DOCSLIB.ORG

Download (19Mb)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download (19Mb) University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/3957 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. FEMALE PATRONAGE AND THE RISE OF FEMALE SPIRITUALITY IN ITALIAN ART OF THE THIRTEENTH AND FOURTEENTH CENTURIES. Volume I. Two volumes: Volume I- Text. Volume II - Illustrations. Cordelia Frances Joan Warr. A thesis submitted for the degree of Docýior. of Philosophy in the Department of History of Art, University of Warwick. February 1994. i LIST OF CONTENTS. Volume 1. ACKNOWLEDGMENTS. iv II ABSTRACT. vi III ABBREVIATIONS. vii IV LIST OF ILLUSTRATIONS. viii-xxiv INTRODUCTIONi, 1 Notes to Introduction. 11 WOMEN IN ITALIAN ART OF THE THIRTEENTH AND FOURTEENTH CENTURIES: Questions of Patronage and its Representational Effects. 12 Notes to Chapter 1. 49 2 THE RELIGIOUS DRESS OF WOMEN IN THE LATER MIDDLE AGES: Questions of Identification-,, 60 The Uses of the Veil. 68 Saint Frances of Rome and the Habit of the Olivetan Oblates. 73 . The Habit of the Poor Clares during the Thirteenth and Fourteenth Centuries. 80 The Habit of the Second Order of Saint Dominic. 87' Habit in Relation to Rule and Order. 91 The Religious Dress of Lay Penitents. 98 The Representation of Religious Dress: The Effect of the Artist on the Depiction of Clothing. 108 Notes to Chapter 2. 120 ii 3 PATRONAGE WITHIN THE FEMALE VALLOMBROSAN ORDER: Florence and Siena in the Fourteenth Century. 135 The fresco in Santa Marta, Siena. 139 The Saint Humility Polyptych. 142 Notes to Chapter 3. 194 4 PATRONAGE FOR AND BY THE POOR CLARES: The Protomonastery of Santa Chiara and the Convent of Santa Maria della Cella in Trieste. 212 The Protomonastery of Santa Chiara, Assisi. 213 The Benedetta Crucifix. 222 The Saint Clare Dossal. 224 The Saint Clare Triptych in Trieste. 246 Notes to Chapter 4. 269 5 ROYAL PATRONAGE IN NAPLES AT THE BEGINNING OF THE FOURTEENTH CENTURY: Queen Maria of Hungary and Sancia of Majorca. 284 Queen Maria of Hungary and the Church of Santa Maria Donna Regina. 285 Queen Sancia of Majorca and the Church of Santa Chiara. 326 Notes to Chapter 5. 335 6 PAINTING IN LATE FOURTEENTH CENTURY PADUA: The Patronage of Fina Buzzacarina. 354 Notes to Chapter 6. 389 CONCLUSION. 397 iii APPENDIX 1: Extracts from Religious Rules Regarding Dress. 400 Extracts from the Rule of the Olivetan Oblates. 400 Extracts from the Rule of Saint Benedict. 403 Extracts from the Foz-ma di Vita of Ugolino for the Poor Clares. 404 Extracts from the Rule of San Sisto for the Second Order of Saint Dominic. 406 Extract from Humbert of Romans' Rule for the Sisters of Montargis. 408 Extract from Humbert of Romans' Rule of 1259 for the Second Order of Saint Dominic. 409 Extract from Fra Caro's Rule for the Penitents. 410 Extracts from the Dominican Rule for the Penitents. 412 APPENDIX 2: The Humility Polyptych and its Various Reconstructions. 414 BIBLIOGRAPHY. 416-442 Volume 2. ILLUSTRATIONS. iv ACKNOWLEDGMENTS. This thesis would not have been possible without the help and support of a number of people and institutions. My first thanks go to my supervisor, Professor Julian Gardner, who has been consistently encouraging and whose work has inspired this thesis. I would also like to thank the University of Warwick for a University Graduate Award and for generous help with travel expenses. My research in Italy was also made possible with a Grant in Aid of Research from the British School at Rome, and funding from the Gladys Krieble Delmas Foundation was particularly appreciated in completing my work in Padua. In Italy, amongst the many who made my research more enjoyable and productive, I would like to single out for particular mention: Maria Pia Malvezzi of the British School at Rome, Dottoressa Bravar of the Museo Civico di Storia e d'Arte in Trieste, the abbess of Santa Chiara in Assisi, the staff of the Archivio di Stato in Padua, the staff of the Soprintendenza in Naples for allowing me to photograph the church of Santa Maria Donna Regina and, of course, the staff of all the libraries I used - the Hertziana, the Vatican, the Ecole Frangaise and the German Historical Insititute in Rome, the Marciana in Venice. At home I would particularly