Iconography

El ciclo que narra el proceso de la herida a la conversión de Ignacio de Loyola tuvo, desde sus orígenes, una destacada importancia para la Compañía de Jesús, pues supuso el segundo nacimiento de su fundador. La génesis de los tres tipos iconográficos que componen este ciclo –Vulneratur, Sanatur à S. Petro y Legit libros pios– hay que buscarla en la Vita escrita por Pedro de Ribadeneyra (1572) y en su posterior difusión gráfica a través de las obras de Pieter Paul Rubens (1609) y los hermanos Galle (1610). Tras la canonización de san Ignacio, los domicilios jesuíticos se llenaron de series pictóricas que, en muchos casos, incluían representaciones de estos tipos iconográficos, las cuales buscaban propagar la devoción por el santo y mostrarlo como modelo a imitar.

The cycle that narrates the process from the wound to the conversion of Ignatius of Loyola had, from its origins, a decisive importance for the Society of Jesus, since it was understood as the second birth of its founder. The genesis of the three iconographic types that form this cycle –Vulneratur, Sanatur à S. Petro and Legit libros pios– must be sought in the Vita written by Pedro de Ribadeneyra (1572) and in its subsequent graphic dissemination in the works of Pieter Paul Rubens (1609) and the Galle brothers (1610). After the canonization of St. Ignatius, Jesuit residences were filled with pictorial series that, in many cases, included representations of these iconographic types, which sought to spread devotion of the saint and depict him as a model to imitate.

In order to accept this Student Recruiter agreement with the College of Mental Health Counselling, you must believe in and agree with the value of learning about counselling through the online course described at www.ctihalifax.com, and you must act in good faith accepting that the College will remunerate you as per the terms of this agreement in #5 below. Because a Student Recruiter must communicate the following, therefore completing the below steps is considered a Skill Test in order to qualify. When the College receives full tuition from your first referral, you will be considered a Student Recruiter.

Nella letteratura italiana dal XIV al XVIII secolo ha discreta fortuna e circolazione il tema della sconfitta del dio dell’amore, umiliato e privato delle proprie armi soprattutto dalle donne. A partire dalle fonti classiche dell’episodio, rintracciabili nell’epigrammatica alessandrina e nel "Cupido cruciatus" di Decimo Magno Ausonio, si ricostruiscono il significato e le molteplici declinazioni del soggetto nella produzione letteraria italiana, dal "Triumphus Pudicitie" di Francesco Petrarca alla poesia in ottava rima di Luigi Pulci e Angelo Poliziano, dalle raccolte di emblemi ed imprese ai poemetti encomiastici cinquecenteschi in lode di donne, dalle opere di Moderata Fonte e Lucrezia Marinelli alla letteratura morale settecentesca (con particolare attenzione per l’"Amore disarmato" attribuito a Jacopo Durandi). Ripercorrere le tappe della ricezione, tra riscrittura e risemantizzazione, del topos di Cupido punito e disarmato significa andare oltre un’indagine puramente tematica, per ricostruire la fortuna, letteraria ma anche iconografica, di un motivo di lunga durata.
Questo libro ha vinto il Premio Tesi di Dottorato istituito dalla Sapienza Università di Roma, nell’edizione 2013."

El álbum reproduce todas las fotografías y los retratos del poeta hechos durante su vida. Además, incluye un disco compacto con las únicas imágenes fílmicas que se conservan del poeta, tomadas durante el II Congreso Internacional de Escritores para la Defensa de la Cultura en 1937.

Several series of Sibyls, of variable number and quality, that have been
previously attributed to different painters within Peter Paul Rubens’ circle, in foreign and Spanish collections, as well as in the art market, are here claimed to be by the hand of the Flemish master Jan van den Hoecke. The persistent confusion both in terms of attribution and identification of the subject matter is clarified in this paper, following on from Hans Vlieghe’s 1990 evidence. Tracing the now dispersed series as far as possible, the present article pays special attention to the eleven canvasses at Tessé Museum, Le Mans, as they appear part of a unique ensemble that still remains undispersed. For these series Jan van den Hoecke created an original iconography, with no formal precedents. Comparison of the different versions allows for a deciphering of the Latin texts accompanying each depiction, and for an identification of their literal sources. Judging by the numerous versions, the series of Sibyls must have rewarded the artist with great success, a demand that he
satisfied with a changeable effort.

