Sculpture - Fragment Of High Relief - Saint Mary Magdalene And Her Ointment Pot - High Period

Late 17th century France Superb fragment of a high relief in polychrome limestone, representing Saint Mary Magdalene, one of the most emblematic figures of Christian iconography. This fragment embodies the refinement of French Baroque sacred art. Mary Magdalene is shown here leaning over, holding her ointment jar – a symbol of her role as a repentant disciple and witness to the Passion of Christ. The background, richly decorated with gilding and star motifs, evokes the spiritual and aesthetic grandeur of an altarpiece or liturgical decoration to which this work probably belonged. Origin and symbolism of Mary Magdalene Originally from Magdala, a village on the shores of the Sea of Galilee, her name means “Mary of Magdala”. She first appears in the Gospels as a woman possessed by seven demons, whom Jesus frees (Luke 8:2). This episode marks a turning point in her life, and she becomes one of Christ’s most faithful disciples. She is often associated with the episode of the forgiven sinner (Luke 7:36–50), famous for anointing Jesus’ feet with precious ointment, bathing them with her tears, and wiping them with her hair—a powerful gesture embodying divine forgiveness. Mary Magdalene also plays a vital role at the most crucial moments in Jesus’ life: At the foot of the cross: She is one of the few people who remain with him during his crucifixion, alongside the Virgin Mary and the apostle John (John 19:25–26). At the tomb: She witnesses Jesus’ burial and returns with spices to anoint his body. Most importantly, she becomes the first witness to the Resurrection. In the Gospel of John (20:11–18), she discovers the empty tomb and meets the resurrected Jesus. He said to her: “Do not touch me” (Noli me tangere), making her “the apostle of the apostles”, bearer of the announcement of the Resurrection. Material: Polychrome limestone with traces of gilding and painting. Condition: Ancient fragment with wear, but retaining intact expressiveness. Context and probable use This fragment was part of a liturgical decoration – such as an altarpiece – designed to inspire the devotion of the faithful through its iconographic power. Iconographic references • “Magdalene with the pot of ointment” by Guido Reni (1640), where the saint is depicted in a contemplative posture close to this fragment. • “The Risen Christ before Mary Magdalene holding a pot of ointment”, where the pot becomes a central attribute of his role as witness. Dimensions: • Height: 22 cm • Width: 18 cm ALL DELIVERIES ARE MADE BY DHL EXPRESS ONLY.