Noli me tangere
The biblical scene of Mary Magdalene's recognizing Jesus Christ after his resurrection became the subject of a long, widespread and continuous iconographic tradition in Christian art from late antiquity to the present. So Pablo Picasso for example used the painting Noli me tangere by Antonio da Correggio, stored in the Museo del Prado, as an iconographic source for his famous painting La Vie (Cleveland Museum of Art) from the so-called Blue Period.
The words are the motto of Houses Wormell and Wormald.
The words were also occasionally used to describe a disease known to medieval physicians as a "hidden cancer" or cancer absconditus, as the more the swellings associated with these cancers were handled, the worse they became.
The words were a popular trope in Gregorian chant. The supposed moment in which they were spoken was a popular subject for paintings in cycles of the Life of Christ and as single subjects, for which the phrase is the usual title.
The expression found its way into culture and literature. According to Solinus, white stags found 300 years after Caesar's death had their collars inscribed with "Noli me tangere, Caesaris sum", meaning "Do not touch me, I am Caesar's". This phrase, in turn, appears in the lyric poem "Whoso list to hunt" by 16th-century poet Sir Thomas Wyatt, inscribed on the collar of a hind who stands for the elusive lover hunted (metaphorically) by the speaker: "There is written, her fair neck round about: / Noli me tangere, for Caesar's I am."
Noli me tangere fresco by Fra Angelico
Noli me tangere by Martin Schongauer
Noli Me Tangere, by Fra Bartolomeo c. 1506
Noli me tangere by Titian c.1511-15
Touch Me Not (Noli me tangere) by James Tissot
Noli me Tangere by Hans Holbein the Younger, 1524.
Appearance of Jesus to Mary Magdalene after resurrection, Alexander Ivanov, 1835
- See, for instance, "Touch Me Not" by Gary F. Zeolla or Greek Verbs. In fact the form of the verb used is not the aorist imperative, which would indicate momentary or point action, but the present, which indicates an action in progress (Lesson Five - Greek Verbs). When, later in the same chapter, Jesus invites Thomas to touch his side, the aorist imperative is used to indicate the proposed momentary action (John 20:27). See also Jeremy Duff, The Elements of New Testament Greek, 7.2.2. "The difference between the Present and Aorist Imperatives".
- See G. Schiller, "Ikonographie der christlichen Kunst", vol. 3, Auferstehung und Erhöhung Christi, Gütersloh 2 1986 (ISBN 3-579-04137-1), p. 95-98, pl. 275-297; Art. Noli me tangere, in: "Lexikon der christlichen Ikonographie", vol. 3 Allgemeine Ikonographie L-R, Rom Freiburg Basel Wien 1971 (ISBN 3-451-22568-9), col. 332-336.
- Gereon Becht-Jördens, Peter M. Wehmeier: Picasso und die christliche Ikonographie. Mutterbeziehung und künstlerische Position. Reimer, Berlin 2003, esp. p. 39-42, fig. 1-4 ISBN 3-496-01272-2
- Wallis, Faith. "Medieval Medicine: A Reader". University of Toronto Press, 2010, p. 345 ISBN 978-1442601031
- Rumens, Carol (10 August 2009). "Poem of the week: Whoso List to Hunt by Thomas Wyatt". London: The Guardian. Retrieved 26 May 2011.
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