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This paper suggests complexity of the perception of the body in Post-Tridentine Catholic sphere through the comparative study of reliquaries from St. Tryphon's cathedral in Kotor. Tire focus will be placed on the examples created between fifteenth and seventeenth century. The change that occurred in the particular elements of the silver body-part reliquaries suggests that the image of the sacred body acquired a different appearance. Purified of precious stones, decorative ribbons, and knightly armors, it began to resemble, to a much greater degree, the body of the observer. This new visibility may rather seductively suggest liberation or at least a different kind of intimacy between Heaven and Earth. On the other hand, it was the years after the Reformation that were labeled as an age of articulation and regulation of this relationship. [ABSTRACT FROM AUTHOR]

Upon entering the Oratory of the Rosary at St. Cita in Palermo, the viewer is immediately overwhelmed by an unexpected sensation of light and whiteness: this previously unstudied monochromy is a key characteristic of Serpotta's stucco decoration. This paper proposes a reading of the oratory as a liminal space -- one that requires a reconstruction of the ephemeral elements once present: the group of devout brothers; the ritualized actions they perform; daylight, candles and flowers. By imagining this original setting, the oratory becomes a monochrome preconception of a heavenly locus conclusus. White stucco, therefore, is employed as the material for divine presence, but instead of typically appearing in the vault, the divine lowers itself onto the walls and thus into the mortal world, creating a threshold space between heaven and earth. [ABSTRACT FROM AUTHOR]

Information on Visuelle Kommunikation. Kontinuität und Wandel in der späten Republik und frühen Kaiserzeit in Rom und Mittelitalien, a conference that was held at the Deutsches Archäologisches Institut (DAI) in Berlin, Germany from December 3-4, 2015 is presented. Topics discussed include visual communication in Italy during late republic to early imperial period, art history and painting in chapels of Padua, Italy. The symposium featured several historians including Friederike Wille, Thomas Lappi and Manuel Flecker.

The article discusses the representation of the human condition in the art of 15th century French painter Giovanni Baleison. It focuses on two cycles of mural paintings at the chapels of St. Sebastian at Venanson and of Notre-Dame-de-Bon-Cceur at Lucéram. Also explored is a pair of unusual allegorical representations known as the Sunday Christ the Good and Bad Prayer found in each chapel.

Copyright of RACAR: Canadian Art Review / Revue d'art Canadienne is the property of Universities Art Association of Canada / Association d'Art des Universites du Canada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses decoration in funerary chapels by 17th-century artist Gian Lorenzo Bernini, focusing on the idea of performativity and how the chapels affect viewers. The author focuses on the Cornaro chapel in the Santa Maria della Vittoria church, the Fonseca chapel in the San Lorenzo in Lucina church, and the Altieri chapel in the San Francesco a Ripa church, all in Rome, Italy. Particular focus is given to Bernini's sculpture "Blessed Ludovica Albertoni" and Jesuit meanings of his work.

It would be hard to find a more effective visual source for understanding the political ideology that underscores Dante's relationship to Boniface VIII in the Divina Commedia than the frescoes that line the walls of the Oratorio di San Silvestro in the Basilica of the Santi Quattro Coronati in Rome. These frescoes, which depict episodes from the life of St. Sylvester and his relationship to the emperor Constantine, express as their clear subtext the thirteenth-century papacy's view of the proper relationship between ecclesiastical and secular power (Fig. 1). Their vivid dramatization of these events synthesizes and, more importantly, interprets two well-known literary sources: the life of St. Sylvester that was thought to have been composed by Eusebius of Caesarea and the text of the Donation of Constantine, the Constitutum Constantini. The account of the life of St. Sylvester that is contained in the Golden Legend (probably composed around 1260) also provides a readily accessible point of reference for the cycle, since it is roughly contemporaneous with it and is itself a compilation based on these earlier texts. [ABSTRACT FROM PUBLISHER]

The article discusses research conducted on the textile collection of the San Giovanni Battista Chapel in the Jesuit church of San Rocco in Lisbon, Portugal. Reference is made to results of the research published in a 2008 collection catalog. Topics discussed include the history of artisan and craft work in Portugal of the 17th and 18th centuries, the collections of the Museo di San Rocco, and the history of the textile sector, which was considered a masculine art during this time, and the contributions of Italian art textiles.

