Hague, Koninklijke Bibliotheek MS KB 133 D 11, fol. 61v |
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| Master of the Oberschoenenfelder Altar, The Coronation of the Virgin German, c. 1500 Munich, Bayerische Staatsgemäldesammlungen, Alte Pinakothek |
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Michael Sittow, The Coronation of the Virgin Estonian, c.1500 Paris, Musée du Louvre |
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The Coronation of the Virgin From a Book of Hours French (Tours), c. 1505-1515 New York, Pierpont Morgan Library MS M 250, fol..62v |
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| Jean Pichore, The Coronation of the Virgin From a Book of Hours French (Paris), c. 1505-1525 New York, Pierpont MS M 85, fol. 61v |
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Simon Bening, The Coronation of the Virgin From the Da Costa Hours Flemish (Bruges), c. 1510-1520 New York, Pierpont Morgan Library MS M 399, fol. 176v |
Mary is Crowned Before the Entire Court of Heaven
Most of the images we have seen so far present an intimate view of the Coronation of Mary. However, simultaneously there have also been representations that present the event on a more cosmic scale so that it is seen against the entire panoply of heaven, before crowds of angels and saints.
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| Giovanni di Benedetto & Workshop, The Coronation of the Virgin From a Book of Hours Italian, c. 1385-1390 Paris, Bibliotheque nationale de France MS Latin 757, fol. 245v |
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| The Coronation of the Virgin From Legenda aurea by Jacobus de Voragine French (Paris), c. 1400 Paris, Bibliotheque nationale de France MS Francais 242, fol. Ar |
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| The Coronation of the Virgin From The City of God by Saint Augustine of Hippo French (Paris), c. 1400 Paris, Bibliotheque nationale de France MS Francais 24, fol. 262v |
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The Limbourg Brothers, The Coronation of the Virgin From the Tres Riches Heures of the Duc of Berry Flemish, c.1410 Chantilly, Musée Condé MS 65, fol. 60v |
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| Lorenzo Monaco, The Coronation of the Virgin Italian, 1414 Florence, Gallerie degli Uffizi |
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| Fra Angelico, The Coronation of the Virgin Italian, c. 1434-1435
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| Fra Angelico, The Coronation of the Virgin Italian, c. 1434-1435 Florence, Galleria degli Uffizi |
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| Member of the Gold Scrolls Group, The Coronation of the Virgin From Typologische taferelen uit het leven van Jezus Flemish (Bruges), c. 1435-1445 New York, Pierpont Morgan Library MS M 649. fol. 7v |
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| Master of Jouvenel des Ursins and Workshop, The Coronation of the Virgin From Hours of Jeanne de France French (Angers), c. 1452 Paris, Bibliotheque nationale de France MS Nouvelle acquisition latine 3244, fol. 118r |
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Enguerrand Charenton, The Coronation of the Virgin French, 1454 Villeneuve-les-Avignon, Musée Pierre-de-Luxembourg |
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| Workshop of Guillaume Vrelant, The Coronation of the Virgin From a Book of Hours Flemish (Bruges), c. 1455-1465 New York, Pierpont Morgan Library MS M 387, fol.127v |
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| Neri di Bicci. The Coronation of the Virgin Italian, 1463 Paris, Musée du Louvre |
,%20c.%201465-1470_New%20Yok,%20Pierpont_MS%20M248,%20fol.60r.jpg) |
| Jean Colombe and Workshop, The Coronation of the Virgin From a Book of Hours French (Bourges), c. 1465-1470 New Yok, Pierpont Morgan Library MS M 248, fol.60r All the saints have turned to face the Throne of God and the Coronation. Thus we see them from behind and the pattern of their haloes gives the effect of golden scales. |
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Master of the Exrivainage and Workshop, The Coronation of the Virgin From The City of God by Saint Augustine of Hippo French (Paris), c. 1475-1500 Paris, Bibliotheque nationale de France MS Francais 28, fol. 273v |
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Simon Marmion, The Coronation of the Virgin From a Book of Hours Flemish, c. 1475-1485 New York, Pierpont Morgan Library MS M 6, fol. 57v |
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Michael Pacher, The Coronation of the Virgin German, c. 1479-1481 Sankt Wolfgang im Salzkammergut (Austria), Parish Church |
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| Maestro de las Once Mil Virgenes, The Coronation of the Virgin Spanish, c. 1490 Madrid, Museo Nacional del Prado |
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| Vicente Macip, The Coronation of the Virgin in Paradise Spanish, After 1521 Madrid, Museo Nacional del Prado |
Images Incorporating Mary's Death and Assumption
Sometimes the scene is shown in direct relationship to images of the Dormition and Assumption of Mary, as it is in the images below. Although the majority of these are found in manuscript illumination, it is also used infrequently by painters on panel and canvas.,%20c.%201210_Paris,%20BNF_MS%20Latin%20238,%20fol.%2061v.jpeg) |