like to thank Sergio Sokota of the Italian Department and Dr. Stanley Ireland of the Classics Department in the University of Warwick. My thanks V also go to the staff of the British Library and the Warburg Institute. A number of my friends and fellow students helped with photographs and references. My thanks to Jill Bain, Becky Baxter, Libby Burton, Janis Elliott, Joan Friedman and Gillian Mackie. Finally, I would like to thank Sharon Leftley and last, but not least, my parents. vi ABSTRACT: FEMALE PATRONAGE AND THE RISE OF FEMALE SPIRITUALITY IN ITALIAN ART OF THE THIRTEENTH AND FOURTEENTH CENTURIES. Cordelia Frances Joan Warr. This thesis deals with the two partially interlocking aspects of female patronage and female spirituality in Italian art during the thirteenth and fourteenth centuries. My aim has been to expand the knowledge of this subject not through a detailed examination of one female patron, her spirituality, and how it affected her commissions, but through a number of representative examples in order to show the breadth and diversity of women's influence over art, both active and passive. I have therefore surveyed previous assumptions on female patronage and the opportunities that existed for it, taking a number of smaller examples so as to lay a base for my later arguments. One of the main problems that emerged was a misunderstanding of the clothes depicted as being worn both by the subjects of the paintings and by the donors, and also the subjective use of clothes in order to put across a message. This aspect also bears on the variety of women's religious experience which underlies the whole of this investigation. It forms a base for my chapters on commissions by and for the Poor Clares and the female Vallombrosan order. Finally, I have looked at two examples of lay female patronage only one of which takes a woman as its subject, and examined the reasons for the choice of subject in relation to the spiritual influences of the commissioner and also the ways in which the direct influence of the patron can be assessed. My research has indicated that both lay women and nuns were not only capable of paying for ambitious projects but that they could also positively affect their iconography. Women's influence over art during this period, and the impact of their spirituality on it, both actively and passively, has only previously been investigated in a few instances. The aim of this thesis is to provide an overview of the female patronage and female spirituality ia'art and to show that women's influence over art was present in many spheres of society and was not an exception to the rule. vii ABBREVIATIONS. AASS Acta Sanctorum. Paris 1863-1870 Ord ed. ). AB Art Bulletin. AFH Archivum Franciscanum Historicum. AFP Analecta Fratrum Praedicatorum. AH Art History. AQ Art Quarterly. ASOFP Analecta Sacri Ordinis Fratrum Praedicatorum. BM Burlington Magazine. BOFP Bullarium Ordinis FF Praedicatorum. BS Bibliotheca Sanctorum. DB Dizionario Biografico degli Italiani. DIP Dizionario degli Istituti di Perfezione. FF Foati Francescane. ZfKq Zeitschrift fýr Kunstgeschichte. NB. It should also be noted that with very few exceptions the notes at the end of the chapters use an abbreviated form to refer to books and articles. These are identified by the name of the author and a date or distinguishing word (see Kaftal) where more than one item by that author has been used. The only exceptions are some where an author has been, cited only once in which case the full reference will be found in the relevant, chapter note. In all other cases the bibliography should be referred to for a full reference. viii LIST OF ILLUSTRATIONS. Altarpiece originally from the convent of Santa Maria di Monticelli, Florence. SS. Apostoli, Florence. 2 Master of Cittl di Castello: Triptych with the Virgin and Child and kneeling female donor on the central panel. On the left wing "The Crucifixion" and on the right wing "The Stigmatization of Saint Francis". Christ Church College, oxford. 3 Master of Cittýa' di Castello: Triptych with the Virgin and'Child and kneeling female donor - Detail of the donor. Christ Church College, Oxford. 