No description available.

No description available.

The relationships between movement, emotion, and ritual communion in Byzantium have drawn the attention of art historians in recent years. While Henry Maguire has considered many facets of this subject, a monumental Late Byzantine icon, the Two-Sided Icon with the Virgin Pausolype, Feast Scenes, the Crucifixion and Prophets, suggests others. While the catalog entry by Annemarie Weyl Carr in Byzantium: Faith and Power remains the only published discussion of this particular icon, or even specifically of the Pausolype ("cease sorrow!") iconographic type, I believe that this image contributes significantly to our understanding of Late Byzantine culture and liturgical practice. Careful study of this particular icon encourages a consideration of the problematic subject of emotion, and its interactions with movement, ritual and art. The paucity of evidence makes it difficult to address specific devotional practices associated with this particular object, although some observations can be made. I am able, however, to align it with its iconographic antecedents and establish contemporary relationships, illuminating aspects of its original function. / Art History

This thesis entails a three-part approach to understanding the iconographic program at Santa Maria Tonantzintla. First, an historical and stylistic background of Santa Maria Tonantzintla will be presented. Included in this section is a description of the church and its many saints. The second part is a description of the various images of the Virgin and associated Marian Emblemata within the church design. The third part focuses on the European- based iconography of the Virgin and the iconography of the pre-Hispanic earth mother Tonantzin. It will illustrate how the image of the Virgin of the Immaculate Conception at Santa Maria is the physical manifestation of a sacred discourse between Catholic and ancient Mexican iconography.

In 1622, the Dowager Queen of France, Marie de' Medici, had recently returned to Paris after a period of exile imposed by her son, Louis XIII, and commissioned a monumental cycle of images from Peter Paul Rubens to decorate the gallery of her freshly constructed Luxembourg Palace. The contract for the commission tasked Rubens with painting the “illustrious life and heroic deeds” of Marie de' Medici. This thesis argues that alongside the classical and the historical, Rubens employed a specifically Catholic visual language to create a painted panegyric of a heroic female sovereign. In doing so, Rubens linked Marie de' Medici with the Virgin Mary through compositional resonances and a personal iconography developed for the queen throughout her life in popular images and literary tributes. In the Medici Cycle, the maternal, virginal, and heroic virtues embodied by the Virgin served as justification for Marie de' Medici’s sovereignty and her reconciliation with Louis.

This is a study of the physical manifestation of the cult of the Virgin Mary in Late Antique Egypt, that is, of the point at which Marian veneration, which scholars generally agree coalesced in the fifth century, spilled over into the physical sphere. Three diverging source materials (papyri/inscriptions, archaeology and iconography) are explored in order to answer the central question, which asks: to what extent does the evidence for the physical materialization of the cult of Mary reflect its geographical and chronological diffusion in Late Antique Egypt? Each of the sources materials are collected and analyzed in an independent chapter. The study begins with the papyrological/epigraphical evidence, as it represents the largest body of materials and offers the most substantial datable evidence. Although the papyri and inscriptions are not themselves tangible manifestations of the cult of Mary, they nevertheless mention at least 23 churches or monasteries that were dedicated to her. In Chapter 2, the extant archaeological evidence supplements the data collected in the textual materials by providing an analysis of the layout and iconographical programmes of the few churches of Mary that are actually preserved. Chapter 3 collects 43 wall paintings that depict Mary and analyzes their varying iconographic patterns and immediate spatial contexts. The individual source materials are then brought together for a broader geographical and chronological investigation, which demonstrates that despite the assumed presence of a cult of Mary by the fifth century, this was only the starting point for the consolidation and diffusion of her cult, which reached its peak in the sixth and, especially, the seventh century. This study is the first synthesis of the physical output of the cult of Mary in Late Antique Egypt and thus advances our knowledge of her integration into the society of Christian Egypt on both the chronological and topographical axes. As such, it is also of importance to studies of her cult elsewhere in the Late Antique world, where sources may not be as plentiful and varied.

Marian Atlas in Svatá Hora by Příbram The thesis concerns the Marian atlas in Svatá Hora. Compared to other places, it has a plastic form: angels standing on a balustrade of an elevated terrace hold in their arms a cartouche depicting Marian statues and images in Bohemia. In its first part, the thesis is dealing with piousness, veneration of the Blessed Virgin Mary and pilgrimages in the Baroque time. The information about Marian atlases by Wilhelm Gumppenberg and Bohuslav Balbín issued in printed form are summed up in the second part of the thesis. Thirdly, there are described other Marian atlases in Bohemia having diverse forms of art. The Marian atlas in Svatá Hora is the core topic of the fourth part of the thesis: its role and importance are explained on the basis of the Marian atlas itself, of the context of Svatá Hora as a place of pilgrimage and of the literature written in the Baroque time. Fifthly, there are presented statues and images of the Blessed Virgin Mary depicted in the cartouches of the Marian atlas in Svatá Hora, i.e. their origin and model and pilgrimages and veneration connected with them in the Baroque time. Keywords Marian atlas, Blessed Virgin Mary, Svatá Hora, image of the Blessed Virgin Mary, statue of the Blessed Virgin Mary, Mathias Hueber

No description available.

Feminist scholars have long assumed that Tertullian, a second-century Church Father, was a misogynist. This assumption is based almost exclusively on the infamous “Devil’s gateway” passage in the opening chapter of De cultu feminarum. However, feminist scholars have read this passage in isolation without reference to its wider context in De cultu feminarum and without considering other passages from Tertullian’s treatises. Furthermore, they have failed to recognize the influence which ancient rhetoric had on Tertullian’s work. By reading the “Devil’s gateway” passage in a wider context, and by engaging in a detailed analysis of Tertullian’s use of rhetoric, it becomes evident that Tertullian’s comments in that passage are not based on misogynistic view of women. Rather, they serve a specific rhetorical purpose in one particular treatise. Furthermore, by looking beyond the “Devil’s gateway” passage to other passages in which Tertullian makes reference to women, it is clear that his comments in the “Devil’s gateway” passage are not representative of his view of women. An examination of themes such as Mary, the anthropology of woman and woman’s role in the social order reveals a more nuanced picture of Tertullian’s view of women, than the one offered by some feminist scholars. By bringing together two areas - Tertullian’s use of rhetoric and feminist critique of Tertullian and of the Fathers in general - I will challenge the assumption that Tertullian was a misogynist and show that in some areas Tertullian can make a positive contribution to the feminist question.

This dissertation examines a Mosan stone relief of the Virgin and Child Enthroned housed in the Grand Curtius Museum in Liège that has not yet been the subject of detailed analysis. This study focuses on the formal and iconographic aspects of the relief. It discusses the novel image of the Virgin and relates it to developments in medieval art during the late twelfth and the early thirteenth centuries, establishing a date for the relief to that period. / History of Art and Architecture