ABSTRACT TitleofDissertation: THEARTS OFDOMESTIC DEVOTION IN RENAISSANCE ITALY: THECASEOF VENICE Margaret AnneMorse,DoctorofPhilosophy, 2006 Dissertation directedby: ProfessorAnthonyColantuono Department of Art Historyand Archaeology This dissertationexamines therichvisual culture that developedaroundthe pervasivepracticeofreligionintheRenaissancehousehold,withaspecific focus on thecityof Veniceinthelatefifteenthandsixteenthcenturies. It is asubject that has receivedlittleattentionintherecent art historical scholarshipthat has focusedonthe domesticarts inearlymodern Italy. Documentaryevidence confirms,however,that overninetypercent ofVenetianhomes contained articles ofspiritual import and function,consistingof a widerangeof goods,from paintings bytheperiod’s most renowned artists tomass-produceditems,suchas prints,amulets,and prayerbeads. Thesevisibleexpressions ofreligionwithin thehouseholdcontext wereessential for theformationandpreservationofadevout familial dwelling. Sacredimagery fostereddevotionandspiritual activitywithinthe everydaylives ofVenetians and ritual environments were fashionedthroughout thehousehold,from apicturehungon awall toanaltar furnishedwith theappropriatevessels and linens formass. Images ofprophylacticsaints,likeChristopher,Roch,and Sebastian,alongwiththaumaturgic objects, suchas amulets andprayerbeads,providedbodilyandspiritual protectionto familymembers inthis sea-faringcitythat continuallyfaceddisease and a host of othermisfortunes. Thereligious visual cultureof thecasaalsoshapedthe sacred and ethical characterofthe family, whichincludedthe moral formationofchildren,the roleofwomeninthehomeas spiritual educators,and thepreservationofthe householdforfuture generations. Additionally,whilelocatedwithina“private” setting,religious objects from domesticspaces wereintimatelytiedtoVenice’s mercantileeconomy,and connectedindividuals andfamilies tothecity’s wider communityofChristian devotion. In aperiodin whichthelaityassumed greater control overtheirspiritual lives,thehomeservedas oneofthemost salient settings forreligious activityand expression,madepossiblebytheacquisitionand displayof avarietyofdevotional goods. THEARTS OFDOMESTIC DEVOTION INRENAISSANCE ITALY: THECASE OFVENICE By Margaret A.Morse DissertationsubmittedtotheFacultyoftheGraduateSchool ofthe UniversityofMaryland, CollegePark,inpartial fulfillment oftherequirements forthedegreeof DoctorofPhilosophy 2006 AdvisoryCommittee: ProfessorAnthonyColantuono,Chair ProfessorKim Butler ProfessorTheresaColetti ProfessorMeredithGill ProfessorSallyM.Promey ©Copyright by Margaret A.Morse 2006 Thedissertationthat follows has had referenced materials removedin respect forthe owner’s copyright. Acompleteversionofthis document,whichincludes said referencedmaterial, resides intheUniversityofMaryland,CollegePark’s library collection. ii Acknowledgements This dissertationwouldhaveneverbeencompletedwithout theassistanceand support ofseveral institutions,andmany,manypeople. Iwouldliketobeginby thankingthemembers of mycommittee,all ofwhom havebeenincredibly enthusiasticabout myproject from thestart. Mysincerethanks gotomyadvisor, AnthonyColantuono,whotookmeonas his student eight years ago when nooneelse was theretofill that role, andhas remainedcommittedtomeeversince. Withmy research,hehas continuouslyaskedtheright questions,propellingmetoinvestigate particulartopics andissues that havealways provedtobefruitful. Hehas alsogiven meinvaluableadviceon navigatingtheprofessional arena,from fellowships andjobs torequestingdocuments inthearchives. SallyPromey,whilebusywithherown students,has always madetimeformeandunfailinglysupportedmyresearchin numerous ways. MeredithGill readchapters ofthis dissertationat thecritical early stages ofthewritingprocess andhas beenincrediblygenerous withhertime and knowledge. TheresaColetti quicklyand eagerlyagreedtojoinmycommitteeand I am grateful forherthoughtful andinstructivecomments. Imust alsothank Kim Butler,not onlyfortakingthetimetocarefullyreadmydissertationand givingme insightful feedback,but alsoforbeingbothfriend and mentorduringmyyears in graduateschool. Theresearchnecessaryforthis project was made possiblethroughthe generous financial support ofseveral institutions. Ireceivedtwopredoctoral fellowships from theGladys KriebleDelmas Foundationfortrips toVenice,which weresupplementedbygrants from theSamuel H. Kress