4 Master of the Cesi Altarpiece: Virgin and female donor with surrounding saints. Museo Civico,. Cesi. 5 Giusto de' Menabuoi: Central panel from the polyptych for Isotta Terzago - Detail of donor and companion. Schiff Collection, Florence. 6 Puccio Capanna: Virgin and Child between angels with "The Annunciation" and Saints Agnes, Lucy, Mary Magdalen, Margaret, Elizabeth of Hungary, Clare of Assisi and Agatha. Pinacoteca Vaticana, Rome. ix 7 Tommaso da Modena: Ancona with scenes showing "The Virgin reading", "The Virgin feeding the Christ Child", and "The Virgin knitting socks". Pinacoteca Nazionale, Bologna. 8 Cecco di Pietro: Polyptych with a central "Crucifixion" surrounded by female saints. Museo San Matteo, Pisa. 9 Giuliano da Rimini: Dossal with a central Virgin and Child and female donors - Detail showing the donors. Isabella Stuart Gardner Museum, Boston. 10 Taddeo Gaddi: "The Tree of Life" - Detail showing the possible donor. Refectory, Santa Croce, Florence.
Load more

Recommended publications
  • 036-Santa Prisca
    Santa Prisca Santa Prisca is a heavily remodeled early 12th-century titular church, on the Aventine Hill in rione Ripa, built on ancient foundations. The dedication to the obscure St Prisca. Owing to confusion between her and St Priscilla, the church has also known been known as Santi Aquila e Prisca. History The identity of St Prisca is uncertain. One tradition claims that she is identical with Priscilla, who is mentioned in the New Testament, another that she was the daughter of Aquila and Priscilla. In the Acts of the Apostles (Acts XVIII, 1-4), it is written that St Paul stayed with Aquila and Priscilla, Jewish Christians exiled from Rome, when he was in Corinth and again in Ephesus after they had moved there. Later, they were apparently able to move back to Rome, as St Paul sends his greetings to them there (Romans 16, 3-5). The tradition then claims that this was Priscilla's house and that SS Peter and Paul both stayed there. [1] The alternative old tradition was that Prisca was a daughter of the couple, who was martyred as a virgin in the reign of the emperor Claudius in the 1st century. This would make her Rome's earliest martyr, earlier even than those called the Protomartyrs of Rome killed in a pogrom ordered by Nero. This story was accepted by the old Roman martyrology, compiled in the 17th century. [1] Both traditions have been successfully challenged by modern historians, and the revised Roman martyrology merely describes her as the patron saint of this church who lived before the year 499.
    [Show full text]
  • OE Med17 3A R20 Film.Indd
    THE ALTAR AND ITS DECORATIONS IN MEDIEVAL CHURCHES. A FUNCTIONALIST APPROACH Justin E. A. Kroesen University of Groningen [email protected] Abstract It is the aim of this article to problematize the concept of the medieval altarpiece or retable. If handbook defi nitions of a formal nature are followed, many confi g- urations which actually occur in medieval churches remain overlooked. In order to understand the pluriformity of medieval altar decorations, a functional defi ni- tion seems more helpful, such as ‘any object or depiction on top of or behind the altar that forms a backdrop to liturgical activity on and around the altar’. Altars were sometimes equipped with objects which could adopt the function of an al- tarpiece, including reliquaries and saints’ sculptures, while others were provided with painted or sculptured backdrops which often blend in with the architecture of the building. In addition, many medieval altar decorations display a funda- mentally composite character, with clear distinctions between formal categories such as frontals, altar sculptures, panel retables, tabernacles and shrines being diffi cult to maintain. To gain a better insight into the true variety of medieval altar decorations, special attention should be paid to side altars. Re-evaluating these fi xtures as a basic element of the medieval church interior enables us to form a more realistic picture of the variety of medieval altar furnishings and to better understand the original context of the many loose objects we now admire in churches and museums. Keywords Medieval liturgy, retable, altarpiece, tabernacle, sculpture, painting. Resumen El afán de este artículo es problematizar el concepto del retablo medieval.
