Polychrome Carved Walnut Figure of St. Catherine of Siena
A large polychrome carved walnut seated figure of St Catherine of Siena, French, possibly the Alsace region, 16th century. 56.30 in. high, 26.77 in. wide, 25.20 in. deep. St Catherine of Siena, born Catherine Benincasa in 1347, was a mystic, tertiary (lay) member of the Dominican Order, philosopher, theologian, writer and successful advocate for the return of the Papacy to Rome from Avignon. According to her legend, she began receiving mystical visions at the age of five or six. It is reported that, at twenty-eight, she received the stigmata of Christ on her hands, feet and side and the following year had a vision in which she was mystically wedded to Christ. She is the patron saint of Siena and is featured in many artworks describing her life and miracles. Her following spread widely, especially after her canonisation in 1461. This polychrome wood sculpture was possibly created in the Alsace region. It shows the saint wearing the traditional black and white habit of the Dominican order, however the belt and hems are gilded. The work probably originally occupied an elevated position in a church; her eyes are shown cast downwards, either in contemplation or looking protectively over the congregation below. Her hands are comparatively large and clasped across her chest. Interestingly, they do not depict the stigmata as is common in many other representations. This may be because hagiographical accounts state that she asked Christ that the wounds not be visibly present. The work also depicts her with short hair; an unusual feature given that many images of the saint either show her with long hair or with hair completely covered by a veil. This may reflect that, as a young woman, Catherine cut off her long hair as a means of refusing the familial and societal demands to conform and particularly, to attract a husband. Dr. Bronwyn Stocks
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- Polychrome - Made or finished in many colours. For furniture, it is used to indicated a painted finish.
- Gilding - Gilding is a method of ornamentation whereby a thin sheet of gold metal is applied to items made of wood, leather, ceramics, glass and silver for decorative purposes.
For furniture including mirrors, the sheet of gold is usually applied over a coating of gesso. Gesso is a mixture of plaster of Paris and gypsum mixed with water and then applied to the carved wooden frames of mirrors and picture frames as a base for applying the gold leaf. After numerous coats of gesso have been applied, allowed to dry and then sanded a coat of "bole", a usually red coloured mixture of clay and glue is brushed on and allowed to dry, after which the gold leaf is applied. Over time parts of the gilding will rub off so the base colour can be seen. In water gilding, this was generally a blue colour, while in oil gilding, the under layer was often yellow. In Victorian times, gilders frequently used red as a pigment beneath the gold leaf.
Metal was often gilded by a process known as fire gilding. Gold mixed with mercury was applied and heated, causing the mercury to evaporate, the long-term effect of which was to kill or disable the craftsman or woman from mercury poisoning. The pursuit of beauty has claimed many victims, not the least of which were the artists who made those pieces so highly sought after today.
This item has been included into following indexes:
- religious objects, Christian
