Throughout Italy, religious iconography is abundant. On any street corner, one can stumble upon a gothic style cathedral, medieval frescoes, and renaissance sculptures that evoke spiritual imagery. Siena is no different. From the Basilique San Domenico to the Duomo di Siena, themes of Catholicism are ever present. But one specific figure maintains dominance throughout all of Sienese art: The Virgin Mary. At first glance, her influence on Sienese culture can be read as deep devoutness and faith. Upon further analysis, I believe that the Virgin Mary served more than just a religious purpose. For the city of Siena, the Virgin Mary is a symbol of civic and cultural identity.
History
According to Andrea Campbell, “The Siena Cathedral was dedicated to the Virgin Mary from at least the tenth century…” (437). Although there is no definite date that marks the beginning of her patronage, it is known that it is directly interwoven with Siena’s history. It was during the thirteenth century that the entire city of Siena was dedicated to the Virgin Mary. Due to ideological conflicts between the Guelphs, who ruled Florence, and the Ghibellines, who ruled Siena, there was a large amount of friction between the two cities (“The Sienese-Florentine Conflict”). The Guelphs and the Ghibellines were set to battle on the hill of Montaperti, which would become the “first major battle between the two city states” (“The Sienese-Florentine Conflict”). Buonaguida, the sindaco (mayor) of Siena, was led by the bishop to the altar of Mary (Campbell 438). Surrounded by townspeople, Buonaguida prayed to the Virgin Mary and promised her the city of Siena in exchange for her protection (Campbell 438). Although the Sienese were heavily outnumbered, they prevailed and successfully defended their territory. The unlikely victory of the Sienese in this historic battle cemented their devotion to Mary.
The Sienese continued to be fiercely devoted to the Virgin Mary throughout history. An example of this is the Feast of Assumption, which is celebrated every year on August 15. The “Assumption of Mary” is the Catholic doctrine that “Mary, the mother of Jesus, was taken (assumed) into heaven, body and soul, following the end of her life on Earth” (“Assumption”). Although the feast was a grand celebration, it was taken seriously and could result in punishment if one did not participate. According to Campbell, “All Sienese between the ages of eighteen and seventy were required to carry a candle to the Cathedral as a personal offering” (Campbell 440). This requirement was strictly upheld and failure to provide a personal offering resulted in a fine. Social practices like these are early symbols that exemplify the role of Mary in Sienese culture as well as civic policies.
Modern Day
The Feast of Assumption is not just a historical practice. In modern day Siena, it is called Ferragosto or Assumption Day (“Assumption of Mary”). On this day, government offices, banks, and schools are closed to the public so that everyone can partake in the festivities. While there are no longer fines for lack of participation, it has still transformed into a nationwide celebration.
Assumption Day also takes place right before the second Palio. Il Palio is the biggest tradition of Sienese culture. During the Palio, the citizens of Siena crowd into the Piazza del Campo to witness a horserace between their contradas (About Siena). Every year, two Palios take place. The second Palio is named Palio dell’Assunta (Palio of the Assumption) because it occurs the day after Ferragosto. This is another example of how the Virgin Mary pervaded more than religion. The Sienese named one of their largest cultural celebrations for her, further merging her image into their society. In addition to the second Palio festival being named for the Assumption of Mary, her image is also present on every pallium. The pallium is a painted silk flag that serves as the prize for winning Il Palio. Artists from all over the world design and paint a unique pallium every year. This results in a large range of artistic styles and representations of the Sienese tradition. One image remains consistent on every single Palio and that is the depiction of the Virgin Mary. On any pallium from the 17th century to the early 2000s, one can find the Virgin Mary painted at the top of silk banner, looking down over the beautifully painted Palio and Contradas. The progression and modernization of Siena has not altered its dedication to the Virgin. Her steady representation throughout Il Palio illustrates her persistent role in the civic identity of the Sienese.
Conclusion
The relationship between the city of Siena and the Virgin Mary is deeper than piousness. After reviewing the history of Mary’s role in Siena, one can see how she developed into their defender, protector, and patron. Even in modern day culture, Siena remains dedicated to the Virgin through Assumption Day and Il Palio. Siena’s ardor for the Virgin Mary symbolizes her importance in expressing Sienese culture and civic identity.
Sources
"À PROPOS DE SIENNE..." About Siena: your tourist guide to Siena. N.p., n.d. Web. 19 Mar. 2017.
"Assumption." Encyclopædia Britannica. Encyclopædia Britannica, inc., n.d. Web. 19 Mar. 2017.
"Assumption of Mary / Ferragosto in Italy." timeanddate.com. N.p., n.d. Web. 19 Mar. 2017.
Campbell, Andrea. “A Spectacular Celebration of the Assumption in Siena.” Renaissance Quarterly, vol. 58, no. 2, 2005, pp. 435–463., www.jstor.org/stable/10.1353/ren.2008.0709.
"The Sienese-Florentine Conflict." sites.middlebury.edu. N.p., n.d. Web. 19 Mar. 2017.