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En el primer tercio del siglo XVII, el teatino Paolo Aresi, obispo de Tortona, escribe las Imprese sacre, colección de imágenes simbólicas para uso de predicadores que responde a la preocupación por utilizar en el discurso religioso los instrumentos de persuasión más eficaces. En España, su conocimiento fue temprano, y su aplicación homilética resultó extendida, tanto en el tiempo como en el espacio. Al alcanzar el IV Centenario de su publicación, el objetivo de este trabajo es analizar el uso de las Imprese sacre en la oratoria sagrada española, en concreto en su explicación de los pasajes del Evangelio.

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The author discusses the iconography of the funerary chapel of Orazio Ferrari in the church of Santa Maria in Aquiro in Rome, dedicated to the Virgin Annunciate and decorated by the painter Carlo Saraceni and other artists and craftsmen between 1613 and 1617. A native of Tortona in Lombardy (now Piedmont), Ferrari (1548-1639) was a lawyer active in the circle of the Barberini family throughout his life. In the light of his devotions and spiritual and literary interests, including emblems and devices, as they can be ascertained from his will and inventory of books and paintings as well as the inscriptions present in the chapel, an iconological interpretation is then proposed of some details in the two main sidewall stories, representing the Presentation of Mary in the Temple and Her Birth respectively; namely, the hut behind St Anne in the former and the couple of objects laid on the chair in the right foreground in the latter. These objects -- that is, a candle and a mirror -- are analysed as a three-level combined symbol of the Immaculate Conception, of Vanity in general and of a personal, eschatological projection of the patron himself, to be intended as a reminder of the future life promised to the faithful. [ABSTRACT FROM AUTHOR]

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This article examines two small portraits of Ignatius of Loyola painted on copper between 1598 and 1622. Rather than focusing on the true likeness of the founder of the Jesuits, it sheds light on the neglected early history of the Ignatius- ignis pun, according to which his name is juxtaposed with the Latin word for fire. For this purpose, the article connects to the growing interest in the materiality of art. In contrast to traditional supports, the use of copper generates extraordinarily brilliant pictorial effects. This "magical" production of light plays, I argue, a crucial role in representing both Pedro Ribadeneyra's account of Ignatius's fiery physiology and Filippo Neri's report concerning Ignatius's supernatural splendor. However, the presence of light is no metaphor of the divine but is closely related to the contemporary physics and metaphysics of light. With Francesco Patrizi da Cherso in mind, the portraits can be construed as allegories of light and fire. [ABSTRACT FROM AUTHOR]

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The article focuses on a small portrait of cardinal-archbishop Carlo Borromeo in Milan's Ambrosiana Gallery that has long been recognized for its veristic effect. Topics include considered that already in 1607, shortly after its creation, it was described in a will as the ‘most true effigy of him' and in addition to physical imperfections, such as Borromeo's saddled eyes or his signature beaklike nose, the artist's careful naturalism strives to convince of the painting's authenticity.

While scaled thermoscopes were developed only at the beginning of the seventeenth century, the medical tradition had already started to quantify some secondary qualities towards the end of sixteenth century. However, degrees of heat and cold were only meaningful in connection with Galenic-Aristotelean ontology, consisting of elements, temperaments and degrees of the four humours. The first graduated thermoscopes transformed the prevailing conceptualizations of heat and cold. By delegating some specific senses of heat and cold to an external contrivance, together with the evolution towards a linear numerical scale, these qualities became objectified as observable phenomena. The degree of expansion and compression of air, and later liquid, became an observable measure of temperature and narrowed down the existing conceptualizations of temperature. The paper also discusses the three types of scale that were used in the early thermoscopes between 1610 and 1640. [ABSTRACT FROM AUTHOR]

The interface between verbal and visual modes of artistic expression is demonstrated in the work of the poet Antonio Bruni and sculptor Gian Lorenzo Bernini. Bruni published verse on Apollo and Daphne and the bronze Urban VIII, epitomizing their poetic effects. Conversely, his ode on the transverberation of Saint Teresa by an angel creates a dramatic mise-en-scène that antecedes the amorous conceits, bodily forms, and celestial staging in Bernini's sculpture of the ecstatic mystic within the multimedia Cornaro Chapel. Both Bruni and Bernini exemplified a new poetica sacra, applying lyrical tropes to religious truth, presented vividly to the senses. [ABSTRACT FROM AUTHOR]

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The article presents the author's views on the multilingualism followed in Italy in modern times. Various topics discussed include political aspects of cultural construction, history of Italian literature, permanence of desanctisian, history of literary tradition, use of the Latin language in literature.

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This essay examines the role of the hymns, the sacred polyphony by Vincenzo Pellegrini and Andrea Cima, and the spiritual madrigals of Giovanni Battista Porta in promoting the officially sanctioned image of Carlo Borromeo after his elevation to the status of ‘beato’ and following his canonisation. It further considers how the musical structures that characterised these works may have derived from other modes of textual presentation, in particular the sermons used to deliver the message in comparable settings. Finally, it explores how various styles of performance may have subliminally underscored certain constructed images of the archbishop and his city that developed in the years leading to the canonisation. San Carlo’s continued currency depended upon redefining his image according to changing social constructs. With the plague of 1630, Michel’angelo Grancini’s O sol & salus Carole returns to the event with which Borromeo’s sanctity was most closely identified, namely the penitential processions of 1576. [ABSTRACT FROM AUTHOR]

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The aim of this paper is to reconstruct the way in which early modem science questioned and indirectly influenced (while being in its turn influenced by) the conceptualization of the liquefaction of the blood of Saint Januarius, a phenomenon that has been taking place at regular intervals in Naples since the late Middle Ages. In the seventeenth century, a debate arose that divided Europe between supporters of a theory of divine intervention and believers in the occult properties of the blood. These two theoretical options reflected two different perspectives on the relationship between the natural and the supernatural. While in the seventeenth century, the emphasis was placed on the predictable periodicity of the miraculous event of liquefaction as a manifestation of God in his role as a divine regulator, in the eighteenth century the event came to be described as capricious and unpredictable, in an attempt to differentiate miracles from the workings of nature, which were deemed to be normative. The miracle of the blood of Saint Januarius thus provides a window through which we can catch a glimpse of how the natural order was perceived in early modern Europe at a time when the Continent was culturally fragmented into north and south. Protestantism and Catholicism, learned and ignorant. [ABSTRACT FROM AUTHOR]

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