La autoría del pintor flamenco Jan van den Hoecke se reivindica en varias series de Sibilas, de variable número y calidad, atribuidas a otros pintores de la estela de Peter Paul Rubens en colecciones españolas y extranjeras, así como en el comercio del arte. Tanto las atribuciones como la identificación de los asuntos son objeto de una gran confusión que persiste y se esclarece en este artículo, en base a lo avanzado por Hans Vlieghe en 1990. Se sigue la pista de los diversos ejemplares hoy dispersos en la medida de lo posible, prestando especial atención a los lienzos del museo de Tessé de Le Mans, por ser el único ejemplo existente de una serie que se conserva unida. Jan van den Hoecke fue el creador de una iconografía original que se distancia de los precedentes formales. La comparación entre los diferentes ejemplares permite descifrar los textos en latín que acompañan cada representación, precisando sus fuentes literarias. A juzgar por la elevada cantidad de versiones localizadas, es tema que le proporcionó éxito y demanda que satisfizo con esfuerzo cambiante.

The Moche culture (A.D. 200‑800) has left one of the richest iconographies in the history of ancient Andean civilizations. Due to the lack of written sources for the pre‑Hispanic period of Andean South America, the first information about the religious beliefs and rituals of the people from the north coast came from early colonial time. These written sources provide revealing information about the concept of the principal god and even a supreme creator in the Moche pantheon, named Ai Apaec in muchic or yunga language. Actually, the understanding of Moche religion is based not only on the historical perspectives but also on information produced during the extensive study of its iconography. Despite the numerous studies about the Moche pantheon of gods and goddesses, the problem of number and identity of the deities still poses innumerable questions and obstacles. This article offers a reassessment of the character of symbolic organization of Moche religion, based on iconographic analysis of the famous portrait vessels (huacos retrato) from the collection of the Larco Museum in Lima, Peru.

In 1899, part of the floor of the church of San Tommaso collapsed, revealing a Medieval mosaic pavement. Arthur K. Porter believed that it was the only surviving part of the ancient Benedictine abbey, but he also asserted that it was «the daintiest and most charming» Romanesque mosaic he ever saw.
In my paper, I will first clarify the process of rediscovery of the mosaic through archival documents, as well as the conservative actions managed by the Ufficio Regionale ai Monumenti and the Ministero delle Belle Arti. The mosaic was left in loco and closed with removable wooden boards that allowed its preservation till today.
After considering the geometrical elements of its composition, its ornamental motives and its figured subjects, I will provide a graphic reconstruction of the mosaic which is also part of a 3D rendering of the church, and clearly presents the surviving mosaic fragments in relation to the architectonical structures.
My analysis will focus on the figures and their semantic value investigating their iconographic details and their connection to the written culture i.e. Christian literature, classical texts, or astronomic and naturalistic treatises. Such a study will allow to recognize the negative connotations of «ydra», «[cer]berus», «Sinon» and the ass located in the northern nave’s section of the mosaic. The semantic and figurative connections of these figures with “evil” and “hell” are confirmed by the dark ‘setting’ and the proximity to the left/Damned side of the Last Judgment painted on the counter façade. Furthermore, I would argue that the presence of these negative figures must be associated to St. Jerome’s writing. Such association is crucial, because references to St. Jerome, to his life, his culture, and his writings, often occur in San Tommaso.
The southern nave mosaic differs in colours and figures: it is mostly white, instead of black, and is figured with zoomorphic and vegetal elements. The general semantic value is rather positive, and is probably influenced by Abraham’s bosom painted on the right/Saved side of the Last Judgment.
In the main nave only a few fragments are preserved, but the presence of Birds drinking from the chalice hint to a clearly Eucharistic meaning. Probably this section of the mosaic decorated the area surrounding a nave altar.
I will then compare San Tommaso’s mosaic with other Italian pavements, especially those from Cremona and the Po valley, but also with other figurative sources, such as illuminated manuscripts, are given. For example, I will consider the «cerberus» in relation to the only surviving manuscript from the library of San Tommaso (now Canon. Pat. Lat. 148, Oxford, Bodleian Library) and to the rare spread-eagled figure included in Ms. 99 from Montecassino.
I will discuss how figurative themes were connected to each other or were given a different connotation depending on their location, i.e. in the case of the ass, whose value is negative when next to ‘infernal’ figures in the pavement, but positive on the wall paintings as ‘obedient’ animal.
I will relate figures to architectural spaces, e.g. the altar in the Sanctuary as most sacred pole in the building, and to the main directional axes East/West, North/South, high/low, according to their symbolic meaning in Christian literature.
Finally I will argue that the mosaic figures contribute to the ‘hierarchy’ of the spaces in the church, creating a complex image-system where meanings of the figural elements are valid before their fruition, either by laics or, most likely, by monks who could read images also like warning visions of the Afterlife.

