Meditating with an anonymous painter from the Basel school

Courageous women

In this impressive open Gothic altarpiece – a liturgical setting that highlights the altar where the Eucharist is celebrated – the Virgin Mary is depicted, in the centre, supporting the Child with one hand covered with her golden tunic and with the other, grasping him by the foot. In his left hand, the heavenly infant holds a bunch of grapes, already announcing the new wine of the Eucharist. Three other women surround the scene.

On the left panel, the relief depicting Saint Barbara recalls the fate of women mistreated by their families. On the right, the Egyptian saint Catherine, holding the sword of her martyrdom, bears witness to the spiritual wisdom that allows one to stand up to the powerful of all eras. The third woman is only indirectly evoked. On the predella, which serves as a support for the altarpiece, the Holy Face of Christ during his Passion evokes the gesture of Veronica and the holy women of Jerusalem. Of these courageous mothers who denounce injustice and violence with their tears.

During the liturgical seasons of Advent and Lent, the altarpiece is closed. A series of eight painted tableaux are then revealed, recounting the great moments in the life of the Virgin. Originally presented perhaps for the devotion of the faithful of a Swiss or Alsatian monastery, this gleaming Marian altarpiece will survive the profound changes to come. In 1517, a young Augustinian monk, Martin Luther, posted on the doors of his German church in Wittenberg a formal denunciation of the excesses of the Church of his time. With the Protestant Reformation, the Gothic golds will be extinguished. But the mystery of the Virgin and her Child will continue to shine.