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In the third quarter of the eighteenth century, Santo Domingo archbishop Isidoro Rodríguez Lorenzo (s. 1767–1788) issued a decree officializing the day of the cult for the Virgin of Altagracia as January 21 and made it a feast of three crosses for the villa of Salvaleón de Higüey and its jurisdiction, meaning all races (free and enslaved) were allowed to join the celebrations in church. Unrelated to the issuance of this decree and approximately during this time (c. 1760–1778), a series of painted panels depicting miracles performed by the Virgin of Altagracia was produced for her sanctuary of San Dionisio in Higüey, in all likelihood commissioned by a close succession of parish priests to the maestro painter Diego José Hilaris Holt. Painted in the coarse style of popular votive panels, they gave the cult a unifying core foundation of miracles. This essay discusses the significance of the black bodies pictured in four of the panels within the project’s implicit effort to institutionalize the regional cult and vis-à-vis the archbishop’s encouragement of non-segregated celebrations for her feast day. As January 21 was associated with a renowned Spanish creole battle against the French, this essay locates these black bodies within the cult’s newfound patriotic charisma. I examine the process by which people of color were incorporated into this community of faith as part of a two-step ritual that involved seeing images while performing difference. Through contrapuntal analysis of the archbishop’s decree, I argue the images helped model black piety and community membership within a hierarchical socioracial order.

Modeling Black Piety and Community Membership in the Virgin of Altagracia Medallions