Copyright of Acta Historiae Artis Slovenica is the property of Scientific Research Centre of Slovenian Academy of Sciences & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The lateral chapels appended to the cathedral of NotreDame of Paris starting after 1228 are the earliest dated examples of the ubiquitous standard chapel type that flourished throughout Western Europe. Although diminutive in scale and relatively simple architecturally, the chapels had a profound effect on the cathedral, altering it physically and functionally. This study examines conventional art historical sources, such as documents and the building fabric, in conjunction with the sociocuitural context to offer a more accurate date than has hitherto been available for the inception of work on the chapels, which influenced buildings in Paris and beyond for generations. This examination posits a connection between the emergence of chapels at the cathedral and the preoccupation with the nascent doctrine of purgatory in Parisian intellectual circles in the early thirteenth century. Built primarily to accommodate chantries (endowments for private masses believed to hasten the soul's release from purgatory), the chapels responded to and helped promote changing conceptions of the afterlife. Work on the chapels began under the leadership of the visionary bishop Guillaumne d'Auvergne, who transformed the cathedral into a locus ideally suited to respond to individuals' desires for intercession and commemnoration, while simultaneously advancing a doctrine that brought both power and profit to the Church. [ABSTRACT FROM AUTHOR]

The wall paintings adorning the so-called Chapelle Dorée in the cathedral of Saint-Lazare in Autun (Sâone-et-Loire) were conunissioned by the eminent prelate Ferry de Clugny as a decoration for his future sepulchre. Although the intended function of the chapel was never wholly realized, the wall paintings nonetheless survive as a visual testament of his sumptuous artistic patronage, which encompassed illuminated manuscripts, panel painting, and tapestry. The latter three facets of his patronage have been studied in some detail, but the paintings of his putative sepulchral chapel lack a comprehensive study-a surprising fact considering the high quality of the works, as well as their fascinating iconography, painted inscriptions, and intriguing context. While the research conducted to date has been useful toward understanding the paintings' content, style, and perhaps attribution, this paper will seek to provide a more complete investigation of the chapel and its decoration as a total foundation, situating the works within the context of Ferry de Clugny's original intentions, insofar as they are able to be uncovered. The sophistication and original purpose of the painted scheme become evident when examined using the extant visual evidence in tandemn with surviving archival sources and antiquarian reproductions. [ABSTRACT FROM AUTHOR]

The article discusses the identification of a verse by poet John Lydgate at Holy Trinity Church at Long Melford in Suffolk, England. The author describes stanzas by Lydgate painted on the chantry chapel's cornice, beams, and walls and their transcription by 19th-century antiquary David Elisha Davy. The author suggests that some stanzas on the church's walls come from Lydgate's poem "Balade at the Reverence of Our Lady," and analyzes manuscripts containing the poem. The chantry chapel was built by John Clopton between 1487 and 1494, and the author explores how Clopton knew the text for the chapel's decoration.

The article discusses an expiatory chapel in the prison cell where Queen Marie-Antoinette of France was held in 1793 in the Conciergerie prison in Paris, France. The author suggests that the prison cell was entirely transformed into a chapel in 1816 by the Bourbon monarchy following the French Revolution. Other topics include the decoration of the chapel including paintings depicting Marie-Antoinette and the loss of historical accuracy in the transformation of the cell into a chapel.

The article discusses the 14th-century decoration of the chapels of St. Martial and St. John in the Palace of the Popes in Avignon, France. The author focuses on painted Latin inscriptions in the chapels and suggests that the texts and their forms are important to the understanding of the decorative programs of the chapels, painted by Italian artist Matteo Giovanetti. The author suggests that the painted text in the chapel of St. Martial emphasizes the transfer of divine authority from Christ to the French saint St. Martial and that the painted text in the chapel of St. John represents the reenactment of liturgies such as the Mass and the Divine office.