The Death, Assumption and Coronation of the Virgin From a Psalter French (North), c. 1210 Paris, Bibliotheque nationale de France MS Latin 238, fol. 62v |
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Burial and Coronation of the Virgin From the Psalter of St. Louis and Blanche of Castille French, c.1225 Paris, Bibliotheqe nationale de France MS Arsenal 1186, fol. 29v |
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Scenes from the Life of the Virgin Mary From Psalter-Hours of Ghuiluys de Boisleux French (Arras), c. 1246-1260 New York, Pierpont Motgan Library MS M 730, fol. 16v |
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Scenes from the Life of the Virgin Mary Leaves from the Ramsey Psalter English (Ramsey Abbey), c. 1295-1310 New York, Pierpont Morgan Library MS M 302, fol. 4r |
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Giacomo Torriti, Scenes from the Life of the Virgin Italian, Mosaic, 1296 Rome, Santa Maria Maggiore Although the largest image is that of the Coronation, the supports for the half-dome on which it is placed include other scenes from the life of the Virgin. At the left is the Nativity of Jesus, on the right is the Adoration of the Magi and in the center, directly below the Coronation image is the Dormition of the Virgin, her death. |
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| The Dormition and Coronation of the Virgin French, 14th Century London, Victoria and Albert Museum |
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| The Dormition and Coronation of the Virgin French, c. 1330-1350 New York, Metropolitan Museum of Art |
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| The Dormition and Coronation of the Virgin French, c. 1330-1350 New York, Metropolitan Museum of Art |
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| The Dormition and Coronation of the Virgin From a Book of Psalter-Hours French (Metz), c. 1370-1380 New York, Pierpont Morgan Library MS M 88, fol. 19v |
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Master of the Jean de Sy Bible, The Dormition and Coronation of the Virgin From a Book of Hours French (Paris), c. 1370-1380 New York, Pierpont Morgan Library MS M 90, fol. 45r |
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Master of the Parement de Narbonne, The Death, Assumption and Corornation of the Virgin From the Tres Belles Heures of Jean, Duc de Berry French_c.1380 Paris, Bibliotheque nationale de France MS Nouvelle acquisition latine 3093, fol. 76 |
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Robinet Testard, Death and Coronation of the Virgin From a Book of Hours French (Poitiers), c. 1470-1480 New York, Pierpont Morgan Library MS M 1001, fol. 62r |
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Workshop of the Master of the Rouen Echevinage, The Death, Assumption and Coronation of the Virgin From a Book of Hours French (Rouen), c. 1475-1485 New York, Pierpont Morgan Library MS M 131, fol. 63r |
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The Annunciation of the Death of the Virgin, Death of the Virgin, Assumption and Coronation of the Virgin From a Book of Hours French (Paris), c. 1495-1505 New York, Pierpont Morgan Library MS M 5, fol. 74v |
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| Master of the Oberschoenenfelder Altar, The Death and Coronation of the Virgin German, c. 1500 Munich, Bayerische Staatsgemäldesammlungen, Alte Pinakothek |
From the High Renaissance to the End of the Baroque
The first thing that is instantly recognizable as a difference from what had gone before is the location of the Coronation. Prior to this time the scene of the Coronation had usually taken place against an architectural backdrop, or in a non-spatial setting. The most noticeable difference after 1500 is that the scene has been transported into the clouds. This is true for the last remaining manuscript illuminations as well as for wall and panel painting,
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| School of Raffaellino del Garbo, The Coronation of the Virgin with Saints Benedict, Salvus, Gualberto and Bernardo degli Uberti Italian, 16th Century Avignon, Musée du Petit Palais |
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| Atributed to Filippino Lippi, The Coronation of the Virgin with Saints Jerome, Francis, Bonaventure and Louis of Toulouse Italian, c. 1500-1504 Paris, Musée du Louvre |
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| Raphael, The Assumption and Coronation of the Virgin Italian, c. 1502-1503 Vatican City, Pinacoteca Vaticana |
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| The Coronation of the Virgin From a Book of Hours French (Paris), c. 1500-1515 New York, Pierpont Morgan Library MS M 89, fol. 54r |
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| Ridolfi Ghirlandaio, The Coronation of the Virgin with Six Saints (Peter Martyr, John the Baptist, Jerome, Magdalene, Francis and Thomas Aquinas) Italian, c.1504 Avignon, Musée du Petit Palais |