    [Show full text]
  • Bulletin-20210711 Seventh Sunday After Pentecost A
    Announcements St Michael the Archangel The Bulletin is Downloadable from our website at http://fssp-canberra.org/bulletin/ Latin Mass Chaplaincy, PRO-LIFE PRAYER TO END ABORTION ADULT CATECHISM Canberra Rosary gatherings are held at the fol- Served by The Priestly Fraternity of St Peter (FSSP) lowing time and place EVERY FRIDAY. Every Saturday, 10:30-11:30am, Sts 8:00AM & 4:00PM—meet opposite to Peter and Paul, Garran Next chapters: 75-77 City Community Health Centre, 1 Moore Street, in the city. Every Thursday: 6:30-7:30pm @ Chaplain: Postal Address: Rev. Paul Leung, FSSP PO Box 6241, Mawson, TALK ON THE FSSP House, 4 Venn Pl, Kambah. Tel: 0405 527 880 ACT 2607, Australia. FUTURE OF THE APOSTOLATE Next Chapters: 57-60 Fr Leung will give a report on the Assistant Priest: Presbytery Address: further development of the aposto- People who are discerning to be- Rev. Adrian Wee, 4 Venn Pl, Kambah, come Catholics or hoping to review ACT 2902, Australia. late on: 25 July (Sunday), after FSSP 10:00am Mass, at St Jude’s. their Catechism are most welcome Tel: 0407 557 264 Prebystery Tel: to join us. 02-6161 5320 Please contact Fr Leung for any fur- Website: SUGGESTIONS/CONCERNS TO ther questions, http://fssp- Facebook: THE PLENARY COUNCIL 2021 canberra.org https://www.facebook.com The Australian Plenary Council which CLASS ON HOLY SCRIPTURE St Bonaventure /FSSP-Canberra-St-Michael- Email: Pray for us! the-Archangel-Latin-Mass- will take place in October this year, has Introduction to the 4 gospels [email protected] asked for input on a variety of topics.
    [Show full text]
  • List of Saints with Patronage and Affiliations
    List of Saints with Patronage and Affiliations A Adrian of Nicomedia – arms dealers, butchers, guards, soldiers Agatha – bakers, bell making, nurses Albertus Magnus – natural scientists Alexander of Comana – charcoal-burners Alexius – belt makers and nurses Aloysius Gonzaga – Catholic students, Jesuit scholastics Amand – bartenders, brewers, innkeepers, merchants, vine growers, vintners Ambrose of Milan – bee keepers, beggars, candle-makers, chandlers, wax-melters and refiners Anastasius the Fuller – fullers Anastasia of Sirmium – weavers, healers, martyrs, exorcists Andrew the Apostle – fishmongers, fishermen Andrew Kim – clergy of Korea Anne – miners, mothers, equestrians, cabinet makers, homemakers, stablemen, French- Canadian voyageurs, and sailors Ansovinus – gardeners Anthony Mary Claret – weavers Anthony the Abbot – basket-makers, gravediggers, butchers, swineherds and motorists Anthony of Padua – those seeking lost items or people, nomadic travelers, brush makers, women seeking a husband Apollonia – dentists Arnold of Soissons – brewers Arnulph – millers Augustine of Hippo – printers, brewers and theologians B Barbara – miners, artillerymen, military engineers and firemen, Italian marines, architects, builders, foundry workers, fireworks makers, mathematicians, geoscientist, stonemasons Bartholomew the Apostle – leatherworkers, plasterers, tanners, trappers, curriers Basil the Great – hospital administrators Basilides - Italian prison officers Basilissa - nursing mothers Benedict of Nursia – farmers,
    [Show full text]
  • Museo D'arte Sacra Dell'abbazia Di Vallombrosa
    collana diretta da Antonio Paolucci 14 Museo d’arte sacra dell’Abbazia di Vallombrosa Guida alla visita del museo e alla scoperta del territorio a cura di Caterina Caneva Edizioni Polistampa Musei del Territorio: l’Anello d’oro Museums of the Territory: The Golden Ring Museo d’arte sacra dell’Abbazia di Vallombrosa Enti promotori / Promoted by Ente Cassa di Risparmio di Firenze Regione Toscana In collaborazione con / In collaboration with Soprintendenza Speciale per il Polo Museale Fiorentino Soprintendenza per il Patrimonio Storico, Artistico ed Etnoantropologico per le province di Firenze, Pistoia e Prato Soprintendenza per i Beni Architettonici e per il Paesaggio per le province di Firenze, Pistoia e Prato Diocesi di Fiesole Comune di Reggello Progetto e coordinamento generale / Project and general coordination Marcella Antonini, Verdiana Fontana, Barbara Tosti Comitato scientifico / Scientific committee