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PIETRO CAVALLINI, The Birth of the Virgin, c. 1296-1300. Apse. Church of Santa Maria in Trastevere, Rome. Image from Web Gallery of Art (Last access: 03/09/2014)
Contexts in source publication
Context 1
... influenced in some measure the iconographic programmers and artists who represented this -so exceptional in the West-Marian iconographic motif. We would dare, in this sense, to suspect that the Bonaventurian lyrical exegesis could have influenced the interpretations of the subject made by Pietro Cavallini, Giotto di Bondone and Pietro Lorenzetti. (Fig. 1), 28 highlights the labor of childbirth suffered by Ana -fully clothed, according to the rules of modesty of the time-, by placing her semi-reclined on the bed, with her right hand on the belly and the left on the thigh, a pose that recalls her effort to facilitate the delivery. Two maidservants provide food and drink to the woman in ...
Context 2
... on this dogmatic issue, may have inspired to some extent the Italian iconographic programmers and the artists of the Late Middle Ages that shaped this Marian event. In our opinion, this possible bonaventurian influence could be detected in the paintings of Paolo di Giovanni Fei, Andrea di Giusto and Giovanni di Paolo that we analyze below. (Fig. 10), 104 eleven apostles contemplating the Mary's sarcophagus full of flowers, while, in the background and with his back to his companions, the incredulous apostle Thomas is waiting to receive the girdle of the Virgin being assumed to heaven, seated on her throne of clouds among a cortege of musical angels. According to the apocryphal ...
Context 3
... by the three copies of Assumption that we are analyzing here. Andrea di Giusto, also known as Andrea Mazzini, 105 (late 14th/early 15th century-1455), in his Madonna della Cintola con Santa Catalina d'Alessandria e San Francesco di Asssisi, 1435, from the church of Santa Margherita in Cortona, and today in the Galleria dell'Accademia in Florence (Fig. 11), 106 poses a quite similar situation, albeit in a simpler way. In the absence of his other companions of the apostolic college, only Thomas is present before the sepulchre, at the moment of receiving, on knees, the belt of the Virgin, whom a choir of angels raises to heaven sitting on her throne of glory. On both sides St. Catherine of ...
Context 4
... this last saint confirms the execution of this altarpiece in the orbit of Franciscanism, which reinforces the probability that the conceptualizer of the iconographic program of this altarpiece could reflect the teachings of St. Bonaventure on the Assumption. Giovanni di Paolo (1398-1482 in his Pala di Staggia, of the Pinacoteca Nazionale of Siena (Fig. 12), 107 coming from the church of Santa Maria Assunta in Staggia Senese (Siena), offers a situation similar to that of Andrea Mazzini. As Mazzini did four decades before, Giovanni di Paolo also represents a huge Virgin being raised to heaven on her throne by a cohort of angels, while the miniaturized apostle Thomas receives the Marian ...
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... , in his Virgin in Majesty with SS. Francis and Dominic, in the Galleria degli Uffizi in Florence (Fig. 13), 112 offers with undoubted originality one of the multiple iconographic variants with which it is possible to visually interpret the doctrine of the virginal divine maternity of Mary. She appears here with her little Child in her arms, to emphasize her nourishing and protective role before the frail fruit of her bowels -even when He is ...
Context 6
... Lorenzetti, in his fresco The Virgin between Saints Francis and John the Baptist, c. 1320, in the Basilica of St. Francis in Assisi (Fig. 14), 113 poses the same theme with greater economy of means: in a triple frame of pointed arches the painter represents the Madonna with her Son in arms between the saints John the Baptist and Francis of Assisi, each of them half body occupying an arch. Intertwining their hands and exchanging their glances in the presence of the courtship ...
Context 7
... of the lower church of the Basilica of St. Francis in Assisi allows us to suspect that this representation of the Virgin Mother of God has as its direct source of inspiration the teachings of the Seraphic Doctor on the subject. Piero della Francesca (1416-1492), in his Virgin enthroned between saints, from the Polyptych of St. Anthony in Perugia (Figs. 15 and 15-1), 114 commissioned by the new Franciscan convent of St. Anthony of Padua in Perugia, and today in the Galleria Nazionale dell'Umbria of the same city-, is a perfect example of the direct influence that the doctrine of St. Bonaventure on the Mary's divine motherhood may have exercised in the late medieval Italian art. After all, with ...
Context 8
... this conjecture by analyzing three Marian representations performed by Jacopo Torriti, Giotto and Jacopo di Cione. 119 Commissioned by the Franciscan pope Nicholas IV 120 to the painter and Franciscan friar Jacopo Torriti to preside over the apse of the basilica of Santa 116 Maria Maggiore in Rome, this vast mosaic of The Coronation of the Virgin (Fig. 16), 121 signed and dated in 1296, is the first work in Italy that represents on a monumental scale this iconografic subject. In the huge starry circle (symbol of heaven) in the center of the composition, Jesus Christ, whose left hand holds an open book with the legend Veni Electa mea et ponam in te Thronum meum, places with his right ...
Context 9
... scale this iconografic subject. In the huge starry circle (symbol of heaven) in the center of the composition, Jesus Christ, whose left hand holds an open book with the legend Veni Electa mea et ponam in te Thronum meum, places with his right hand a luxurious crown on the head of Mary, both sitting on a double throne of gold and precious stones. fig. 113; and in POESCHKE 2003: 23. and the designer of its iconographic program (perhaps the pope himself?), as well as for the characters included (saints Francis of Assisi, Anthony of Padua, John the Baptist), it seems evident that this monumental Coronation of Mary of Santa Maria Maggiore has probably received the strong ascendancy of the ...
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