Donatello's Mary Magdalen: A Model of Courage and Survival

Author(s): Martha Levine Dunkelman

Source: Woman's Art Journal , Autumn, 2005 - Winter, 2006, Vol. 26, No. 2 (Autumn,
2005 - Winter, 2006), pp. 10-13
Published by: Woman's Art Inc.

Stable URL: https://www.jstor.org/stable/3598092

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 DONATELLO'S MARY MAGDALEN
A Model of Courage and Survival
By Martha Levine Dunkelman

he Mary Magdalen by Donatello (here dated late 1430s;

Donatello's statue belongs to a particular type that shows the
Fig. 1) is one of the most famous expressions of female
during the 30-year period spent fasting and repenting at the e
emotion in the history of Western art. She has become an Biographies that would have been well known in Dona
her life.
iconic image of a suffering woman, her photograph offered in books
circles vividly describe her renunciation of material possession
and classes as an example of penitence and of Renaissance realism.
her covering herself only with her long hair. Jacobus da Voragine
Yet when we investigate the historical record, we discovercount
that itin the Golden Legend, for example, describes how she re
does not tell us with any certainty either to whom she was meant to and lived without food, because she "knew that Jesus w
to a cave
express her feelings or why she was made to look so dramatic. Per-
to sustain her with naught but heavenly meats, allowing her no ea
haps her image has become so familiar that we do not question it.
satisfaction."' The Magdalen as a penitent appears in numerous
Echoing Vasari, who described her as "washed away by herples in Florentine art before Donatello. In some cases she is sho
fast-
her rav-
ings," she has almost universally been described as weakened and wilderness retreat in the context of a narrative cycle, as in
aged, starved and exhausted by her years of penance.' She hasCappella
sunken del Podesta in the Bargello, where she is covered wit
eyes, an open mouth, broken teeth, and an unsteady pose. Her hair
trademark long blond tresses.' A more precise prototype for Do
falls in jumbled clumps around her face and down her body. lo's Her
statue can be found in the panel now in the Accademia, p
by a late-13th-century
muscles are taut and strained, the veins and sinews forming ropes in master, which isolates the Magdalen in a
her neck. But despite her slenderness and harrowing features,centraltheimage. The inscription on her scroll tells those who
widespread clich6 that she is emaciated and weak needs to sinned be chal- not to despair and to return to God by following her exam
lenged. Beyond the horrifying face and the elongated torso, Other signs ofexamples in Florence of the Magdalen as a penitent cover
strength are evident. This is most obvious in her arms, which theherartist
long hair include 14th-century frescoes from Santa Maria
made strikingly muscular (Fig. 2). Her hair, though dishevelled, giore
is lux-and Santa Trinita (the latter attributed to Cenni di Franc
uriant. She is thin and unhappy, but not skeletal and psychotic, as
and Filippo Lippi's Annalena altar of 1455 in the Uffizi."o
writers have often claimed.2 Her gesture and pose can actually be this iconic and penitential type, Donatello's figure is
Within
of a subgroup that is known through five surviving wooden st
read as indicating determined action rather than imminent collapse.
from the 15th century." There were probably more.'2 All of
In fact, her face and upright figure illustrate not only the frequently
emphasized pain and suffering but also a great deal of strength worksandare approximately life-size and show Mary Magdalen, c
her long locks of hair, in an attitude of penitence, usually wit
endurance. She can be read as a representation of continuing physical
and emotional tenacity in the face of adversity--her suffering hands
havingclasped in a gesture of prayer. The earliest of the group
increased her power. Perhaps her earliest audience, less burdenedto beby a statue in Pescia, probably from the early years of th
century (Fig. 3). The Pescia image is calm and smooth, her r
traditional descriptions, was able to see this directly.
