The Black Madonna tradition originated in the Middle Ages around the twelfth to the fifteenth centuries, concentrated in France but also in other areas; there are approximately four to five hundred of them in Europe. The prominence of the tradition is attributed to the stories of miracles surrounding these paintings and statues. In a study of approximately one hundred examples, Leonard Moss divided them into three categories with the majority falling into the first: “dark brown or black madonnas with physiognomy and skin pigmentation matching that of the indigenous population” (Duricy).
The Black Madonna in Chartres Cathedral in France is a 1508 wooden replica of a thirteenth-century silver version. The Black Madonna in Magdeburg Cathedral in Germany dates to around the thirteenth century.
The Black Madonna in Saint John the Guardian of Our Lady Parish in Clinton, MA originally belonged to Our Lady of Jasna Gora. Jasna Gora was constructed in 1913, held its last mass in 2010, and was demolished in 2012. The Black Madonna, Our Lady of Jasna Gora, was painted in Poland in the Byzantine style and brought to the church in 1938. The painting is modeled after the Black Madonna of Czestochowa, Poland, which was said to have originally been painted by St. Luke then brought to Poland via Constantinople in 1384. More likely, it was a sixth to ninth-century piece. The original was destroyed beyond repair by robbers in 1430. It is credited with a number of miracles, including several Polish military victories, making the painting a national monument.
Although the Black Madonna is a widespread and popular tradition, there is a distinct issue with many of these pieces of art: namely, that they are being “restored” and turned distinctly white. Indeed, the Chartres Black Madonna no longer looks like the image in this photo. It looks more like the image here of the Magdeburg Black Madonna, which was “cleaned” in the nineteenth century. Pilgrims travel long distances to visit these statues, only to find them altered beyond recognition.
“The Black Madonna of Czestochowa: Poland’s Most Revered Icon.” Polish American Journal. http://www.polamjournal.com/Library/APHistory/blackmadonna/blackmadonna.html.
Duricy, Michael. “Black Madonnas: Origin, History, Controversy.” All About Mary. University of Dayton. https://udayton.edu/imri/mary/b/black-madonnas-origin-history-controversy.php.
Ramm, Benjamin. “A Controversial Restoration That Wipes Away the Past.” The New York Times, 1 Sept. 2017. https://www.nytimes.com/2017/09/01/arts/design/chartres-cathedral-restoration-controversial.html.
Travers, Terry A. “History of Parish Retold.” Worcester Daily Telegraph, 1 Feb. 1969. http://tqretro.blogspot.com/2016/07/our-lady-of-jasna-gora-story-211969.html.
The Seville Cathedral, located in Seville, Spain, is one of the largest religious buildings in the world. Now a Christian cathedral, this structure has a diverse religious history. The building was founded in 1403 on the site of a former mosque. The structure has five naves which make it the largest Gothic building in Europe. The style of architecture of the entire building, mudéjar, is unique to and originates in Spain. This art style embodies the meeting of Islam and Christianity and the stages of history in the city, which is visible in the structure of the cathedral. Mudéjar is the term given to Muslims who continued to practice their religion in areas which had come under Christian possession during the Reconquest of 1248. The promotion of peaceful coexistence between Christians, Muslims, and Jews allowed for the construction and prosperity of the cathedral and also contributed to the complexity of the structure. The site of the Seville Cathedral was declared a “World Heritage” in 1987 by UNESCO because of its unique architectural style and because the structure is the largest Gothic edifice in Europe.
The African Meeting House in Boston, Massachusetts was consecrated in 1806, housing the first African Baptist Church of Boston. It is the oldest black church building in America. This building served as a cultural, educational, and political connection for Boston’s black community. The building committee for this building consisted of two branches: financial and labor. The labor branch mainly consisted of African-American craftsmen. The African Meeting House offered education opportunities for both children and adults. The African-Americans which made up the first congregation of this church established a sanctuary for peaceful worship and school that would support African-American education. The first abolition organization, Massachusetts General Colored Association, met here. In 1832, the New England Anti-Slavery Society was founded here by William Lloyd Garrison. The African Meeting House also served as a recruitment center for the Massachusetts 54th Volunteer Regiment, which was the first official African-American military regiment for the Union in the Civil War. In 1898, the African Meeting House was sold to a Jewish Congregation and was a synagogue until it was later acquired by the Museum of African American History in 1972.
