Sacrum i profanum w obrazie Maria in sole Geertgena tot Sint Jans (część I)
Sacrum and profanum in the painting Maria in sole by Geertgen tot Sint Jans (part I)

Summary/Abstract: This little painting (24.6 x 18.1 cm) Maria in sole by Geertgen tot Sint Jans from the Museum Boijmans van Beuningen in Rotterdam which served as the right wing of a diptych transmits religious, cosmological and secular ideas. Its pendant, the left wing which is exhibited in the National Galleries of Scotland in Edinburgh depicts Passion Scenes with Saint Dominic and Saint Jerome. The study is divided into two parts. In the fist one, after presenting the painter active in Haarlem (famulus ac pictor who lived with the knightly monks of the Commandery of Saint John) in the second half of the 15th century, I discuss the painting in two contexts. Apocalyptical Andachtsbild — mulier amicta sole (Rev 12,1), the Virgin Mary clothed in the light of Christ and Rosarium Virginis Mariae expressed among others by the three concentric rings formed by translucent angels (they represent three mysteries of the Rosary: joys, sorrows and glories of the Virgin Mary) belong to the field I called in the title of the article sacrum. Both sections are accompanied by theological and iconographic reflections. Four thematic sections of the study are as follows: Et signum magnum paruit in caelo: mulier amicta sole, Rosarium Virginis Mariae, Motus autem non est ens completum, sed est via in ens..., Musica coelestis vel mundana.

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