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| Keywords: MARRIAGE OF THE VIRGIN MARY NEAPOLITAN SCHOOL PAINTING 76 x 103,5 cm Framed (some minor damages). Le mariage de la vierge Peinture Napolitaine Tableau Ecole napolitaine fin 17 eme début 18 eme, Peinture à l’Huile sur toile 76 x 103,5 cm, restaurations anciennes (rentoilage). Dans un cadre du 19eme siècle (légers dégâts) à vue cintrée dans la partie supérieure. The Marriage of the Virgin is the subject in Christian art depicting the marriage of the Virgin Mary and Saint Joseph. The marriage is not mentioned in the canonical Gospels but is covered in several apocryphalsources, and later redactions, notably the 14th century compilation the Golden Legend. Unlike many other scenes in Life of the Virgin cycles (like the Nativity of Mary and Presentation of Mary), it is not a feast in the church calendar. In the Eastern Orthodox tradition, essentially the same scene, with very similar iconography, is considered to represent the earlier scene of the “Entrusting of Mary to Joseph”, with Joseph being made Mary’s guardian by the temple authorities. In art the subject could be covered in several different scenes, and the betrothal of Mary, with Joseph’s blossoming rod, was often shown, despite its apocryphal origin. Wedding processions are also shown, especially in the Early Medieval period. 5cm marriageofthevirginmaryneapolitanpainting76x103 5cmframedsomeminordamageslemariagedelaviergepeinturenapolitainetableauecolenapolitainefin17emedébut18eme peintureàl’huilesurtoile76x103 restaurationsanciennesrentoilagedansuncadredu19emesièclelégersdégâtsàvuecintréedanslapartiesupérieurethemarriageofthevirginisthesubjectinchristianartdepictingthemarriageofthevirginmaryandsaintjosephthemarria andlaterredactions notablythe14thcenturycompilationthegoldenlegendunlikemanyotherscenesinlifeofthevirgincycleslikethenativityofmaryandpresentationofmary itisnotafeastinthechurchcalendarintheeasternorthodoxtradition essentiallythesamescene withverysimilariconography isconsideredtorepresenttheearliersceneofthe“entrustingofmarytojoseph” withjosephbeingmademary’sguardianbythetempleauthoritiesinartthesubjectcouldbecoveredinseveraldifferentscenes andthebetrothalofmary withjoseph’sblossomingrod wasoftenshown despiteitsapocryphaloriginweddingprocessionsarealsoshown especiallyintheearlymedievalperiod | ||||
