Madonna and Child (c. 1150). James R. Johnson. Stained Glass window, Chartres Cathedral. Image courtesy of TIME (24 December 1951).
Same as above. Color probably more realistic. Image courtesy of Sacred Destinations.
I invite you to cry with Him in His bitter pain, . . . to become His disconsolate widow; [Emphasis added.] to see His grieving mother whose heart was pierced with a knife; to cry together with the stones, the sun, with heaven and earth, with all the elements, with the whole world over His incomparable torment. . . . Let us cry tenderly at the death of sweet Jesus. . . . Let us do penance, and with devout contrition let us humiliate ourselves before God.Interestingly McGowan points out that no one questions the reference to "His disconsolate widow." Kries (1997: 36) is no exception. He discusses the "provocative" imagery of "His grieving mother whose heart was pierced with a knife," but ends up describing the passage as Poliziano urging his listeners to "engage in flagellation."
SOURCE: Ronald Weissman, "Sacred Eloquence: Humanist Preaching and Lay Piety in Renaissance Florence," Christianity and the Renaissance (Syracuse, NY: Syracuse University Press, 1990), p. 261.
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