Both structures are places which promote peaceful religious coexistence and provide a gathering place for this coexistence. As demographics and cultures changed in Spain and Boston, these buildings changed as well. The Seville Cathedral’s architecture changed as different groups possessed power in the region, demonstrating a unique architectural style: mudéjar. The African Meeting House served as a church, school, and meeting house and was later utilized as a synagogue. The mudéjar style reflects the integration of Islamic and Christian influence on the construction of the building. The African Meeting House was occupied by diverse religious groups as the Seville Cathedral was, first as a Baptist Church then later a synagogue. The Seville Cathedral first existed as a mosque and then later as the Seville Cathedral. Both the Seville Cathedral and the African Meeting House are multifunctional religious buildings which promote acceptance of diverse cultures and histories.
The Ministry of Culture and Sport. “Mudéjar Art.” Spain is Culture, SEGITTUR, http://www.spainisculture.com/en/estilos/mudejar/.
Museum of African American History. “A Gathering Place for Freedom.” Museum of African American History, https://www.maah.org/exhibits_detail/A-Gathering-Place-for-Freedom.
National Historic Landmarks Program. “African Meeting House.” National Historical Landmarks Program, National Park Service, https://web.archive.org/web/20090606132718/http://tps.cr.nps.gov/nhl/detail.cfm?ResourceId=1069&ResourceType=Building.
National Park Service. “African Meeting House.” National Park Service, 23 Dec. 2015, https://www.nps.gov/boaf/learn/historyculture/amh.htm.
Seville Cathedral. “World Heritage.” Catedral De Sevilla, artiSplendore, https://www.catedraldesevilla.es/la-catedral/patrimonio-de-la-humanidad/.
UNESCO. “Cathedral, Alcázar and Archivo de Indias in Seville.” UNESCO, https://whc.unesco.org/en/list/383/.
“The caged bird sings with fearful trill of the things unknown, but longed for still and his tune is heard on the distant hill, for the caged bird sings for freedom.”
Famous words written by the infamous African-American author and poet Maya Angelou. While looking at the beautiful carving of the Nubian girl on the mirror holding that bird, one can be reminded of those very words. Wondering to yourself if you are the caged bird or the free bird. Whether you are African-American or Caucasian-American or any other type of American, you can ask yourself, are you living a caged life or a free one? However as a person of color the chances of you living the free one are slim. Eyes gazing up to the mirror itself you wonder. If you look in it, what will you see? Will you see him? Dr. Martin Luther King, Jr.? Will you see a person of color that makes him proud? That makes him think he died for a good cause? Will the person you are today, right now, be a person he would be glad to die for? Or do you forget where you come from? Do you choose to bury your head in the sand while others suffer? Do you think “oh, it’s not my problem” as you live your Anglo-Saxon life with your Anglo-Saxon friends? Do you remember what he died for or just enjoy the day off of work in January? Being a person of color in 2018 can be difficult. You gaze in mirrors daily, hoping to see the strength of MLK, Jr., and the wisdom of Maya Angelou shining out from behind your eyes. You hope to be the free bird that thinks of nothing but “breezes, and fat worms, and writing his name on the sky.” But if you are that caged bird, the one who doesn’t remember anything more than the first few sentences of “I Have A Dream,” maybe you look in this mirror again and remember.
Demby, Gene. “How Black Americans See Discrimination.” National Public Radio, 25 Oct. 2017, https://www.npr.org/sections/codeswitch/2017/10/25/559015355/how-black-americans-see-discrimination.
Boudicca, queen of the Iceni, lifts her hands in victory or in challenge. This ancient queen led her people against Rome, even managing to sack and burn Londinium at the heart of Roman Britain. This rebellion had followed Rome’s betrayal of her late husband’s will, which had named the Roman Emperor as well as Boudicca’s daughters as his heirs in an effort to keep the peace. After suffering a flogging and the rape of her daughters, Boudicca began a campaign of revenge which did not end until 80,000 Romans were killed and many Roman cities sacked and burned. Her statue in modern-day London now stands as a reminder of her legend and bravery.
