Mariazell miraculous image

Mariazell miraculous image
King Louis I of Hungary and Poland (1326-1382)
Late 15th/early 16th century
Oil on canvas
In a masterfully carved frame
50 x 43.5 cm, with frame 106 x 106 cm
Slight loss of color, frame restored

This painting from around 1500 is a high-quality repetition of the famous Mariazell painting of Our Lady of Grace, which goes back to King Louis I of Hungary (ruled 1342–1382). According to legend, the king had this painting made as a votive offering to the pilgrimage church of Mariazell to express his gratitude for a victorious battle. Mariazell subsequently developed into one of the most important pilgrimage sites in Central Europe and received special patronage from Hungarian kings. The icon of Mary was considered the patron saint of Hungary and was copied many times, especially in Hungary, Austria and Bavaria.
The work shown here depicts Mary in the traditional Hodegetria representation: she is carrying the Christ Child in her right arm, who looks at his mother with a blessing or speaking gesture. Mary, on the other hand, looks at the viewer – a deliberate iconographic decision that shows her as a mediator between man and God.
The background is decorated with a pattern of golden fleur-de-lis on a blue background – a royal symbol that also emphasizes the special devotion of Hungarian rulers to Mary. Her robes are richly decorated: the golden dress underlines her heavenly majesty, as does that of the child. The blue cloak – a color that in Marian iconography stands for purity, infinity and heaven – is additionally embroidered with the Hungarian double cross, symbolizing Mary’s close connection with the Hungarian crown. The gem-studded nimbus is a sign of her holiness and royal dignity.
Another masterful element of this work is the lavishly carved frame from the Roman cultural area, dating from around 1700. Coats of arms and animals are incorporated into the illusionistic Gothic carving, which may indicate the donor or regional references. Particularly impressive is the sculpted vine frame, with dense, fleshy tendrils growing out of a bouquet and unfolding upwards into three magnificent flowers. This masterfully carved framing enhances the solemn presence of the Madonna and underlines the high artistic quality of the painting.
Such repetitions of the Mariazell image of grace were highly valued objects of piety in aristocratic and ecclesiastical circles. They served not only as objects of personal devotion, but also as expressions of dynasty, claim to power and protection under Mary’s patronage. This high-quality example, with its exquisite painting and framing, is an outstanding testimony to Gothic Marian devotion and courtly sacred art.