Schmidt, Mason
13 July 2018
Comparative Religions
Professor Wallace
All Soul’s Day at the Camposanto, Pisa
Depicted in Pierre Auguste Cot’s most notorious painting, All Soul’s Day at the Camposanto, Pisa, a woman and her two children mourn the death of her husband. This painting depicts an annual ritual known as All Soul’s Day. This annual tradition, practiced by Roman Catholics, aims to shine a light for the deceased. The light, depicted by the lantern hanging on the grave, aims to guide souls toward salvation in heaven. When looking in the background of the painting, the viewer can see several other candles and lanterns lit in remembrance of loved ones. All Soul’s Day is a day of remembrance in the Catholic religion. This is a day in which families come together and remember those who were lost, and pray for their ascension to heaven. This tradition is similar to that of The Day of the Dead, practiced in Central and South America. Both practices intend to remember the dead, however, there are distinct differences between the two. All Soul’s Day is primarily practiced and was founded in Europe, while The Day of the Dead is Central and South American. All Soul’s Day’s focus is toward the soul’s entrance to heaven, while the focus of The Day of the Dead is to remember the life of loved ones. On the Day of the Dead, it is common for descendants to dine in graveyards and cherish the memories of those lost. Often times, alters are created in memory of family members, with pictures and food offerings. Both celebrate eternal life, however All Soul’s Day is often more reserved, while the Day of the Dead is a celebration.
Cot’s painting emphasizes the grief and humility of this day. The facial expressions on the wife’s face create a very foreboding and uneasy feeling. It is as if the viewer can feel her grief and remorse. The painting is heavily reliant on shadows and darkness, providing the grim setting for this scene. Dressed in dark and dreary colors, this family emphasizes the loss of a loved one. Cot’s intention was to showcase both the sadness and the love associated with All Soul’s Day. Although the family looks sad in the painting, the true nature of this day is to remember loved ones. Without the love and the memory, there would be no purpose for this day.
Painted in 1872 and set in Italy, this painting emphasizes the church’s power. Painted in a period which showcased divine authority, the Catholic church possessed immense power and authority over everyday people. During this period, the Catholic church was able to dictate everyday life for those living under its influence. Italy was the home of the Catholic church, as the Pope and the most important figureheads of the church lived in Rome. These figureheads exerted dominance and power over those who lived in Italy. Christianity, the largest religion in the world, dates back to the birth of Jesus Christ, and the beginning of the common era. Since then, Christianity has risen to become the largest religion in the world, encompassing nearly two billion followers. In 1872, Christianity, more specifically Catholicism, had much more power over the individual. Though new sects were gaining attention, Catholicism still had a very large following.
This painting showcases and draws upon the idea of human mortality. The death of a loved one can reveal just how vulnerable and fragile the human body is. This reminds the viewer that life should be cherished and enjoyed.
An interesting aspect of this painting is the grave itself. Made to form a cross, this grave emphasizes Christian beliefs and ideals. The cross itself is a symbol of the Christian religion. However, the cross predates Christianity. Prior to its Christian significance, figures similar to the cross were used in ancient Egyptian religion. The Ankh, Ndj, and Nfr are all examples of figures similar to the cross being used in ancient Egypt. The Ankh was associated with the Goddess Sekhemt. Sekhemt symbolized life and living. This symbol was soon picked up by Egyptian Christians, who began incorporating it into their religious beliefs. From this point on, the cross began to appear in early Christian paintings. By the third century, the cross, as it is known today, was readily being used by the Catholic church as a symbol of the religion.
The child being held by the woman in the painting indicates the recent passing of his father. Although this child is not a newborn, it is obvious that the child is still quite young and not older than a toddler. This shows the recent passing of the boy’s father. This recent passing may be able to describe the tone of the painting, as this may be this family’s first or second All Soul’s Day. The family may still be coping with the loss of a loved one, which makes the tone of this painting more melancholic.
Cot himself was a Classical French painter. Cot studied under many notable artists. Cot is most well known for The Storm and Spring. These artists include Leon Cogniet, Alexandre Cabanel and William Adolphe Bouguereau. Cot began his career in 1863 when his works were debuted at the Salon in Paris. During his short lifetime, Cot became well known for his artistic abilities. Cot enjoyed a luxurious lifestyle, and his artwork earned him critical acclaim. At the age of 46, Cot died. His fame and artistic achievements earned him a monument which can be seen at Bédarieux. Though this piece is not as famous or widely known, Cot’s style and artistic capabilities are evident in this painting. Some of Cot’s most notable achievements include being named the Chevalier of Legion of Honor, as well as his marriage to the daughter of Francisque Duret; a famous sculpture of this era.
All Soul’s Day at the Camposanto, Pisa was painted toward the end of Cot’s life in 1872. This was also a time in which the Catholic church was able to exert immense power in Europe. However, Protestantism was a notable rival to the catholic church at this point. A few hundred years earlier, a sect of christianity, birthed primarily by Martin Luther, emerged. This new religion quickly picked up momentum, and quickly became adopted in Germany and soon after, Britain. These two powerful nations truly encased the Catholic Church’s struggle for power. Though Catholicism remained strong in most of Europe, Protestantism showcased the need for reform within the Catholic Church. By the time Cot painted All Soul’s Day at the Camposanto, Pisa, the Catholic church was still extremely powerful. In the mid 1800’s, the Catholic Church waged war against the liberalist Georgia, beginning a culture war between Georgia and Germany, Italy, Belgium and France. Though the Catholic Church was losing followers, it still remained strong, with loyal followers.
