Our Lady of Tumours
2017; Elsevier BV; Volume: 18; Issue: 2 Linguagem: Inglês
10.1016/s1470-2045(17)30040-2
ISSN1474-5488
Autores Tópico(s)History of Medicine Studies
ResumoThe city of Ravenna (Italy) is universally known for its Roman and Byzantine architecture, included in the UNESCO World Heritage List. Not far from the Basilica of San Vitale and the Mausoleum of Galla Placidia, famous worldwide for the splendour of their mosaics, stands the Basilica of Santa Maria Maggiore, originally founded in the 6th century, but entirely rebuilt after a wall collapse in 1671. During reconstruction works in the 17th century, a fresco representing the Lady and the Child—which was previously on the southern wall close to the main entrance—was placed on the side altar. The fresco was detached from the wall and transferred to a baroque stucco frame with a garland of flowers, surrounded by angels. After the rebuilding, 18th century reports of the bishops' pastoral visits testified popular devotion towards this picture by those affected by cancer and, for this reason, the fresco was renamed “Sancta Maria a Tumoribus” (Our Lady of the Tumours). The painter is unknown. The fresco may have originally been part of a bigger image, such as the representation of Maestà (Majesty)—the enthroned Madonna with the Child accompanied with angels and saints. This hypothesis derives from the presence of a pointed throne behind the Madonna painted in a Giottesque style and of an angel (or possibly John the Baptist) to the right of the Madonna the side. The shape and colour of the Virgin's clothes suggest that the painting is of Renaissance origin. As to why the fresco has been dedicated to those suffering from cancer, it has been suggested that The Child, putting his hand on the arm of his mother, is asking for and giving protection, while his sweet eyes, addressing the faithful, gives them confidence and hope. The Virgin Mary looks away and sees beyond to the promise of eternal life for people affected by terminal illnesses.
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