This study deals with the development of the cult and iconography of nun Domenica di Francesco di Leonardo Narducci. She was born in Paradiso, near Florence on September 9, 1473. The study focuses on the analysis of the period from 1507 to 1742, paying particular attention to the period from 1624 to 1635 – on the occasion of the canonization process instruction – and upon the resumption of the same in 1742. The promoters of this powerful “advertis- ing campaign”, with their policy, tried to remind and keep alive in the minds of the faithful the memory of Domenica through the spread of her true “effigy”. Therefore, if we consider the superiority of form over matter and soul over body, we cannot but consider that sometimes a sort of superiority of the image on the remains and then on the relics takes place. An eloquent example of the above is when images or sacred sculptures are recognized to have a total autonomy from the subject depicted or sculpted. These testimonies show that the painted panel or sculpture become alive, come to life, become a sort of “clone” of the subject represented, resulting in a more familiar relationship between the devotee and his special intercessor, so as to transform that image in a sort of mechanical support of the memory of the saints’ apparition. The risk that we run in these cases is to make the real world alive only through the image which has become the main part of the devotee’s life

BISOGNI ARGENZIANO, R. (2013). 34. «Sembrava più tosto una donna composta d'aria che di carne». Suor Domenica da Paradiso nella produzione figurativa tra il XVI e il XVII secolo. ICONOGRAPHICA, XII, 127-158.

34. «Sembrava più tosto una donna composta d'aria che di carne». Suor Domenica da Paradiso nella produzione figurativa tra il XVI e il XVII secolo

BISOGNI ARGENZIANO, RAFFAELE
2013-01-01

Abstract

This study deals with the development of the cult and iconography of nun Domenica di Francesco di Leonardo Narducci. She was born in Paradiso, near Florence on September 9, 1473. The study focuses on the analysis of the period from 1507 to 1742, paying particular attention to the period from 1624 to 1635 – on the occasion of the canonization process instruction – and upon the resumption of the same in 1742. The promoters of this powerful “advertis- ing campaign”, with their policy, tried to remind and keep alive in the minds of the faithful the memory of Domenica through the spread of her true “effigy”. Therefore, if we consider the superiority of form over matter and soul over body, we cannot but consider that sometimes a sort of superiority of the image on the remains and then on the relics takes place. An eloquent example of the above is when images or sacred sculptures are recognized to have a total autonomy from the subject depicted or sculpted. These testimonies show that the painted panel or sculpture become alive, come to life, become a sort of “clone” of the subject represented, resulting in a more familiar relationship between the devotee and his special intercessor, so as to transform that image in a sort of mechanical support of the memory of the saints’ apparition. The risk that we run in these cases is to make the real world alive only through the image which has become the main part of the devotee’s life
BISOGNI ARGENZIANO, R. (2013). 34. «Sembrava più tosto una donna composta d'aria che di carne». Suor Domenica da Paradiso nella produzione figurativa tra il XVI e il XVII secolo. ICONOGRAPHICA, XII, 127-158.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11365/1020672