Portal de Periódicos da CAPES

V.— The Sanctuary of the Madonna delle Grazie, with notes on the evolution of Italian armour during the fifteenth century

1930; Society of Antiquaries of London; Volume: 80; Linguagem: Inglês

10.1017/s0261340900016386

2051-3186

James G. Mann,

Ancient and Medieval Archaeology Studies

The Franciscan monastery of Santa Maria delle Grazie is situated on the bank of the Mincio some five miles west of Mantua on the road to Cremona. My attention was first drawn to it by the late Baron de Cosson during a conversation in Florence in 1926, when he showed me a photograph of the interior of the church. He understood that the local tradition was that the statues were clad in armour taken from the battlefield of Marignano in 1515, and mentioned that there appeared to be some basis for this belief as the armour looked to to him genuine enough, so far as it was possible to see it from the floor of the church. ‘ Rien n'est plus rare qu'une arinure ancienne ’ The suggestion that there might be in existence a church full of armour dating from the early part of the sixteenth century, hitherto unrecorded, inspired a desire to visit the place at the first opportunity. I was unable to fulfil my intention that year, but two years later I was in the north of Italy again and was able to make the promised pilgrimage. The antiquary is well used to receiving specious accounts of treasures which on examination turn out to be utterly worthless. Perhaps objects associated with warlike exploits lend themselves even more commonly to exaggeration than most, and I was prepared to find that I had made a journey in vain. On my arrival a brother informed me that the armour on the statues was only of carta pesta and not worth looking at. But the first figure that I inspected showed that my hopes had been exceeded. Not only was much of the armour real, so far as one could tell through a coating of thick black paint overlaid with the dust of countless Italian summers, but its form was not that of the time of Marignano but of some fifty years earlier, when the art of the Italian armourer had reached its zenith. Last year I returned to the monastery and arranged to have a scaffold erected, and to have the seventeen figures which wear armour out of the total of sixty-seven photographed; for permission to do this I wish to record my gratitude to Monsignor Guarnieri and the Soprintendente di Belle Arti of.the district.