The central figure of Maria of Nazareth, as a celebration of motherhood; she is holding a white lily, the symbol of the Annunciation. The woman standing to the left, with thick luxurious waves of dark hair and holding the pot of ointment with which Mary Magdalene anointed Christ’s feet. The last of the women depicted is Maria Cleophas, sister to the Virgin and holds up her deep blue robes in a gesture of tender sisterly affection. More on this painting
The Three Marys or Maries are women mentioned in the canonical gospel’s narratives of the crucifixion and resurrection of Jesus, several of whom were, or have been considered by Christian tradition, to have been named Mary
Another woman who appears in the Crucifixion and Resurrection narratives is Salome, who, in some traditions, is identified as being one of the Marys, notwithstanding having a different name. In such cases, she is referred to as Mary Salome. More on The Three Marys
Sir Edward Coley Burne-Jones, 1st Baronet ARA (28 August 1833–17 June 1898) was a British artist and designer closely associated with the later phase of the Pre-Raphaelite movement. Burne-Jones was closely involved in the rejuvenation of the tradition of stained glass art in Britain. His early paintings show the heavy inspiration of Dante Gabriel Rossetti, but by the 1860s Burne-Jones was discovering his own artistic “voice”. In 1877, he was persuaded to show eight oil paintings at the Grosvenor Gallery (a new rival to the Royal Academy). These included The Beguiling of Merlin. The timing was right, and he was taken up as a herald and star of the new Aesthetic Movement. More on Edward Coley Burne-Jones
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