The slave, the king and the cardinal. Benedict the Moor's iconography in the 17th century. In the history of sainthood, cult and devotion, images play a role just as important as that played by relics. Throughout the canonization process of Benedict the Moor (1594-1807) images were produced and listed, together with hagiographies, as an expression oh the devotion for the 'Santo Negro'. The production started after his death (1589) and continued throughout the century, following the migration of his cult in Spain and Portugal and then in the New World, where the cult was influenced by African culture and where the cult is still strong. However, it was the 17th century that the Franciscan Order defined the content and stylistic canons of the artistic representation of the Benedict. Through a close investigation of the images, we see how Benedict came at first to simbolize the reformation movement of the Franciscan Order and its 'Terzo Ordine' conception of a religious lifestyle for laymen, and then a special vocation for the evangelization of african slaves, therefore showing an 'international' calling and supremacy over different religions.
|Data di pubblicazione:||2006|
|Titolo:||Lo schiavo, il re e il cardinale. L'iconografia seicentesca di Benedetto il Moro|
|Tipologia:||Articolo su rivista|
|Citazione:||FIUME G (2006). Lo schiavo, il re e il cardinale. L'iconografia seicentesca di Benedetto il Moro. QUADERNI STORICI, 121, 165-208.|
|Appare nelle tipologie:||01 - Articolo su rivista|