Presidente: Antonio Paolucci Cristina Acidini Luchinat, Caterina Caneva, Rosanna Caterina Proto Pisani, Carla Guiducci Bonanni, Giangiacomo Martines, Paola Refice, Claudio Rosati, Bruno Santi, Timothy Verdon Cura scientifica / Scientific supervision Caterina Caneva Itinerario nel museo a cura di / Museum tour by Caterina Caneva Testi di / Texts by Caterina Caneva, Alessandro Cecchi, Lorenzo Pesci, Pierdamiano Spotorno OSB Schede delle opere / Description of the works Caterina Caneva (n. 37) Alessandro Cecchi (nn. 1-2; 6-7; 10; 14-15; 19-36; 38-106) Lorenzo Pesci (nn. 3-5; 8-9; 11-13; 16-18) Itinerari a cura di / Itineraries by Nicoletta Baldini, Maria Pilar Lebole, Benedetta Zini Glossario e indici a cura di / Glossary and indexes by Francesca Sborgi Coordinamento redazionale / Editorial coordination Cristina Corazzi Traduzioni per l’inglese / English translation English Workshop Immagine coordinata della copertina / Cover page by Rovaiweber design Progetto grafico / Graphic project Polistampa Referenze fotografiche / Photography George Tatge Paolo Giusti (pp.
    [Show full text]
  • Carol Virginia Kathleen Henry Martins Ourism: Y Ter Ting for T E
    Universidade do Minho Instituto de Letras e Ciências Humanas Carol Virginia Kathleen Henry Martins ourism: y ter ting for T e Communication and Marketing for Tourism: São Martinho de Tibães Monastery tinho de Tibães Monas Communication and Mark São Mar tins y Mar ginia Kathleen Henr ol Vir Car 3 1 minho|20 U March 2013 Universidade do Minho Instituto de Letras e Ciências Humanas Carol Virginia Kathleen Henry Martins Communication and Marketing for Tourism: São Martinho de Tibães Monastery Report on Work Experience Masters in Translation and Multilingual Communication Supervisors: Doutora Sílvia Araújo Dra. Ana Maria Chaves March 2013 This Report is dedicated to my Canadian friend, Frère Jacques! Frère Jacques, Frère Jacques Are you sleeping? Are you sleeping? Dormez-vous? Dormez-vous? Brother John? Brother John? Sonnez les Matines, Sonnez les Matines, Morning bells are ringing, Morning bells are ringing Din, dan, don. Din, dan, don. Ding, dang, dong. Ding, dang, dong. DIVINE HOURS Acknowledgements xiii Abstract in English v Resumo em português vii Résumé en français ix Resumen en español xi List of Figures iii List of Tables iii CHAPTER 1 MATINS/LAUDS 1.1 Introduction. Why the Tibães Monastery? 1 1.2 Objectives 2 1.3 Prioritising tasks and the Time Line 3 CHAPTER 2 PRIME 2.1 A Chronology of the Monastery’s History 5 2.2 Staff at the Monastery 6 2.3 Funding for the Restoration 6 2.4 Visitors to the Monastery in 2011 and 2012 7 2.5 Analysis of the Statistics relating to the Number of Visitors in 2011/2012 7 CHAPTER 3 TERCE 3.1 The Structure
    [Show full text]
  • 07-11-2021 Pentecost 7 Davie.Pub
    July 11th, 2021 A.D. – VII Sunday after Pentecost Gregorian Latin liturgy Until 1969, the various Catholic liturgies were all of apostolic origin. The Gregorian Latin liturgy, celebrated in this church, fol- lows the tradition of Saint Peter, the first Pope, and has never undergone any essen- tial change till the present time. Every ges- ture, every word has been weighed and measured with the assistance of the Holy Ghost for the greatest glory of God and the salvation of souls. Welcome Visitors! We thank you for coming. Whether you are just visiting us for a brief time, looking for a spiritual home, are returning to the Hospitality practice of Catholic faith or are interested in finding out more about the Catholic “Let the charity of the brotherhood abide Church; we are happy to have you here, as in you and hospitality do not forget; for by you are. this some, being not aware of it, have enter- Please take time to read this bulletin, to tained angels.” (Heb. 13, 1-2) meet with the priest after Mass and to so- “Wherefore receive one another, as Christ cialize. also hath received you unto the honor of Enter the Holy Temple of the Good Lord God.” (Rom. 15, 7) to worship Him. Pax vobis! Peace be with you! 4580 SW 65th Ave., Davie, FL 33314 (407) 872-1007 Websites: sspxflorida.com | sspx.org - E-mail: [email protected] Fr. Marc Vernoy- Prior; Fr. Samuel Fabula - Chaplain Mark your Calendars There will not be Mass in Davie on August 13th and 14th.
