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Easter Season · Year B

Visitation of the Blessed Virgin Mary

The Visitation, Domenico Ghirlandaio
The Visitation, Domenico Ghirlandaio, 1491Musée du Louvre, Paris
Painted for the Tornabuoni chapel in Florence and later taken to Paris, this is the moment Mary and Elizabeth meet, each carrying a child neither of them has yet explained to anyone. Ghirlandaio gives them a Florentine street rather than a Judean hill town, with two women standing by as witnesses.The whole scene is the setting for the Magnificat, so the painting shows the greeting that the song answers.Domenico GhirlandaioA Florentine fresco painter who ran one of the busiest workshops in the city and had the young Michelangelo as an apprentice. He put his patrons and their neighbours into sacred scenes, in the clothes they actually wore.Musée du Louvre, ParisA royal palace turned public museum by the Revolution in 1793, on the principle that what the king had owned now belonged to everyone.Musée du Louvre, Paris

Overview & Insights

“My soul magnifies the Lord, and my spirit rejoices in God my Savior.” (Luke 1:46-47)

Luke has built his infancy narrative out of paired scenes, and here the two annunciations meet. The greeting is exchanged between women, with no priest, no angel and no temple, and recognition comes first from the unborn child (v. 41), which takes up Gabriel’s promise that John would be filled with the Spirit before birth (1:15). Elizabeth’s beatitude in verse 45 praises belief, and stands against Zechariah’s silence, since he asked for proof and was given muteness (1:18-20). The song that follows depends closely on Hannah’s prayer at 1 Samuel 2:1-10, including the reversal of the mighty and the hungry, and a few Old Latin manuscripts attribute it to Elizabeth rather than Mary. Verse 56 sends Mary home and verse 57 brings Elizabeth’s own time to term, closing the pair the chapter opened.

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