During Donatello's day Saint Mary Magdalen was known as aand long hair sufficient to stand for her penitential stat
hands
woman who had lived a life of sin (understood as prostitution), had a expressive sculpture alters the type completely, empha
natello's
number of interactions with Christ during his ministry, and her
had physical
the and mental anguish, and also her strength and det
nation, even combativeness. The figure's influence on subseq
particular distinction of being the first to see him after his Resurrec-
tion. There were many other activities assigned to her both images
during of the Magdalen was immediate and profound. Nume
later
and after Christ's lifetime, including a period of some 30 years paintings and sculptures adopt Donatello's type, inclu
at the
Desiderio
end of her life when she was supposed to have lived as a solitary pen- da Settignano's wooden figure in Santa Trinita and
itent in the wilderness.3 laiuolo's altarpiece in Staggia.'3
In early-Renaissance Florence the saint enjoyed particular popu-
A partial explanation of the Magdalen's startling and origina
pearance
larity, inspired in great part by the special interest taken in her by the can certainly be found in Donatello's propensity to ex
outwardly the psychological dramas his subjects undergo, see
powerful mendicant religious orders, the Franciscans and Domini-
cans. Both groups praised and recommended the kind of penitenceexample, in his open mouthed Zuccone or wooden Saint Joh
that the Magdalen was said to have experienced. The connection Baptist
be-(1438; Fig. 4) in the Frari in Venice. Some impetus may
tween the mendicant orders and the many images of the Magdalen come from the enthusiasm for penitential piety being preach
in 15th-century Florence that emphasize her penitence has the been
mendicant orders, led by Bishop Antoninus. But the mendi
devotion
well explored, particularly by Sarah Wilk.4 The saint's significance as to the Magdalen was actually not new in Donatello'
an example to women, actively encouraged by Saint Antoninus in had apparently been content with less violent images
and they
Florence but also apparent earlier, is also well known,5 andDonatello
is con- created his alternative.
firmed by the fact that many representations had female patrons.' It is difficult to establish a conclusive explanation for Donat
Most recent studies of the saint, however, brush past Donatello's
interpretation of the saint or to determine her primary audienc
wooden Magdalen rather quickly, even while acknowledging thisdespite the statue's fame, what is known of her history is i
cause,
work as original and powerful. It is as if her agonized and penitential
plete. No documents from the 15th century are known, so it is no
nature is so obvious that it needs no further consideration. sible to ascertain the precise date of her creation, her original loc
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 by Raffaellino dei Carli from Santa Maria Maddalena di Cestello in
Florence.'9 The fact that the Magdalen is not completely finished at
the back suggests that she might have originally been in such a
frame, as proposed by her modern restorer, Umberto Baldini.?
The idea that the Magdalen was in the Baptistry before 1500 is also
thrown into doubt by the fact that a 1469 description of the building
and its contents, by Domenico Corella, does not mention the work. Al-
though Corella admits that his account is incomplete, a life-size statue
by the most famous sculptor of the century, who had died only three
years before, would very probably have been included in a list of the
Baptistry's notable items.2' Its omission increases the uncertainty about
the Baptistry as the Magdalen's earliest location.
Furthermore, there were other locations in Florence with con-
nections to Saint Mary Magdalen where her image would have been
perhaps even more appropriate than the Baptistry. Of these, the
type where such a multilayered representation of a woman's suffer-
Fig. 2. Detail of Fig. 1.
ing and vindication might have had the strongest meaning were in-
stitutions that housed convertite, converted prostitutes, whose pa-
or her patrons. The earliest sur- tron saint is the Magdalen. Such organizations grew significantly in
viving notice places her in the number during the 14th and 15th centuries. Along with the mendi-
Baptistry of Florence as early as cants, the Augustinians were also active in rehabilitating prosti-
1500. A document of October tutes. Bishop Antoninus's belief that
30, 1500, refers to the act of re-the Magdalen regained mental, if not
turning her to the Baptistry, not-corporeal, virginity through penitence
ing that "the image of St. Mary must have been particularly meaning-
Magdalen that used to be in the ful to penitent prostitutes.23 Many
painted and sculpted images of the
Baptistry and was then removed
saint can be connected with them, in
and put in the workshop, is being
Florence and elsewhere. One later
put back in the church."'4 Anoth-
wooden figure of the Magdalen, for
er document of the same year
somewhat ambiguously speaks of example, which clearly depends on
her as being newly (nuovamente) Donatello's type, was very likely
housed in an institution for the conver-
placed in the building. It is im-
tite associated with Santo Spirito,
possible to tell if this means that
known as Sant' Elisabetta delle Conver-
she was being placed there for
tite but dedicated to the Magdalen.2"
the first time, or installed anew
in a location from which she had The statue undoubtedly would have
been temporarily removed.'5 She served as an inspiration for the fallen
remained in the Baptistry, al- and repentant women who lived with
though not always in the same her. Its artist clearly saw Donatello's
spot, until she was swept away prototype as a logical choice for the role
Fig. 1. Donatello, Mary'
during the great flood in Flo- the figure was to play, perhaps because
Magdalen (here dated late 1430s), wood
rence in 1966. After she was re- the earlier work had been produced for
with gilding and polychromy, 73" h.