As seen in this painting, the youngest child is wearing grey. Though the color white is normally associated with purity, it can be assumed that this child is wearing a shade of grey in order to symbolize its youth and innocence. The color grey could have been chosen, as the child has just dealt with death for the first time. Stripping him of some of his innocence. Purity is important within the Christian religion, as one strives to remain pure until death, in which the soul should ascend to heaven. However, many believers often commit sin. This can be seen through the child’s older sibling and his mother.
Often times when grieving the death of a loved one, one wears black. The logic behind wearing black relates to one’s religion and views on death and afterlife. Black, a symbol of mourning, is often worn at funerals or when grieving a death. It is also common for widows and family to continue wearing black for days or even weeks after a death. Dating back to the Roman empire, grieving people wore the color black, to symbolize loss of a loved one. This tradition has been adapted by Christians and continues to be a regular occurrence in the west. In the east, however, many individuals wear white while mourning. This symbolized purity and love for those lost. Wearing white while mourning often occurs in Buddhism as well as Hinduism; though many have transition to black in modern culture. Many times throughout history, white funerals have occurred, even in Europe. One significant aspect of this painting is the white border on the widow’s dress. In medieval times, it was common for widows mourning the loss of their husband to wear a white border around the trims of their arms. This indicates that the person who has passed was this woman’s husband.
Single women during this time were not well off. In the 1800’s, it was very hard for women to earn an income for themselves, nonetheless earn an income to support two additional children. During this time period, women did not have very many options. Women would either need to get married to a man who could provide for them and their family; though it would be hard to find a man who would marry a women with children. The alternative option would be to sell their bodies. As seen in many stories from this era, women often sell their bodies in attempt to provide an adequate life for their family members. A prime example of this behavior can be seen in Fantine in Victor Hugo’s book, Les Misérables. In this book, Fantine loses her job, and turns to the streets, selling everything she can to support her child, Cosette. In the end, Fantine dies due to these circumstances. Without a man to provide for her, this widow may have no money.
The setting of this painting is located at the Composanto in Pisa, Italy. The Composanto itself is a part of a very large church, the Cathedral of Pisa, and served as a cemetery for many years. The Composanto is a famous cemetery in Pisa. Translating the name to English, the Composanto means the “Holy Field.” Built after the third crusade, the Composanto hosts many tombs and many bodies. The exterior of the Composanto can be seen in the background of the painting. Some of the oldest tombs date back to 1360. Famous minds have ventured to the Composanto. Galileo Galilei travelled to the Composanto, and calculated pendular motion using a small incense lamp. Also located at the Comoposanto are 84 Roman sarcophagi. These elaborate tombs are very unique and old. Numerous frescos were painted throughout the Composanto through the years. The earliest dates back to 1360. An interesting aspect of the Composanto came in its’ construction. Holy dirt from Golgotha, the location Jesus Christ was crucified, was brought to the Composanto during the Crusades.
In back of the grave, in the midst of trees, there is a heavenly light beaming from the sky. This heavenly scene is not evident upon first glance. Masked in a cluster of trees, this heavenly image presents an interesting scene. It appears that this beam of light takes the place of the father in this painting. The positioning seems to indicate that this heavenly scene is somehow representing the father’s presence within the painting. This heavenly scene consists of trees encased in a thick fog with beams of light protruding through it. This heavenly illusion takes place of the father and gives a lighter and happier feeling compared to the rest of the painting. Looking at the remainder of the painting, the viewer feels discouraged and disheartened. This scene provides a sense of divine intervention within this piece. In regards to All Soul’s Day, it seems this scene in the background is depicting the father’s ascension to heaven, which is the purpose of All Soul’s Day.
Flowers play an important role in All Soul’s Day. Flowers are a reminder of a family’s love for the person they lost. The flowers act as the pathway toward salvation.
Many religions have similar concepts to All Soul’s Day. To this day, many similar practices occur in Japan, India, China, and around the world. The Japanese practice the Bon Festival. This famous festival honors one’s ancestors. This festival lasts, which lasts three days, began with Maha Maudgalyayana, a prodigy of Buddha. Along side the Bon Festival, the people honoring graves often preform a dance, known as the Bon Odori. This dance is meant to overwhelm the dancer with joy and happiness, in memory of ancestors. The people who participate in this festival often wore traditional yukata and light colored kimonos. On the other hand, the Ghost Festival, practiced in China, believes that ghosts can walk amongst man on the fifteenth night of the seventh month. This gives the belief that one can come into contact with one’s past ancestors. On this day, the realms of Heaven, Hell, and the living are at their closest. Similar to the Day of the Dead, the Ghost Festival offers food to the spirits.
Gratification about helping their family’s soul.
References:
James Henry Rubin , "Pierre-Auguste Cot's "The Storm"," Metropolitan Museum Journal 14 (1979): 191-200.