What happens when sculpture isn’t just seen—but touched, kissed, and even believed to come alive?
In this episode, Liz speaks with Dr. Una D’Elia about the tactile and emotional power of Renaissance devotional sculpture. From crucifixes with moveable joints to sculptures dressed and cradled, we explore how sacred objects were animated through ritual, touch, and intimacy.
We begin in 1399 Pisa, where, in the middle of a plague, crowds gathered not to flee, but to touch a crucifix they believed could save them. As Dr. D’Elia explains, these devotional encounters reveal a world where physical contact with art was not only accepted, but vital.
View more Renaissance sculpture here: https://hdl.handle.net/1974/14832
Article by Dr. D'Elia in The Conversation: https://theconversation.com/belief-in-touch-as-salvation-was-stronger-than-fear-of-contagion-in-the-italian-renaissance-157135
Learn more about Dr. D'Elia: https://www.queensu.ca/art/people/una-delia
Connect with Liz at Matter of Art on the podcast website: https://matterofart.crd.co/.
Episode art: Lorenzo Ghiberti, Nanni di Banco, or Fillipo Brunelleschi, attributed (sculptors) and unknown artists, Madonna and Child, 15th century, painted and gilded terracotta, Museo Bandini, Fiesole, photo: Una D’Elia.
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