covered and cleaned, a process a similar location.Y Further references
Museo dell'Opera del Duomo, Florence.
Photo: Scala/Art Resource, NY.
that revealed much of her origi- to Donatello's Magdalen being used
nal polychrome and gilding, she for a convent audience can be seen in
was placed in her present location in the Museo dell'Opera del Duo- Botticelli's Trinity (c. 1490), also
known as the Pala delle Convertite,
mo. The statue's long occupancy in the Baptistry, along with the fact
that Mary Magdalen is sometimes associated with John the Baptist aswhich
a was the high altarpiece for Sant'
Elisabetta delle Convertite. It includes
fellow penitent, has led to a general acceptance that she was originally
intended to be there.'6 several images of the Magdalen, two of
which are direct echoes of Donatello's
A few scholars, particularly Deborah Strom, have questioned this
assumption, although without offering conclusive alternatives."7 And,type, one in the main panel, another in
indeed, there are serious problems with the claim that the Magdalen the predella scene where the saint is
was commissioned for the Baptistry. First, the positioning of a wood-being carried to heaven, again suggest-
ing that Donatello's figure was the one
en statue by itself along the multicolored walls of the Baptistry would
have been unusual. Most wooden figures of the period for which weto turn to in creating imagery for re-
pentant women.?
know the original locations were more comfortably incorporated into
chapels or onto altarpieces. As John Paoletti notes, wooden sculp- It makes sense that women who had Fig. 3. Unknown artist,
turned from a life of sin to life in a reli- Magdalen (early 1400s),
tures were often meant to have a heightened sense of immediacy
and "sacral presence."'8 They were frequently accompanied by paint-gious community would respond to both wood with gilding, 70" h.
ed wings that set them apart, as in the altarpiece with a sculpted the intense regret and the strong will to Santa Maria Maddalena,
survive that can be seen in Donatello's Pescia.
Saint Sebastian in the center by Lorenzo del Tasso and wings painted

0)
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work. His figure, battered but not bowed, seems so
appropriate for the particular circumstances of the
convertite that it is worth suggesting that such a
group formed his original audience and that he
conceived the figure with their situation in mind.
If this hypothesis is correct, then, as so often in his
career, Donatello reconfigured a familiar subject
in response to specific circumstances and came up
with an entirely new interpretation. His Magdalen
would have communicated with women who
looked at it, offering them a visual image of
strength undestroyed by suffering.
Among the institutions that housed convertite
in Donatello's Florence, there is one that offers
some connections to the sculptor. The convent of
Santa Maria Maddalena di Cestello, which survives
today in completely remodeled form as Santa
Maria Maddalena de'Pazzi, provided refuge to re-
pentant prostitutes and other fallen women until at
least 1442. The church and convent at Cestello
were founded in the middle of the 13th century as
a home for penitent women. In 1321 the institu-
tion came under the supervision of Cistercian nuns
and apparently remained a refuge for women with
questionable pasts. In 1442 the nuns, and perhaps
the women in their care, were replaced by Cister-
cian monks from a nearby abbey who needed a
base in Florence. In 1481 Cestello underwent a
major renovation, making it very hard to recon-
struct what it may have looked like in the middle of
the century.27 It seems likely that such an institu-
tion would have possessed a statue of the Mag-
dalen, as did Sant'Elisabetta delle Convertite. A Fig.
Baptist (1438), wood with gilding
few pieces of circumstantial evidence allow for the
hypothesis that Donatello's figure may have beenand polychromy, 56" h. Santa Maria
the one that served them.
