Reflecting on the Visitation through Art

Art enables us to engage in visio divina, a visual contemplation of the Scripture. Each artist attempts to capture particular details and when we put a few works side by side, we can contrast them to discover the elements of the story they emphasized and illuminated.

Raphael draws out the connection to John the Baptist, adding another element of narrative with Jesus’ Baptism occurring in the background. Many scholars have connected this passage to David’s procession of the ark through Jerusalem, jumping for joy as John did in the womb, and we see Mary draped in blue in unusual fashion, tied around her should, emphasizing the color placed over the ark when it is moved (Numbers 4:6). Raphael enhances Mary’s womb, making it seem that she is further along in her pregnancy, which gives Jesus a more visible presence in the painting. Although she embraces Elizabeth, she gazes downward in humility, signifying that she magnifies the Lord over herself. We also see a glimpse of Zachariah’s testimony, as “the dawn from on high” breaks forth into the background, showing how this occurs with the Spirit’s coming into the world through Jesus.

Daret, a Flemish master, emphasizes the personal encounter of Mary and Elizabeth, as they gaze into each other’s eyes. Elizabeth’s touch shows her personal reverence for the coming of the Messiah and Mary’s role in His coming. Her other hand raises up in testimony that she stands before she who is the greatest among women. Her blue cope (signifying once again the divine presence) has the Ave Regina Coelorum written in gold along its edges, the Marian antiphon for Lent, which hails Mary as the root and door of the Savior. The abbot of St. Vaast, who commissioned the painting, models our entrance into the painting to contemplate the mystery to imitate Mary in her humility, which we see in the placing of his miter upon the ground.

Albertinelli brings us back to the Italian Renaissance and the garment colors used by Raphael. In both images, Mary’s blue outer robe covers a red garment underneath, symbolizing her human motherhood. Elizabeth wears gold in both images as well, showing her own importance as a descendant of Aaron (which may be the significance of the turban in Raphael’s depiction) and mother of the greatest man to be born of a woman. Albertinelli frames the scene within a group of arches, making it appear to take place in front of a shrine, another way of depicting the divine presence within the scene. The most moving aspect of his painting comes from the deep embrace of Mary and Elizabeth. As seen in many renditions, their hands meet, Mary’s gestures indicates her testimony of the Lord’s greatness, and Elizabeth honors her. Mary’s eyes are nearly closed and seem fixated on the Lord in prayer even as she glances at Elizabeth. Her cousin looks intently into her face with deep affection and reverence. Albertinelli captures the encounter powerfully.

Switching to sculpture for our next meditation, I find that della Robbia captures exactly how I would picture myself or anyone else before Mary. He portrays Mary’s youth, beauty, and purity well, but even more powerfully the falling down before her of a much older woman. This speaks much to Mary’s crucial role in salvation which Elizabeth acknowledges by this gesture. Elizabeth leans forward and wraps her arms around Mary as if not wanting to lose this moment and its great significance for the salvation of the human race. The Savior has come and she grasps the ark (not fearing the same for punishment as Uzzah for embracing her own cousin). Through Jesus God has become accessible and his Mother can be embraced in order to draw near to Him. Even Mary offers her own reassurance by strongly returning the embrace, grabbing on to Elizabeth’s shoulder in a way that would comfort anyone. Mary’s face captures both the nobility and greatness of her role, but also her littleness and humility through which she magnifies God.