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This work is part of a collection of six canvases depicting the life of the Virgin, all attributed to Palomino and dated to the beginning of the 18th century. The painting captures the visit of the Virgin Mary to her relative Saint Elizabeth to help her, as she had conceived Saint John the Baptist in her old age. As in the entire series, the painter used a triangular scheme that starts from a break of Glory at the top and embraces Mary and Elizabeth, who with their embrace recognizes Mary as the Mother of the Lord. In the center of the triangle is the Incarnate Word, reminding us that at the center of the Trinity beats a human heart.
This work is part of a collection of six canvases depicting the life of the Virgin, all attributed to Palomino and dated to the beginning of the 18th century. The painting captures the visit of the Virgin Mary to her relative Saint Elizabeth to help her, as she had conceived Saint John the Baptist in her old age. As in the entire series, the painter used a triangular scheme that starts from a break of Glory at the top and embraces Mary and Elizabeth, who with their embrace recognizes Mary as the Mother of the Lord. In the center of the triangle is the Incarnate Word, reminding us that at the center of the Trinity beats a human heart.
"Mary [...] entered the house of Zechariah and greeted Elizabeth. When Elizabeth heard Mary's greeting, the baby leaped in her womb. Elizabeth, filled with the Holy Spirit, [...] exclaimed: 'Blessed are you among women, and blessed is the fruit of your womb! Who am I that the mother of my Lord should visit me?'" Luke 1:39-45
"Mary [...] entered the house of Zechariah and greeted Elizabeth. When Elizabeth heard Mary's greeting, the baby leaped in her womb. Elizabeth, filled with the Holy Spirit, [...] exclaimed: 'Blessed are you among women, and blessed is the fruit of your womb! Who am I that the mother of my Lord should visit me?'" Luke 1:39-45
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