Much closer to home in the South End of Boston, there stands a memorial to another brave woman. The Harriet Tubman Memorial, also known as Step on Board, honors a woman who showed a different kind of bravery. Nicknamed “Moses” for her work in the Underground Railroad, Harriet Tubman not only escaped herself, but led roughly 300 slaves to freedom over the course of ten years. Neither Harriet nor any she helped escape were recaptured. This was all accomplished while suffering from a head injury which caused sleeping spells from which she could not be awakened. Her statue shows her holding a Bible in front of those she led to safety depicted on a vertical slab. On the back there are various quotes from Harriet Tubman, Fredrick Douglass, and Sarah Bradford. There is also a map depicting stops on the Underground Railroad.
Both Boudicca and Harriet Tubman are immortalized in bronze in the heart of two cities that each played an important role in their lives. They faced tremendous odds in order to lead their people to freedom and safety from tyranny, and their courage still inspires us today.
“Facts: Harriet Tubman.” Harriet Tubman Historical Society, www.harriet-tubman.org/facts/.
“Step on Board/Harriet Tubman Memorial.” Boston.gov, Boston Art Commission, 26 June 2019, www.boston.gov/departments/arts-and-culture/boston-art-commission.
This sandal was uncovered in a land of the forgotten. It was worn by a member of the ancient Nubian civilization. It is estimated to be from a time somewhere between 2400-1550 BCE. This civilization, also known as the kingdom of Kush, is considered to be one of the first black African civilizations. Kush possessed an abundance of riches, including spices, incense, animal skins, and gold, making them desirable trade partners with the neighboring nation of Egypt. The Egyptian empire overshadowed this society and at times occupied the region, impacting what information we have and the distinctions between the two communities. The sandal depicted is made of cowhide. Sandals like these were most likely worn to protect their feet from the hot sediment.
The second photo is the gravestone of Jan Matzeliger, a man of African descent who revolutionized the shoe-making industry. This monument can be found in Pine Grove Cemetery in Lynn, Massachusetts, where Matzeliger made his invention “The Shoe Laster.” Lynn, Massachusetts during the late 1800s produced more than half of our country’s shoes. Matzeliger was an immigrant who worked hard to put himself through school first to learn English and then to study physics and mechanical science. Despite the challenges Matzeliger faced he kept pushing through. Many of his peers in the shoe making industry belittled his idea believing no machine could do such work. By 1883 Matzeliger had a patent for the machine he invented which attaches the top portion of the shoe to the sole, typically done by hand through an intricate process called lasting. Master lasters could make about fifty shoes during a ten-hour work day, and Matzeliger’s final design made up to 700 shoes a day. Unfortunately, Jan Matzeliger died at the age of 37 in 1889 before receiving much compensation for his invention.
These two artifacts represent apparel advances in history. They show that the history of footwear has greatly transformed over the centuries. Both from underrepresented and overlooked cultures, these artifacts are evidence of the talent and artistic skill of people of African descent. Jan Matzeliger may have died and Ancient Nubian legacies may have died out, but, to give them both their well-deserved gratitude, we must share all the knowledge and history we have.
"Jan Matzeliger (1852–1889)." African American Almanac, Lean'tin Bracks, Visible Ink Press, 2012. Credo Reference,http://ezproxy.fitchburgstate.edu:2048/login?url=https://search.credoreference.com/content/entry/vipaaalm/jan_matzeliger_1852_1889/0?institutionId=934. Accessed 23 Nov. 2018.
"University of Chicago opens new gallery devoted to ancient Nubia." Diverse Issues in Higher Education, 6 Apr. 2006, 13. Expanded Academic ASAP, http://link.galegroup.com/apps/doc/A144871564/EAIM?u=mlin_c_fitchcol&sid=EAIM&xid=f807c6ba. Accessed 20 Nov. 2018.
There are three sites across the globe that are connected to each other through their stories. These sites are the mountains of Iceland, Giant’s Causeway in Ireland, and Coggshall Park in Massachusetts. Each of these locations is unique for their beauty and the heritage that is preserved as a result of the appreciation for the sites.
Written in Iceland, a saga titled “Thidrandi Whom the Goddesses Slew” that takes place in the country and is about the emergence of Christianity. The main character, Thidrandi, is killed by the goddesses as Christianity is ushered into the country. The saga reads: “He heard likewise the noise of riding from south into the home-field, and there too were nine women, all in bright raiment, and on white horses.” The women are the goddesses and the white horses represent the beauty of having Christianity come to the country. The dark mountains in Iceland create a feeling of supernatural people hidden in them, similar to the saga. Iceland has become a tourist attraction for travelers looking to seek out natural beauty and for those wanting to learn about more legends of the land.