Sin dalla fine del secolo IV, la parte orientale dell’impero romano, in seguito divenuto impero bizantino, era stato afflitto da molteplici eresie, che rischiavano seriamente di minare e di compromettere la sua stessa unità. Le più importanti tra queste eresie, erano il nestorianesimo , il monofisismo  e il paulicianesimo . Quest’ultima eresia, era sorta in Armenia e in Siria nel secolo VII.
Secondo le fonti, il basileus Leone III, incominciò ad appoggiare gli iconoclasti per una serie di motivi: prima di tutto subì le pressioni dei vescovi iconoclasti dell’Asia Minore a favore dell’iconoclasmo; inoltre sembrerebbe che tutta una serie di disastri naturali, ultimo dei quali un devastante maremoto nel mar Egeo, convincesse l’imperatore bizantino, che tali disastri naturali, fossero dovuti all’ira divina contro la venerazione delle icone. Difficile ad ogni modo stabilire quanto di vero ci sia in questi resoconti, e sui reali motivi per cui fu introdotta l’iconoclastia. 
La riforma religiosa del basileus Leone III, andrebbe verosimilmente iscritta in una più ampia opera volta a rafforzare la stabilità e la solidità dell’Impero, ai fini della quale i pauliciani rappresentavano un pericolo. Fu anche per togliere loro il pretesto di una ribellione che probabilmente Leone III, decise di assecondare le loro richieste.

Never entirely analyzed until now, the pictorial iconography of Maria Carolina looks more vivacious and interesting than that of her sister Marie-Antoinette, queen of France, both for its various languages from different countries, as the Neapolitan late baroque, the French rococo, the German neoclassic, and for the iconography and the iconology, as shown by the suggestive presence of the Antique, the allusions to the maternity and even some Masonic references.

PROLOGUE of this paper is an extreme detail analysis of Chartres Cathedral's the symbolism embedded into the three Rose Windows. The whole purpose of this paper is to illustrate how Ezekiel's Merkabah is symbolized by the North and South Rose Windows. This analysis will demonstrate the pivotal esoteric teaching of the Roman Catholic Church. The history of Chartres will be discussed along with some of its sculpture. This is the second paper in a three part series on the analysis of Ezekiel's Merkabah. Part-One of the series will be on Ezekiel's Merkabah in the first chapter of Genesis and Part Three will be on Ezekiel's Merkabah laid out symbolically in the Sistine Chapel. Part-Two of the series is published first; because, I was well into writing it and; because, I had already written a paper on Ezekiel's Merkabah in the first chapter of Genesis; however, that second version has to be revised to incorporate other interpretations of the texts of the first chapter of Genesis in order for the initiate to envisage the symbolism laid out in Chartres Cathedral and the Sistine Chapel.

The present article deals with the Prince of Sansevero, Raimondo di Sangro, and legends, often linked to real happenings, which over time were superimposed on this personage and his reknowned family chapel. To a great extent his reputation was of his own making, exagerated by the imagination of the populace and amplified by newspaper articles, brief essays, and stories by Southern Italian intellectuals in the late 19th century. Capuana, Colonna di Stigliano, Di Giacomo, and Croce, who were the foremost voices of the time in the literature of the South of Italy, wrote about the Prince and his mysteries. Lured by suggestions from the place he built and dwelt in, they too contributed to a myth that still today fascinates tourists and curious visitors from all over the world.

This is a slightly revised version of my doctoral thesis, in which I have attempted to assemble all the available evidence on the genesis and early development of the directional guardians in Indian culture (mainly Brahmanical / Hindu). The term "Ancient India" should not hide the fact that this group of minor deities continues to occupy an important place in Indic religious practices.

