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Sacred Paintings

  • Home
  • New Page
  • Writings on the Theology of Art by James Patrick Reid
    • Fitly Framed Together: Art, Sports, and the Building Up of the Body of Christ
    • Matisse and Russian Icons
    • A Few Words on Traditional and Modern Art in the Light of Metaphysics
    • The Art of the Beautiful Lecture Series in New York
    • The Metaphysics of Art (Article in "The Catholic Thing")
    • Invisible Things Clearly Seen
    • Art and the Transfiguration of the World
  • Paintings by James Patrick Reid
  • The Iconography of The Baptism of Christ
  • The iconography in the "Annunciation"
  • The iconography in "Nazareth"
  • Byzantine Icons by the hand of James Patrick Reid
  • About James Patrick Reid
  • Blog -- Meditations on Sacred Masterworks
  • Contact
Vittore_Carpaccio_Birth_of_the_Virgin.jpg

The Birth of the Virgin Mary, painted by Vittore Carpaccio

September 08, 2016

This painting has a lot of open doorways, passages, and open curtains. These lead to its meaning. Saint Andrew of Crete, in a homily, stresses the liminal aspect of today's feast, the way the event transitions and opens onto the Incarnation of the Lord. In an antiphon from Lauds today we sing (with reference to Isaiah 11: 1-3) "When the most holy Virgin was born, the whole world was made radiant; blessed is the branch and blessed is the stem which bore such holy fruit." The hanging lamp and curtain (a reference to the Holy of Holies in the Temple) disclose a plaque inscribed in Hebrew: "Holy, holy, holy" (the song of the cherubim in the Temple in Isaiah 6); and "Blessed is He who comes in the Name of the Lord." (from Psalm 118, a song of procession to the Altar within the Temple, which song also contains the verse: "This is the Lord's own gate, where the Just One may enter."). All of this shows that the newborn child, Mary, is the Gate of the Lord and the Ark of the Covenant.

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Sacred Paintings Blog

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