The Giant’s Causeway in Northern Ireland has its own legend of the natural world. This legend is about Finn McCool creating the landscape by throwing rocks at a giant, creating the unique scenery. The legend says that McCool had a nemesis, a giant named Benandonner, whom he would shout at across the water until the giant stormed over to Ireland. The photo shows the landscape that was apparently formed from the legend. Although people do not actually believe that it was formed by giant and McCool’s fight, the site does attract tourists every year who flock to see the popular spot and the natural beauty.
Coggshall Park is a nonprofit park that was created in Fitchburg Massachusetts for people to enjoy the natural scenery. This site has trails to walk and a lake that is surrounded by forests. This natural scenery is important to keep preserved as it is a piece of country in the middle of a bustling city filled with people who may not be able to get away to go to the country for long weekends.
The sites connect to each other as they are all beautiful, natural landscapes with stories to tell about their history. Iceland and Ireland are not far from each other and tell similar stories of supernatural beings in an otherwise natural place. Coggshall Park is not home to any kind of mystical beings, but it is home to the people of Fitchburg who use this location as a way for people to escape like the people who relay the tales of the mystical beings.
This statue is placed on top of the Supreme Court building, the Italian Palace of Justice, or Palazzo di Giustizia, right beside the Tiber River in Rome, Italy. The woman portrayed on top of the building is Victoria, the Roman goddess of victory. Victoria is seen riding in a quadriga, which is a chariot drawn by four horses. It is representative of a Roman chariot racing which was an extremely common practice in ancient Roman culture. The term quadriga refers to the chariot with the four horses, the chariot alone, or merely the four horses themselves; it is a versatile word. She is holding a signum manipuli, which is a Roman standard staff with an eagle (the Aquila) and a wreath. The eagle standard represented a Roman legion in battle; the eagle was the standard that lasted in the Roman empire, as there were others such as the wolf, minotaur, horse, and boar which were removed from use. The Aquilifer was in charge of carrying the Aquila in battle, a high position of honor and prestige. Losing the signum manipuli in battle was seen as a horrendous disgrace, as it was the most important possession of the legion. The statue was created by sculptor Ettore Ximenes in 1926. “Winged Victory” statues are very prominent and important in cultures for centuries.
Like the Winged Victory, the Lexington Minuteman statue is representative of the victory and honor of the beginning battles of the American Revolution: “The Lexington Minuteman is a life-size bronze figure of a colonial farmer with musket by Boston sculptor Henry H. Kitson. It stands at the southeast corner of the Lexington Battle Green, facing the route of the British advance...Although called the ‘Minuteman,’ it is meant to represent a member of the Lexington militia, local colonists who had volunteered to be first responders to military and other threats. The actual Minutemen were an elite subset of this group, young and fit and able to respond quickly” (“Minuteman Statue”). With the outfit of the normal Revolutionary soldier, strong facial features and bodily features, as well as the rifle ready to be fired, it sends a message of strength, honor, and victory, like the Winged Victory.
While the Romans had their gods and goddesses, they were not the only ones. Victoria was a Roman goddess of victory. In another culture, the Norse, Freyja was a goddess of love, sex, beauty, fertility, gold, war, and death. Like Victoria, she is one of the strongest and most valiant of the gods. She was also said to have knowledge and power that is without equal among humans and gods alike. The mythical stories involving gods and goddesses still have their place in today’s society and their depictions have had a lasting effect.
These depictions of honor and glory of Victory are important to cultures and life all around us, from the Roman times to modern times. Traditions are important to acknowledge and uphold. This connection between Rome and Massachusetts shows the classcal impact on the world and the significance of its culture.
“Palace of Justice, Rome.” Wikipedia, Wikimedia Foundation, 14 Apr. 2018, en.wikipedia.org/wiki/Palace_of_Justice,_Rome.
“Minuteman Statue.” Visit Lexington MA, www.tourlexington.us/attractions/pages/minuteman-statue. Accessed 5 May 2018.