In this text I look at Eastern Orthodoxy pneumatology in relation to the theology of the Icon. I argue that the exclusivity of the Icon as the only expression of art within the Eastern Orthodox Church has inconsistencies with the doctrine of theosis and the Holy Spirit as the sanctifier of the whole of creation. Instead the pneumatology of Eastern Orthodox theology has the potential for a wider artistic expression.

Catálogo de la exposición bibliográfica coordinada por Carlos Fernández y Valentino Gianuzzi. En agosto de 2016, el Centro Cultural Inca Garcilaso rindió homenaje a uno de los grupos literarios más célebres del Perú, del que formó parte César Vallejo, el más ilustre de sus miembros. Y lo hizo a través de una exposición bibliográfica que nos acercaba a su mundo y ponía de manifiesto los alcances de este grupo de jóvenes que reunió a varias de las figuras más determinantes de la vida cultural y política del Perú. Los documentos e imágenes aquí reproducidos y anotados pertenecen en su mayoría al periodo comprendido entre la aparición de la revista Iris, en mayo de 1914, y la publicación del periódico El Norte, en febrero de 1923; la etapa mejor conocida de las actividades artísticas del grupo trujillano, así como de su creciente actividad política. Además de celebrar a la Bohemia de Trujillo y arrojar luz sobre ella, este catálogo pretende impulsar nuevos estudios sobre los aspectos menos conocidos de la biografía intelectual del grupo.

This paper examines the demons Pazuzu and Lamaštu from a cognitive science perspective. As hybrid creatures, the iconography of these demons combines an array of anthropomorphic and zoomorphic properties, and is therefore marked by a high degree of conceptual complexity. In a technical sense, they are what cognitive researchers refer to as radically "counterintuitive " representations. However, highly complex religious concepts are difficult in terms of cognitive processing, memory, and transmission , and, as a result, are prone to being spontaneously simplified in structure. Accordingly, there is reason to expect that the material images of Pazuzu and Lamaštu differed from the corresponding mental images of these demons. Specifically, it is argued here that in ancient cognition and memory, the demons would have been represented in a more cognitively optimal manner. This hypothesis is further supported by a detailed consideration of the full repertoire of iconographic and textual sources.

An increase of cross-cultural learning as a consequence of increased travel and migration between Egypt and the Levant during the Iron Age occurred after millennia of migration in earlier times. The result was an Egyptian-Levantine koine, often not recognized as relevant by historians due to an uncritical reproduction of ancient myths of separation. However, the cultural exchange triggered by migration is attested in the language, in the iconography of the region, in the history of the alphabet, in literary motifs, in the characterization of central characters of the Hebrew Bible and, last but not least, in the rise of new religions, which integrated the experience of otherness in a new ethos.

This book is the edited proceedings from the conference 'The Art of Stesichorus' held at St John's College, Oxford, on June 29–30 2012. Contributors include: Ewen Bowie (Oxford), Chris Carey (London), Patrick Finglass (Nottingham), Richard Hunter (Cambridge), Adrian Kelly (Oxford), Ian Rutherford (Reading), Gerson Schade (Berlin), Laura Swift (Open University), Martin West (Oxford).

Pelling, C., Classics for All 2015/08/11

ICONS  DEPICTING  ST  CYRIL  AND  ST  METHODIUS  FROM  THE  STRANDZHA MOUNTAINS (SECOND HALF OF THE 19TH – EARLY 20TH CENTURY).

