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Castilian school. Beginning of the 14th century. Transition between Romanesque and Gothic.
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Description
Castilian school. Beginning of the 14th century. Transition between Romanesque and Gothic.
"Virgin Majesty, Sedes Sapientae".
Sculpture in carved and polychrome wood.
65 x 23 x 19 cm.
Worship of the Virgin Mary was much favoured during the final centuries of the Middle Ages, along with the Crucified Christ and some popular saints. Consequently, a good part of the sculptural production of the time was based on these subjects. This beautiful and naive Maiestas Mariae or Madonna with Child in Majesty, heir to the Byzantine Theotokos, shows us the Virgin Mary as the throne of Christ. Despite having lost some small parts of the polychrome and material, the statue is remarkable for the outstanding quality of the carving and its naive candour. The sculptural group is not carved or polychromed on its back, where instead it has been hollowed out to a large extent, which most certainly would have been done to lighten its weight.
The Madonna has been portrayed in a frontal position, with notable hieratism. She is seated on a low throne with no carved backrest, which can only be perceived at the sides and the feet of the Virgin Mary. On these sides, we can see two pairs of three rectangular mouldings separated by a painting that seems to show a blue and white arcade that certainly would have formed part of the original polychrome. Mary has been conceived with a short canon and anatomical disproportion in her legs, which are somewhat short. The head is oval-shaped and with facial features that are truly expressive: curved eyebrows, large almond-shaped eyes set obliquely, a large aquiline nose, a closed mouth with thin lips, and a strong chin. She wears a tower-like crown on her head, topped with fleur-de-lis flowers, a symbol of divine motherhood and royal power. She wears pointed reddish shoes, a long tunic cinched at the waist with a belt, decorated with geometric designs, and a rectangular neckline; a mantle draped over her shoulders, and a veil that covers her hair and serves as a seat for the crown. Unfortunately, the right arm has been cut off, although it would surely have held some attribute or fruit between its fingers - it would have been the apple that symbolizes her victory over sin and her conversion into the new Eve. On the other hand, with her left hand, she holds her Son, who is seated on her left knee, thus breaking all the front-facing symmetry in the mother-child group.
The Child Jesus appears to be noticeably unproportioned at first glance, as he has pronounced macrocephaly. His head repeats many of the facial features seen in the Mother, although this time we can observe the hairstyle, crafted with compact locks. He wears a wide tunic that covers his entire body except for his limbs. The clothing, which seems to conserve its original polychrome, is white and decorated with geometric shapes - similar to those on the mother's tunic - in simple red and blue tones. The right arm and hand are missing. We do not know what he would have been doing or holding in that hand; perhaps he would be giving blessing. On the other hand, in his left hand, he holds a closed book symbolizing the divine wisdom of Christ, which contains the prophecies that he has come to fulfil.
This charming Gothic sculptural group, dating back to the 14th century, probably from the beginning of the century, was probably carved in a workshop located somewhere in Castile, although we cannot determine its origin with great precision since it does not present particularly significant or defining features.
We would like to thank Javier Baladrón, doctor in History of Art, for cataloguing this piece.
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Castilian school. Beginning of the 14th century. Transition between Romanesque and Gothic.
"Virgin Majesty, Sedes Sapientae".
Sculpture in carved and polychrome wood.
65 x 23 x 19 cm.
Worship of the Virgin Mary was much favoured during the final centuries of the Middle Ages, along with the Crucified Christ and some popular saints. Consequently, a good part of the sculptural production of the time was based on these subjects. This beautiful and naive Maiestas Mariae or Madonna with Child in Majesty, heir to the Byzantine Theotokos, shows us the Virgin Mary as the throne of Christ. Despite having lost some small parts of the polychrome and material, the statue is remarkable for the outstanding quality of the carving and its naive candour. The sculptural group is not carved or polychromed on its back, where instead it has been hollowed out to a large extent, which most certainly would have been done to lighten its weight.
The Madonna has been portrayed in a frontal position, with notable hieratism. She is seated on a low throne with no carved backrest, which can only be perceived at the sides and the feet of the Virgin Mary. On these sides, we can see two pairs of three rectangular mouldings separated by a painting that seems to show a blue and white arcade that certainly would have formed part of the original polychrome. Mary has been conceived with a short canon and anatomical disproportion in her legs, which are somewhat short. The head is oval-shaped and with facial features that are truly expressive: curved eyebrows, large almond-shaped eyes set obliquely, a large aquiline nose, a closed mouth with thin lips, and a strong chin. She wears a tower-like crown on her head, topped with fleur-de-lis flowers, a symbol of divine motherhood and royal power. She wears pointed reddish shoes, a long tunic cinched at the waist with a belt, decorated with geometric designs, and a rectangular neckline; a mantle draped over her shoulders, and a veil that covers her hair and serves as a seat for the crown. Unfortunately, the right arm has been cut off, although it would surely have held some attribute or fruit between its fingers - it would have been the apple that symbolizes her victory over sin and her conversion into the new Eve. On the other hand, with her left hand, she holds her Son, who is seated on her left knee, thus breaking all the front-facing symmetry in the mother-child group.
The Child Jesus appears to be noticeably unproportioned at first glance, as he has pronounced macrocephaly. His head repeats many of the facial features seen in the Mother, although this time we can observe the hairstyle, crafted with compact locks. He wears a wide tunic that covers his entire body except for his limbs. The clothing, which seems to conserve its original polychrome, is white and decorated with geometric shapes - similar to those on the mother's tunic - in simple red and blue tones. The right arm and hand are missing. We do not know what he would have been doing or holding in that hand; perhaps he would be giving blessing. On the other hand, in his left hand, he holds a closed book symbolizing the divine wisdom of Christ, which contains the prophecies that he has come to fulfil.
This charming Gothic sculptural group, dating back to the 14th century, probably from the beginning of the century, was probably carved in a workshop located somewhere in Castile, although we cannot determine its origin with great precision since it does not present particularly significant or defining features.
We would like to thank Javier Baladrón, doctor in History of Art, for cataloguing this piece.
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Sale Date(s)
Lots: 100
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08006
Spain
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From 50.000.-€ to 100.000.-€…………………………..5.000 in 5.000.-€
From 100.000.-€ to 100.000.-€………………………10.000 in 10.000.-€
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