Glossary entry (derived from question below)
Spanish term or phrase:
patrocinio
English translation:
patrocinio (image of a protective patron saint)
Added to glossary by
fionn
Jan 31, 2018 02:23
6 yrs ago
9 viewers *
Spanish term
patrocinio
Spanish to English
Art/Literary
Religion
It's from a list of objects in a museum in a former convent in Mexico City:
"A los cuadros, esculturas y mobiliario originales del colegio, que dan cuenta de la historia y vida cotidiana de los carmelitas —como retratos, retablos, patrocinios, relicarios, artesanías, documentos, libros de coro, grabados y restos de pintura mural, algunos de ellos descubiertos recientemente—, se han sumado notables piezas de origen diverso..."
The RAE mentions a patrocinio as the name of an official fiesta for the Virgin or for Joseph but I can't find anything that would relate to it being an object. Any ideas?
"A los cuadros, esculturas y mobiliario originales del colegio, que dan cuenta de la historia y vida cotidiana de los carmelitas —como retratos, retablos, patrocinios, relicarios, artesanías, documentos, libros de coro, grabados y restos de pintura mural, algunos de ellos descubiertos recientemente—, se han sumado notables piezas de origen diverso..."
The RAE mentions a patrocinio as the name of an official fiesta for the Virgin or for Joseph but I can't find anything that would relate to it being an object. Any ideas?
Proposed translations
(English)
3 +1 | patrocinio (image of a protective patron saint) | Charles Davis |
3 +1 | patronage pledges | David Hollywood |
Proposed translations
+1
1 day 17 hrs
Selected
patrocinio (image of a protective patron saint)
I refer to the discussion comments. The part in parentheses could be phrased in various ways, but I think that's the gist of it. Although in your context I imagine they are probably paintings, you do sometimes see three-dimensional images of this kind; I've seen similar medieval reliefs in Italy. So I suggest "image" rather than "painting". It is frustrating not to have a single term of art (literally), but there we are. As I've said, I think the idea of "protection" (or sheltering, as Taña has noted) should be expressed, since these images specifically depict the protection of the patron, usually, though I think not always, through the image of the spread mantle or pallium. "Patron" alone might refer to a human patron, but the patron here is divine, so we'd better in include "saint" as well, which I think covers the Virgin, who is usually the protectress in question.
Peer comment(s):
agree |
Robert Carter
1 hr
|
Thanks, Robert. Your comments and contributions are much appreciated.
|
4 KudoZ points awarded for this answer.
Comment: "Thanks Charles and everyone for contributions! "
+1
39 mins
patronage pledges
https://en.wiktionary.org/wiki/pledge
From Middle English plege, from Anglo-Norman plege, from Old French plege (Modern French pleige) from Medieval Latin plevium, plebium, from Medieval Latin plebiō (“I pledge”), from Frankish *plegan (“to pledge; to support; to guarantee”), from Proto-Germanic *plehaną (“to care about, be concerned with”). Akin to Old ...
From Middle English plege, from Anglo-Norman plege, from Old French plege (Modern French pleige) from Medieval Latin plevium, plebium, from Medieval Latin plebiō (“I pledge”), from Frankish *plegan (“to pledge; to support; to guarantee”), from Proto-Germanic *plehaną (“to care about, be concerned with”). Akin to Old ...
Peer comment(s):
agree |
neilmac
: Works nicely IMHO...
5 hrs
|
ok with "patronage" so far but we need something other than "pledges"
|
|
neutral |
Robert Carter
: Given Charles' references, this doesn't seem to be the meaning.
16 hrs
|
I agree Robert but am still ok with "patronage", so we need something to polish it off
|
Reference comments
1 day 3 mins
Reference:
Here is an interesting document, where as Charles mentioned, it may be important to refer to the idea of "protection" and the use of the cloak/mantle. This link, in several places, makes mention of the broader heading of a "sheltering cloak type.
https://scholarsbank.uoregon.edu/xmlui/bitstream/handle/1794...
This chapter has several goals. First, it traces the visual origins of the type to its formal iconographic ancestors which first appeared on imperial coins. Second, it explains how the Virgin of Mercy can be considered under the broader heading of a “sheltering cloak type,” the identity of its
protective figure changing throughout its history. Third, it explains how this sheltering cloak type was passed down through the centuries of the early medieval period in Europe to be copied by Cistercian monks on instruments with which their Order sealed letters and documents, substituting, of course, the Virgin for the pagan virtues. Fourth, the chapter examines the wealth of Marian literature produced by twelfth and thirteenth century writers, among them, Bernard of Clairvaux and Caesarius of Heisterbach, and concentrates on the examples that most clearly demonstrate their contributions to the
Virgin of Mercy type in particular. The chapter then explores the major iconographic meaning central to the type by explaining the importance of both the Virgin in this specific role and of her use of the cloak, a relic considered to have miraculous healing powers that had inspired a cult following at Chartres Cathedral.
Susan Solway has convincingly traced what is now known as the Virgin of Mercy to ancient Roman imperial coins. As such, in terms of its basic design, it should be considered part of a “sheltering cloak type,” since the act of protection with a cloak by a hierarchically larger figure has been applied historically to pagan deities, personified virtues, Christ, the Virgin, and about twenty Christian saints.
