Ex voto paintings. Two examples

Of the ex-votos on display which come from local sanctuaries, those picturing the baptism of dead infants are particularly interesting. Until the second half of the 18th century there were certain sanctuaries in France, Switzerland and Italy (and especially in areas of Walser culture) in which still-born infants “revived” for the time necessary for them to be baptised, thus enabling them to avoid remaining in limbo for eternity.

  One of the centres of this cult – which were called places of “répit” (respite) or “return to life” – was the Sanctuary of the Boden at Ornavasso.

Painted Mexican ex-votos illustrate a written text recounting the circumstances of a cure or rescue. 

The custom of making ex-votos followed the Spanish to the New World. In colonial times and up to the end of the nineteenth century,  votive paintings were offered almost exclusively by the well-off. After the colonies gained their independence from Spain, the common people adopted the custom, while the wealthy classes, in contrast, abandoned it. This also involved a change of style and technique in the production of ex-votos, which began to be painted on tin instead of canvas.