The icon of Christ in the Sancta Sanctorum (Rome), known commonly as the Acheropita because of the miraculous nature of its production, had a long-standing and significant position in the cult of images in Rome. Centuries of processional use contributed to the deterioration of the icon and led to frequent interventions aimed at renewing or restoring the representation of the enthroned Christ. Through this process, which helped to ensure the efficacy of the sacred image, the surface of the icon became a site of exchange, a point of mediation between the viewer and the holy personage depicted. One of the most drastic additions to the icon was a gilded silver revetment that covers the figure of Christ up to his neck. This article explores the meaning of the metal cover by examining the images and votive objects that make up its surface; this palimpsest of aniconic and figural reliefs creates an intermediary zone that defined the power of the image and evoked a particular response from the viewer. Reflective of a variety of donors, the additions to the icon cover demonstrate the shifting landscape of devotional practice in Rome while at the same time reinforce the continuing significance of the cult image. This article considers the meaning of the revetment not only in the context of the icon's processional use but also in the more restricted and private environment of the papal chapel. [ABSTRACT FROM AUTHOR]

The article discusses the 17th century Sindone Baroque chapel which stands outside Turin Cathedral, built by Italian architect Guarino Guarini in the late 17th century, with a focus on analysis of two images from the chapel, once concerning angels or saints, the other concerning priests and bishops. Topics discussed include religious and symbolic interpretations and readings of the images and their iconography, contrasts between celestial representations and the representation of humans, and theological ideas generated by the images.

In the 18th century, the coronation of the venerable images of the Mother of God became an important cultural event in that part of Ukraine which belonged to the Polish- Lithuanian Commonwealth. Moreover, the design of the celebration itself was important because of its artistic originality. One of the greatest designs was created for the 1751 festival of the Medieval Mother of God in the Lviv Dominican Church, for which the entire old town was converted into festive scenery. 26 gates with different iconographic programmes were built in the city in order to illuminate this celebration. Following tradition those streets related to the history of the crowned painting were decorated, and the houses of the patricians and governors of the city were smartened. The Dominican monastery and the Chapel of the Miraculous Image were especially well decorated. Although such celebrations were often related to the stories of the images, this was the first time that an episode of Lviv history itself was so widely presented. The episode that was chosen related to the legend of the images' origins. This legend told of how the image was donated to the Dominicans of Lviv by Lev Danylovich at the end of the 13th century (although it really dates to the 14th century). This event was also depicted in the paintings near to which the statues of the Duke and his wife Constance were placed. The latter was depicted with a Dominican habit (following the tradition of the convent the Duchess entered the monastery). The gates fronting the facade of the Town Hall were also decorated. The Chapel of the Miraculous Image was decorated with figures of genii with painted pictures, amongst which were imagined portraits of Lev and his wife. There is no doubt that it was exactly these portraits which led to the establishment of a new iconography of a duke from the end of the 18th century, one that survived until the beginning of the 19th century. The coronation ceremony not only provided focus for the considerable artistic forces of Lviv, it was also a popular subject within the art of the day. The coronation was depicted in pictures belonging to Lviv townspeople of the 2nd half of the 18th century. Depictions of the celebration can also be found in works by the most famous Lviv engraver Ivan Filipovich. Another Lviv engraver of Ukrainian origins who worked until the beginning of the 19th century - Heorhij Vyshlovskyj, depicted a considerable part of the lost artistic design of this celebration. [ABSTRACT FROM AUTHOR]

Copyright of Art / Umění is the property of Institute of Art History of the Academy of Sciences of the Czech Republic and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on the history of Cappella Paolina in Vatican City, Italy, which has served as a chapel for the pope and as a papal sacrament chapel. In particular, decorative campaigns initiated to beautify the Paolina are discussed, including works by Gregory Buoncompagni, Lorenzo Sabbatini, and Federico Zuccaro. Zuccaro in particular is highlighted for his dedication to the project. A prospectus drawing done by Zuccaro for the vault of the Paolina that involves pen, brown ink, and watercolor is discussed as well as ornate stuccoes designed for the vault.

