It's impossible to
denie that Mother of All Men is an original painting. A black and nude Madonna,
with many breasts, animal ears, three vertical marks on each cheek and two
crosses cut into the forehead, holds, suspended on a hand, a fish of
gold, towards that the forefinger of the other hand invites
us to look at. The lowered shoulder emphasizes both corporeal and
Passion's weight, being the fish and the gold two symbols of Christianity. On the drapery left side behind the Virgin's
head, we can see indistinctly a face in profile in the background's
clouds. A noble and cardinal blazon, abounding in details, is
evident on the right side. On one side of the borders of the blue mantel
coming down from the forearms is gold embroidered a short-cut Latin
motto, on the other a procession of ants. A viper
bringing in its mouth the letter Aleph runs away rolling down from the
black egg and the marmoreal cube that stay, one upon the other, upon the
sill in the painting's down side. A Hebraic inscription runs along
the full length of the sill border. On its front there is a cartouche
containing the date 1544 and the painter's signature, while in an angle
it appears the name Georg, with the "o" replaced by the symbol
of the sun,
surmounted by that of the infinite and spangled with little golden
spots. So Mother of All Men mixes in itself some elements of catholic traditional
iconography, like the blue mantle, the red drapery and the areolas of
the Virgin and the fish, with some specific traits of pagan deities, like
nudity, breasts in many lines and animal ears. Of all alterations made to the typical figure of Madonna with Baby, in the painter's
letter are quoted only the nudity (with appearance of nude African
woman), the breasts (with so many breasts) and the fish of gold (in stead of the Divine
Infant). Novazio was inspired by Leonardo for the background, by Crivelli or Bellini
for the drapery and the sill, and by Mantegna for the hidden profile. Even
if the blazon and the profile permits to locate the German
cardinal Albert of Brandenburg
(1490-1545) as
the certain consignee of the painting, we have no proof that it was also
him the
customer; first because the letter is written in Italian (but it could be
a draft for the translator), and second it addresses an unspecified Most
illustrious and Most excellent my Lord, epistolary heading of
deference not rare in the sixteenth-century, but not sufficiently
obsequious for a big shot as the cardinal Albert. On the back there are no traces of sealing-wax, therefore it's a copy or the never sent
original letter. Since the cardinal's court (see biographic
note) had no lack of able and reputed artists, the
most reliable hypothesis is that the customer was a noble Lombard
connected with the cardinal Albert by friendship or business, who wanted to give
him
the painting as a present, perhaps without he was informed about. Till
proof to the contrary, Mother of All Men is the only painting of Immanuel Novazio arrived to us. We know nothing about the pala in Sancta Maria
and the portraits of Brembati
couple, quoted in the letter as works already realized by
the painter. Since Novazio worked in the atelier of a certain maestro Giovanni,
the afore-said paintings maybe are known under other titles and bring
other signatures. It has not been possible to trace back neither the knight
Nappo, man of the customer's trust , nor the faithful servant Amel
acting as model, nor brother Paul who charges her with
sorcery. At the moment, the reasons inspiring this painting remain
unknown. However it strikes us as to be in front of a determined will to
fuse the old with the new, with the intention to get the classicism
spiritual values back, and to use them as a support for the modernity,
in the abjuration's atmosphere of Mary's sanctity generated by Lutheran
Reformation.
Magnify
the painting at the most
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