Studies and research [ edit ]

Overall, the research into the Black Madonna phenomena is limited due to a wide consensus among scholars that the dark-skinned aspect was unintentional. Recently, however, interest in this subject has gathered more traction.

Important early studies of dark images in France were done by Marie Durand-Lefebvre (1937), Emile Saillens (1945), and Jacques Huynen (1972). The first notable study of the origin and meaning of the Black Madonnas in English appears to have been presented by Leonard Moss at a meeting of the  American Association for the Advancement of Science   on December 28, 1952. Moss broke the images into three categories: (1) dark brown or black Madonnas with physiognomy and skin pigmentation matching that of the indigenous population; (2) various art forms that have turned black as a result of certain physical factors such as deterioration of lead-based pigments, accumulated smoke from the use of votive candles, and accumulation of grime over the ages, and (3) residual category with no ready explanation.[3]

In the cathedral at Chartres, there were two Black Madonnas:  Notre Dame de Pilar , a 1508 dark walnut copy of a 13th-century silver Madonna, standing atop a high pillar, surrounded by candles; and  Notre Dame de Sous-Terre , a replica of an original destroyed during the French Revolution. Restoration work on the cathedral resulted in the painting of  Notre Dame de Pilar , to reflect an earlier 19th century painted style, rendering the statue no longer a "Black Madonna".[4] [5]

Some scholars chose to investigate the significance of the dark-skinned complexion to pilgrims and worshipers rather than focus on whether or not this depiction was intentional. This is an important subject because Black Madonnas house many of the most revered pilgrimage sites by virtue of their presence.  Monique Scheer , one of these scholars, contributes the importance of the dark-skinned depiction to its connection with authenticity. The reason for this connection is the perceived age of the figures and the idea that these depictions are more accurate to historical Mary, since many of the works are eastern in origin and since Mary herself likely had dark skin.[6]

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• Condition: Used
• Condition: HAND MADE SCULPTURE from AFRICA
• Modified Item: No
• Country/Region of Manufacture: Unknown
• Figure: Virgin Mary
• Material: Wood

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