Katherine T. Brown - Mary of Mercy in Medieval and Renaissance Italian Art : Devotional Image and Civic Emblem read online TXT, MOBI, DOC
9781472476500 English 1472476506 Mater Misericordiae Mother of Mercy emerged as one of the most prolific subjects in central Italian art from the late thirteenth through the sixteenth centuries. With iconographic origins in Marian cult relics brought from Palestine to Constantinople in the fifth century, the amalgam of attributes coalesced in Armenian Cilicia then morphed as it spread to Cyprus. An early concept of Mary of Mercy the Virgin standing with outstretched arms and a wide mantle under which kneel or stand devotees entered the Italian peninsula at the ports of Bari and Venice during the Crusades, eventually converging in central Italy. The mendicant orders adopted the image as an easily recognizable symbol for mercy and aided in its diffusion. In this study, the author s primary goals are to explore the iconographic origins of the "Madonna della Misericordia" as a devotional image by identifying and analyzing key attributes; to consider circumstances for its eventual overlapping function as a secular symbol used by lay confraternities; and to discuss its diaspora throughout the Italian peninsula, Western Europe, and eastward into Russia and Ukraine. With over 100 illustrations, the book presents an array of works of art as examples, including altarpieces, frescoes, oil paintings, manuscript illuminations, metallurgy, glazed terra-cotta, stained glass, architectural relief sculpture, and processional banners.", Mater Misericordiae--Mother of Mercy--emerged as one of the most prolific subjects in central Italian art from the late thirteenth through the sixteenth centuries. With iconographic origins in Marian cult relics brought from Palestine to Constantinople in the fifth century, the amalgam of attributes coalesced in Armenian Cilicia then morphed as it spread to Cyprus. An early concept of Mary of Mercy--the Virgin standing with outstretched arms and a wide mantle under which kneel or stand devotees--entered the Italian peninsula at the ports of Bari and Venice during the Crusades, eventually converging in central Italy. The mendicant orders adopted the image as an easily recognizable symbol for mercy and aided in its diffusion. Inthis study, the author's primary goals are to explore the iconographic origins of the Madonna della Misericordia as a devotional image by identifying and analyzing key attributes; to consider circumstances for its eventual overlapping function as a secular symbol used by lay confraternities; and to discuss its diaspora throughout the Italian peninsula, Western Europe, and eastward into Russia and Ukraine. With over 100 illustrations, the book presents an array of works of art as examples, including altarpieces, frescoes, oil paintings, manuscript illuminations, metallurgy, glazed terra-cotta, stained glass, architectural relief sculpture, and processional banners., Mater Misericordiae-Mother of Mercy-emerged as a prolific subject in central Italian art from the late thirteenth through the late sixteenth centuries. With iconographic origins in the cult of Marian relics brought from Palestine to Constantinople in the fifth century, the amalgam of attributes that comprised early Madonna della Misericordia imagery morphed as it moved from Constantinople to Cilicia and Cyprus, and then to two port cities (Bari and Venice) during the Crusades, with an eventual confluence in central Italy. In Mary of Mercy in Medieval and Renaissance Italian Art, the author'e(tm)s primary goals are to explore the iconographic origins of the Madonna della Misericordia as a devotional image by identifying and analyzing twenty key attributes; to consider circumstances for its eventual overlapping function as a secular symbol used by lay confraternities; and to discuss diffusion of the image throughout the Italian peninsula, Western Europe, and eastward into Russia and Ukraine. In terms of the image'e(tm)s multifarious and often concurrent meanings and functions, Katherine T. Brown approaches the image from both sacred and secular contexts, discussing its first adoption by monastic orders and subsequently by lay confraternities. Her discussion takes into consideration a wide array of materials and media, including panel paintings, frescoes, oil paintings on canvas or silk, miniatures and book covers, metallurgy, stained glass, sculptural relief on architectural exteriors, glazed terra-cotta, tile work, and polychrome sculpture., Mater Misericordiae−Mother of Mercy−emerged as one of the most prolific subjects in central Italian art from the late thirteenth through the sixteenth centuries. With iconographic origins in Marian cult relics brought from Palestine to Constantinople in the fifth century, the amalgam of attributes coalesced in Armenian Cilicia then morphed as it spread to Cyprus. An early concept of Mary of Mercy−the Virgin standing with outstretched arms and a wide mantle under which kneel or stand devotees−entered the Italian peninsula at the ports of Bari and Venice during the Crusades, eventually converging in central Italy. The mendicant orders adopted the image as an easily recognizable symbol for mercy and aided in its diffusion. Inthis study, the author's primary goals are to explore the iconographic origins of the Madonna della Misericordia as a devotional image by identifying and analyzing key attributes; to consider circumstances for its eventual overlapping function as a secular symbol used by lay confraternities; and to discuss its diaspora throughout the Italian peninsula, Western Europe, and eastward into Russia and Ukraine. With over 100 illustrations, the book presents an array of works of art as examples, including altarpieces, frescoes, oil paintings, manuscript illuminations, metallurgy, glazed terra-cotta, stained glass, architectural relief sculpture, and processional banners.
