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1	Investing in Acts: Apostolic Imagery from the Pauline Chapel and Beyond (1542-1585) Hunt, Tiffany Lynn January 2020 (has links) Papal primacy rests on a single line of scripture: Matthew 16:18, “You are Peter and on this rock I will build my church.” The question of whether or not Christ vested the full authority of the Christian Church to Peter alone allowed secular rulers and reformers alike to dispute the legitimacy of the papal institution. In the period leading up to the opening of the Council of Trent, papal primacy became a fundamental concern. Popes claimed that any threat to their plenitudo potestatis jeopardized the unity of the faith, while their opponents saw it as the main hurdle towards religious and civic autonomy. During this time, a series of ongoing papal commissions beginning with Paul III Farnese (1534-1549) and continuing through the pontificate of Gregory XIII Boncompagni (1572-1585) sourced pictorial content from the Acts of the Apostles and the Life of Peter. These pontiffs were able to legitimize and bolster their authority by investing in Petrine and Pauline imagery that promoted the Apostolic identity of the church at a crucial turning point when the very definition of doctrine was intensely debated. This project traces how a coherent and consistent program for leveraging cultural capital emerged across five decorative programs within the Apostolic Palace: the Pauline Chapel (1542-45/1573-76/1580-85), the Casino of Pius IV (1562-63), a previously unknown series of frescoes for the landings of the palace staircases (1572), the second loggia (c. 1574/75), and the area above the portico of Saint Peter’s Basilica (c. 1575/76). Over the course of forty years, the papacy employed artists such as Michelangelo Buonarroti, Perino del Vaga, Giorgio Vasari, Lorenzo Sabbatini, Federico Zuccaro, and many others to visually concretize these Apostolic-focused narratives. Besides painted programs, the larger visual strategy capitalized on a broader scope of media. This included cope decorations, carved marble reliefs, and papal medals, which helped circulate and solidify the thematic typological associations between the Apostolic age and the Tridentine era. By the end of the sixteenth century, the systematic development of the papacy’s Apostolic identity had taken such a firm hold that it continued with Clement VIII Aldobrandini (1592-1605) in the altarpieces chosen for the small nave of new St. Peter’s Basilica, and with Paul V Borghese (1605-1621) at his eponymously named Pauline Chapel. What emerges from this analysis is the collective organization of a papal identity built around the lived and witnessed experience of the disciples that predates the full expression of a Counter-Reformation ideology. / Art History Art History Religious History History History, Church Council of Trent Early Modern Art Papal Patronage Sixteenth Century Art Vatican Apostolic Palace
2	Material prayers : the use of text in early modern Italian domestic devotions Tycz, Katherine Marie January 2018 (has links) While scholarship often focuses on how early modern Italians used images in their devotions, particularly in the post-Tridentine era, little attention has been placed upon how laypeople engaged with devotional text during times of prayer and in their everyday lives. Studies of early modern devotional texts have explored their literary content, investigated their censorship by the Church, or concentrated upon an elite readership. This thesis, instead, investigates how ordinary devotees interacted with holy words in their material form, which I have termed ‘material prayers’. Since this thesis developed under the aegis of the interdisciplinary research project, Domestic Devotions: The Place of Piety in the Italian Renaissance Home, 1400-1600, it focuses primarily on engagement with these material prayers in domestic spaces. Using an interdisciplinary approach drawing from material culture studies, literary history, social and cultural history, and art history, it brings together objects, images and archival sources to illuminate how devotees from across the socio-economic and literacy spectrums accessed and employed devotional text in their prayers and daily life. From holy words, Biblical excerpts, and prayers to textual symbols like the Sacred Monogram of the Name of Jesus, this thesis explores how and why these material prayers were employed for spiritual, apotropaic and intercessory purposes. It analyses material prayers not only in traditional textual formats (printed books and manuscripts), but also those that were printed on single-sheets of paper, inscribed on jewellery, or etched into the structure of the home. To convey how devotees engaged with and relied upon these material prayers, it considers a variety of inscribed objects, including those sanctioned by the Church as well as those which might be questioned or deemed ‘superstitious’ by ecclesiastical authorities. Sermons, Inquisition trial records, and other archival documents have been consulted to further illuminate the material evidence. The first part of the thesis, ‘On the Body’, considers the how devotees came into personal contact with texts by wearing prayers on their bodies. It examines a range of objects including prayers with protective properties, known as brevi, that were meant to be sealed in a pouch and worn around the neck, and more luxurious items of physical adornment inscribed with devotional and apotropaic text, such as necklaces and rings. The second part of the thesis enters the home to explore how the spaces people inhabited and the objects that populated their homes were decorated with material prayers. ‘In the Home’ begins with texts inscribed over the entryways of early modern Italian homes, and then considers how devotees decorated their walls with holy words and how the objects of devotion and household life were imbued with religious significance through the addition of pious inscriptions. By analysing these personal objects and the textual domestic sphere, this thesis argues that these material prayers cut across socio-economic classes, genders, and ages to embody quotidian moments of domestic devotion as well as moments of fear, anxiety and change.
