ROOM 2
ROOM of the virgin hodegetria (349 parole) (385 English)
The Virgin Hodegetria, Protector of Sicilia, is “She who shows the way” in Christ, held in her arms. The two paintings, one Norman the other Frederician, here on display, witness the devotion of the Kingdon of Sicily towards the east and Constantinople.
The museum itinerary, with the works of art selected by the scientific curator prof. Pierfrancesco Palazzotto, starts from here in a chronological order and with thematic combinations.
The Praying Virgin is a rare fragment of a Byzantine mosaic from the Palermo Cathedral mirrored in a 19th century metal copy repeating the motif of the oriental icon.
From the 1300s the image of the Nursing Madonna (in Italian Virgin of the Milk) contributed to the humanization of Mary through the most common of maternal gestures towards Christ made flesh. It can be seen in the two paintings of the 14th century and 1422.
To the fundamental title of “Mother of God” are addressed the small 14th century painting and the Tuscan triptych of the “Madonna Metterza” dated 1388, where the exchange of tender looks and gestures with baby Jesus who hanging to his mother’s collar, alludes at the presence of St. Anne to the predestination of the Virgin in welcoming the Saviour in her womb.
From the worship of the Hodegetria they passed to that of the Virgin of the Itria, present in the refined portion of fresco of the 1400s, visible next to the full figure of the 1500s. Here the bearers lift the case with the miraculous image of the Virgin, standing with her arms raised to the sky to intercede for the faithful. She represents the Church of God on earth.
Above there is a “Virgin Hodegetria” of the 1600s with Byzantine style dresses, which shows the devotion for the Norman icon throughout the centuries.
Another typical image of the 1400s is the Triumphal Coronation of the Virgin, here in three versions: Tuscan, Sicilian and Iberian.
The antiquity and importance of the Palermitan Brotherhoods are represented by the Ruolo (list) of the deceased Brothers dated 1388, where the Flagellation of Christ introduces to the theme of Room 3. The Brothers are portrayed humbly hooded in white like the maiolica tiles of the 1500s of another partnership from Sciacca (Agrigento) and on another large painting with the Whites dated 1576 (Room 13).