During the time of the Bulgarians’struggle  for ecclesiastical  emancipation  from the Constantinople patriarchy  in  the  1850s – 1870s, the cult of theSlavic enlighteners St Cyril and St Methodius spread widely across the northern slopes of the Strandzha Mountains,whose population was predominantly Bulgarian.  This could explain why even  prior to the 1877–1878 Russo-Turkish War, icons of the two saints began to appear in the vicinity of the towns of Sredets and Malko Tarnovo.These were painted by Socrates Georgiou, a Greek icon painter from Sozopol who skillfully exploited the patrioticsentiments of the local Bulgarian church communities. A similar approach was adopted by the less gifted Greek iconpainter Stavros from Lozengrad, who was particularly active in the area around Malko Tarnovo, which remainedunder Turkish control between 1878 and 1912. During the early decades after the 1878, on the northern side of theBulgarian –  Turkish  border,  in  the  region of  Sredets and  the adjacent  villages belonging  to  the  municipalities ofSozopol and Primorsko, there were several icon painters from Tryavna (Dimitar Minev, his son Hristo Dimitrov,and others) who were working tirelessly in the local churches, painting icons of the Slavic enlighteners in the besttraditions of the Tryavna Art School. In some of the Strandzha churches a clear manifestation of the veneration of StCyril and St Methodius was the placement of their icon on the  bishop’s throne, an curious novel practice, alsoevident in a number  of  other places  across  Bulgaria, the reason for  which  was the conviction  shared by thecontemporaries that the contribution of the Thessaloniki brothers provided a solid spiritual and cultural basis for theautocephaly of the Bulgarian Church, which was restored on May 11th, 1872.

Liber antiphonarium
Ms. 8, Archivo Capitular de León
Copistas: Totmundo y Arias.
Procedente del Monasterio de San Cipriano de las Riberas del Porma.
s. X, aunque varios folios añadidos del s. XI.
Pergamino, 306 f., 330 x 240 mm.

Realizado entre los siglos X y XII, el Antifonario de León es un libro litúrgico musical que contiene más de una centena de oficios del rito hispánico, con sus correspondientes cantos particulares variables en cada fiesta y solemnidad atendiendo tanto a las horas canónicas como a las partes cantadas de la misa. El manuscrito, conservado actualmente en el Archivo Capitular de la Catedral de León, se atribuye al copista Totmundo del Monasterio de San Cipriano de las Riberas del Porma, gracias a una dedicatoria al comienzo del libro. El calendario de las primeras páginas, así como la ordenación interna de los oficios son un rico ejemplo del santoral hispano-visigodo de la época. La notación que acompaña a los textos, llamada visigótoca, ha despertado gran interés entre los musicólogos medievalistas, aunque no puede leerse en la actualidad por la ausencia de referentes en la altura de los sonidos. El manuscrito es el mejor ejemplo conservado de los antifonarios de la liturgia hispánica y una de las fuentes que más información nos aporta en la actualidad para comprender esta forma ritual, que fue sustituida por el rito romano desde el siglo XII y que era fruto de la riqueza cultural hispana en la Antigüedad Tardía y Alta Edad Media.

A MOST HAVE FOR ART HISTORIANS!

