The relevance of St Bridget of Sweden’s vision of the Nativity in the context of late medieval culture

Abstract

The extensive and fascinating literature on the subject has covered most of the aspects related to the genesis of the Brigittine vision. This article aims to investigate in detail some issues that so far have not been investigated by critics. We refer in particular to the physical features of the Virgin Mary and to the representation of the Baby Jesus naked and suspended in air or depicted already lying on the ground. These important details are related to the theme of the Virgin’s and Christ’s body which is of great importance in late medieval spirituality. We analyze the differences between the first tables of the italian Nativity, but also those realized in the first half of the 15th century in Northern Europe. Our investigation coverst he most faithful to the vision and those who are freely inspired by it despite the representation of Bridget. From the comparison with previous iconography, particularly with that handed down through the manuscripts of the Meditaciones Vitae Christi, it is possible to establish what of Bridget’s vision of Christmas is relevant for figurative art, how and with what purpose this is received by the artists and the public audience and to what extent it is the real turning point of the representation of this iconographic subject in Western art.