The "Stella Altarpiece." Magnum Opus of the Cesi Master

Lavin, Marilyn Aronberg

doi:10.2307/1483710

Cited by 3 publications

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“… 7 See Juřen; Land; Wang; Pon; Pestilli; Brandt, 233; Barolsky. Most recently, Lavin has interpreted the signature as a sign of Michelangelo’s personal religious devotion. …”

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Michelangelo’sPietàas Tomb Monument: Patronage, Liturgy, and Mourning

Fenichel

2017

Renaiss. Q.

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In focusing on Michelangelo’s signature, recent scholarship on his “Pietà” in St. Peter’s has separated the sculpture from its spiritual intent. In contrast, this article will consider how the sculpture group spoke to its original religious context, principally as the funerary monument of Michelangelo’s powerful French patron, Cardinal Lagraulas. The Rome “Pietà” was an important part of the funeral rites for the cardinal that mirrors and amplifies the liturgy surrounding death, particularly the hour of vespers. Reconstructing the sculpture’s relationship to its liturgical and funerary ensemble will highlight Michelangelo’s iconographic and artistic ingenuity in the service of religion and his patron.

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“… 7 See Juřen; Land; Wang; Pon; Pestilli; Brandt, 233; Barolsky. Most recently, Lavin has interpreted the signature as a sign of Michelangelo’s personal religious devotion. …”

mentioning

confidence: 99%

Michelangelo’sPietàas Tomb Monument: Patronage, Liturgy, and Mourning

Fenichel

2017

Renaiss. Q.

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Pseudo-Dionysius and the Dormition of the Virgin Platytéra (‘Wider Than the Heavens’)

Dell’Acqua

2019

Pseudo-Dionysius and Christian Visual Culture, c.500–900

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‘His left arm is under my head and his right arm shall embrace me’

Hodne

2019

The Symbolism of Marriage in Early Christianity and the Latin Middle Ages

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Many have argued that the mosaic that decorates the apsidal dome of Santa Maria in Trastevere is not a Coronation of the Virgin, but rather must be defined as a Triumph of the Virgin or Virgin in Glory. The reason for this is partly that the Virgin is not shown as she physically receives the crown from her son, Christ, and partly that the two are seated on a common throne, a synthronos. This chapter focuses on the meaning of Christ’s embrace gesture. Besides its typological significance as a reference to the bride and bridegroom from the Song of Songs, this gesture is important to understanding the picture as part of a cycle comprising several episodes, including the Virgin’s death and resurrection. The arm of Jesus and the hand he places on Mary’s shoulder must thus be read as an allusion to the soul’s reunion with God.

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The "Stella Altarpiece." Magnum Opus of the Cesi Master

Cited by 3 publications

References 0 publications

Michelangelo’sPietàas Tomb Monument: Patronage, Liturgy, and Mourning

Michelangelo’sPietàas Tomb Monument: Patronage, Liturgy, and Mourning

Pseudo-Dionysius and the Dormition of the Virgin Platytéra (‘Wider Than the Heavens’)

‘His left arm is under my head and his right arm shall embrace me’

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