Smet  v.iii, pars 2  563

In Mary Magdelen de' Pazzi we have the other example, besides Teresa, of a Carmelite saint who sat for a portrait before the invention of the gauerro-type. Santi di Tito (Italian painter and architect, 1536-ca.1602) was a great artist, but we must be grateful for his portrait of the seventeen year old Lucrezia (Caterina?) Pazzi, painted on the eve of her entrance into the novitiate (1583).  Lucrezia in a brocade gown, a garland of flowers in her hair, was no great beauty, though she was not exactly ill-favored either, with large dark eye and abundant black hair. Narrow youthful features and a small mouth accentuate a too-generous nose. One would expect this ecstatic mystic, descendent from a noble Florentine family, to provide the ideal subject of Baroque art. The saint has indeed been often depicted in paintings, engravings, and statuary, but apart from Tieplo (if it is indeed Mary Magdalen in the painting in the Brera Museum of Milan) no great master was inspired by the colorful episodes of her spiritual itinerary. Francesco Curradi confessed to having done more than eighty portraits of her, as had other Florentine painters like Nicodemo and one of the Casini. One searches in vain for these names in reference works of art. Among rather more reputable Italian artists who portrayed St. MMagdalen mention may be made of Guido Cagnacci (1601-1681), Pier Francesco Silvani (1620-1681), Cesare Gennari (1637-1688), Ciro Ferri (1634-1689), Ludovico Gemignani (1643-1697), Luca Giordano (1632-1705), Antonio Franchi (1634-1709).

and began a monastic journey filled with the joys and harshness of contemplative life.

Recipient of mystical experiences accompanied by extermal phenomena for some of her religious life, Mary Magdalene lived and suffered with uncommon depth the joys and harshness of the contemplative life.

She was very aware of the evils that afflicted religious and church life of her time and became an ever stronger advocate for renewal with the Catholic Church. She preferred "renewal" to "reform" which brings with it a sense of contentious denouncement, of protest, and of struggle with the official church. Rather, Mary Magdalene was more interested in a renewal that focused on "conversion" of the heart. This was a common theme of the Church of the day, always being called to re-birth and the self-renewal, to change the interior ways, stained and contaminated by the world in which it existed.

Ecstasies -- Joachim Smet  218

In the morning ecstasies she remained rigid and motionless; at other times she moved gracefully around the room, following the course of her vision in pantomine. When her visions concerned some sorrowful theme, she perspired freely and uttered cries and groans reported as "capable of moving stones to pity."

• Thirdly--and this is the point of chief importance--it was whilst in her states of rapture that St. Mary Magdalen de' Pazzi gave utterance to those wonderful maxims of Divine Love, and those counsels of perfection for souls, especially in the religious state, which a modern editor of a selection of them declares to be "more frequently quoted by spiritual writers than those even of St. Teresa". These utterances have been preserved to us by the saint's companions, who (unknown to her) took them down from her lips as she poured them forth. She spoke sometimes as of herself, and sometimes as the mouthpiece of one or other of the Persons of the Blessed Trinity. These maxims of the saint are sometimes described as her "Works", although she wrote down none of them herself.

On April 26, 1478, in the Cathedral of >>>>  Lorenzo and Giuliano de'Medici, attending Mass, when "a momemt after _____, Giuliano is killed and Lorenzo attempts to flee. The vendetta against the Pazzis is terrible: Francesco del Pazzi and Francesco Salviati are hung from the windows of the Palazzo della Signoria and left ________.  The adults of the Pazzi family were killed in the Volterra Tower and the children were put into "perpetual exile." All there possessions and property were confiscated and sold. The exile lasted a short time as the politics accelerated the return of the Pazzi family to Florence and already in 1494, after the first cacciata of the Medici's, the Pazzi's are admitted once again to the government of the city.

Catholic Encyclopedia

Francesco Curradi
Painter
Florence 1570-1661
His acquaintance with Maria Maddalena de'Pazzi, at the time the most venerated personage in Florentine religious circles, led to him becoming the official portrait painter of this future saint, whose likeness he reproduced in many of his paintings.

San Martino ai Monti:  Matteo Piccione

Smet v. 3, pars 2, 562
Milan, Brera Museum: Giambattista Tiepolo (1696-1770)  In the Rococo period GT touches some characteristic features of Carmelite devotion in his painting of the scapular vision, in which St. Simon Stock is accompanied by St. Andrew Corsini and St. Mary Magdalen de' Pazzi.

Carmini of Venice, "crowded during the 17th and 18th centuries with representations of Carmelite saints and events of the Order's history, but otherwise structurally unaltered since the 14th century. In the polygonal apse, lighted by two orders of large windows, the main altar formerly held the Scapular Vision with Sts. Angelus and Mary Magdalen de' Pazzi by Stroiffi, now lost.

The Trinity with Sts. Mary Magdalen dei Pazzi and Aloyisius Gonzaga by Bernardino Liberale

Padua - Carmine

The two lateral chapels of the apse were dedicated to St. Mary Magdelen de' Pazzi with altarpiece by Giulio Cirello (1672), now in the sacristy. The chapel contains interesting 17th century frescoes.

Brescia    Carmelite church "certainly one of the most imposing of the city"
In the left nave the altar of St. Mary Magdalen de' Pazzi has an excellent medallion picturing the vision of the saint of the scourging of Christ, "one of the best works" of Santo Collegari. The altarpiece itself is a mediocre painting by an unknown artist.

Bologna

In the chapel of St. Mary Magdalen the painting by Cesare Gennari (1637-1688), shows the saint with Andrew Corsini and Albert of Sicily. She is also represented by a beautiful polychrome statue by Angelo Piè in the chapel of the Angels Guardian, as well as by a painting by Domenico Rizzi (1494-1567).