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Master of Claude de France, The Coronation of the Virgin From the Prayer Book of Claude de France French (Tours), c. 1515-1520 New York, Pierpont Morgan Library MS M 1166, fol. 24r |
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| Vicente Macip, The Coronation of the Virgin Spanish, After 1521 Madrid, Museo Nacional del Prado |
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Master H. L, Coronation of the Virgin German, 1525 Niederrotweil (Germany), Parish Church of Saint Michael |
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| Master of the Getty Epistles, The Coronation of the Virgin From a Book of Hours French (Tours), c. 1525-1540 New York, Pierpont Morgan Library MS M 452, fol. 71v |
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Workshop of Noel Bellemarre, The Coronation of the Virgin From the Dutuit Hours French (Paris), c. 1526-1540 Paris, Collections des musées de la Ville de Paris, Petit Palais Fol. 22v |
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| Giulio Clovio, Coronation of the Virgin From the Farnese Hours Italian, 1546 New York, Pierpont Morgan Library MS M 69, fol. 48v |
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| Baptiste Pellerin, The Coronation of the Virgin From the Hours of Claude Gouffier French (Paris), c. 1550-1558 New York, Pierpont Morgan Library MS M 538, fol. 47v |
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| Paolo Veronese, The Coronation of the Virgin Italian, 1555 Venice, Church of San Sebastiano |
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| Hours of Francis II, The Coronation of the Virgin French, 1555 Paris, Bibliotheque nationale de France MS Nouvelle acquisition latine 104, fol. 63v |
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Tintoretto, The Coronation of Virgin (Known as the Paradiso) Italian, c.1588-1590 Venice, Palace of the Doges |
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Tintoretto, The Coronation of the Virgin Sketch for decoration in the Palace of the Doges (Venice) Italian, c. 1588 Paris, Musée du Louvre |
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El Greco, The Coronation of the Virgin Greco-Spanish, 1592 Madrid, Museo Nacional del Prado |
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Annibale Carracci, The Coronation of the Virgin Italian, After 1595 New York, Metropolitan Museum of Art |
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| Giovanni Lanfranco, The Coronation of the Virgin with Saints Augustine and William of Aquitaine Italian, c. 1615-1616 Paris, Musée du Louvre |
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Peter Paul Rubens, The Coronation of the Virgin Flemish, c.1620 Paris, Musée du Louvre |
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Giovanni Serodine, The Coronation of the Virgin with Saints (Back row: Saints John the Evangelist, Peter, Paul and Sebastian. Front row: Saints Anthony Abbot and Charles Borromeo) Swiss, c. 1625-1630 Ascona (Switzerland), Parish Church of Saints Peter and Paul |
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Peter Paul Rubens, The Coronation of the Virgin Oil Sketch for an Altarpiece formerly in Berlin (destroyed 1945) Flemish, c. 1632-1633 New York, Metropolitan Museum of Art |
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David Teniers the Younger, The Coronation of the Virgin Dutch, c. 1634 Munich, Bayerische Staatsgemäldesammlungen, Alte Pinakothek |
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Diego Velazquez, The Coronation of the Virgin Spanish, 1635-1636 Madrid, Museo Nacional del Prado |
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Thomas Willeboirts Bosschaert, The Coronation of the Virgin Flemish, c.1650 Lille, Palais des Beaux-Arts |
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Sebastian de Herrera Barnuevo, The Coronation of the Virgin Spanish, c. 1653 Madrid, Museo Nacional del Prado |
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Charles de La Fosse, The Coronation of the Virgin French, c. 1672-1676 Rouen, Musée des Beaux-Arts |
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Pedro de Calabria, The Coronation of the Virgin Italian, End of 17th-Beginning of 18th Century Madrid, Museo Nacional del Prado |
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Attributed to Michelangelo Unterberger, The Coronation of the Virgin Austrian, c. 1760 Vienna, Belvedere Museum |
The Nineteenth Century
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Romain Cazes, The Coronation of the Virgin French, c.1850 Paris, Musée du Louvre |
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Melchior Doze, The Coronation of the Virgin French, c. 1900 Beauvais, MUDO, Musée de l'Oise |
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1, Pope Pius XII, “Ad Caeli Reginam”, Encyclical, October 11, 1954. It can be accessed in full at http://www.vatican.va/holy_father/pius_xii/encyclicals/documents/hf_p-xii_enc_11101954_ad-caeli-reginam_en.html
2. See section entitled "Feast of Queenship" at http://en.wikipedia.org/wiki/Queen_of_Heaven#Feast_of_Queenship
© M. Duffy, 2022
2. See section entitled "Feast of Queenship" at http://en.wikipedia.org/wiki/Queen_of_Heaven#Feast_of_Queenship
© M. Duffy, 2022
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