Praiano’s votive aedicules
Strolling through Praiano’s picturesque alleys and narrow stairways, it is almost impossible not to notice the countless votive aedicules placed at the corner of a street or on the wall of a house. Dating mostly from the 18th and 19th centuries, they enclose the image of the Virgin Mary or the saint (Christ rarely appears) to whom devotees wanted to entrust themselves. And they were cared for by the inhabitants of the entire district where they were located with candles and flowers. According to some scholars, when public lighting did not exist, these candle-lit aedicules also served to show the way at night.
But while they represent a testimony of faith and religious devotion of a people strongly attached to their land, they are, in some cases, artistic masterpieces to be safeguarded. In fact, some of them have nothing to do with approximation or suggestion but present the characteristics of a true work of art, in which every element is part of a well-thought-out logical and artistic composition.
However, although some have all the charisma of a work of art, votive shrines should be read solely and exclusively as expressions of faith. They constitute the religious element that goes beyond the place of worship, the church, to become everyday. On the other hand, since the dawn of time, man has felt the need to create a relationship with an entity capable of protecting his steps and helping him in difficulties. This is why he has always dotted his homes, the places of his everyday life and the streets of his usual routes with sacred images. The making and placing of a plaque, of a ceramic panel, essentially retains the character of a popular devotionality. Its insertion took place in a place of passage so that everyone could enjoy it. Frequently, this insertion took into account the urban structure. And Praiano’s votive aedicules are an extraordinary example of this, as they manage to harmonise religious requirements with the surrounding environment, where it is difficult to insert anything beyond a niche. No indulgence in beauty but only attention to the spiritual reality of which the image is a sign.
In Praiano, it is possible to distinguish two types of aediculae: those in masonry, frescoed directly on the plasterwork; and those on majolica tiles. Frescoed aediculae, where the painting technique has allowed the images to be preserved for a long time even in the absence of restoration work, are enclosed in a stucco frame and have a small sill. Aediculae with images on majolica, which show more complex and typical features of the majolica floors of coastal churches, usually have a floral frame painted on the same tiles.