Eia ergo advocata nostra
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|introduccion= | |introduccion= | ||
| − | <p>The inscription separating Heaven from Earth determines that this is the third | + | <p>The inscription separating Heaven from Earth determines that this is the third tapestry in the series. We can see the Virgin kneeling before the Trinity, as advocate and Saviour of men and women of all kind, who are represented with clothes of varying richness. The Brussels’ mark appears on the lower left selvage; the weaver’s is on the right one, partly covered by a clumsy restoration.</p> |
|textoficha1= | |textoficha1= | ||
<p><b>Mary kneeling</b></p> | <p><b>Mary kneeling</b></p> | ||
| − | <p>In contrast to the two previous tapestries, this one shows changes in the representation of Heaven. <b>Mary </b> | + | <p>In contrast to the two previous tapestries, this one shows changes in the representation of Heaven. <b>{{Detalle|texto=Mary|left=6739|top=1855|%=40}}</b> does appear, but not as the only or main figure, since she is kneeling in front of the <b>{{Detalle|texto=Trinity|left=4792|top=1879|%=20}}</b>. The angels flanking the group are repeated, though.</p> |
| − | <p>The inscription deployed at the feet of the group | + | <p>The inscription deployed at the feet of the group repeats the third part of the Hail literally: ‘Eia ergo advocata nostra, illos tvos misericordes ocvlos ad nos converte’ (Turn, then, most gracious advocate, your eyes of mercy toward us).</p> |
<p><b>Looking up at Heaven</b></p> | <p><b>Looking up at Heaven</b></p> | ||
| − | <p>There are no changes in the lower part of the tapestry as compared to the former ones. Two groups of figures, <b>women and men</b>, placed on right and left, have phylacteries with texts from the Old Testament. For ease of reference, they include the book and chapter where they come from: | + | <p>There are no changes in the lower part of the tapestry as compared to the former ones. Two groups of figures, <b>{{Detalle|texto=women|left=8331|top=3691|%=40}}</b> and <b>{{Detalle|texto=men|left=2064|top=3915|%=30}}</b>, placed on right and left, have phylacteries with texts from the Old Testament. For ease of reference, they include the book and chapter where they come from: EXO (<i>Exodus</i>), IRE (1 <i>Kings</i>)... In the centre there are three successive planes with characters of varying statuses, as shown by the quality of their garments, all praying while looking up to Heaven.</p> |
| − | + | ||
| − | EXO (Exodus), IRE (1 Kings)... In the | + | |
<p><b>A town asking for help</b></p> | <p><b>A town asking for help</b></p> | ||
| − | <p>As in the other | + | <p>As in the other pieces in the cycle, the landscape adds its own meaning through nature and buildings. In the background we can see a <b>{{Detalle|texto=town|left=9136|top=2536|%=40}}</b> in fire, with many neighbours coming out to beg the Virgin for help, thus enhancing the Saviour-like nature of the Marian cycle of these four tapestries.</p> |
{{tabla1| | {{tabla1| | ||
| − | <p><b> | + | <p><b>Series</b> <i>The Hail</i></p> |
| + | <p>Third tapestry in the series</p> | ||
<p><b>Manufacture </b>Brussels’ workshops, a possible manufacture by Marc Crétif, c. 1528</p> | <p><b>Manufacture </b>Brussels’ workshops, a possible manufacture by Marc Crétif, c. 1528</p> | ||
<p><b>Size </b>412 x 656 cm</p> | <p><b>Size </b>412 x 656 cm</p> | ||
| Line 35: | Line 34: | ||
<p><b>Location </b>Cathedral of Palencia</p> | <p><b>Location </b>Cathedral of Palencia</p> | ||
<p><b>Origin </b>A bequest of Bishop Fonseca in 1529</p> | <p><b>Origin </b>A bequest of Bishop Fonseca in 1529</p> | ||
| − | <p><b> | + | <p><b>On display </b> North wing of the crossing</p> |
}} | }} | ||
Latest revision as of 13:59, 25 November 2014
The inscription separating Heaven from Earth determines that this is the third tapestry in the series. We can see the Virgin kneeling before the Trinity, as advocate and Saviour of men and women of all kind, who are represented with clothes of varying richness. The Brussels’ mark appears on the lower left selvage; the weaver’s is on the right one, partly covered by a clumsy restoration.
Mary kneeling
In contrast to the two previous tapestries, this one shows changes in the representation of Heaven. Mary does appear, but not as the only or main figure, since she is kneeling in front of the Trinity. The angels flanking the group are repeated, though.
The inscription deployed at the feet of the group repeats the third part of the Hail literally: ‘Eia ergo advocata nostra, illos tvos misericordes ocvlos ad nos converte’ (Turn, then, most gracious advocate, your eyes of mercy toward us).
Looking up at Heaven
There are no changes in the lower part of the tapestry as compared to the former ones. Two groups of figures, women and men, placed on right and left, have phylacteries with texts from the Old Testament. For ease of reference, they include the book and chapter where they come from: EXO (Exodus), IRE (1 Kings)... In the centre there are three successive planes with characters of varying statuses, as shown by the quality of their garments, all praying while looking up to Heaven.
A town asking for help
As in the other pieces in the cycle, the landscape adds its own meaning through nature and buildings. In the background we can see a town in fire, with many neighbours coming out to beg the Virgin for help, thus enhancing the Saviour-like nature of the Marian cycle of these four tapestries.
Series The Hail
Third tapestry in the series
Manufacture Brussels’ workshops, a possible manufacture by Marc Crétif, c. 1528
Size 412 x 656 cm
Fabric Silk and wool
Location Cathedral of Palencia
Origin A bequest of Bishop Fonseca in 1529
On display North wing of the crossing
MAZ