FoundationandtheCosmos iii ClubFoundation. Withascholarshipfrom theP.E.OSisterhood Iwas able to dedicate anentire academic yeartoresearchand writing—bothinVenice andherein theStates—whichprovedinvaluableforthe advancement and completionofmy project. Iam grateful to thestaffofthe Archivio di StatoinVenice,theBiblioteca Marciana,andthelibraryoftheMuseoCorrerfor kindlyofferingmeassistancewith myresearchandpaleographicinquiries. Inadditiontotheseinstitutions,Iwouldlike toextendaspecial thanks to Liliana Leopardi,not onlyforhelpingmefind myway throughthelibraries and islands ofVenice,but alsoforherbigheart and friendship that mademyexperience insuchastrange and beautiful placesomemorable. Therehavebeenmanyothers whohaveassistedmeinmyresearch,teaching, andprofessional development whileingraduateschool. Iwas fortunateto havehad theopportunitytotakeseveral classes withDeborahKrohnwhile at Maryland,andit was inher“Rites ofPassage” coursethat Iwas first introducedtoRenaissance domesticarts. Evenafter herdeparture from CollegePark,shehas lent ahandon numerous occasions insupport ofmywork. As a teachingassistant inthe Department of Art Historyand Archaeology, Ihavehad the guidanceofmanygreat teachers andscholars; myfirst experienceinthis roleunderthedirectionofMarjorie Venit was perhaps oneof mymost memorable. Theenthusiasm anddedicationthat ProfessorVenit gives to herteachingwill always bemyinspirationbothinsideand outsidetheclassroom. IwouldliketothankNora Heimanat CatholicUniversityand theArt Department at Washingtonand LeeUniversityin Lexington,VAforgiving metheopportunitytoteachmyown courses and growas ateacher. The faculty, iv staff,andstudents at W&Lhavealsobeenincrediblysupportiveduringtheselast few franticmonths ofthedissertation,forwhich Iam incrediblygrateful. Ihavehadmanyrich experiences inthearts tocomplement mygraduate studies,andthepeoplewithwhom Iworkedmade theseoccasions all themore valuable. Iwas privilegednot onlytohavehadinternships at boththeNational GalleryofArt andtheMetropolitanMuseum ofArt,but tohaveworked withsuch outstandingcurators whilethere: MegGrasselli,GretchenHirschauer,DavidAlan Brown, andWendyThompson. At Americans fortheArts,Anne L’Ecuyertookme onas anunlikelycandidatetodoresearchonarts administrationand never doubted meonce,andthestaffof theArt-in-Architectureprogram at theU.S.General Services Administration—Bill Caine,SusanHarrison,andJenniferGibson— providedmewithemployment onseveral occasions,as well as somemuch-welcomed exposuretocontemporaryart. Thestaff andstudents of theDepartment ofArt Historyand Archaeology makeit oneofthemost pleasant places tobea graduatestudent. Quint Gregoryand LaureeSails intheVisual Resources Centerhave not onlykept meemployedmanya summer,but extendedlast minuteassistancewithmyteachingand projects formy owncourses onnumerous occasions.AniaWaller andDeborahDown—andthe amazingKathyCanavan whom weall miss somuch—helpedmewithall ofthe administrativedetails continuallyencounteredin alargeuniversity; Ialways felt safe entrustingthesematters totheircare. Several students inthedepartment’s dissertationreadings groups have generouslyread bothmyproposal andportions of mycurrent manuscript andhaveofferedtremendouslyhelpful feedbackthat has made v this abettertext: GinnyAdams,AdrienneChilds, DenaCrossan,AsmaNaeem, AngelaGeorge,Adam Greenaulgh,GuyJordan, LauraGroves Napolitano,Ginny Treanor, FloraVilches,andJulietWiersema. Juliet alsodeserves special thanks for beingthedepartment’s unofficial social coordinator,as well as a great friend. And I am especiallyindebtedto ColetteCrossman,withwhom Ihavesharedthe research andwritingprocess even thoughwe wereoftenin different states and countries. Not onlyhas shebeen anamazingfriend,but herhard workanddedicationhavebeenmy inspiration. Iam extremelygrateful tomyfriends from PhiladelphiaandWashington, DC; manyofthem knowlittletonothingabout art history,but they’vealways been interestedinandsupportiveofmystudies and research,and have givenme much- neededbreaks from thesubject. Most ofall, Ihavetoexpress mydeepest thanks and lovetomyfamily. Myparents havenurturedmypassionforart since Iwas alittle girl,andhaveneverquestionedmydesiretopursueacareerart history; instead,they haveofferedmenothingbut encouragement andadmiration. Mysiblings,their spouses,andtheirchildrenhavealso givenmetremendous support overthesepast eight years,but theywouldlovemeregardless