Lucina

Die Göttin an der Schwelle

Abstract

Ovid, antique’s best-known author, paints Lucina as an ambiguous sorceress, volatilely answering prayers. Still, allegoric representations of Lucina relating to the Spanish rulers and high society are found in Spanish literature, art, architecture and tractates. The pagan gods are revived in Renaissance art and do not fit into Christian moral codes nor qualify as praiseworthy saints, but nevertheless maintain a prevailing source of allegories and figurative images. Lucina’s appearances in Francisco Núñez’s obstetrical tractate Libro intitulado del parto humano, Pedro Ruiz de Camargo’s painting in the Arch of Santa María of Burgos, Michele Parrasio’s canvas. She appears on the frontispiece of Alonso Carranzas legal treatise Disputatio de vera human partus naturalis et legitimi designatione. The painter Lorenzo Lotto portraits Lucina Brembati and the Goddess is praised in the Academias literarias on the occasion of Carlos II birth. The allegoric representations of the Goddess are described and interpreted. Lucina appears as a midwife with aspects of Juno, Venus, Luna and the Virgin Mary and is blamed when misfortune strikes.

This contribution is based on the Master Thesis Lucina - Römische Göttin der Geburt in der spanischen Frühen Neuzeit.