***Also unusual within Mexican paintings of the sheltering cloak type are those in which Saint Francis replaces the Virgin as the saint protecting those with his mantle; in some examples, he even hoists images of the Virgin
of Guadalupe over his head. It is clear that the Virgin of Mercy type and the various subtypes of it available in the later Middle Ages provided a rich and multi-faceted iconographical tradition upon which each generation of artists drew for inspiration, extending from the late Middle Ages through the Renaissance and beyond in both European and colonial European cultures.
https://scholarsbank.uoregon.edu/xmlui/bitstream/handle/1794...
This chapter has several goals. First, it traces the visual origins of the type to its formal iconographic ancestors which first appeared on imperial coins. Second, it explains how the Virgin of Mercy can be considered under the broader heading of a “sheltering cloak type,” the identity of its
protective figure changing throughout its history. Third, it explains how this sheltering cloak type was passed down through the centuries of the early medieval period in Europe to be copied by Cistercian monks on instruments with which their Order sealed letters and documents, substituting, of course, the Virgin for the pagan virtues. Fourth, the chapter examines the wealth of Marian literature produced by twelfth and thirteenth century writers, among them, Bernard of Clairvaux and Caesarius of Heisterbach, and concentrates on the examples that most clearly demonstrate their contributions to the
Virgin of Mercy type in particular. The chapter then explores the major iconographic meaning central to the type by explaining the importance of both the Virgin in this specific role and of her use of the cloak, a relic considered to have miraculous healing powers that had inspired a cult following at Chartres Cathedral.
Susan Solway has convincingly traced what is now known as the Virgin of Mercy to ancient Roman imperial coins. As such, in terms of its basic design, it should be considered part of a “sheltering cloak type,” since the act of protection with a cloak by a hierarchically larger figure has been applied historically to pagan deities, personified virtues, Christ, the Virgin, and about twenty Christian saints.
***Also unusual within Mexican paintings of the sheltering cloak type are those in which Saint Francis replaces the Virgin as the saint protecting those with his mantle; in some examples, he even hoists images of the Virgin
of Guadalupe over his head. It is clear that the Virgin of Mercy type and the various subtypes of it available in the later Middle Ages provided a rich and multi-faceted iconographical tradition upon which each generation of artists drew for inspiration, extending from the late Middle Ages through the Renaissance and beyond in both European and colonial European cultures.
Discussion
Charles: I think I'd still be inclined to leave it in Spanish and use your explanation in brackets. Although there may be an English term for this, but to find it, I think we'd need to ask an art historian specialising in this area.
https://books.google.es/books?id=dVWuIa7AawIC&pg=PA369
The Museo de Arte Religioso ex Convento de Santa Mónica has an "Alegorías y Patrocinios" room. There's a photo here:
http://lugares.inah.gob.mx/museos-inah/exposiciones/10742-14...
"en la segunda [sala] se muestran obras pictóricas que representan patrocinios, tal es el caso del de Nuestra Señora de la Merced a las monjas capuchinas"
http://inah.gob.mx/en/boletines/3912-con-1-300-piezas-reabre...
As I say, Our Lady of Mercy is a classic "patrocinio" image. But what are they called in English? Is there a term? It's been driving me crazy.
"Entre los ejemplos que Ruiz Gomar comenta está el de los Patrocinios, que son las pinturas donde la Virgen o algún santo cobijan bajo su manto a un grupo de figuras [...] La fórmula del Patrocinio tiene su origen en la Edad Media, pero fue abandonada gradualmente hasta casi desaparecer en el siglo XV, entre los últimos ejemplos europeos está la Virgen de las Cuevas de Francisco de Zurbarán, donde ésta cobija a los cartujos [...]"
Jaime Martín Albo, "Norma y forma de la muerte en el periodo virreinal a través de la gráfica de la Pinacoteca de la Profesa", Master's dissertation, Univ. Aut. de Nueva León, 2014, p. 200 (p. 218 of file).
http://eprints.uanl.mx/4833/1/1080179113.pdf
(Continued in next post)
http://www.la-guadalupana.com.mx/es/7-figuras
http://www.cosmoibleo.com/en/shop/religious-itinerary-of-the...
Artworks whose knowledge is important non only for their artistic value, but also for what they represent for people, such as the representations of Patron Saints, to whom the Church entrusts the protection of the faithful, and so named because of the link, called “patrocinio”, that means protection. Those Patrons are considered holy martyrs, that is, people who proudly showed their Christian faith or ideals despite regular persecutions and hostile social environments. There are also saints riding horses, that is, holy warriors or heroes, whose life history is immanently connected to the salvation of people. Also, there are reliquaries, precious finely finished urns with precious materials that contain sacred relics considered capable of miracles and healings through the intercession of the saints to whom they belonged. And finally stories of miracles marked by devotion and popular piety.
patrocinio
3 (Relig) Entre los católicos, protección que brinda un ángel, un santo, la Virgen o Dios: implorar el patrocinio de la Virgen, “Bienaventurado San José […] protégenos a cada uno de nosotros con tu perpetuo patrocinio para que podamos santamente vivir y piadosamente morir, y alcanzar así la eterna bienaventuranza. Amén”
http://dem.colmex.mx