McCoy, Daniel. “Freya.” Norse Mythology for Smart People, norse-mythology.org/gods-and-creatures/the-vanir-gods-and-goddesses/freya/. Accessed 5 May 2018.
Lauf, Cornelia. “Locating William Kentridge's Massive Mural in the Roman Landscape.” Hyperallergic, 21 Apr. 2016, hyperallergic.com/292807/locating-william-kentridges-massive-mural-in-the-roman-landscape/.
LaManche, Liz. “Connected by Sea: Boston’s 1000-Ft Tattoo.” Dock Tattoo Project, http://earthsign.com/docktattoo/. Accessed 5 May 2018.
Shao, Yiqing. “East Boston Pier Is Getting Public Art ‘Tattoos’.” Boston Magazine, 27 Aug. 2014, www.bostonmagazine.com/arts-08/12/dock-tattoo-project-east-boston-harborarts-pier/.
Tomrankinarchitect. “William Kentridge's Triumphs and Laments.” TRA_20, 7 July 2017, tomrankinarchitect.com/2016/07/william-kentridges-triumphs-and-laments/.
When people come together, living in the same area and interacting with one another it can rightfully be called a community. But a community is more than just a gathering of people who live together. The dynamics of community reflect an altruistic point of view; people come together in times of crisis to assist one another. Communities are more than the sum of their parts, creating a society which is centered around a powerful sense of camaraderie. This is especially prevalent in two places exhibited here: The Basilica in Pompeii, Italy, and Main Street in Fitchburg, Massachusetts.
To the Romans, the basilica was a central engine of the community. “Basilicae” were public buildings, having a similar role to government districts such as we have today. Pompeii’s basilica was no different in this function. Located on the southwest corner of Pompeii’s forum, the basilica was a place for official business, where local government matters such as court trials were discussed as well as a place business was conducted (Fulford 290). Consequently, the basilica was a cornerstone of any ancient Roman community (literally in the case of Pompeii), as a place where public business was carried out. The basilica was always among the first public works constructed in a Roman settlement, considered to be vital to a city’s function (Ball and Dobbins 484). The idea driving Roman society was the res publica, or “public matters.” The Romans believed that government was a part of society and that society was made up of shared concerns of the people and the land they lived on (Nelsestuen 133). This concept is where we get the word for the American form of government that we have today, the “republic.”
People today have their own type of basilica, in the form of areas often referred to as “downtown.” In the community of Fitchburg, a cultural center around Main Street fulfills this role. Down this road, there are thriving shops and restaurants mixed in with official buildings such as post offices, religious organizations, the library, and even the Fitchburg Art Museum. Once upon a time there was even a Fitchburg theatre which drew large audiences from the 1930s until the 1970s. People in this city often walk this road for no reason other than to enjoy the thriving sense of kinship that one feels upon seeing all that this community has to offer.
The theme of community is a powerful one which has its roots in the ancient world, specifically Classical era Greece. In his Works and Days, Hesiod claimed “he who enjoys a good neighbor has a precious possession…Take fair measure from your neighbor and pay him back fairly with the same measure, or better, if you can; so that if you are in need afterwards, you may find him sure” (Hesiod 347-351). The idea that people assist one another and benefit from their mutual assistance is the bedrock on which large communities function. Western culture is built around this idea that we are stronger together than we are alone.
Larry F. Ball, and John J. Dobbins. “Pompeii Forum Project: Excavation and Urbanistic Reappraisals of the Sanctuary of Apollo, Basilica, and Via Della Fortuna Neighborhood.” American Journal of Archaeology, vol. 121, no. 3, 2017, pp. 467–503. JSTOR, www.jstor.org/stable/10.3764/aja.121.3.0467.
Fulford, Michael. “Shops, Stalls, Stores: Pre-Consumption Deposits and Centrally Organised Distribution in Antonine Britain.”Britannia, vol. 45, 2014, pp. 279–284. JSTOR, www.jstor.org/stable/24737454.
Hesiod, Works and Days. Translated by Hugh G. Evelyn-White, 1914.
Grant A. Nelsestuen. “Overseeing Res Publica: The Rector as Vilicus in De Re Publica 5.” Classical Antiquity, vol. 33, no. 1, 2014, pp. 130–173. JSTOR, www.jstor.org/stable/10.1525/ca.2014.33.1.130.