The Open Arts Journal (Feb 2015)
To have and to hold: possessing the sacred in the late renaissance
Abstract
Private devotional art of the early 17th century often found its place in the galleries of noblemen and women whose diverse collections were symbols not only of stylistic taste, but of their owners’ exhaustive curiosity. In these domestic settings, boundaries between sacred and secular were permeable, as the unprecedented physical intimacy portrayed in popular religious subjects such as St Matthew and the Angel, the Stigmatisation of St Francis, or Christ’s Agony in the Garden reveal. Representations of the latter reminded viewers of Christ’s human, corporal suffering and suggested a model of resolve strengthened by prayer. The Agony in the Garden appears on the interior of Jacopo Ligozzi’s virtuosic Portable Altar with Carrying Case (1608), likely a Medici gift presented to the Austrian court in anticipation of the marriage of archduchess Maria Maddalena to soon-to-be grand duke Cosimo II. Adorned with lavish botanical motifs on its exterior, the Altar’s potency as a sacred possession was redoubled by the owner’s tactile revelation of the portrayal of Christ supported by an Angel contained inside the case. Comprised of wood, oil on copper, and pietre dure inlay, it is an object intended to be held, opened, and experienced. This paper suggests that Ligozzi’s selective combination of sumptuous materials and choice of subject matter – botanical illustration and Christological iconography – allowed the object to appeal to the full sensorium, and therefore to function as efficaciously as a devotional aid as it did as a curiosity among other rare collectibles.
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