Proviamo a tornare indietro nel tempo, al fatale 1866. Quell' anno si completava una fase legislativa cominciata sedici anni prima nel Regno di Sardegna con le leggi Siccardi, veniva infatti emanata la legge post-unitaria che soppresse le Corporazioni religiose. Nel 1867 il governo Rattazzi diede avvio alla liquidazione dell' asse ecclesiastico, la parte cattolica si affrettò a definire eversive entrambe le leggi. Da un giorno all' altro, con un semplice tratto di penna, un ordine clericale e feudale sedimentato stratificato e rimasto immutato nei secoli, collassava e si scioglieva rovinosamente.
Passavano alla proprietà e all' uso dello Stato gli edifici di Congregazioni, di monasteri, di conventi subito trasformati in tribunali e in scuole, in ospedali e in ospizi, in galere e in caserme. Una quantità incommensurabile di oggetti d' arte mobili affluiva in massa sul mercato facendo la fortuna di miriadi di antiquari fra i quali primeggiava il mercante internazionale Stefano Bardini. Ciò che non finiva disperso o distrutto, (ed era la parte di gran lunga più grande) alimentò per decenni sia il collezionismo privato che quello pubblico; l' uno e l' altro, nelle miserrime condizioni economiche dell' Italia di allora, a destinazione quasi esclusivamente straniera.
Colossali devastazioni, perdite immense ha provocato la demanializzazione del patrimonio ecclesiastico. Evento forse necessario nella fase di passaggio del nostro Paese dall' Antico Regime alla Modernità e tuttavia brutale, doloroso, destinato a lasciare nella coscienza civile degli italiani ferite rimaste a lungo aperte.
Nel vasto naufragio si salvarono dall' uso improprio gli edifici di culto insieme a limitate porzioni dei complessi monumentali più legate o più contigue al culto. Si salvarono perché protette dalla devozione popolare, dalla letteratura, dalla fama degli artisti che vi erano rappresentati, dal loro essere, in maniera più o meno significativa, documenti della storia e della identità nazionali.
I luoghi sacri conservati al culto pubblico rimasero alla proprietà e quindi alla gestione dello Stato mentre l' autorità religiosa ne assumeva la regolare officiatura. Al F.E.C. (Fondo Edifici di Culto), sono oggi affidate oltre 750 chiese, meno dell' uno per cento del totale (calcolato in circa centomila unità) degli antichi edifici destinati alla pratica religiosa cattolica; dalla Martorana di Palermo a Santa Maria della Misericordia di Taggia, affascinante pinacoteca di pittura ligure-piemontese-fiamminga; da Santa Maria Novella di Firenze a San Bernardino di Aquila, che il terremoto del 2009 ha fatto sentire a tutti noi dolorosamente vicino; dal San Domenico di Napoli, dove dormono i re angioini e aragonesi e Tommaso scrisse la sua Summa Teologia, al Santuario di Fontanellato a Parma, prodigio di eleganza barocca e rococò.
Chi abita da cittadino o attraversa da turista l' Italia storica è difficile che conosca lo status giuridico delle tante chiese dislocate sul territorio nazionale. Del resto che la croce dipinta da Giotto in Santa Maria Novella a Firenze, che i Caravaggio conservati nella Cappella Cerasi di Santa Maria del Popolo a Roma, appartengano allo Stato o all' ente parrocchia o all' ordinario diocesano o alla congregazione religiosa che custodisce quel luogo, apparirà al visitatore irrilevante. Altro è ciò che interessa. Interessano la buona fruibilità di quei capolavori, la loro corretta conservazione e manutenzione, la aggiornata ed efficace presentazione didattica e scientifica. E' consolante accorgerci che questi sono gli obiettivi guida della attuale dirigenza F.E.C..
La storia ha costruito l' Italia dissestando distruggendo e poi riassemblando come per un immane rivolgimento tellurico, i suoi strati profondi. Lo strato identitario unificante degli antichi edifici di culto distribuiti su tutto il territorio nazionale dal Piemonte alla Sicilia, è oggi affidato, per una sua piccola ma prestigiosissima porzione, al Fondo Edifici di Culto.
Chi come me ha servito per tanti anni nella amministrazione italiana dei beni culturali e che ora dall' osservatorio privilegiato dei Musei Vaticani è in grado di apprezzare, con attenzione e sensibilità speciali, l' iridescente mirabile mantello di chiese che copre l' Italia, non può che esprimere vivo compiacimento per tale iniziativa editoriale introdotta dalle mie righe.
Una rete di perfetta affidabilità affidata agli architetti e agli storici dell' arte delle Soprintendenze garantisce la qualità dei testi. L' ERMA di BRETSCHNEIDER ci assicura del livello del risultato editoriale, improntato ad eleganza e a rigore come da sua mai disattesa tradizione.

Antonio Paolucci
Direttore dei Musei Vaticani
dalla Presentazione del I volume

Az utóbbi évtizedben megváltozott a női testszőrzet jelentése és legitimitása. Az empirikus kutatások manapság egyértelműen normának tekintik a szőrtelenítést, melynek következtében a nők döntő többsége több vagy kevesebb meggyőződéssel, de megválik nemcsak hónalj- és láb-, de szeméremszőrzetétől is. Ez az írás arra igyekszik válaszokat keresni, vajon miért alakult át ebben az egyetlen vonatkozásban oly módon a női testkép (s részben a férfi is), hogy egyesek az igen erős jelen-tésű „tabu” kifejezést alkalmazzák a szeméremszőrzettel kapcsolatban. Annyiban „tabu”, amennyiben a testet érintő kritikai vizsgálatok ugyan nagy hangsúlyt fektetnek a testsúly, az étkezési rendellenességek összefüggésére és a populáris tabloid média által szuggerált testkép továbbá a növekvő önértékelési zavarokra, ám a test szőrtelenítésével kapcsolatos kérdésfeltevések vagy túl triviálisnak, vagy túl komolytalannak hatottak mindezidáig. A kulturális szociológia, a szociálantropológia, kultúratörténet, a feminista kritika és a gender kutatások vonatkozó irodalma alapján ez az írás erre keresi a választ.