9781472476500 English 1472476506 Mater Misericordiae Mother of Mercy emerged as one of the most prolific subjects in central Italian art from the late thirteenth through the sixteenth centuries. With iconographic origins in Marian cult relics brought from Palestine to Constantinople in the fifth century, the amalgam of attributes coalesced in Armenian Cilicia then morphed as it spread to Cyprus. An early concept of Mary of Mercy the Virgin standing with outstretched arms and a wide mantle under which kneel or stand devotees entered the Italian peninsula at the ports of Bari and Venice during the Crusades, eventually converging in central Italy. The mendicant orders adopted the image as an easily recognizable symbol for mercy and aided in its diffusion. In this study, the author s primary goals are to explore the iconographic origins of the "Madonna della Misericordia" as a devotional image by identifying and analyzing key attributes; to consider circumstances for its eventual overlapping function as a secular symbol used by lay confraternities; and to discuss its diaspora throughout the Italian peninsula, Western Europe, and eastward into Russia and Ukraine. With over 100 illustrations, the book presents an array of works of art as examples, including altarpieces, frescoes, oil paintings, manuscript illuminations, metallurgy, glazed terra-cotta, stained glass, architectural relief sculpture, and processional banners.", Mater Misericordiae--Mother of Mercy--emerged as one of the most prolific subjects in central Italian art from the late thirteenth through the sixteenth centuries. With iconographic origins in Marian cult relics brought from Palestine to Constantinople in the fifth century, the amalgam of attributes coalesced in Armenian Cilicia then morphed as it spread to Cyprus. An early concept of Mary of Mercy--the Virgin standing with outstretched arms and a wide mantle under which kneel or stand devotees--entered the Italian peninsula at the ports of Bari and Venice during the Crusades, eventually converging in central Italy. The mendicant orders adopted the image as an easily recognizable symbol for mercy and aided in its diffusion. Inthis study, the author's primary goals are to explore the iconographic origins of the Madonna della Misericordia as a devotional image by identifying and analyzing key attributes; to consider circumstances for its eventual overlapping function as a secular symbol used by lay confraternities; and to discuss its diaspora throughout the Italian peninsula, Western Europe, and eastward into Russia and Ukraine. With over 100 illustrations, the book presents an array of works of art as examples, including altarpieces, frescoes, oil paintings, manuscript illuminations, metallurgy, glazed terra-cotta, stained glass, architectural relief sculpture, and processional banners., Mater Misericordiae-Mother of Mercy-emerged as a prolific subject in central Italian art from the late thirteenth through the late sixteenth centuries. With iconographic origins in the cult of Marian relics brought from Palestine to Constantinople in the fifth century, the amalgam of attributes that comprised early Madonna della Misericordia imagery morphed as it moved from Constantinople to Cilicia and Cyprus, and then to two port cities (Bari and Venice) during the Crusades, with an eventual confluence in central Italy. In Mary of Mercy in Medieval and Renaissance Italian Art, the author'e(tm)s primary goals are to explore the iconographic origins of the Madonna della Misericordia as a devotional image by identifying and analyzing twenty key attributes; to consider circumstances for its eventual overlapping function as a secular symbol used by lay confraternities; and to discuss diffusion of the image throughout the Italian peninsula, Western Europe, and eastward into Russia and Ukraine. In terms of the image'e(tm)s multifarious and often concurrent meanings and functions, Katherine T. Brown approaches the image from both sacred and secular contexts, discussing its first adoption by monastic orders and subsequently by lay confraternities. Her discussion takes into consideration a wide array of materials and media, including panel paintings, frescoes, oil paintings on canvas or silk, miniatures and book covers, metallurgy, stained glass, sculptural relief on architectural exteriors, glazed terra-cotta, tile work, and polychrome sculpture., Mater Misericordiae−Mother of Mercy−emerged as one of the most prolific subjects in central Italian art from the late thirteenth through the sixteenth centuries. With iconographic origins in Marian cult relics brought from Palestine to Constantinople in the fifth century, the amalgam of attributes coalesced in Armenian Cilicia then morphed as it spread to Cyprus. An early concept of Mary of Mercy−the Virgin standing with outstretched arms and a wide mantle under which kneel or stand devotees−entered the Italian peninsula at the ports of Bari and Venice during the Crusades, eventually converging in central Italy. The mendicant orders adopted the image as an easily recognizable symbol for mercy and aided in its diffusion. Inthis study, the author's primary goals are to explore the iconographic origins of the Madonna della Misericordia as a devotional image by identifying and analyzing key attributes; to consider circumstances for its eventual overlapping function as a secular symbol used by lay confraternities; and to discuss its diaspora throughout the Italian peninsula, Western Europe, and eastward into Russia and Ukraine. With over 100 illustrations, the book presents an array of works of art as examples, including altarpieces, frescoes, oil paintings, manuscript illuminations, metallurgy, glazed terra-cotta, stained glass, architectural relief sculpture, and processional banners.