Art Corner: Learn About the Art at Saint Mary

"The Holy Family in Egypt." It is by Francesco Mancini

By Richard Coones

I would like to call your attention to a beautiful print in the lobby of Saint Mary's Church in Tulsa. The piece is titled "The Holy Family in Egypt." It is by Francesco Mancini, an Italian painter whose life spans from the late Sixteenth to the early Seventeenth centuries. His work is typical of the Baroque era of art, featuring the darkened spaces and figure modeling of a technique called "sfumato", which means smokey. The brilliant light effects noticeable in the painting are also characteristic of the Baroque period. There were many artists of this time that painted in this style, with similar ways in the depiction of figures with dramatic poses and settings. In a Catholic context, this is called "Counter Reformation" art. The style was approved by the Church as an arm of their intentions to recover the allegiance of those who had endorsed the newly instituted sects of Protestantism which had gained a foothold in Europe at that time.

The painting reproduced in this print is one of especial richness in the qualities so valued in this period and subject, such as the characterization of the Holy Family members and accompanying figures, their facial expressions, the fluid ease of their body attitudes and costumes, and the integration of these in a space of effective focus and economy. The vertical format is dominated by diagonal thrusts, aligning the edges and axes of the figures in the general triangular scheme of a "Jacob's Ladder" composition. This device produces a central cavity within the picture that bears the Christ child. This diamond shaped region emphasizes the brilliant focus of light to which the observer's eye is drawn at the outset, and which all the rest of the painting is built around. The plan embodies the centrality of the baby Jesus, and all the other persons represented are merely a supporting cast. The painting is particularly good at conveying the tenderness of Mary's maternal attention and the intensity of Joseph's focus on the action at hand ; presenting some berries for the infant to taste.

Perhaps this work should be subtitled "The Weaning", since the artist is likely depicting the moment when foods other than milk are being introduced to the infant. At any rate, the picture is crammed with symbolism, which could be readily interpreted by people of this time, but is not so well understood in our age. Art work of this period inherits from medieval times the propensity to couch its message in symbolic terms, and almost everything in this picture tells a story of scriptural and theological import. The Virgin wears a robe of red, symbolizing love. She is wrapped in a mantle of blue, symbolizing her connection with God and eternity. Joseph's garb is brown and gray, the colors of practical and earthly concerns. Joseph, it is, who presents the weaning, tart tasting berries to Jesus who's acceptance marks the beginning of his turn to worldly matters, presaging his earthly mission. The berry, having many fruitlets, symbolizes people and, possibly, the Church. Jesus, turning to Joseph , grasps one of the berries, signifying his acceptance of his ministry. Mary seems to nod her approval. Jesus will depart from his family to pursue his assigned purpose ; to bring the good news of salvation and the nearness of the Kingdom of God. Mary, in this depiction, is withdrawing the saucer of milk. Note the milk jug and berry basket appearing in the lower left corner. Three angels accompany the Holy Family. One holds a nosegay of flowers and greenery over the Virgin's head ; a symbol of the crown of Mary's coronation; the white flower, an emblem of her purity. The angel is dressed in magenta ; symbolizing beautiful love. The other angels hold and read from a book ; usually standing for scripture and, in this case, prophecy. Behind and seeming to spring from the Virgin is a large tree, providing a dark mass in the upper area of the painting. In the context of this theme, it would symbolize the tree of life from the garden of Eden, since new life for the world will spring from Mary's womb. In the upper right corner, opposite from the lower left collection of symbols, is depicted an obelisk, representing Egypt and temples and buildings symbolizing Rome, the historical milieu of Christ's sojourn on earth.

The general scheme of this painting employs light from the upper left symbolizing the light of God's creation. The upper regions suggest universal concerns and powers, while the lower ones reflect humble, earthly matters. The left half of the work represents early times and basic provision, and the right half, the later vicissitudes of Christ's world. This symbolic scheme is not at all rare in art of this period. Nevertheless, Mancini has produced a masterpiece of consummate skill and reverent vision, which was probably featured over one of the main altars of an important chapel, perhaps one dedicated to the Virgin Mary. Among other involvements, it demonstrates Mancini's thorough grounding in the craftsmanship, style, and votive piety of his day.

About the Writer:

Richard Coones has been a resident of Tulsa and a member of Saint Mary's parish since 2001. He joined his wife Grace here after retiring from Northeastern State University at Tahlequah, OK. Richard taught the two dimensional art disciplines at the Northeastern Art Department. He was a professor for thirty six years. His study credentials include two degrees in art from the University of Texas, with minors in Art History. Further studies were taken in Venice, Italy and Mexico. Richard's interests include the natural sciences, psychology, history (ancient and modern), religeons, and philosophy. He and his wife, Grace, live and work as artists in their home studio in Tulsa.