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Divine Intervention: Visionary Imagery and Authority in the Convent of San Domenico of Pisa Art History 493 Advisor: Professor G

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Divine Intervention: Visionary Imagery and Authority in the Convent of San Domenico of Pisa Art History 493 Advisor: Professor G Divine Intervention: Visionary Imagery and Authority in the Convent of San Domenico of Pisa By Celeste Cruz-Carandang Art History 493 Advisor: Professor George Bent On my honor, I have neither given nor received any unacknowledged aid on this paper. Celeste Aida Cruz-Carandang Table of Contents Introduction......................................................................................................................................1 Chapter I: Religious background.....................................................................................................4 Chapter II: Chiara Gambacorta......................................................................................................15 Chapter III: The Convent of San Domenico.......................................................................................................................................24 Chapter IV: Depictions of Bridget of Sweden and the Dilemma of Visionary Authorship....................................................................................................................................33 Chapter V: Images of the Two Catherines and Christological Devotion........................................................................................................................................43 Conclusion.....................................................................................................................................54 Appendix: Image lists Chapter III images..........................................................................................................................55 Chapter IV images.........................................................................................................................61 Chapter V images...........................................................................................................................63 Works cited list..............................................................................................................................65 Acknowledgements At the end of this year, Professor George Bent reminded me that writing an academic paper, especially one of this magnitude, must be a process. Therefore, when I thank Professor Bent for all of the help, advice, inspiration and support he provided in order to help me complete this project, I cannot help but also express my gratitude for the guidance that he gave me throughout the entirety of the writing process. He urged me to make a trip to New York City and do research at the Frick Collection. With his encouragement, I contacted and subsequently had the pleasure of meeting the scholar who had influenced my senior thesis topic. Then, his assistance enabled me to meet yet another inspiring academic at a conference where I presented a portion of my thesis. This year, and for all of the years that I have known him, Professor Bent has shown me what it takes to achieve my goals. By interacting with him and watching him teach, I have learned that passion is essential to pursing my life's path. Through seeing him work on his own projects and observing him as he edited my own, I began to understand the type of diligence someone needs to survive in academia. Professor Bent has been so many things in my life: a teacher, mentor, supporter and more. Above all, however, he has been an example. I would also like to thank Professor Andrea Lepage and Professor Pamela Simpson for all of the helpful comments they gave me. Their assistance provided me with two entirely new perspectives, two viewpoints that became integral to my final project. With a paper of this size, I could not help but become absorbed into the topic and into my own arguments. Professor Lepage's and Professor Simpson's comments challenged my ideas and forced me to approach the paper with original thoughts and conclusions. Cruz-Carandang 1 Introduction The convent of San Domenico of Pisa housed a modest collection of artworks. A number of these paintings feature customary depictions of familiar scenes. At the same time, the nuns of San Domenico commissioned images that defied the visual traditions of late medieval Italy. One particular piece ostensibly appears to be a conventional rendition of a mystical event. A woman, dressed as a Dominican nun, kneels in the lower left-hand register of the composition. She extends her hand to receive a ring from a man who emerges from a cloud. Four other figures occupy this cloud. They gaze down at this woman as she accepts the small token. The entire scene seems to take place in a conventual garden.1 Walls surround the figures and the woman kneels under a building resembling an oratory. A lily and grasses define the garden setting. The image has been identified as a work illustrating a scene from the Catherine legend: The Mystic Marriage of Saint Catherine. However, I believe that this painting, like many others in San Domenico, raises some questions that the title alone cannot answer. For example, why does this event take place in a convent? Since the work dates to 1400, over sixty years prior to Catherine's canonization, why does she appear nimbed? What significance, if any, does the garden have? Such inquiries represent a trend regarding depictions of female mystics at San Domenico during the late medieval period. Paintings of Catherine of Alexandria and Bridget of Sweden appeared alongside those of Catherine of Siena. Each work includes components that also generate further inquiries regarding not only the picture itself, but also how the sisters used it. My thesis forces viewers to reconsider the purpose of images in the convent of San Domenico of Pisa. While scholars such as Ann Roberts argue that the founder of the convent, Chiara Gambacorta, commissioned images of visionaries served as examples of feminine piety for their 1 Ann Roberts, Dominican Women and Renaissance Art: the Convent of San Domenico of Pisa, Women and Gender in the Early Modern World (Aldershot, England: Ashgate, 2008), 75. Cruz-Carandang 2 convent audience, I suggest that these pieces depicted more than a paradigm of feminine devoutness.2 Indeed, my project investigates how these images provided female monastics with a way to reclaim their power from the surrounding male figures and establish their authority by triggering visions. As a personal encounter with the divine, these visionary episodes had a notable degree of authenticity. Thus, these mystical experiences placed the nuns of San Domenico in a position comparable or even equivalent to that of a priest. Chiara Gambacorta founded the Dominican convent of San Domenico in 1382.3 Her influence extended far beyond the establishment of this monastic community. She played an integral role in selecting the images that decorated the interior of the building itself. For generations after her death, the women of this cloister expressed deference to Chiara's legacy through their adherence to the visual tradition that their founder had devised. It was not until Chiara time as prioress, 1395-1419, that the convent started to commission works of art.4 Paintings of the aforementioned female visionaries filled the walls of San Domenico. These depictions, especially those of the two Catherines, not only confirm Chiara's predilection for Dominican imagery, but also reveal a particular interest in mystical experiences.5 As with most renunciants, specific events in Chiara's life compelled her to take her vows as a member of the regular clergy. Yet, my paper is not intended to be a work of either hagiography or biography. In the same way that certain incidents during her lifetime shaped her 2 Roberts, Dominican Women and Renaissance Art, 3. 3 Ibid., 12. 4 Sister Mary Evelyn Murphy O.P., Blessed Clara Gambacorta (Fribourg: Imprimerie De L'oeuvre De Saint-Paul, 1928), 71. 5Both Catherine of Alexandria and Catherine of Siena were of great importance to the Dominicans. During the late fourteenth century, several paintings in Dominican houses depicted Catherine of Siena nimmed, although she had not yet received sainthood. Many scholars believe that this type of representation was a part of a campaign for Catherine's canonization soon after her death in 1380. Cruz-Carandang 3 as a female religious, I surmise that certain incidents and circumstances influenced the types of images she chose for San Domenico. Throughout her life, Chiara came into contact with several individuals who encouraged her vocation. These people introduced her to the three aforementioned female mystics. Indeed, Chiara herself maintained a correspondence with Catherine of Siena beginning in 1375.6 Upon further examination of Chiara's background, we begin to observe a definitive pattern: those who advocated her retreat to a cloistered life also provided her with information pertaining to feminine visionary experiences. I argue that these people as well as the spiritual guidance that they dispensed acted as the impetus for a series of changes in Chiara's life. In order for her to evolve from Tora, the daughter of a Pisan nobleman, to Beata Chiara, a number of Ovidian metamorphoses had to take place. The inspiration provided by the holy women catalyzed and perhaps supplied a model for Chiara's transformations. Chapter I: Religious background 6 Roberts, Dominican Women and Renaissance Art, 12. Cruz-Carandang 4 I. Introduction Women's mystical experiences arose as a specific response to their religious and social circumstances of the time period. Observant female monastics of this time found themselves forced to follow not only
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