The Assumption of the Virgin

Title: The Assumption of the Virgin
Artist: Ambrogio Bergognone
Medium: Oil and gold on wood
Size: 242.3 x 108 cm
Date: c. 1510
Location: Metropolitan Museum of Art, New York.

The Assumption of Mary is a belief held by many Christians that the Virgin Mary, at the end of her life, was physically taken up into heaven. The earliest known narrative is the so-called Liber Requiei Mariae (The Book of Mary's Repose), a narrative which survives intact only in an Ethiopic translation. Probably composed by the 4th century, this early Christian apocryphal narrative may be as early as the 3rd century. The Roman Catholic Church teaches as dogma that Mary, "having completed the course of her earthly life, was assumed body and soul into heavenly glory." Pope John Paul II quoted John 14:3 as a scriptural basis for understanding the dogma. In this verse, Jesus tells his disciples at the Last Supper, “When everything is ready, I will come and get you, so that you will always be with me where I am." According to Catholic theology, Mary is the pledge of the fulfillment of Christ's promise.

This picture, which dates from the early sixteenth century, was likely Bergognone's first treatment of this subject, and was the center panel of a large polyptych. Its delicacy is typical of his work, and there is the influence of Leonardo's facial types. The metal stars on the Virgin's mantle and the gold spandrels are later additions while the gilding on the lettering on the haloes is almost entirely gone.

Ambrogio Borgognone, variously known as Ambrogio da Fossano, Ambrogio di Stefano da Fossano, Ambrogio Stefani da Fossano or as il Bergognone (c. 1470s – 1523/1524), was an Italian Renaissance painter of the Milanese school. While he was nearly contemporary with Leonardo da Vinci, he painted in a style more akin to the pre-Renaissance, Lombard art of Vincenzo Foppa and Bernardino Zenale. The dates of his birth and death are unknown. His fame is principally associated with his work at the Certosa di Pavia complex, composed of the church and convent of the Carthusians.

Assumption of the Virgin

Title: Assumption of the Virgin

Artist: Federico Zuccaro

Medium: Oil on canvas

Size: tbd

Date: c. 1566

Location: Museo Diocesano, Cortona.

The Assumption of Mary is a belief held by many Christians that the Virgin Mary, at the end of her life, was physically taken up into heaven. The earliest known narrative is the so-called Liber Requiei Mariae (The Book of Mary's Repose), a narrative which survives intact only in an Ethiopic translation. Probably composed by the 4th century, this early Christian apocryphal narrative may be as early as the 3rd century. The Roman Catholic Church teaches as dogma that Mary, "having completed the course of her earthly life, was assumed body and soul into heavenly glory." Pope John Paul II quoted John 14:3 as a scriptural basis for understanding the dogma. In this verse, Jesus tells his disciples at the Last Supper, “When everything is ready, I will come and get you, so that you will always be with me where I am." According to Catholic theology, Mary is the pledge of the fulfillment of Christ's promise.

In Zuccaro’s image, flanked by St John the Baptist to the left and St Catherine of Alexandria to the right, Mary seems to have just begun her rise to Heaven. The clouds have parted and a golden light prepares to receive her. The beauty of Zuccaro’s painting lies in its simplicity, as most images of the Assumption are depicted with the Heavenly Host providing a rapturous reception for the Mother of Jesus. Here, a few simple cherubs gather Mary and provide her escort, the true rapture lying just beyond the upper frame of the picture in the golden clouds.

Federico Zuccaro, also known as Federigo Zuccari (c. 1542 - July 20, 1609), was an Italian Mannerist painter and architect, active both in Italy and abroad. His documented career as a painter began in 1550, when he moved to Rome to work under Taddeo, his elder brother. He went on to complete decorations for Pius IV, and help complete the fresco decorations at the Villa Farnese at Caprarola. In 1585, he accepted an offer by Philip II of Spain to decorate the new Escorial at a yearly salary of 2,000 crowns. He worked at the palace from January 1586 to end of 1588, when he returned to Rome.

Miracle of the Snow: Assumption of the Virgin

Title: Miracle of the Snow: Assumption of the Virgin
Artist: Masolino da Panicale
Date: c. 1428-1432
Size: 144 x 76 cm
Location: Naples, Museo di Capodimonte

This painting is the central panel of a reverse side of the triptych 'Miracle of the Snow' made for the Santa Maria Maggiore, Rome. The feast day of the Assumption of the Virgin is August 15, date of the Miracle of the Snow.

The painting commemorates an event in August 352, when a rectangle of snow was discovered on Mount Esquiline, one of the famous Seven Hills of Rome. Snowfall of any sort was unheard of that time of year, but that it had fallen only in one place and in such a specific pattern was regarded as a phenomenon. People crowded to see the patch of snow, which persisted despite the heat. The Pope had dreamt that Our Lady desired a church to be built on Mount Esquiline, and he was so moved by his dream that he visited the mysterious snowfall. As soon as the plot for the building had been staked out the snow melted

The Artist, also known as Tommaso di Cristofano Fini, was born in Panicale in Valdelsa, about 1383 and died in Florence, Italy, 1435/40.It is likely that he was an assistant to the famous Florentine artist Ghilberti between 1403 and 1407.