    [Show full text]
  • A Living Past: the Historical Environment of the Middle Ages
    A living past: The historical environment of the Middle Ages The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Constable, Giles. 1990. A living past: The historical environment of the Middle Ages. Harvard Library Bulletin 1 (3), Fall 1990: 49-70. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42661216 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA 49 A Living Past: The Historical Environment of the Middle Ages Giles Constable his paper looks at some questions that arose in the course of preparing an article T on the attitude towards time and the past in the twelfth century. 1 I particularly noticed that the environment created by art, architecture, and ceremony fostered a closeness, and at times an identity, with history. People lived the past in a very real sense, and the past, living in them, was constantly recreated in a way that made it part of everyday life. Scholars tend to rely so heavily on verbal sources that they underestimate the influence of the senses in developing an awareness of history. Sight, smell, hearing, and touch were all enlisted in the task of reconstructing the past. Even speech was a dramatic performance, and the actions that accompanied many rites and ceremonies helped to bring past people and events into the present, giving meaning to history and linking it to the future.
    [Show full text]
  • Form, Content and Meaning in Seven Franciscan Altarpieces
    FORM, CONTENT AND MEANING IN SEVEN FRANCISCAN ALTARPIECES OF THE DUGENTO by CAROL JAYNE GIBSON B.A., University of Western Ontario, 1972 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of Fine Arts We accept this thesis as conforming to the requirgd^standard THE UNIVERSITY OF BRITISH COLUMBIA April, 1974 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of A u g, f\ An The University of British Columbia Vancouver 8, Canada Date Qp<ul) ^J, iq> ii Abstract Although the fresco cycle of the Upper Church, Assisi represents the fullest early illustration of the legend of St. Francis, there is an earlier tradition of Franciscan iconography which is very important, but often over• looked. It is found in a group of painted wooden altarpieces depicting St. Francis and scenes from his legend. Seven such panels survive from the thirteenth century. They are found in Pescia, Pisa, Pistoia, Florence, Assisi, Rome, and Siena. Together with a known eighth altarpiece which is now lost these paintings form an inter-related group. The Pescia panel is perhaps the most important member of the series.
    [Show full text]
  • 053-Santa Prassede All'esquilino
    (053/18) Santa Prassede all'Esquilino Interior of Santa Prassede Santa Prassede is a a 9th century minor basilica located near the major basilica of Santa Maria Maggiore in the rione Esquilino. The dedication is to St Praxedes. The patron saint of this church is one of those at Rome, the biographies of whom are now completely lost. The revised Roman martyrology now simply lists her as the person to whom the church is dedicated. A romantic legend of the 6th century, which may possibly preserve the names of real people, describes St Pudens as a Roman senator who gave hospitality to St Peter. He had two virgin daughters who were martyred, Sts. Pudentiana and Praxedis; the former has the nearby church of Santa Pudenziana dedicated to her. Santa Prassede used this church to hide the Christians persecuted by the then Emperor Antoninus Pius, providing for the burial of the martyrs at the Priscilla Cemetery, the catacombs of Santa Priscilla on the Via Salaria. In this Cemetery, Santa Prassede herself was buried with her sister and then returned to her church rebuilt by Pasquale I. [1] [2] The existence of the martyr daughters is historically extremely problematic. Pudens himself has been deleted from the revised Roman martyrology. The most recent scholarly consensus on who Praxedis really was, concludes that she was probably a lady who donated property for the foundation of the original church, or money for the purpose. [1] [a] History The Basilica of Santa Prassede stands on the ancient Clivus Suburanus, not far from Santa Maria Maggiore. This church is the most complete monument of the Carolingian Renaissance, when the papacy aspired to revive the glories of Canstantine's Christian empire.
