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Madonnas and Miracles' exposes a hidden world of religious devotion in the Italian Renaissance home. Challenging the idea of the Renaissance as an age of increasing worldliness, it shows how religion remained a powerful force that coloured every aspect of daily life. Across the length and breadth of Italy, houses were filled with decorative objects and works of art with spiritual significance, designed to aid members of the family in their devotional lives. A wide range of religious activities, from routine prayers to extraordinary experiences such as miracles and exorcisms, took place within the home, where they were adapted to key moments in the life-cycle, including birth, marriage, sickness and death. 0This illustrated publication explores a variety of devotional objects and images, from luxury items to everyday household goods. Bringing together jewellery and ceramics, manuscripts and printed books, sculpture and paintings, the book offers a vivid encounter with Renaissance spirituality and domesticity. The result is a new vision of a period in which the material world was charged with sacred power. 0Exhibition: Fitzwilliam Museum, Cambridge, UK (Spring 2017).
The altarpiece is one of the most distinctive and remarkable art forms of the Renaissance period. It is difficult to imagine an artist of the time--whether painter or sculptor, major or minor--who did not produce at least one. Though many have been displaced or dismembered, a substantial proportion of these works still survive. Despite the volume of material available, no serious attempt has ever been made to examine the whole subject in depth until now. The Italian Renaissance Altarpiece is the first comprehensive study of the genre to examine its content and subject matter in real detail, from the origins of the altarpiece in the 13th century to the time of Caravaggio in the early 1600s. It discusses major developments in the history of these objects throughout Italy, covers the three key categories of Renaissance altarpiece--"immagini" (icons), "historie" (narratives), and "misteri" (mysteries)--and is illustrated with 250 beautiful reproductions of the artworks.
What does 'performance' mean in Christian culture? How is it connected to rituals, dramatic and visual arts, and the written word? This book addresses the issue from the Middle Ages to the Modern era and showcases examples of how Christians have represented their biblical narrative.
Michelangelo in the New Millennium presents six paired studies in dialogue with each other that offer new ways of looking at Michelangelo’s art as a series of social, creative, and emotional exchanges where artistic intention remains flexible; probe deeper into the artist’s formal borrowing and how it affects meaning regarding his early religious works; and consider the making and significance of his late papal painting projects commissioned by Paul III and Paul IV for chapels at the Vatican Palace. Contributors are: William E. Wallace, Joost Keizer, Eric R. Hupe, Emily Fenichel, Jonathan Kline, Erin Sutherland Minter, Margaret Kuntz, Tamara Smithers and Marcia B. Hall
Although the Petersens' name is quite known among specialists of Pietism, their work, their ideas and the development of their thought remain mostly unresearched. Elisa Belucci aims to shed more light on their works, analysing and interpreting them in relationship to the theological and socio-political context. In so doing, she fills some gaps present in the research on these authors: firstly, she analyses the positions presented in the Petersens' work until 1703 at length; secondly, she tries to unearth sources and influences; thirdly, she seeks to comment on the Petersens' ideas and positions in relationship to the historical context. The result is an entangled picture which questions the traditional distinction between "church Pietism" and "radical Pietism", "orthodoxy" and "radicalism/separatism", showing, instead, that these categories are sometimes too narrow to describe the position of certain authors, such as the Petersens.
Jesus was an initiate and adept of the ancient Judaic mysteries who strove to reinstate the tradition of the bridechamber sacrament in his time • Shows that Jesus sought to establish equity of masculine and feminine in both spiritual practice and social traditions, particularly in the sacrament of marriage • Reinterprets Jesus’ key teachings in light of the ancient tradition of sacred consortship • Reveals what happened to the gnostic heart of Christianity that Jesus embodied Jesus was a high-initiate and master adept of the ancient Judaic mysteries who strove to free people from the dead hand of the ritualists. He was trained in a dissident Jewish brotherhood that arose in Egypt before he was born, which sought to bring back the ancient Judaic mysteries outlawed by the Jerusalem temple. At the heart of this movement was a yogic-based practice known in the apocrypha as the Gnosis of the Heart, which espoused the union of both sexes in a secret initiatic teaching. As a fearless social reformer, Jesus wanted to restore the authority of the feminine principle, including asserting the equality of man and woman in the social contract of marriage. He reinstated in his own life the tradition of sacred consortship--a rite known to early Church fathers as the bridechamber sacrament, whereby the marriage of the masculine and feminine energies was effected. This rite, Victoria LePage suggests, was the primary focus of Jesus’ teachings, the very heart of his exhortations to love thy neighbor, and the source of his healing power. Mysteries of the Bridechamber explains how, as a master adept of the Temple of Solomon, Jesus derived these teachings directly from ancient Judaic mystery traditions, revealing both a life story for Jesus that differs markedly from the version the Church has offered as well as a spiritual practice based on a mystical wisdom tradition of self-initiation and transformation.
Domestic Devotions in Early Modern Italy illuminates the vibrancy of spiritual beliefs and practices which profoundly shaped family life in this era. Scholarship on Catholicism has tended to focus on institutions, but the home was the site of religious instruction and reading, prayer and meditation, communal worship, multi-sensory devotions, contemplation of religious images and the performance of rituals, as well as extraordinary events such as miracles. Drawing on a wide range of sources, this volume affirms the central place of the household to spiritual life and reveals the myriad ways in which devotion met domestic needs. The seventeen essays encompass religious history, the histories of art and architecture, material culture, musicology, literary history, and social and cultural history. Contributors are Erminia Ardissino, Michele Bacci, Michael J. Brody, Giorgio Caravale, Maya Corry, Remi Chiu, Sabrina Corbellini, Stefano Dall’Aglio, Marco Faini, Iain Fenlon, Irene Galandra Cooper, Jane Garnett, Joanna Kostylo, Alessia Meneghin, Margaret A. Morse, Elisa Novi Chavarria, Gervase Rosser, Zuzanna Sarnecka, Katherine Tycz, and Valeria Viola.