This thesis analyses images of male saints defending their chastity against transgressive women. The studied images were produced in post-Tridentine Italy – a period when Catholic dogma, through Church reform, emphasised the superiority...
moreThis thesis analyses images of male saints defending their chastity against transgressive women. The studied images were produced in post-Tridentine Italy – a period when Catholic dogma, through Church reform, emphasised the superiority of the virginal state and the danger of carnal desire. The rule of mandatory celibacy for the clergy was one of the questions discussed during the Council of Trent, the chief movement of the Catholic Reformation (1545-1563). Critical voices regarding the Catholic Church’s lack of control and strictness towards the sexual misconducts repeatedly performed by their clergy were raised both within the Church and by their Protestant opponents. When the Catholics, unlike the Protestants, reaffirmed the rule of compulsory clerical celibacy, the essential importance of sexual abstinence was accentuated by confirming its connection to the true Christian doctrine.
The thesis aims to examine, firstly, how the temptation episodes are communicated visually for them to function as a promotion for the reformed Catholic Church, and secondly, how the images reflect the current attitude towards gender and sexuality. The study's visual source material consists of paintings, drawings and engravings of temptation scenes from the lives of St. Anthony the Great, St. Francis of Assisi, St. Benedict of Nursia, St. Jerome, St. Philip Neri, St. Thomas of Aquinas and St. Eligius. The images are seen as cultural and religious expressions of their time and are studied in close connection with their textual sources, e.g. the hagiographies of the saints, and are approached through an iconographic reading. For critical perspectives and material information, the examination is further conducted with the support of fields outside art history; theology, gender studies and history.
The result shows that images of carnal temptation were not only increasingly produced during the sixteenth century, but also addressed to expanding audiences of laymen and not just monks and priests. I argue that the reaffirmation of the importance of chastity played an essential role in the introduction and elaboration of new temptation imagery. The images of tempted, yet withstanding, male saints served to promote the heightened sexual morality of the post-Tridentine Church. By presenting the female sex as an immediate danger to the patriarchal order, the motifs uncover a long established misogyny. The images show a Catholic male ideal where masculinity was defined by exemplarily mastered flesh. The observation that the pictured events solely present male saints underlines that such grace is exclusively masculine. The Catholic Church's attitude towards sexuality as well as its patriarchal power structure, give the artworks a clear symbolic meaning: when a man manages to overcome the desires of the flesh, he transforms his passion into a spiritual desire that is satisfied through the love of God.