Life
Catherine came from an upper-class family, the daughter of Benvenuta Mammolini of Bologna and Giovanni Vigri, a Ferrarese notary who worked for Niccolò III d'Este, Marquis of Ferrara. She was raised at Niccolo III's court as a lady-in-waiting to his wife Parisina Malatesta (d. 1425) and became lifelong friends with his natural daughter Margherita d'Este (d. 1478). During this time, she received some education in reading, writing, music, playing the viola, and had access to illuminated manuscripts in the d'Este Court library. In 1426, after Niccolo III's execution of Parisina d'Este for infidelity, Catherine left court and joined a lay community of beguines living a semi-religious life and following the Augustinian rule. The women were divided over whether instead to adhere to the Franciscan rule, which eventually happened. In 1431 the beguine house was converted into the Observant Poor Clare convent of Corpus Domini, which grew from 12 women in 1431 to 144 women by the end of the century. Catherine lived at Corpus Domini, Ferrara most of her life from 1431 to 1456, serving as Mistress of Novices. She was a model of piety and reported experiencing miracles and several visions of Christ, the Virgin Mary, Thomas Becket, and Joseph, as well as future events, such as the fall of Constantinople in 1453. She wrote a number of religious treatises, lauds, sermons, and copied and illustrated her own breviary (see below). In 1455 the Franciscans and the governors of Bologna requested that she become abbess of a new convent, which was to be established under the name of Corpus Domini in Bologna. She left Ferrara in July 1456 with 12 sisters to start the new community and remained abbess there until her death on 9 March 1463. Catherine was buried in the convent graveyard, but after eighteen days, a sweet smell emanated from the grave and the incorrupt body was exhumed. It was eventually relocated to a chapel where it remains on display, dressed in her religious habit, seated upright behind glass. A contemporary Poor Clare, Sister Illuminata Bembo, wrote her biography in 1469. A strong local Bolognese cult of Caterina Vigri developed and she became a Beata in the 1520s but was not canonized until 1712.Literary works
Catherine's best-known text is ''Seven Spiritual Weapons Necessary for Spiritual Warfare'' which she appears to have first written in 1438 and then rewritten and augmented between 1450 and 1456. Although she probably taught similar ideas, she kept the written version hidden until she neared death and then handed it to her confessor with instructions to send a copy to the Poor Clares at Ferrara. Part of this book describes at length her visions both of God and ofArtistic works
Catherine represents the rare phenomenon of a 15th-century nun–an artist whose artworks are preserved in her personal breviary. She meditated while she copied the scriptural text, adding about 1000 prayer rubrics, and drew initials with bust-portraits of saints, paying special attention to images of Clare and Francis. Besides multiple images of Christ and the infant swaddled Christ Child, she depicted other saints, including Thomas Becket, Jerome, Paul, Anthony of Padua, Mary Magdalene, and Catherine of Alexandria. Her self-taught style incorporated motifs from needlework and devotional prints. Some saints' images, interwoven with text and rubrics, display an idiosyncratic, inventive iconography also found in German nuns' artworks (nönnenarbeiten). The breviary and its images surely served a didactic function within the convent community. Other panel paintings and manuscripts attributed to her include the ''Madonna and Child'' (nicknamed the ''Madonna del Pomo'') in the Cappella Della Santa, a possible portrait or self-portrait in the autograph copy of the ''Sette Armi Spirituali'', a Redeemer, and another Madonna and Child in her chapel. Recently one scholar has tried to question certain attributions.Biancani, Stefania (2002). "La leggenda della monaca artista: Caterina Vigri", ''Vita artistica nel monastero femminile. exempla'', ed. V. Fortunati (Bologna: Editrice Compositore), pp. 203–219. A drawing of a Man of Sorrows or Resurrected Christ found in a miscellany of lauds (Ms. 35 no.4, Archivio Generale Arcivescovile, Bologna) has also been attributed to her. Catherine is significant as a woman artist who articulated an aesthetic philosophy. She explained that although it took precious time, the purpose of her religious art was "to increase devotion for herself and others".References
Sources * * * * * *Further reading
* Babler, Ernst Z., ''Katharina (Vigri) von Bologna (1413–1463), Leben und Schriften, Fachstelle Franzikanishe Forschung, Munster, 2012 * Bartoli, Marco. ''Caterina, la Santa di Bologna'', Bologna: Ed. Dehone, 2003. * Chadwick, Whitney. ''Women, Art and Society'', London: Thames and Hudson, 1994 * Evangelisti, Silvia. ''Nuns: a history of convent life, 1450–1700''. Oxford University Press, 2007. * Fortunati, Vera, Jordano Pomeroy & Claudio Strinati, ''Italian Women Artists from Renaissance to Baroque'', National Museum of Women in the Arts, Washington, D. C., 2009. * Guerro, P. Angel Rodriguez, ''Vita di Santa Caterina da Bologna''. Bologna, 1996. * Harris, Anne Sutherland and Linda Nochlin, ''Women Artists: 1550–1950'', Los Angeles County Museum of Art, Knopf, New York, 1976 * Morina, Giulio. ''Vita della Beata Caterina da Bologna. Descritta in pittura'', Ed. Pazzini, 2002 * Pomata, Gianna. "Malpighi and the holy body: medical experts and miraculous evidence in seventeenth-century Italy", ''Renaissance Studies'' 21, no. 4 (2007): 568–586. * Ricciardi, Renzo. ''Santa Caterina da Bologna'', Ed. Tipografia del Commercio, Bologna 1979. * Rubbi, Paola. ''Una Santa, una Città, Caterina Vigri, co-patrona di Bologna'', Ed. del Galluzzo 2004. * Spanò Martinelli, Serena. ''Il processo di canonizzazione di Caterina Vigri'', 2003. * ''Santa Caterina da Bologna. Dalla Corte Estense alla Corte Celeste'', Bologna, Ed. Barghigiani, 2001. * ''Caterina Vigri, la Santa e la Città, Atti del Convegno'', Bologna, 13–15 November 2002, Ed. Galluzzo 2004. * Caterina Vigri, ''The Seven Spiritual Weapons'', translated by Hugh Feiss & Daniela Re, Toronto, 1998.External links