Cesare Gennari

Cento, 1637 - Bologna, 1688

Trasferitosi giovanissimo con la famiglia a Bologna, entro', insieme al fratello Benedetto, nella bottega dello zio, il famosissimo Giovan Francesco Barbieri detto il Guercino. Se i contemporanei lodavano la sua capacita' di contraffare la maniera del maestro, le sue propensioni sono fin dall'inizio per una pittura elegante, che fa tesoro della lezione 'in chiaro' del tardo Guercino. Dopo dipinti come la pala con Tre santi in San Martino (1663), la Santa Rosa da Lima in San Domenico (1665) e le grandi tele di Villeneuve-les-Avignon (Annunciazione, Adorazione dei magi, Adorazione dei pastori), Cesare si rivela sempre piu' sensibile, nella pennellata ombrosa e filante, all'evolversi del gusto della tradizione reniana di Flaminio Torri e del giovane Canuti. Dopo la partenza di Benedetto per Parigi e poi per Londra, nel 1662, rimase solo a Bologna a dirigere una frequentata Accademia di pittura.

Pavia

St. Augustine piercing the heart of St. Mary Magdalen dei Pazzi by Pietro Maggi  (Chapel of the Assumption)

Turin  (Santa Maria del Carmine e Beato Amedeo)

To be noted in the lateral chapels is a statue of Mary Magdalen de' Pazzi by Antonio Milocco.

Basilica Mauriziana

The original centrally-planned building dates from 1572, and consisted of a small oratory associated with the Congregation of the Holy Cross, which was later to develop into the Order of St. Maurice and St. Lazarus (1728). The church was rebuilt in 1678 by Antonio Bettino. The two sacristies designed by Giovanni Battista Feroggio were built in 1772. Significant changes to the facade began in 1828 and continued until 1834 under the direction of the engineer Carlo Mosca, commissioned by Charles Albert.

The dome was frescoed in the seventeenth century with the Assumption of the Virgin by Federico Bianchi, which was restored by Rodolfo Morgari in the mid-nineteenth century. The altar on the left has an altarpiece of St. Francis de Sales in prayer by Michele Antonio Milocco. To the right is the Virgin and Child with Saints Corona, Serafina and Ursula by the Milanese painter Scotti.

Palermo

Eight lateral chapels or altars ..... the painting of Sts. Teresa and Mary Magdalen de' Pazzi by Giacomo Lo Verde

Castille  Madrid  Carmen

a St Mary Magdalen borne aloft by angels by Palomino

Palomino ... ?? Spanish historical painter and writer on art, called the Spanish Vasari. (His full name is Acisclo Antonio Palomino de Castro y Velasco.) He was born of good family and studied philosophy, theology and law in Cordoba, receiving also lessons in painting from Valdes Leal, who visited Córdoba in 1672, and afterwards from Alfaro (1675). He moved to Madrid in 1678 and married soon afterwards. In 1688 he was appointed painter to the king. He visited Valencia in 1697, and remained there three or four years devoting himself to fresco painting. Between 1705 and 1715 he resided for considerable periods at Salamanca, Granada and Córdoba. After the death of his wife in 1725 Palomino took priests orders.

He painted frescoes and easel pictures in Valencia, Córdoba, and Granada, but he is famous chiefly for his history of art (in 3 volumes, 1715–24), the third volume of which contains a wealth of biographical material concerning Spanish artists of the 16th and 17th centuries. It was partially translated into English in 1739; an abridgment of the original was published in London in 1742, and afterwards appeared in a French translation in 1749. A German version was published at Dresden in 1781, and a reprint of the entire work at Madrid in 1797.

 

Valladoid   Museo de Escultura

St. Mary Magdalen de' Pazzi by Gregorio Fernández  (referred to by one of the Carmelite provincials as "the best master of our times" King Philip IV himself who described him in 1635 as "the sculptor of the greatest skill in these my kingdoms".

Murcia- St MMde'Pazzi  statue by Francisco Salzillo (1707-1783).

Granada  -  Provincial Museum    a painting of Christ bestowing a crown of thorns on Mary Magdalen by Pedro de Moya   (Smet . 584)

St. Mary Magdalen de Pazzi Church, 712 Montrose St.   Philadelphia, PA

Founded: 1852

Known as the first Italian Catholic parish in the United States, St. Mary, which was rebuilt as a bigger church in 1891, is now a worship site of St. Paul Parish. The classification means no major sacraments are performed on site, but funerals and Masses are still held. Organizations such as the Mario Lanza Museum and Institute use St. Mary's facilities.

Although it no longer has parish standing, St. Mary's historical significance will always be remembered, said the Rev. Louis P. Bellopede.

"Mario Lanza used to sing the Ave Maria at St. Mary Magdalen's midnight Mass," Father Bellopede said.

Under parent parish St. Paul, traditions such as the May Procession continue.

"We want to ease the friction of the transition," said Bellopede.

The church has a functioning pipe organ and a massive relic collection of early saints.

Mass: Sundays, 10 a.m.; vigil of holy days, 5 p.m.

St. Mary's Mundelein has "autographs from saints ... including "St Mary Magdalen de Pazzi

In Florence ... We will look at the Pazzi Chapel at S. Croce, considered both a masterpiece of early Renaissance architecture (sometimes called the “jewel” of this period), and also held to be one of the supreme achievements of Brunelleschi. The attribution of this chapel to Brunelleschi is, however, not firmly documented and has recently been questioned by Marvin Trachtenberg, who gives it instead to Michelozzo.

Traspontina Chapel - Rome