Saint Cecilia in the Renaissance: The Emergence of a Musical Icon

"How did an unmusical saint come to be portrayed as a musician and become the patron saint of musicians and music? Until the beginning of the fifteenth century, Saint Cecilia was perceived as one of many virgin martyrs, with no obvious musical skills or interests. During the next two centuries, however, she inspired many musical works written in her honor and a vast number of paintings that depicted her singing or playing an instrument. Why did so many composers start writing music that honored her as their patron saint? In this book, John A. Rice argues that Cecilia's association with music came about in several stages, involving Christian liturgy, visual arts, and music, and fostered by interactions between artists, musicians, and their patrons and thetransfer of visual and musical traditions from northern Europe to Italy. The initial chapters explore the cult of the saint in Medieval times and through the sixteenth century, when, starting in 1502, the first guilds in the Low Countries and France chose Cecilia as their patron. The book then turns to the music and the explosion of polyphonic vocal works written in Cecilia's honor between 1530 and 1620 by the most celebrated composers in Europe, as well as a group of about fifty Cecilian Renaissance motets, mostly by Northern European composers, which are brought together here for the first time. The book also explores the wealth of visual representations of Saint Cecilia especially during the Italian Renaissance, among which Raphael's 1515 painting, "The Ecstasy of Saint Cecilia," is but the most famous example, and concludes with the development of the cult of Cecilia in England. Thoroughly researched and beautifully illustrated, Saint Cecilia in the Renaissance is the definitive portrait of Saint Cecilia as a figure of musical inspiration"--
This study uncovers how Saint Cecilia came to be closely associated with music and musicians. Until the fifteenth century, Saint Cecilia was not connected with music. She was perceived as one of many virgin martyrs, with no obvious musical skills or interests. During the next two centuries, however, she inspired many musical works written in her honor and a vast number of paintings that depicted her singing or playing an instrument. In this book, John A. Rice argues that Cecilia’s association with music came about in several stages, involving Christian liturgy, visual arts, and music. It was fostered by interactions between artists, musicians, and their patrons and the transfer of visual and musical traditions from northern Europe to Italy. Saint Cecilia in the Renaissance explores the cult of the saint in Medieval times and through the sixteenth century when musicians’ guilds in the Low Countries and France first chose Cecilia as their patron. The book then turns to music and the explosion of polyphonic vocal works written in Cecilia’s honor by some of the most celebrated composers in Europe. Finally, the book examines the wealth of visual representations of Cecilia especially during the Italian Renaissance, among which Raphael’s 1515 painting, The Ecstasy of Saint Cecilia, is but the most famous example. Thoroughly researched and beautifully illustrated in color, Saint Cecilia in the Renaissance is the definitive portrait of Saint Cecilia as a figure of musical and artistic inspiration.