This article is about the Christian depiction of the Virgin Mary. For the DJ formerly known as The Black Madonna, see
The Blessed Madonna. For other uses of the term, see
Black Madonna (disambiguation).
The term Black Madonna or Black Virgin tends to refer to statues or paintings in Western
Christendom of the
Blessed Virgin Mary and the
Infant Jesus, where both figures are depicted with dark skin.[1] Examples of the Black Madonna can be found both in
Catholic and
Orthodox countries.
The paintings are usually
icons, which are
Byzantine in origin or style, some of which were produced in 13th- or 14th-century Italy. Other examples from the
Middle East,
Caucasus or
Africa, mainly
Egypt and
Ethiopia, are even older.[citation needed] Statues are often made of wood but are occasionally made of stone, painted, and up to 75 cm (30 in) tall. They fall into two main groups: free-standing upright figures or seated figures on a throne. About 400–500 Black Madonnas have been recorded in Europe, with the number related to how they are classified. There are at least 180 Vierges Noires in
Southern France alone. There are hundreds of copies made since the medieval era. Some are displayed in museums, but most are in churches or shrines and are venerated by believers. Some are associated with
miracles and attract substantial numbers of
pilgrims.
Black Madonnas come in different forms. Speculations behind the basis of the dark hue of each individual icon or statue vary greatly and some have been controversial. Explanations range from Madonnas made from dark wood, or Madonnas that have turned darker over time, due to factors such as aging or candle smoke, to a study by
Jungian scholar
Ean Begg into the potential pagan origins of the cult of the black Madonna and child.[2]
Another suggestion is that dark-skinned representations of pre-Christian deities were re-envisioned as the Madonna and child.[3]
Studies and research
Research into the Black Madonna phenomenon is limited. Begg links the refrain from the
Song of Solomon, ‘I am black, and I am beautiful’ to the
Queen of Sheba.[2] Recently, however, interest in this subject has gathered more momentum.
Important early studies of dark-skinned holy images in France were by
Camille Flammarion (1888),[4] Marie Durand-Lefebvre (1937), Emile Saillens (1945), and Jacques Huynen (1972).
The first notable study in English of the origin and meaning of the Black Madonnas appears to have been presented by Leonard Moss at a meeting of the
American Association for the Advancement of Science on December 28, 1952. Moss divided the images into three categories: (1) dark brown or black Madonnas with physiognomy and skin pigmentation matching that of the indigenous population; (2) various art forms that have turned black as a result of certain physical factors such as deterioration of lead-based pigments, accumulated smoke from the use of votive candles, and accumulation of grime over the ages, and (3) miracle-worker Madonnas, the focus of the study, Black Madonnas found in areas of a Roman legion and, therefore, not a reflection of the population's skin colour.[3]
In the cathedral at
Chartres, there were two Black Madonnas: Notre Dame de Pilar, a 1508 dark walnut copy of a 13th-century silver Madonna, standing atop a high pillar, surrounded by candles; and Notre Dame de Sous-Terre, a replica of an original destroyed during the French Revolution. Restoration work on the cathedral resulted in the painting in 2014 of Notre Dame de Pilar, to reflect an earlier 19th-century painted style. The statue is no longer a "Black Madonna" and the restoration was severely criticized for wiping away the past.[5][6]
Some scholars have chosen to explore the significance of the dark-skinned complexion to pilgrims and worshippers rather than focusing on whether this depiction was intentional. By virtue of their unusual presence, the Black Madonnas have sometimes acted to make their shrines revered pilgrimage sites.
Monique Scheer attributes the importance of the dark-skinned depiction to its connection with authenticity. The reason for this connection is the perceived age of the figures.[7]
Le Puy-en-Velay: In 1254 when passing through on his return from the Holy Land Saint
Louis IX of France gave the cathedral an ebony image of the Blessed Virgin clothed in gold brocade (
Notre-Dame du Puy). It was destroyed during the Revolution, but replaced at the Restoration with a copy that continues to be venerated.[25]
Toulouse: The basilica
Notre-Dame de la Daurade in
Toulouse, France had housed the shrine of a Black Madonna. The original icon was stolen in the fifteenth century, and its first replacement was burned by Revolutionaries in 1799 on the
Place du Capitole. The icon presented today is an 1807 copy of the fifteenth century Madonna. Blackened by the hosts of candles, the second Madonna was known from the sixteenth century as Our Lady La Noire[36]
Casale Monferrato (
Piedmont): Our Lady of Crea. In the hillside Sanctuary at Crea (Santuario di Crea), a cedar-wood figure, said to be one of three Black Virgins brought to Italy from the
Holy Land c. 345 by
St. Eusebius.
Gubbio,
Italy: The Niger-Regin square, discovered carved in
the cave of Sibilla Eugubina on
Mount Ingino, is considered to be a
word square form the "Black Queen". Seemingly of Neo-Templar origin, it is dated between 1600–1800 CE, was discovered in 2003, and destroyed by vandalism in 2012.[37][38][39]
Positano (
Campania): Located in the
church of Santa Maria Assunta, the story of how it got there—sailors shouting "Posa, posa!" ("Put it down, put it down!")—gave the town its name.
^
abMoss, Leonard W.; Cappannari, Stephen C. (1953). "The Black Madonna: An Example of Culture Borrowing". The Scientific Monthly. 76 (6): 319–324.
Bibcode:
1953SciMo..76..319M.
ISSN0096-3771.
JSTOR20482.
^L'Atmosphère : Météorologie populaire (1888), édition avec gravures
fr.
^Scheer, Monique (2002). "From Majesty to Mystery: Change in the Meanings of Black Madonnas from the Sixteenth to Nineteenth Centuries". The American Historical Review. 107 (5): 1412–1440.
doi:
10.1086/532852.
JSTOR10.1086/532852.
^"Algiers". interfaithmary.net. Archived from
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^"Senegal". interfaithmary.net. Archived from
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^"Soweto". interfaithmary.net. Archived from
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