3	Rubens and the Stoic Baroque: Classical Stoic Ethics, Rhetoric, and Natural Philosophy in Rubens’s Style Nutting, Catherine M. 18 January 2018 (has links) Rubens is known as a painter; he should also be defined as an art theorist. Following Robert Williams’ theory that Early Modern art became philosophical, I believe that style can connote art theoretical interests and philosophical models, and that in Rubens’s case, these included the classical Stoic. While it would be possible to trace Rubens’s commitment to Stoicism in his subject matter, I investigate it in his style, taking a Baxandalian approach to inferential criticism. I focus on Rubens’s formal choices, his varied brushwork, and his ability to create a vibrant picture plane. My study is divided into chapters on Ethics, Logic, and Physics. In Chapter One I treat Stoic moral philosophy as an influence in the design of Rubens’s paintings, consider similarities between classical and Early Modern interest in viewer/reader response, and argue that Baroque artists could use style to avoid dogma while targeting viewers’ personal transformation. In Chapter Two I focus on Rhetoric, a section of the Stoic philosophy of Logic. Stoic Logic privileged truth: that is, it centred on investigating existing reality. As such, Stoic rhetorical theory and the classical literature influenced by it promoted a style that is complex and nuanced. I relate this to the Early Modern interest in copia, arguing that this includes Rubens’s painterly style which, apropos copia, should be better termed the Abundant Style. In Chapter Three I explore similarities between Stoic Natural Philosophy and the Early Modern artistic interest in the unified visual field. The Stoics defined the natural world as eternally moving and mixing; with force fields, energy, and elements in constant relationships of cause/effect. The Stoic concept of natural sympathy was a notion of material/energetic interrelatedness in which the world was seen as a living body, and the divine inhered in matter. I consider ways that these classical Stoic concepts of transformation, realism, and vivified matter might be discerned in Rubens’s style. / Graduate / 2023-12-14 Art History Peter Paul Rubens Baroque Baroque Painting Seventeenth-Century Antwerp Seventeenth-Century Art Style Baroque Style Stoicism Stoicism and Art Early Modern NeoStoicism Antwerp NeoStoicism Flemish NeoStoicism Seventeenth-Cenury Flemish Art Seventeenth-Cenury Flemish Painting Flemish Baroque Painting Stoicism and Style Stoic Ethics Stoic Ethical Philosophy Stoic Rhetoric Stoic Rhetorical Philosophy Stoic Physics Stoic Natural Philosophy Roger de Piles Seneca Seneca Naturales Questiones Tacitus Tacitus's Style Tacitus and Stoicism Stoic continuum Baroque unity Justus Lipsius Early Modern Library Macchia Sententiae Style and Meaning Quintilian Diogenes Laertius Epictetus Chrysippus Marcus Aurelius Early Modern Art Theory Rubens as a Theorist Antwerp Humanism Flemish Humanism Humanism in Flanders and Brabant The Self The Early Modern Self Style for Truth The Continuum Nature Alive Stoic Optimism Seventeenth-Century Stoic Optimism

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