Sacrum i profanum w obrazie „Maria in sole” Geertgena tot Sint Jans (część II)

Abstract

The second part of the study of the painting Maria in sole by Geertgen tot Sint Jans from the Museum Boijmans van Beuningen in Rotterdam is divided into two sections. Both are accompanied by theological and iconographic reflections as well. The Christ Child playing two handbells is depicted at the moment of generating the very first movement, creative “energy”, first sound that is going to be taken up by one of the angel musicians holding the same idiophones. Christ, incarnated God is perceived as the Musicus initiating the heavenly harmony represented by the three angelic rings. Profanum aspects in that Marian work of art are reflected in the outermost ring where angels play various musical instruments which I interpret as an incomplete catalogue of the 15th century instruments; the main reference work is Musica getutscht und aussgezoge written in 1511 by Sebastian Virdung. Four thematic sections of the study are as follows: Et signum magnum paruit in caelo: mulier amicta sole / Rosarium Virginis Mariae / Motus autem non est ens completum, sed est via in ens... / Musica coelestis vel mundana