First, other works attributed to Donatello arePhoto: Scala/Art Resource, NY.
mentioned as being in the church at
the time of the remodeling, including
a marble sacrament tabernacle with
bronze doors by the sculptor." This
suggests that he had a relationship
with the institution. The Cavalcanti
family was among those involved in
the patronage of the church, and Do-
natello worked for them on at least
one other project, the Annunciation
in Santa Croce, so they may even
have been the family who brought
him in to work at Cestello. Further-
more, the Virgin and Child in Glory
with Saints Mary Magdalen and
Bernard, by Botticini, now in the
Louvre, became the high altar for
Cestello in about 1485 (Fig. 5).29 It
includes an image of the Magdalen
that is clearly derived from Donatel-
lo's and could even reflect the pres-
ence of the statue in the convent. Fi-
nally, a tantalizing document of 1503
refers to an unidentified painted Fig. 5. Botticini, Virgin and Child in Glory with Saints Mary
Magdalen behind the altar, which it Magdalen and Bernard (c. 1485), panel, 74" x 70". The Louvre.
would be tempting to associate with
0 WOMAN'S ART JOURNAL
4. Donatello, St. John the
dei Frari, Venice.
Photo: Eric Lessing/Art Resource, NY.
Donatello's work, although it was supposed to
have been in the Baptistry by 1500.0
These bits and pieces make it attractive to pos-
tulate that Donatello's Magdalen was made for
Cestello when it housed repentant prostitutes. A
new date for the figure can also be suggested.
Most scholars date the work to the 1450s, at the
end of the artist's life, finding her extreme emo-
tionalism an example of his late style, as seen in
the bronze St. John the Baptist in the cathedral
of Siena, which is securely documented as 1457.1
A presumed derivative of the Magdalen at Em-
poli has been dated 1455 and used to establish a
time by which she must have been executed.32
This dating, however, rests on very tenuous
grounds, as discussed by Strom.? As she notes, a
serious challenge to the late style theory was pre-
sented by the modern revelation of the date of
1438 on the base of the wooden St. John the
Baptist in the Frari in Venice. Until its cleaning
in the 1970s, the Frari statue was viewed as an-
other example of Donatello's late style. Its earlier
date, however, opens the possibility that the
Magdalen was also done considerably earlier in
his life than is generally assumed. And, indeed,
more than the bronze Baptist of the 1450s, the
Magdalen closely resembles the wooden figure of
1438 in her proportions, facial features, and per-
haps most tellingly, in the texture of her long
hair, which repeats the regular waves seen in the
Frari figure rather than the wild and ruffled sur-
face of the Siena work. If the Magdalen was in-
deed made for the convent at Cestello, she
would most likely have been completed before
1442, when the nuns were replaced and the con-
vertite may have moved out as well. That would
put her execution at about the same time as the
wooden Baptist.
Women felt a special connection to
Mary Magdalen, and her image was
placed in many institutions for
women. If it is accepted that the con-
vent at Cestello is a more likely
provenance for Donatello's image
than the Baptistry, perhaps we can
imagine that the patrons at Cestello,
charged with the care of fallen
women, turned to Donatello to make
them a role model more vivid and
compassionate than any that had ever
before been provided to an audience
of compromised women. In Mary
Magdalen, with her intensity of feel-
ing and with a body that combines
terrible stress and enduring power,
he gave them an image that included
not only the most painful form of re-
morse, as has always been recognized
in this work, but also, as I suggest, a
figure who communicates a powerful
message of perseverance and sur-
vival. Mary Magdalen is not just a
worn and emaciated figure but one

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who retains the force to cry out and the strength to carry on. As such, Donatello (Princeton: Princeton University, 1963), 190.
she would have given a message of courage and hope to an audience 15. Maud Cruttwell, Donatello (London: Methuen, 1911), 53.
of women trying to rebuild their lives. e 16. John Pope-Hennessy, Donatello (New York: Abbeville, 1993),
276-77, 347, among many others.
NOTES 17. Strom, "New Chronology," 243; Enzo Settesoldi, Donatello e I'Opera
1. Adjectives that emphasize how thin she is can be del
found
Duomo in virtually
di Firenze (Florence: Scala, 1986), 60-62; and Charles Avery,
every description beginning with Giorgio Vasari, LivesDonatello,
of theCatalogo Completo
Artists, delle opere (Florence: Cantini, 1991), 130,
I, George
are among the few
Bull, trans. (London: Penguin, 1965), 176. Joachim Poeschke, who make some
Donatello andalternative suggestions.
