The Coronation of the Virgin or Coronation of Mary is a subject in Christian art, especially popular in Italy in the 13th to 15th centuries, but continuing in popularity until the 18th century and beyond. Christ, sometimes accompanied by God the Father and the Holy Spirit in the form of a dove, places a crown on the head of Mary as Queen of Heaven. In early versions the setting is a Heaven imagined as an earthly court, staffed by saints and angels; in later versions Heaven is more often seen as in the sky, with the figures seated on clouds. The subject is also notable as one where the whole Christian Trinity is often shown together, sometimes in unusual ways. Crowned Virgins are also seen in Eastern Orthodox Christianicons, specifically in the Russian Orthodox church after the 18th century. Mary is sometimes shown, in both Eastern and Western Christian art, being crowned by one or two angels, but this is considered a different subject.
Quick Facts The Coronation of the Virgin Mary in Heaven, Litany of Loreto by Pope Sixtus V (1587): Queen of Prophets Queen of ApostlesQueen of MartyrsQueen of ConfessorsQueen of Virgins Queen of the PatriarchsQueen of the AngelsQueen assumed into HeavenQueen of Peace Queen of all SaintsQueen of the Most Holy RosaryPope Pius XII (1954):Queen of Heaven Second Vatican Council (1964): Queen of the Universe (Lumen Gentium, Section #59) ...
Litany of Loreto by Pope Sixtus V (1587): Queen of Prophets Queen of Apostles Queen of Martyrs Queen of Confessors Queen of Virgins Queen of the Patriarchs Queen of the Angels Queen assumed into Heaven Queen of Peace Queen of all Saints Queen of the Most Holy Rosary
Pope Pius XII (1954): Queen of Heaven
Second Vatican Council (1964): Queen of the Universe (Lumen Gentium, Section #59)
Mary crowned in Heaven by Jesus or jointly with God the Father, surrounded by Cherubim and/or Saints
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The subject became common as part of a general increase in devotion to Mary in the Early Gothic period, and is one of the commonest subjects in surviving 14th-century Italian panel paintings, mostly made to go on a side-altar in a church. The great majority of Roman Catholic churches had (and have) a side-altar or "Lady chapel" dedicated to Mary. The subject is still often enacted in rituals or popular pageants called May crownings, although the crowning is performed by human figures.
Official status and feast
The belief in Mary as Queen of Heaven obtained the papal sanction of Pope Pius XII in his encyclicalAd Caeli Reginam (English: 'Queenship of Mary in Heaven') of October 11, 1954.[1]
The Roman Catholic Church celebrates the feast every August 22, where it replaced the former octave of the Assumption of Mary in 1969, a move made by Pope Paul VI. The feast was formerly celebrated on May 31, at the end of the Marian month, where the present general calendar now commemorates the Feast of the Visitation. In addition, there are Canonical coronations authorized by the Pope which are given to specific Marian images venerated in a particular place.
The act of the Virgin Mother of God being physically crowned as Queen of Heaven and Earth after her Assumption is a traditional Catholic belief echoed in the Rosary. The Coronation of the Blessed Virgin Mary is the fifth of the Glorious Mysteries of the Rosary.[2]
The Coronation of the Blessed Virgin is also a subject of devotion throughout Christianity. Beyond art, the Coronation is a central motif in Marian Processions around the world, such as the Grand Marian Procession in Los Angeles, revived by the Queen of Angels Foundation.
The subject also drew from the idea of the Virgin as the "throne of Solomon", that is the throne on which a Christ-child sits in a Madonna and Child. It was felt that the throne itself must be royal. This is related to the popular sedes sapientiae motif. In general the art of this period, often paid for by royalty and the nobility, increasingly regarded the heavenly court as a mirror of earthly ones.
In earlier versions, Mary and Christ often sit side-by-side on a wide throne, and typically are only accompanied by angels in smaller altarpieces, although these were often in polyptych form, and had saints on side-panels, now often separated. Later, God the Father often sits to the left of Christ, with the Holy Spirit hovering between them, and Mary kneeling in front and below them. Christ and the Father are normally differentiated by age, and to some extent by costume: God the Father is often wearing a beehive-shaped crown, reminiscent of a Papal tiara.
By the 15th century, more individual interpretations are found. From the High Renaissance onwards, the subject is often combined with an Assumption as a group of Apostles is on the earthly space below the heavenly scene, sometimes with Mary's empty tomb. As the central panel of altarpieces became larger until it abandoned the predella and side-panels, the Coronation was one subject suited to a very tall composition, especially if it had Apostles or other saints of importance to the community depicted on the lower sections.
Crown of Mary
The "crown" of Mary has been mentioned since the 6th century, as "corona virginum" (crown of virgins).[5] The crown has several meanings in secular depictions. The ancient laurel crown in the Olympic Games signified victory, and a crown in gold and precious stones indicate power and wealth. In Christian iconography, the crown develops religious meanings. In an early mosaic in Ravenna, Italy, virgins present a crown to the child and Mary as a gesture of humility.[6] The Three kings present their crowns to the newly born Jesus as a symbol of secular power submitting to Christ.[6] Marian crowns often include elements of victory and glory, especially during the Baroque period.
A crowned Mary is usually seen in Jesse Trees, which stress her earthly royal descent from the House of David, something accorded considerable importance in the Middle Ages. In Santa Maria in Trastevere in Rome, she is shown as the mother of Christ, who participates in his kingdom.[7] The Latin text there, adapted from the Song of Songs, reads: Tota pulchra es, amica mea, veni coronavi.
Wright, Rosemary Muir, Sacred Distance: Representing the Virgin Mary in Italian Altarpieces, 1300-1630, 2006, Manchester University Press, ISBN 9780719055454