Diversions in Sicily

by Henry Festing Jones

purpose. This being so, one would expect to find its home on the top of the very Mountain itself, in the chief place of the comune, and not down at an insignificant little village like Custonaci. Some have thought that to allow the Sanctuary of a Madonna Ericina to take the place of the Temple of Venus Erycina would have been to insist on a parallelism about which it was desirable to say as little as possible. Others believe the real reason why we have a Madonna di Custonaci to be preserved in the following legend. [154]

A French vessel, laden with precious merchandise and also with this still more precious picture, was returning to Marseilles from Alexandria in Egypt, and, while sailing the Sicilian seas, encountered a furious tempest. The more the unhappy mariners laboured to govern their craft, the less they succeeded, and at last, despairing of earthly help, they turned their thoughts to the Madonna. With streaming eyes they knelt before the painting and prayed without ceasing to the

Queen of Heaven that she would be graciously pleased to conduct them safely home. For a long time they met with no response, but when they were nearing Cofano, every sailor heard a voice, as though coming from the picture and declaring that the Madonna desired to be landed on the neighbouring coast. Whereupon they bound themselves by a vow that if they reached land in safety they would build a sanctuary then and there in memory of their miraculous preservation. No sooner was the vow uttered than the wind fell, the storm ceased and the surface of the waters became as smooth as polished glass, over which the fortunate bark glided without guidance into harbour—and this to the great astonishment of the crew who observed that her course lay among dangerous shoals and sunken rocks.

The joyful mariners returned thanks to their Blessed Protectress and immediately began to perform their vow; but while disembarking, they found themselves surrounded by a crowd of armed peasants who, taking them for Turkish pirates, ran to the spot with the intention of frustrating their supposed nefarious designs. Mutual explanations averted bloodshed, and the peasants

then began to dissuade the sailors from performing their vow in so literal a manner, pointing out that they would be abandoning their precious charge to the risk, if not the certainty, of sacrilegious theft at the hands of the corsairs who frequented that harbour. In the end the simple mariners yielded to the arguments of the peasants, and with many tears consigned the picture to their care. The peasants put it into a cart harnessed with two oxen who started to draw it inland, but would only go in a direction chosen by themselves and, after proceeding two or three kilometres, lay down and by no means could be persuaded to go a step further. This was accepted as an indication of the Madonna’s approval of what had been done and of her desire that her church should be erected there, and on that spot now stands the Sanctuary of Custonaci. The poor sailors, grieving bitterly for the loss of their treasure, returned to the ship and continued their interrupted voyage till they reached Marseilles in safety.

Owing to the culpable negligence of those who ought to have considered it a privilege to be permitted to chronicle the many important miracles which the Madonna performed

in honour of the arrival of her picture, we have particulars of only two cures wrought in those times, one on a cripple and the other on a mute. Any one, however, who is disposed to doubt that there were many more has only to visit the sanctuary and take note of the large number of votive pictures there exhibited. Besides, how else could the fame of this wonder-working image have travelled abroad so extensively unless the wonders had been not less numerous than undoubted?

There is uncertainty as to the exact date of the arrival of the picture at the Sanctuary: some give the year 1570; others consider this too late, if only because wills exist dated as far back as 1422 bequeathing gifts to Santa Maria di Custonaci; others say that this need not have anything to do with our Madonna, because there has been a church or chapel at Custonaci dedicated to the Virgin from very early times, and there is nothing to show that these wills do not refer to the earlier Madonna; others believe 1370, not 1570, to be the true date. We should have something to guide us if we could ascertain how often the picture has been transported to the mountain in times of calamity, but

here again the culpable negligence of the chroniclers has left us with records of only fifty-one such occasions from the beginning of the 16th century to 1794, viz. five when the pestilence walked by midday, four when the mountains trembled and the earth opened, two when the locusts came without number and devoured the fruits of the ground, four when war clouds gathered in the sky and thirty-six when the autumn rains were delayed.

The disputes extend also to the date of the painting, some even denying that it was painted by St. Luke. But to do this they are obliged to ignore all the considerations which support the orthodox view, viz. the place from which the sailors brought it, the many wonders performed by it, the miraculous preservation of the colouring during all the years that have elapsed since St. Luke’s time, the widespread belief in the efficacy of its powers and lastly the fact that, though many have made the attempt, no artist has yet succeeded in producing a perfect copy of the original.