During the 1530s she became active in religious reform, and began writing love sonnets addressed to God — which became even more influential. She pushed the traditional Petrarchan form in a new direction to express her relationship with Christ. The first edition of her Rime was published in 1538, and appeared in twelve further editions before her death.
In 1531, Colonna commissioned Titian to paint a large portrait of Mary Magdalene — one of the figures of female spirituality from scripture and early church history she selected as role models for herself and other Christian women.
She became close friends with Michelangelo — influencing his poetry, and sharing the common conviction that faith was to be experienced personally, rather than merely dictated by the church. They both believed that one of the best ways to enhance such faith was through art. She commissioned his black chalk drawing of the Virgin Mary, Pietà for Vittoria Colonna (1540) for her personal meditation.
The following translation is by Jan Zwicky and appears in in Burl Horniachek’s anthology, To Heaven’s Rim: The Kingdom Poets Book of World Christian Poetry.
Sonnets for Michelangelo — 41
When to the one he most loved, Jesus
opened what was in his heart,
when he spoke of the betrayal, the plot
that was to come, it broke
the heart inside his friend. In silence—
for the others must not know—
the tears cut gutters in his face.
But seeing this,
his master held him to his breast,
and before the ditch of pain
had closed inside, had closed his eyes
in sleep.
No eagle ever flew as high
as the divine one in the moment of that falling.
This was God, who was himself alone,
both light and mirror. His rest
true rest, his sleep
true sleep, and peace.
*This is the second Kingdom Poets post about Vittoria Colonna: first post.
Entry written by D.S. Martin. He is the author of five poetry collections including Angelicus (2021, Cascade) ― a book of poems written from the point-of-view of angels. His books are available through Wipf & Stock.