Mary Magdalene, Iconographic Studies from the Middle Ages to the Baroque examines the iconographic inventions in Magdalene imagery and the contextual factors that shaped her representation in visual art from the fourteenth to the seventeenth centuries. Unique to other saints in the medieval lexicon, images of Mary Magdalene were altered over time to satisfy the changing needs of her patrons as well as her audience. By shedding light on the relationship between the Magdalene and her patrons, both corporate and private, as well as the religious institutions and regions where her imagery is found, this anthology reveals the flexibility of the Magdalene’s character in art and, in essence, the reinvention of her iconography from one generation to the next.

Examines the iconographic inventions in Magdalene imagery and the contextual factors that shaped her representation in visual art from the fourteenth to the seventeenth centuries.

Taking the Noli me tangere and Doubting Thomas episodes as a focal point, this study examines how visual representations of two of the most compelling and related Christian stories engaged with changing devotional and cultural ideals in Renaissance and Baroque Italy. This book reconsiders depictions of the ambiguous encounter of Mary Magdalene and Christ in the garden (John 20:11-19, known as the Noli me tangere) and that of Christ?s post-Resurrection appearance to Thomas (John 20:24-29, the Doubting Thomas) as manifestations of complex theological and art theoretical milieus. By focusing on key artistic monuments of the Italian Renaissance and Baroque periods, the authors demonstrate a relationship between the rise of skeptical philosophy and empirical science, and the efficacy of the senses in the construction of belief. Further, the authors elucidate the differing representational strategies employed by artists to depict touch, and the ways in which these strategies were shaped by gender, social class, and educational level. Indeed, over time St. Thomas became an increasingly public--and therefore masculine--symbol of devotional verification, juridical inquiry, and empirical investigation, while St. Mary Magdalene provided a more private model for pious women, celebrating, mostly behind closed doors, the privileged and active participation of women in the faith. The authors rely on primary source material--paintings, sculptures, religious tracts, hagiography, popular sermons, and new documentary evidence. By reuniting their visual examples with important, often little-known textual sources, the authors reveal a complex relationship between visual imagery, the senses, contemporary attitudes toward gender, and the shaping of belief. Further, they add greater nuance to our understanding of the relationship between popular piety and the visual culture of the period.

The Digby Play of Mary Magdalene is a rare, surviving example of the Middle English saint play. It provides a window on the deep embedding of biblical drama and performance in late medieval devotional practices, social aspiration and critique, and religious discourses. Fully annotated and extensively glossed, this edition adds to the METS Drama series an essential resource for the study of late medieval English religious drama.

Beginning in the twelfth century, clergy and laity alike started wondering with intensity about the historical and developmental details of Jesus' early life. Was the Christ Child like other children, whose characteristics and capabilities depended on their age? Was he sweet and tender, or formidable and powerful? Not finding sufficient information in the Gospels, which are almost completely silent about Jesus' childhood, medieval Christians turned to centuries-old apocryphal texts for answers. In The Quest for the Christ Child in the Later Middle Ages, Mary Dzon demonstrates how these apocryphal legends fostered a vibrant and creative medieval piety. Popular tales about the Christ Child entertained the laity and at the same time were reviled by some members of the intellectual elite of the church. In either case, such legends, so persistent, left their mark on theological, devotional, and literary texts. The Cistercian abbot Aelred of Rievaulx urged his monastic readers to imitate the Christ Child's development through spiritual growth; Francis of Assisi encouraged his followers to emulate the Christ Child's poverty and rusticity; Thomas Aquinas, for his part, believed that apocryphal stories about the Christ Child would encourage youths to be presumptuous, while Birgitta of Sweden provided pious alternatives in her many Marian revelations. Through close readings of such writings, Dzon explores the continued transmission and appeal of apocryphal legends throughout the Middle Ages and demonstrates the significant impact that the Christ Child had in shaping the medieval religious imagination.

This innovative and multidisciplinary collection visits representations and interpretations of Mary Magdalene in the medieval and early modern periods, questioning major scholarly assumptions behind the examination of female saints and their depictions in medieval artworks, literature, and music. Mary Magdalene’s many and various characterizations from reformed prostitute to conversion-figure to devotee of Christ to "apostle to the apostles" to spiritual advisor to the Prince of Marseilles to hermit in the desert, to list just a few examples, mean that the many conflicted representations of Mary Magdalene apply to a staggering variety of cultural material, including art, liturgy, music, literature, theology, hagiography, and the historical record. Furthermore, Mary Magdalene has grown into an extremely popular and controversial figure due to recent books and movies concerning her, and due to a groundswell of general speculation concerning her relationship to Jesus: was she his acquaintance, follower, companion, wife, family-member, or lover? This volume employs a broad spectrum of theoretical methodologies in order to present poststructuralist, postcolonial, postmodernist, hagiographic, and feminist readings of the figure of Mary Magdalene, addressing and interrogating her conflicting roles and the precise relationship between her sacred and secular representations.

In Interruptions and Transitions Barbara Baert discusses the in-between space where humans and their artistic expression meet by linking the sensory experiences in medieval and early modern visual culture, the hermeneutics of imagery, and the interdisciplinarity of contemporary Art Sciences.