Feathers of the Soul

In the long history of Western art, the soul has often been symbolized by a bird. What that symbol looks like, however, has more than one interpretation. This exhibition showcases pieces that depict a lesser known representation of the soul.

If most people were asked about the image of the soul, they doubtless would think of a bird flying free, its wings spread in the wind. Moreover, they would likely imagine it to be seen around the moment of a person’s death (such as in Peter Meinke’s short story The Cranes). However, birds have also been shown in relation to children. These birds are often caged or restrained, which is itself a reference to classic Madonna and Child images. The captured bird allegedly symbolizes the way Christ was captured to save the human race. More generally, the birds were paired with children to show the tenuous hold the soul has on a child-like innocence.

The following objects show a variety of ways that artists have portrayed the restrained bird. The images challenge what one might normally think of the soul, but this is not to negate the image of the free bird, but rather to expand one’s perspective of the soul.

Joseph Wright of Derby, The Synnot Children, 1781

oil on canvas, National Gallery of Victoria, E1-1980

While ostensibly a portrait, this painting is filled with Christian symbolism: the children’s poses reference the Annunciation, and the dove likely represents the Holy Spirit. The children in Joseph Wright’s painting are entertaining in and of themselves, but it is the delicate and refined bird cage that takes center stage in this piece. Here the door to the cage is opened, while its past resident, a dove, sits clutched in the middle child’s arms. This act could suggest that the bird (or soul) is not held in an involuntarily and impersonal manner, but rather voluntarily and personally.

Unknown American, Girl with Bird and Cage, ca. 1735-40

oil on canvas, Hunter Museum of American Art, 1976.6

Like The Synnot Children, this painting is a portrait, and it also shows the bird outside of an opened cage. It is a simply done piece, with a muted background that does not distract from the main subjects. Despite its subtlety, the lighting in the painting makes sure to highlight the bird cage. Unlike Synnot, this cage is small enough to be held in the hand of the young girl, and the bird perches on the girl’s finger, rather than being held tightly.

Unknown Frenchman, Virgin and Child with Bird, mid 15th c.

sculpture, Metropolitan Museum of Art, 1997.125 

Just as the previous two images have featured children, this religious artwork also does—but in this Frenchman’s version, that child is the young Christ. Similar to Synnot Children, the bird is held in the child’s hand, but it is also similar to Girl with Bird, as the child’s hold on the bird is very gentle, almost playful. This bird is meant to represent both the soul and the resurrection, as it is shown drinking the child’s blood in order to rejuvenate itself.

Cecco di Pietro, Virgin and Child Playing with a Goldfinch and Holding a Sheaf of Millet, 1379

Tempera on panel, Statens Museum for Kunst, kms3378. 

While the previous pieces held the bird in the hand, the child in this painting restrains the bird by holding it on a leash. The piece is rife with symbolism: the bird, in addition to representing the soul and the resurrection, is a goldfinch. This bird commonly represented the Passion, as it lives among thorn bushes. The young Christ lets the bird sit on his left hand, giving it some semblance of casualness, but at the same time, his right hand holds the string with the utmost care. The child has the bird, his soul, under tight reign.

Antonio de Solario, The Virgin and Child with Saint John, c. 1510

oil on canvas, National Gallery, London, NG2503

As with the previous image, the Christ child holds his bird by a string. The child has the appearance of standing on his own, suggesting a certain amount of independence. Perhaps reflecting this, the bird also has more independence. This bird is not being held or even in physical contact with the child; instead, it stands away on a nearby ledge. However, neither the independence of the child’s body nor its soul (as represented by the bird) are wholly free: the child is still supported by its human mother, and the bird is still restrained by a leash.

Francisco Goya, Manuel Osorio Manrique de Zuniga, 1787-88

oil on canvas, Metropolitan Museum of Art, 49.7.41

Francisco Goya created a portrait of a Manuel, a human child, and infused it with very specific Christ-Child imagery. The painting has both a bird cage (of goldfinches, no less) and a bird on a leash, combining elements of the previous images in this exhibition. Moreover, Manuel is dressed in red, a classic color for representing Christ. In this image, all of the restrained-soul imagery is used, and it also includes an element of danger: three black cats, predators of the bird, watch from the shadows. Goya’s painting represents a unique, but not unprecedented, depiction of the soul.


-- Hannah McCoy