Mother of Mercy

Virgin of Mercy
Sano di Pietro, 15th century; the Virgin shelters a group of nuns, including two novices with uncovered heads
Mother of Mercy Madonna of Mercy, Our Lady of Mercy
Venerated in	Roman Catholic Church
Feast	24 September
Attributes	Virgin Mary, sheltering mantle
Patronage	Barcelona, Cuba, Paita

The Virgin of Mercy is a subject in Christian Art, showing a group of people sheltering for protection under the outspread cloak, or pallium of the Virgin Mary. It was especially popular in Italy from the 13th to 16th centuries, often as a specialised form of votive portrait, and is also found in other countries and later art, especially Catalonia and Latin America. In Italian it is known as the Madonna della Misericordia (Madonna of Mercy), in German as the Schutzmantelmadonna (Sheltering-cloak Madonna), in Spanish Virgen de la Merced or Nuestra Señora de las Mercedes (Our Lady of Mercy), in French as the Vièrge au Manteau or Vierge de Miséricorde (Virgin with a cloak or Virgin of Mercy) and in Catalan as the Mare de Déu de la Mercè.

Usually the Virgin is standing alone, though if angels hold up the cloak, she is free to hold the infant Christ. The people sheltered normally kneel, and are of necessity shown usually at a much smaller scale. These may represent all members of Christian society, with royal crowns, mitres and a papal tiara in the front rows, or represent the local population. The subject was often commissioned by specific groups such as families, confraternities, guilds or convents or abbeys, and then the figures represent these specific groups, as shown by their dress, or by the 15th century individual portraits. Sometimes arrows rain down from above, which the cloak prevents from reaching the people.

Probably the oldest version known is a small panel by Duccio of c. 1280, with three Franciscan friars under the cloak, in the Pinacoteca in Siena. Here the Virgin sits, only one side of the cloak is extended, and the Virgin holds her child on her knee with her other hand. An miniature of c. 1274 from the Armenian Kingdom of Cilicia also shows a variant of the motif, as do 13th century paintings in Cyprus, such as an icon in the Byzantine Museum in the Archbishop's Palace, Nicosia. The common factor between all these is the influence and presence of Western mendicant orders, especially the Franciscans, who appear to have been important in spreading this form of iconography.