His World (New York: Abrams, 1993), 403, sees her 18.
asJohn
meek and"Wooden
T. Paoletti, exhaust-
Sculpture in Italy as Sacral Presence," Art-
ed, and Arthur Rosenauer, Donatello (Milan: Electa, ibus et Historiae,
1993), 246-49,26 (1992),
calls85-100.
her
a "mummia vivente." 19. Alison Luchs, Cestello, A Cistercian Church of the Florentine Renais-
sance (New
2. Bonnie A. Bennett and David G. Wilkins, Donatello York:Kisco,
(Mt. Garland, 1977),
N.Y.: 97. Eric Apfelstadt, "Antonio Rossellino's
Moyer Bell, 1984), 215-17, are among the few whoEmpoli
senseSt. Sebastian,"
in theand Steven Bule, Verrocchio and Late Quattrocento
Magdalen
Italian Sculpture (Florence:
the message of hope and beauty mixed in with the penitential mood,Leeven
Lettere, 1992), 201-02, among others, discuss
noting her muscular arms. sculpted figures used as central figures in altarpieces.
3. Jacobus de Voragine, Golden Legend, Granger Ryan 20.
andUmberto
HelmutBaldini, Firenze Restaura (Florence: Sansoni, 1972), 62.
Ripperger,
trans. (London: Longmans, Green, 1941), 36061; Kelly 21. Creighton Gilbert, Italian Art 1400-1500 (Englewood Cliffs, N.J.:
Barnes-Oliver,
"Legendary Penance, Donatello's Wooden Magdalen," Prentice Hall, 1980),(1999),
Athanor 150. 25-33.
22. See Jansen,
4. Sarah Wilk, "The Cult of Mary Magdalen in Fifteenth CenturyMaking Florence
of the Magdalen, 107, with earlier bibliography,
and its Iconography," Studi Medievali (1985), 685-98. Seethe
regarding also Nurith
growth Ke-
of communities of penitent women under the
naan-Kedar, "Emotion, Beauty and Franciscan Piety, patronage
A New Reading
of the Magdalen inof
Italythe
beginning in the early-1i 3th century.
23. Wilk,
Magdalene Chapel in the Lower Church of Assisi," Studi "Cult of Mary
Medievali Magdalen," 691-96, and Pope-Hennessy,
(1985),
Donatello, 277,
699-710. Neal Raymond Clemens, Jr., in The Establishment of have
the analyzed
Cult the
ofMagdalen's special meaning to Bishop
Mary Magdalen in Provence, 1279-7543 (unpublishedAntoninus.
doctoral dissertation,
24. See,
Columbia University, 1997) emphasizes her importance to among
the others, Alan Phipps Darr and Rona Roisman, "Francesco da
Dominicans.
Sangallo, a Rediscovered
Katharine Ludwig Jansen, Making of the Magdalen (Princeton: Early Donatellesque 'Magdalen' and Two Wills from
Princeton
1574
University, 2000), 135, 177, 194, 199-246, discusses and 1576,"
the use of Burlington
the Magazine (December 1987), 784-93, and
Magdalen to control women's behavior. Sherrill Cohen, The Evolution of Women's Asylums Since 1500 (New York:
Oxford
5. Daniel Russo, "Entre Christ et Marie, la Madeleine University,
dans I'Art 1992), 36, 191. des
Italien
25. At least
Xllle-XVe Siecles," in Eve Duperray, ed., Marie Madeleine danstwo other wooden Magdalens from the period, that by Desiderio
la Mystique,
les Arts et les Lettres (Paris: Beauchesne, 1989), 1 82.
now in Santa Trinita in Florence, and one in Empoli, were paid for by women,
indicating Desiderio
6. Arnold Victor Coonin, "New Documents Concerning that the theme was
daone that appealed to women. See Louis Alexander
Settignano and Annalena Malatesta," Burlington Magazine
Waldman, "The(December
Mary Magdalen in 1995),
Santa Trinita by Desiderio da Settignano
and Giovanni d'Andrea,"
792-99. Marilena Mosco, La Maddalena tra Sacro e Profano (Florence: Pantheon (2000), 13-18.