ofthepathonwhich Iembarked. And last but not least,myhusband,Mike,has constantlybeenbymysidethroughout this journey,travelingtodifferent countries and visitingmuseums withme,providing computerassistance,readingdrafts,keepingmelaughing, andalways offeringtohelp inanywaypossible—thereis nowayIcouldhave donethis without him. vi Table of Contents Acknowledgements......................................................................................................iii TableofContents………………………………………………………………….....vii List of Figures..............................................................................................................ix Introduction...................................................................................................................1 StateofExistingScholarship....................................................................................5 Methods,Sources, and Limitations.........................................................................28 StructureoftheText...............................................................................................36 Chapter1.TheSacredVenetianHousehold................................................................39 DefiningtheVenetianCa’......................................................................................40 InsidetheCa’..........................................................................................................49 Il quadro..................................................................................................................60 Beyondthequadro: Sculpture,Prints,andBooks..................................................79 Sacramentals andDevotional Goods......................................................................90 Chapter2.DomesticDevotion.Part I—Images........................................................105 LayPietyintheMiddle Ages and Renaissance....................................................107 Venice andDevotion.............................................................................................116 ImageDevotion.....................................................................................................121 MarianDevotion...............................................................................................134 Christocentric ImageryandtheVisualizationofDevotion..............................140 Chapter3.DomesticDevotion.Part II—Spaces andDisplay..................................158 Display..................................................................................................................158 DomesticAltars inVenice....................................................................................165 TheStudioandDomestic Devotion......................................................................174 Chapter4.ASafeHaven: TheApotropaic FunctionofHolyImages andObjects.........................................190 "Death inVenice"………………………………………………………………..192 HolyProtectors.....................................................................................................197 Saint Christopher..............................................................................................200 Saints SebastianandRoch................................................................................217 Gemstones andthePowerofJewelry...................................................................237 TheAgnus Dei..................................................................................................255 Chapter5.FamilyValues: CreatingaChristianHousehold.....................................263 Marriage and FamilyintheRenaissance: ContemporaryPerspectves.................265 FemalePietyintheHousehold.............................................................................278 TheSpiritual EducationofChildren.....................................................................303 Death,Salvation,andthe FamilyFuture..............................................................320 Chapter6.The IntersectionofPersonal and Communal Devotion………………...335 Personal PietyandPublicPrestige: TheMarketplace and PatronagePractices...337 CorporateDevotioninRenaissanceVenice.........................................................347 DomesticGoods inEcclesiastical Spaces………………………………………..355 Public/Private, Individual/Communal: TheCurious AbsenceofSaint Mark.......359 vii