Cross-making objects -- buildings and with them related customs were intended only for enrichment of people's spiritual life. The most important custom related to cross-making objects is consecration. Having consecrated a cross or a chapel, the congregation takes off the garland and the land does not belong to the owner anymore. This is a homestead of a saint. The people used to decorate the chapels by putting beads, mirrors and rosaries inside with a belief they would be healed from various diseases or receive clemencies from the saint. Such decoration is common to all ethnographic areas. Visiting of crosses can also be attributed to most impressive customs related to cross-making objects. They were visited on Cross Days. [ABSTRACT FROM AUTHOR]

Several photographs of the chapel of San Ildefonso in Puebla, Mexico are presented along with a brief description of their artistic influences.

The article focuses on the iconography and allegories associated to the mosaic that was decorated at the private chapel of Theodulf, Bishop of Orléans. According to the author, the mosaic illustrates the Art of the Covenant from which Ann Freeman, and Paul Meyvaert argued was both open and empty. It also discusses the representations of the Art of the Covenant, and the allegorical interpretations of the Ark during that period. The author suggests that Theodulf was a devotee of Virgin Mary and was the reason why she was the patron of the chapel.

The article focuses on the art decoration on the Cappella di San Pietro and the Cappella di San Clemente at San Marco in Venice, Italy. The author states that the decorations on the chapels in San Marco were mostly contributions from Otto Demus and Bruno Bertoli. It also discusses the role of politics in the ecclesiastical activities in Venice during the twelfth century, and other concerns that explains the pairing of saints Peter and Clement in art. The author suggests that the mosaics of Saints Peter and Clements in the chapels of San Marco shows the influence of the Gregorian Reform Movement.

The famous early-Renaissance fresco cycle in the Brancacci Chapel in Florence has in the past been interpreted in relation to a fundamentally male paradigm. Using original archival research, this article contends that the frescoes, and the chapel itself, in fact have a feminine side. Several scenes of Saint Peter's miracles are informed by a late-mediaeval culture that idealised Christian charity in female terms, and reflect a culture of religious patronage and charity orchestrated by actual women living in the vicinity of Santa Maria del Carmine, where the Chapel is located. These women, all of them widows, participated as lay converts (commesse) in networks of neighbourhood charity connected with locally based lay confraternities. In relating this local culture to the frescoes, a new reading of scenes including Masolino's Raising of Tabitho, Masaccio's Distribution of Goods and St Peter Healing with his Shadow emerges. In the process, the article establishes a previously unknown link between the imagery of this most important yet elusive fresco cycle and the social soil in which it grew. [ABSTRACT FROM AUTHOR]

The article analyzes the architectural framework and design of the Beauchamp Chapel at the St. Mary's church in Warwick, England. The chapel was built in 1439 and 1462 by the executors of Richard Beauchamp, 13th Earl of Warwick, including Lord Tiptoft, John Thirkmorton, and Richard Curson. The chapel depicts his status and aspirations as well as his life and death. The interior and exterior design of the chapel depicts the luxurious life style of the noble men in the history. It is visible that its design and construction is derived from various sources including the hexagon idea with the early and late Lacock designs as well as models from the West Countries. Its designer may also be familiar with the works at Tewkesbury and applied his knowledge in designing the chapel.

The article describes the "Shield Bearer" art work designed by Hans Daucher for the Ducal Chapel in the Cathedral of Meissen. The author revealed that the Lombard-Venetian character and the iconographic concept of mixing religious devotion with ornate family epitaphs influenced the decision of Duke George the Bearded, the last Catholic prince of Albertine Saxony, to create a burial chapel at the cathedral. Daucher's work is said to have been adapted as a sepulchral sculpture in Italy. According to the author, the shielded bearer is a rare surviving example of a key work of the Northern Renaissance sculpture.

