17th century, Mystic Marriage of Saint Catherine
Description:
17th century
Mystic Marriage of Saint Catherine
Oil on canvas, 98 x 81 cm - with frame 119 x 102 cm
The scene represents the mystical marriage between Catherine of Alexandria and Christ, an iconography that originated in the 15th century and in many cases preferred over the saint's more gruesome martyrdom with the wheel. The saint is depicted in front of the Virgin holding the Child, portrayed with the wedding ring in his hand, enriched with a precious stone. According to the Golden Legend, Catherine of Alexandria was a very beautiful young woman, the only daughter of the King of Costa, who had refused to marry Emperor Maxentius because she was a Christian and devoted to Christ. Maxentius, unable to convince her to sacrifice to idols, summoned the wisest men and fifty philosophers and orators who came and attempted to dissuade her from the faith in Christ. Catherine, however, disputed so well that she managed to convert them, arousing the anger of the emperor who condemned them to the stake. Catherine, on the other hand, who had criticized Maxentius for the new persecutions against Christians, was sentenced to prison without food. Abandoned for twelve days, she was nourished by a dove sent by God. Maxentius then decided to execute her with the torture of the toothed wheel, which became her iconographic attribute; but by divine intervention it broke, and the young woman was saved. Finally, she was beheaded, and milk flowed from her neck. Catherine's princely status is evidenced here by the sumptuous dress. The iconography of the mystical marriage originated in the 15th century, probably because the traditional iconographic attribute, the wheel, was sometimes so small as to resemble a ring, and it refers to a vision that will always remain in the saint's mind and heart. Christ Child appeared to her in Heaven, amidst the Angels and Saints, in the arms of the Virgin. He took a precious ring, which the Virgin Mary offered to him, and slipped it on her finger, saying to her, "I, your Creator and Savior, take you as my bride; trusting that you will remain pure until you celebrate your eternal wedding with me, in Paradise." When Catherine awoke, she found in her finger the same ring that she had seen and had in Heaven, and she considered herself forever the bride of Christ.
The painter places the exchange of the ring between the Christ child and the saint at the center of the observer's attention, arranged in the foreground inside a room, in which the entire composition is dynamically built. A young Saint John draws the attention of the Virgin, who turns her face, leaving the silent dialogue between Saint Catherine and Christ in intimacy. A greater sobriety is attributed to the painting, for a more austere private devotion.
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