The positive transformative feminine culminates in the most “spiritual” of the feminine figures, virgins who represent the complete sublimation of sexuality. Here we find the most ethereal and least bodily feminine figures (and hence the most acceptable to the patriarchy). The Virgin Mary, for example, is depicted as a transformative figure more frequently than an elementary one (in other words, the emphasis falls on her virginity rather than her motherhood). In the following two paintings, she is shown as very young, pale, and ethereal, with pastel colors (especially the sky colors of blue and white). Even when she is shown without clothes (as in the very unusual representation on the triptych panel), the context is totally spiritual and other worldly.

detail of “Adoration of the Christ Child” by Filippo Lippi; Florence Uffizi Museum	detail of triptych from Abbey of Dielegem by Maitre of 1518; Brussels Royal Museum of Art and History

Nuns, who completely forgo their sexuality, are also transformative figures; in the following painting we see St. Catherine quite literally giving her heart to Christ.

painting by Cozzarelli, late 15th century; Siena Pinacoteca

At this pole of the feminine archetype, the inspiration of the positive transformative feminine is more intellectual and spiritual than that of the damsel in distress. Here we find the muses, who inspire the ego/hero to create art and literature, and virgin goddesses like Athena and Sophia, who symbolize intuitive wisdom. The following stained glass window depicts the poet Dante surrounded by St. Lucy (whose name means “light” and who wears a blue dress adorned with stars) and Beatrice, the young woman who inspired his poetry (and whose sexual appeal was certainly sublimated, since she had died before he wrote about her).

stained glass window; Milan Ambrosiana Museum

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