The article discusses the role of sculptor John Colt to the refurbishment of the Charterhouse Chapel in London, England. It is stated that the chapel is a combination of medieval priory, Renaissance mansion and Jacobean almshouse and school. According to the authors, Colt created some of the artistic masterpieces of the chapel including the sculpture depicting the figures of Moses and Aaron. They denote that other arrangements for the chapel reflects the concept of Laudian pattern. Details and photographs of the remaining sculpture of the chapel are also presented.

The article focuses on Italian painter and architect Giorgio Vasari's description of two stucco scenes made by painter Daniele Ricciarelli da Volterra at the Orsini Chapel in Italy. Vasari notes that the scenes showed a group of satyrs that assesses the quality of the different parts of the human body. The claim was supported by artist Abbé Montfaucon who also included enthusiastic accounts of the chapel in his diary. Meanwhile, it examines the relation of Volterra's works to those of Florentine artist Michelangelo Buonarroti.

The article offers information about the east window of the chapel at Hampton Court Palace, which is discovered through the exposure of the external face of the chapel's east wall in London, England. The exposed part of the Tudor east elevation of the chapel has revealed the remains of a triple window. The investigation of the area has suggested that there may have been a pentice against the west wall of the chapel. It traces who and when the construction of the chapel is initiated, as well as the clues as to the glazing schemes for the chapel windows. In addition, it describes the actual design of the window and the block plan of the palace.

This article introduces three fragments from a stained-glass cycle of the life of St. Peter, once part of the nave aisle glazing of the cathedral of Rouen. Although the evidence they offer is diminished by their partial preservation, when these panels are associated with a previously recognized panel depicting St. Peter in the Glencairn Museum, a narrative cycle can be documented and firmer conclusions can be drawn concerning stylistic relationships among the "Belles Verrières" of the Rouen nave aisle. The examination of these fragments from technical and physical—as well as stylistic—standpoints confirms an assessment of the early thirteenth-century stained-glass workshop at the cathedral as a collective enterprise which united the work of several distinguishable artists. [ABSTRACT FROM AUTHOR]

The Bishop's Chapel at Hereford is considered an important key to the understanding of architectural iconology in the middle ages since it is reported to have been built in imitation of the Palatine Chapel of Charlemagne at Aachen. At the same time it is linked typologically to a larger number of double-storied chapels on the continent, especially within the Holy Roman Empire, for none of which a similar intent of copying Aachen is recorded. The result of this contradiction was the emergence of an art historical idea that copying in the middle ages was not something to be taken literally. This paper argues that the identification of the Hereford chapel with the chapel that was meant to be a copy of Aachen rests rather on a confusion, and that this particular chapel and its continental counterparts follow a distinct tradition with decidedly Byzantine connotations. [ABSTRACT FROM AUTHOR]

The Early Christian chapel of San Vittore in Ciel d’Oro at Sant’Ambrogio, Milan, is effectively the sole survivor of a host of decorated martyr shrines built in the century after the peace of the Church. Its mosaic programme is analyzed in detail: the surviving mosaics refer almost exclusively to St. Victor, his place within the Milanese church, and the triumphant victory of his martyr's death. His resurrection is symbolised within the vaulted space of the chapel by the creation of a microcosm of heaven and earth, centered on the axis between his grave in the crypt and his image above it in the vault of the ‘golden sky’. A secondary use of the chapel as the burial place of Satyrus, brother of St. Ambrose, is documented in Ambrose’s works and confirmed by archaeology. San Vittore in Ciel d’Oro is therefore a key monument in our understanding of the twin cults of the martyrs and of the dead in the earliest years of organised Christianity. [ABSTRACT FROM AUTHOR]

The article focuses on the art works of Italian painter Luca Signorelli at the San Brizio Chapel in the Orvieto Cathedral in Italy. Topics discussed include the significance of the fresco cycle decoration in the chapel, the representation of skeletons in the wall of the chapel, and other painters that depict alive skeletons in their works.

An abstract to a conference paper by Barbara Wisch is presented which discusses an unpublished drawing by 16th-century artist Giovanni Guerra that was made for a chapel of a confraternity in 16th-century Rome.