The Gods in Art. Andre Malraux traced the evolution of the deity in his Metamorphosis of the Gods a half century ago, and effectively traced the broad contours whereby the agnostic writer clearly delineated our ambiguous and often willing acceptance of idolatry within the context of monotheism…
Increasingly, the realm of sentiment replaces the realm of the soul, and pathos is accompanied by tenderness. Mary fondles the infant, then plays with him, finally suckles him. The Amiens Annunciation took place in the world of the Angel, but private piety suppresses that world to the point of contradicting Biblical texts. “In its Crucifixion scenes, this piety invents the swooning of the Virgin; stabat, said the text, ‘she stood upright.’…But now she becomes the swooning mother- and the little girl whom Saint Anne holds by the hand.” The Annunciation also belonged inseparably to the cathedral; but “the Pieta has no other cathedral but the hearts of men.”
Where does the world of the Angel, of the Coronation, live on? Not in sculpture, which is increasingly occupied with the living- with kings and princesses, figures that are “strangers to God because they do not pray, strangers even to the church because they reign in palace halls.” The world of the Angel lives on in painting- first and unforgettably in the painting of Giotto.