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From Domestic Devotion to the Church Altar: Venerating Icons in the Late Medieval and Early Modern Adriatic

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From Domestic Devotion to the Church Altar: Venerating Icons in the Late Medieval and Early Modern Adriatic religions Article From Domestic Devotion to the Church Altar: Venerating Icons in the Late Medieval and Early Modern Adriatic Margarita Voulgaropoulou Center for Eastern Mediterranean Studies, Central European University, 1051 Budapest, Hungary; [email protected] Article From Domestic Devotion to the Church Altar: Received: 23 May 2019; Accepted: 17 June 2019; Published: 19 June 2019 Venerating Icons in the Late Medieval and Early Abstract: Although traditionally associated with Eastern Christianity, the practice of venerating icons became deeply rooted in the Catholic societies of the broad AdriaticModern region from Adriatic the Late Middle Ages onwards and was an indispensable part of everyday popular piety. The evidence Margarita Voulgaropoulou lies in the massive amount of icons located today in public and private collections throughout the Italian Peninsula, Croatia, Slovenia, and Montenegro. At a time when GreeksCenter for were Eastern branded Mediterranean as Studies, Central European University, Budapest 1051, Hungary; [email protected] “schismatics”, and although the Byzantine maniera greca had become obsolete in Western European art, icon painting managed to survive at the margins of the Renaissance, and ultimatelyReceived: 23 May went 2019; through Accepted: 17 June 2019; Published: date its own renaissance in the sixteenth century. Omnipresent in Catholic households,Abstract: iconsAlthough were traditionally very associated with Eastern Christianity, the practice of venerating often donated to churches as votive offerings and were gradually transformedicons into became the focal deeply points rooted of in the Catholic societies of the broad Adriatic region from the Late collective public devotion. Through the combined study of visual evidence,Middle archival Ages onwards records and and was an indispensable part of everyday popular piety. The evidence lies in the massive amount of icons located today in public and private collections throughout the literary sources, this article will shed light on the socio-political, confessional, and artistic dynamics Italian Peninsula, Croatia, Slovenia, and Montenegro. At a time when Greeks were branded as that allowed for Byzantine or Byzantinizing icons to gain unprecedented“schismatics,” popularity throughoutand although the Byzantine maniera greca had become obsolete in Western European the Catholic milieus of the Late Medieval and Early Modern Adriatic, andart, become icon painting integrated managed into to survive at the margins of the Renaissance, and ultimately went domestic and public devotional practices. through its own renaissance in the sixteenth century. Omnipresent in Catholic households, icons were very often donated to churches as votive offerings and were gradually transformed into the Keywords: icon painting; maniera greca; Byzantine art; Renaissance; Councilfocal of points Trent; of Adriatic collective Sea; public devotion. Through the combined study of visual evidence, archival records and literary sources, this article will shed light on the socio-political, confessional, and Venice; Dalmatia; Ragusa; Candia artistic dynamics that allowed for Byzantine or Byzantinizing icons to gain unprecedented popularity throughout the Catholic milieus of the Late Medieval and Early Modern Adriatic, and become integrated into domestic and public devotional practices. 1. Introduction Keywords: icon painting; maniera greca; Byzantine art; Renaissance; Council of Trent; Adriatic Sea; Venice; Dalmatia; Ragusa; Candia On 2 March 1506 a miracle was recorded in the Italian village of Longiano, in modern-day Emilia Romagna. A Greek icon of the Madonna and Child (Figure1a), which decorated the residence of the devout Sebastiano Barberi suddenly started to “sweat” tears (“sudore manavit”). As news of 1. Introduction the miracle spread, Barberi’s house was slowly transformed into a site of intense public devotion, swarming with visitors who came to worship the weeping Madonna. It was notOn long March until 2, 1506 this a new miracle was recorded in the Italian village of Longiano, in modern-day Emilia Romagna. A Greek icon of the Madonna and Child (Figure 1a), which decorated the residence devotion outgrew the domestic confines of Barberi’s household, promptingof himthe devout to donate Sebastiano the icon Barberi suddenly started to “sweat” tears (“sudore manavit”). As news of to the local community along with his house (Figure1b), which was subsequentlythe miracle converted spread, Barberi’s into a house was slowly transformed into a site of intense public devotion, church to host the wonder-working image, henceforth known