    [Show full text]
  • Lucchese, Aretine, and Umbrian Schools Xiii Century Florentine, Venetian, Paduan, Modenese, and Sienese Schools Xiii-Xiv Century
    LUCCHESE, ARETINE, AND UMBRIAN SCHOOLS XIII CENTURY FLORENTINE, VENETIAN, PADUAN, MODENESE, AND SIENESE SCHOOLS XIII-XIV CENTURY LUCCHESE SCHOOL, c. I200 MARGARITONE KI7I5 : Figure 6 Margarito d'Arezzo, called by Vasari Margaritone. School of Arezzo. Active second half of thirteenth century. There MADONNA AND CHILD. EI Paso, Tex., El Paso Museum is only one documentary reference to him, in 1262; but he of Art {1961-6/1}, since 1961.1 Transferred from wood to signed a number ofpaintings. Probably trained in Florence, masonite {1950-51}. 46kx30! in. {II8'2X78'2 cm.}, with­ he progressed from a very flat style to a somewhat more out moldings. Good condition; cleaned very slightly 1953. plastic manner. Lucca was the center of the most important Tuscan School KI347 : Figure I of painting during the twelfth century and well into the thirteenth. The work of the early period was varied and MADONNA AND CHILD ENTHRONED. Washington, rich; by the early thirteenth century it had become less D.C., National Gallery of Art {807}, since 1945. Wood. exuberant, more stereotyped and uniform. Though 38kx 19k in. {97X49.5 cm.}. Inscribed, with the artist's executed by a heavier hand, KI715 seems to go back for in­ signature, at bottom: MARGARIT' [de a] RITIO ME FECIT spiration to the figures of the holy women in scenes on the {Margaritus of Arezzo made me}.l Fair condition. earliest surviving panel from the School of Lucca, the painted cross signed by Guglielmo and dated II 38 in the The lack of perspective in this painting - only the footstool Cathedral of
    [Show full text]
  • About Confirmation Names How to Choose a Saints Name
    About Confirmation Names Confirmation names are a special part of the confirmation process for Roman Catholics, especially those in English-speaking countries. Before the ritual of being confirmed, those seeking confirmation choose to take a saint's name with whom they identify. After confirmation the confirmed can pray to the saint for guidance and protection. Significance Confirmation is a rite or sacrament in the Christian tradition. For Roman Catholics, confirmation usually occurs in early adolescence. Other Christian denominations place confirmation soon after baptism. Coming from the New Testament, confirmation is related to the receiving of the Holy Spirit by the apostles on Pentecost. At the time of confirmation, the Holy Spirit is thought to descend on the person and bestow spiritual gifts. Features Roman Catholics going through confirmation choose a saint they feel an affinity for as their confirmation name. The patron saint then serves as their guide and protector. Choosing a confirmation name is not biblical and does not come from the official Catholic liturgical book. The custom originated in the United Kingdom and is also practiced in the United States, Germany and Poland. Types The set of confirmation names is as long as the list of saints that can be found in the resources section below. Some of the more popular confirmation names for girls are Mary, Teresa and Catherine. For boys they are Michael, Thomas and Francis. Considerations The common advice for those trying to decide on a name is to research saint names and find one that fits their personality or spiritual goals. Those seeking confirmation are also encouraged to pray and seek a saint that is willing to guide them as they seek a closer relationship with God.
    [Show full text]