Mon-
26. See Ronald
dadori, 1986), 49, transcribes the inscription on the wooden Lightbown, Sandro
Magdalen Botticelli, Life and Work (New York:
in Em-
poli, which refers to "Monna" (lady) "Nana Figliuola Abbeville,
di S(er)1989), 202-07, PI. 79.
Michele."
7. Voragine, Golden Legend, 360-61. 27. Luchs, Cestello: A Cistercian Church; Jansen, Making of the Magdalen,
180; the
8. See Janis Elliott, "The Judgment of the Commune, Cohen,Frescoes
Evolution of Women's
of theAsylums, 16. Other works for Cestello
also celebrated the (1998),
Magdalen Chapel in Florence," Zeitschrift fur Kunstgeschichte saint, such as Cosimo Rosselli's Coronation, discussed in
509-
Dario A. Covi,with
19. For earlier images of the penitent Magdalen, beginning "A Documented Altar-piece
a fresco of by Cosimo Rosselli," Art
Bulletin (June
1225 in San Prospero in Perugia, signed by Bonamicus, see 1971),
Mosco,236-38. La Mad-
dalena, 31-37. 28. Luchs, Cestello: A Cistercian Church, 107, 251; Cornelius de Fabriczy,
9. Joanna Cannon, "Beyond the Limitations of Visual Typology: "Memorie sulla chiesa di S. Maria Maddalena de'Pazzi a Firenze e sulla
Reconsidering the Function and Audience of Three Vita Panels of Women Badia di S. Salvatore a Settimo," L'Arte (1906), 256, 262, n. 27, where a
Saints c. 1300," in Victor M. Schmidt, ed., Italian Panel Painting of the terracotta relief from the high altar is mentioned.
Duecento and Trecento (New Haven, Yale University, 2002), 302; Mosco, 29. Richard Cocke, "Raphael's Curtain," Art Bulletin (June 1984), 329;
La Maddalena, 43-45. Lisa Venturini, Francesco Botticini (Florence: EDIFIR, 1994), 79.
10. See Jansen, Making of the Magdalen, figs. 42 and 43, and Coonin, 30. Luchs, Cestello: A Cistercian Church, 79, 308. The document records
"New Documents," 793. a payment for "la dipintura d'una santa maria Maddalena dipinta dietro
11. The most thorough reviews of these works are in Mosco, La Maddalena, all'altare grande di cestello." Luchs associates it with Botticini's painting for the
48-52, and Deborah Strom, "A New Chronology for Donatello's Wooden high altar.
Sculpture," Pantheon (July-September 1980), 239-48; Strom includes a 31. For example, Janson, Sculpture of Donatello, 190-91; Pope-Hennessy,
statuette in the Victoria and Albert Museum in the group. Donatello, 276-77.
12. Sources describe one, for example, that was executed by Donatello's 32. Horst W. Janson, "Giovanni Cellini's Libro and Donatello," 16
contemporary and friend Brunelleschi in about 1420 for the church of Santo Studies (New York: Abrams, 1973), 1 1 1, n. 5, questions the idea of a direct
Spirito, but was destroyed by a fire in 1471. Cornelius von Fabriczy, II Libro dependence of the Empoli figure on Donatello's and suggests a common
di Antonio Billi (Florence: Gregg, 1891), 316, and II Codice dell'anonimo prototype for both.
Goddiano (Florence: Gregg, 1893), 60. 33. Strom, "New Chronology," 241-44.
13. Alison Wright, "Pollaiuolo's 'Elevation of the Magdalen' and an
early Patron," Burlington Magazine (July 1997), 444-51. Other painted Martha Dunkelman, Chair of the Department of Fine Arts at Cani-
examples include an altar by Filippino Lippi in the Accademia, Florence. See sius College, Buffalo, New York, has published a variety of articles and
Luciano Berti, Filippino Lippi (Florence: Edizioni d'arte II Fiorino, 1991), 268. reviews on Italian Renaissance painting and sculpture, particularly on
14. The early sources are transcribed in Horst W. Janson, The Sculpture of Donatello and Michelangelo.

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