Join Becky from The Life of B for October Squares #31. There are only two rules. The image must be square and must relate to the October theme: lines&squares.
In 1966, Florence, Italy was devastated by flooding that damaged or destroyed much of the artistic and cultural patrimony of the city. The plaque on the wall of Santa Maria Novella’s Grand Cloister, marks the high water level of the flood. Restoration efforts continue 53 years after the flood.
She began life as a princess in 1452, died as a Dominican nun in 1490, and was beatified two centuries later. Even though she has never been canonized, she is known in Portugal as Santa Joana Principesa, or Princess Saint Joan. More properly, she is the Blessed Joan of Portugal.
Today, the Dominican Convent of Jesus, in which Joana spent her religious life is part of the Museum of Aveiro. Established in 1458, the convent became state property after the 1834 dissolution of religious orders in Portugal. The contemporary galleries of the museum contain a large collection of religious art, most of which belonged to the Convent of Jesus and other area convents. The convent became a museum in 1911.
Princess Joana of the House of Aziz was the daughter of King Afonso V of Portugal. As a young woman, she longed for the religious life. Because she was a royal princess and in line for the throne, her father and brother refused. They wanted her to marry to establish a political alliance and, if needed, produce an heir. She refused all offers. In 1472 she entered the Convent of Jesus in Aviero. She lived a life of religious devotion and was admired even during her life; her royal connection added to the prestige of the convent.
The Dominicans were a cloistered order and what little contact they had with the outside world took place in the Convent Gateway. Goods and messages, and occasionally an infant, were passed through the wheel. Visits with family and siblings took place through a larger screen allowing some visual contact.
Separation took place even during religious services. In the Church of Jesus, the convent’s small church, screens separated the nun’s choir stalls, on both levels of the church, from the nave of the church.
Because of her royal status, however, Joana was allowed to visit court and often became embroiled in palace politics. Even while she lead a religious life, her father and brother continued to try to arrange a marriage for her, including a proposed alliance with Richard III of England.
A revival of interest in Santa Joana occurred in the 18th century. The Life of Princess Santa Joana painting cycle, on the side walls of the Baroque Church of Jesus, is signed by the Portuguese artist Manuel Ferreira e Sousa. The paintings date to 1729.
Constant expansion and improvements to the Convent in the 15th, 16th, and 17th centuries hide most of the Gothic origins of the complex.
Joana died in 1490 at the young age of 38. Some sources say she was poisoned by an vindictive woman at court while on a visit. In 1734 a room at the Convent was decorated with gilded wood framing paintings of her life, including a scene of her death. The cross she is said to have been holding when she died is displayed adjacent to the painting.
Before Joana died, she asked to be buried in a simple way, and her wish was granted. After her beatification in 1693, however, permission was given to created an ornate, inlaid Italian marble tomb. The lower choir stalls area, converted to hold the tomb, was also decorated with inlaid marble, stone, and gilded wood. The project took 11 years to complete. The screen separating the lower choir stalls from the main body of the church was retained. Santa Joana tomb was and is a pilgrimage site for those who look to Santa Joana.
From the information I have found, there is no specific miracle, incident or action that resulted in the veneration of Santa Joana. She was admired for her resistance to marrying, for her service to her religious community, and for her humility. The fact she was royalty must have also played a role. Veneration of Santa Joana continues today. The City of Aveiro marks May 12, the anniversary of her death, as municipal public holiday.
The origins of Saint-Sauveur date to the 5th century. It has been enlarged, modified, and renovated through the Romanesque, Gothic, Neo-gothic, Renaissance, and Baroque periods. This melding of periods is evident on the facade, though not well captured in this image.
The Nave and the Apse
The base of the walls date to the 6th century. The columns are said to be from a Roman temple. The dome is a Renaissance addition. The paintings in the niches depict the seven sacrements. Clergy are buried beneath the floor.
Chapel of the Sacred Heart
Triptych of the Burning Bush, by Nicolas Fromant, 15th Century
Unfortunately, the altarpiece is rarely opened. The outside is still lovely and worth seeing.
The Cloister is open only with a guided tour. The schedule is posted on the door.
A mere dribble of falling water from a lion’s head in the water feature in the Cloister of the Cathedral in Barcelona, Spain.
Join Frank’s Tuesday Photo Challenge: Falling Watter