The Virgin Annunciate
Maker unknown
Date: 16th century
Place Made: France
Materials & Techniques: Limestone
Dimensions: Height 98.1cm
Accession Number: Waddesdon Manor 5283
Printable Version (opens in a new window)
This sculpture was made to help people imagine one of the most important moments in the New Testament of the Bible. An angel appeared to the Virgin Mary and told her that she was going to give birth to a baby, Jesus, who was the son of God and would save the world. Originally, there probably would have been a figure of the angel facing this figure of the Virgin Mary.
The sculpture was carved from limestone. You can see the marks made by the tools used to gouge out the stone and then to texture the surface. The sculptor made the stone suggest an abundance of fine fabric, draped and gathered around the Virgin’s body. Look at the way the cloth is ruched tightly around her arms, but falls to the ground in wider, softer folds. The skin of the face and hands is smooth and uniform, in contrast with the elaborate patterns on her dress and the cover of her book. The sculptor carved delicate grooves to imitate the texture of her hair. Originally, the stone would have been painted and gilded, making the sculpture seem more lifelike and precious. There are still traces of pigment in some areas. Look at the blue on the robe.
Teachers' Information
In the 15th and 16th centuries, commentaries and images of the Annunciation show that different stages of the story illustrated different facets of the Virgin’s exemplary character. For example, painters often differentiated between her disquiet when the angel appeared to her and her reflection upon what his message might mean. The gesture and facial expression of this figure follow the conventions for representing her humble submission and acceptance of her role in God’s plan.
Limestone is composed mainly of calcium carbonate, much of it sedimentary and formed by fossil deposits. It can be polished and some types are sometimes described as marble (for example, Purbeck marble). Many of the great gothic cathedrals in France are built of limestone. The quarrying of the stone and the transportation of the blocks over long distances was an enormous feat and involved hundreds of people. Although limestone is relatively soft, it breaks easily if undercut, so it is easier for sculptors to make quite flattened forms than to have limbs or other elements projecting outwards. In the medieval and Renaissance periods limestone was frequently painted.
Activities
1. Discuss with your pupils what kind of space do they think the sculpture was originally placed? A public place? A quiet place? A church? A home? How might this sculpture help a worshipper worship God?
2. This sculpture was made long before electric light was invented. How would candlelight, oil-lamps or the changing light coming through a window have affected the way the sculpture appeared to people in the 16th century?
3. How many different textures can be found in this sculpture?
4. Ask the pupils to think about what the angel might look like? Can they draw him? How might an artist suggest that the angel had come from Heaven rather than from Earth?
5. Might the sculptor have suggested more movement in the figure of the angel as though he had just touched down? Or might he have the same stillness and calmness as Mary?