Abstract
On the mountainous crest of the Apennines are several buildings comprising the monastic site of La Verna where St. Francis received his stigmata in 1224. Described in 1493 as another Jerusalem in the West, the monastery’s Chiesa Maggiore, Santa Maria degli Angeli, and the Chapel of the Stigmata house its most prominent images, Andrea della Robbia’s five altarpieces (c. 1476-c. 1493). This essay explores the beholder’s experiences before Andrea’s earliest two altarpieces at the Observant Franciscan monastery, the Annunciation and Adoration. The history and function of this monastery are considered in light of the themes of these altarpieces and their theological significance. Of relevance are the inscriptions on the altarpieces, which rather than simply identifying the accompanying images, propose interesting interpretations and influences for the altarpieces and which suggest interactive involvement between beholder and the altarpieces in the monastic spaces. Taken together, these works reveal a sensitivity to the specific needs of the Franciscan audience, context, and location and an awareness of Renaissance devotional practices.
Highlights
Situated in the peak of the Apennine Mountains is the remote Franciscan monastery of La Verna, described in 1493 by Fra Alexandro de Riciis as another Jerusalem in theWest, a site of profound devotion for the intrepid pilgrim (Chiappini 1927, p. 331; Ritsema van Eck 2017, pp. 271–72)
The public spaces of the monastic compound include three principal buildings of devotion: Santa Maria degli Angeli, the Chiesa Maggiore, and the Chapel of the Stigmata, the location of Francis’ stigmatization (Figures 1 and 2). Within these buildings are five altarpieces that were commissioned from Andrea della Robbia between c. 1476 to c. 1493
Andrea della Robbia responded to such influences at La Verna where the concept of the Incarnation is pronounced in these two Chiesa Maggiore altarpieces, and in which the significance of the Virgin and the Word/verbum is distinct and crucial to their interpretation
Summary
Situated in the peak of the Apennine Mountains is the remote Franciscan monastery of La Verna, described in 1493 by Fra Alexandro de Riciis as another Jerusalem in the. The public spaces of the monastic compound include three principal buildings of devotion: Santa Maria degli Angeli, the Chiesa Maggiore, and the Chapel of the Stigmata, the location of Francis’ stigmatization (Figures 1 and 2) Within these buildings are five altarpieces that were commissioned from Andrea della Robbia between c. S. Maria degli Angeli, and the Madonna del Rifugio attributed to Andrea della Robbia, in the Chiesa Maggiore, was moved here in 1874 (it was not originally intended for the monastery). Maria degli Angeli, and the Madonna del Rifugio attributed to Andrea della Robbia, in the Chiesa Maggiore, was moved here in 1874 (it was not originally intended for the monastery) This is not to imply there are no other altarpieces at La Verna but rather that the robbiane altarpieces are distinct among them due to their shared medium of enameled terra cotta.
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