Jean Fouquet
Mary Magdalen at the feast of Simon from 'Les Heures d'Etienne Chevalier', c.1450, Tempera on vellum, 21 x 15 cm, Musée Condé, Chantilly; Erich Lessing / Art Resource, NY
To Reach for Something Out of Love
Commentary by Diane Apostolos-Cappadona
Mary Magdalene’s role in reinforcing the liturgical and spiritual significance of anointing derives in part from the character of Mary of Bethany at the Feast in the House of Simon (John 12:1–8). Later tradition conflated these Marys, giving the Magdalene a presence at this feast, as is evident in this fifteenth-century illumination. She also appears twice at the bottom of the page in two ‘framed’ scenes between flanking angels—once at Christ’s empty tomb, and once in a Noli me tangere, adjacent to an elegant assemblage of flowers suggestive of the aromatic nature of her anointing oils.
In the principal scene, as also in her kneeling position in the garden of the resurrection and her humble position on the ground by Christ’s tomb, she models the consecration of the body called for by the Church’s teachings on the sacrament of penance. Her prostration at the feast leaves little doubt that her act of anointing Jesus is to be read as an expression of repentance. It also echoes the anointings of kings and clerics, as well as of ordinary Christians during baptism and illness, and at death. The hair with which she dries Jesus’s feet has the red tint that is traditional in medieval depictions of her.
As the leader of the Myrrophores, the ‘myrrh-bearing’ women, of the Easter narrative (Mark 16:1; Luke 24:1, 10), Christian tradition affirmed that Mary Magdalene took upon herself the task of anointing the body of Jesus the Messiah—the ‘Anointed One’—a second time in the Gospels: post-, as well as pre-mortem.
It is no surprise that this anointing act comes to define her in multiple later traditions. Modestus of Jerusalem (c.603–c.34), for example, promoted the role of Christian women, and especially of the Magdalene, in his ‘On Women Bearing Perfume’. And the sixth-century Arabic Infancy Gospel records how an old woman salvaged the navel string and prepuce of the infant Jesus, incorporating them into the composition of some aromatic oils of spikenard. She instructs her son, an apothecary, not to sell this special jar and its contents to anyone despite its inestimable value but to save it for Mary Magdalene to retrieve for the burial anointing of the adult Jesus. Thus, in this oil, birth and death are combined in a promise of rebirth, as Jesus’s earthly body finds itself restored to a state of original wholeness through the Magdalene’s ministrations.