as Our Ladyswarming of Tears (Madonnawith visitors dellewho came to worship the weeping Madonna. It was not long until this new Lacrime).1 As extraordinary as it sounds, this episode—one of many encountereddevotion inoutgrew Late Medievalthe domestic confines of Barberi’s household, prompting him to donate the icon to the local community along with his house (Figure 1b), which was subsequently converted into a and Early Modern sources—illustrates the prominent place of Orthodox icons in Catholic devotional church to host the wonder-working image, henceforth known as Our Lady of Tears (Madonna delle practices, while highlighting the fluid boundaries between domestic and publicLacrime). worship.1 As extraordinary as it sounds, this episode—one of many encountered in Late Medieval 1 The episode is commemorated in a dedicatory inscription at the ex-church of Our Lady of Tears (Santa Maria 1 The episode is commemorated in a dedicatory inscription at the ex-church of Our Lady of Tearsdelle (Santa Lacrime) Maria dellein Longiano: Lacrime) D.O.M. // BEATISSIMAEQUE VIRGINI // LACRIMARUM // QUAE// ANNO CI Ɔ in Longiano: D.O.M. // BEATISSIMAEQUE VIRGINI // LACRIMARUM // QUAE// ANNO CII ƆI VIVI POSTRID. POSTRID. K. MAR K. MAR // SUDORE MANAVIT // SEBASTIANUS BARBERIUS // DOMUM IN TEMPLUM // SUDORE MANAVIT // SEBASTIANUS BARBERIUS // DOMUM IN TEMPLUM D.D.D.S.D.D.D.S.// QUODQ. // QUODQ. VETUSTATE VETUSTATE COLLABENS // CONSULES LONZANI // A FUNDAMENTIS IN HANC COLLABENS // CONSULES LONZANI // A FUNDAMENTIS IN HANC FORMAM AEDIF. CI FORMAMI CCLXXII. AEDIF. Theinscription CIƆIƆCCLXXII. The inscription is cited and transliterated in (Turchi 1829, pp. 4–5). See also is cited and transliterated in (Turchi 1829, pp. 4–5). See also (Pasi 1986, pp. 156–58). (Pasi 1986, pp. 156–58). Religions 2019, 10, x; doi: FOR PEER REVIEW www.mdpi.com/journal/religions Religions 2019, 10, 390; doi:10.3390/rel10060390 www.mdpi.com/journal/religions Religions 2019, 10, x FOR PEER REVIEW 2 of 42 Religionsand Early2019, 10 Modern, 390 sources—illustrates the prominent place of Orthodox icons in Catholic devotional2 of 41 practices, while highlighting the fluid boundaries between domestic and public worship. (a) (b) FigureFigure 1. (1.a) ( Madrea) Madre della della Consolazione Consolazione (Madonna (Madonna delle dell Lacrime),e Lacrime), ca. 1500,ca. 1500,© Longiano, © Longiano, Museo Museo d’Arte Sacra;d’Arte (b) Sacra; Ex Church (b) Ex of Church Santa Mariaof Santa delle Maria Lacrime, delle Lacrime, now Museo now Museo Italiano Italiano della Ghisa, della Ghisa, Longiano Longiano (image in the(image public in the domain). public domain). TheThe past past twenty twenty years years have have seen seen an abundancean abundance of scholarshipof scholarship on theon the material material culture culture of theof the Early ModernEarly Modern domestic domestic interior interior and the and devotional the devotional practices practices that took that place took inplace the in Renaissance the Renaissance home. 2 home. 2 Drawing heavily on archival sources, previous publications have been geographically Drawing heavily on archival sources, previous publications have been geographically limited to the limited to the major artistic centers of Central and Northern Italy, notably to Renaissance Florence major artistic centers of Central and Northern Italy, notably to Renaissance Florence and Venice, whereas and Venice, whereas the rest of the Italian Peninsula and the Adriatic region still remain largely the rest of the Italian Peninsula and the Adriatic region still remain largely uncharted. In addition, uncharted. In addition, extant studies have almost exclusively dealt with art objects of Western style extant studies have almost exclusively dealt with art objects of Western style and manufacture, while and manufacture, while icons made in the Byzantine tradition are mentioned only briefly as a iconsside-note made inor the listed Byzantine among traditionitems casually are mentioned encounte onlyred in briefly private as acollections. side-note orDeparting listed among from itemsthe casuallylimitations encountered of previous in private scholarship, collections. this article Departing will explore from the the limitations place and offunction previous of Byzantine scholarship, and this articleByzantinizing will explore icons the placein Catholic and function households of Byzantine throughout and the Byzantinizing broad Adriatic icons region, in Catholic and at householdsthe same throughouttime, trace the the broad afterlives Adriatic of region, images and of atdomest the sameic devotion time, trace in the the afterlives public space. of images Through of domestic the devotioncomparative in the evaluation public space. of material Through evidence the comparative with archival evaluation and literary of material sources, evidence this study with seeks archival to andoutline literary
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