International studio (51.1913/1914)

The VTinged Madonna and Child


HE WINGED MADONNA AND
CHILD

By courtesy of Prof. J. L. Deister
THE WINGED MADONNA AND CHILD

A winged Madonna is certainly a
rarity in art, if not unique. Visitors to
galleries may search in vain for an
The original painting, by 12^2",

European
example.
in the possession of Professor J. L. Deister, is on
copper and in first-class preservation. A mural
painting of the same subject may be seen in
Cuernavaca, Mexico, in the cathedral founded in
1529 by the Franciscans. In Professor Deister’s
painting the colors are very rich and soft and
remarkably well blended, while a fine effect is ren-
dered by the sunlight glowing in the background.
The small figure in the right-hand corner is St.
John, pen in hand, writing his visions on the Isle
of Patmos, his identity being the more pronounced
by the presence of an eagle
at his side. The theme is
clearly from the Apocalypse,
Chapter XII: “The visions
of the woman clothed with
the sun, and of the great
dragon, her persecutor.” The
presence of wings is ex¬
plained by verse 14: “And
there were given to the woman
two wings of a great eagle,
that she might fly into the
desert unto her place, where
she is nourished for a time
and times, and half a time,
from the face of the serpent.”
The Virgin is separately
described by Verse 1: “And
a great sign appeared in
heaven: a woman, clothed
with the sun and the moon
under her feet, and on her
head a crown of twelve stars.”
One of the twelve stars is
concealed by the body of
the infant Savior, or is
purposely omitted because
Judas turned traitor.
Verse 5 explains the in¬
fant: “And she brought forth
a man child, who was to rule
all nations with an iron
rod . . .”
Whether the painting is a
Murillo or not is a moot
point. The head is cer-

tainly Murillian, the draping of the mantle too,
and many details could be cited which appear in
the known pictures by the master. If not painted
by him, it must be the work of an artist who
assimilated very thoroughly the master’s tech-
nique and mannerisms. Look at God the Father
above the Virgin, which may be seen in many
Murillo paintings; also notice the index finger,
this spreading of the fingers, and compare with
Murillos at the Hermitage. This picture was
bought in Old Mexico, and it is historical that
Murillo painted for exportation to the Spanish
colonies of America.
This illustration and description are interest-
ing when considered along with the article in
this issue of the International Studio entitled
“ The Art Treasures of Mexico,” by Mary
Worrall Hudson, on page ciii.

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