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Sacred and legendary art (1895) (14586755219)
Summary
Identifier: sacredlegendarya02byujame (find matches)
Title: Sacred and legendary art
Year: 1895 (1890s)
Authors: Jameson, Mrs. (Anna), 1794-1860 Hurll, Estelle M. (Estelle May), 1863-1924
Subjects: Christian art and symbolism Saints
Publisher: Boston, Houghton, Mifflin
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University
Text Appearing Before Image:
fant Christupon her knee ; St. Catherine, resting one hand upon herwheel, presents the other; and the Infant Christ, while Heputs the ring on her finger, throws himself back, looking upin His mothers face, as if He were at play. Beneath is thehead of an old man, with a long gray beard, holding a book:whether the painter intended him for Joseph, who is oftenpresent on this occasion, or for the old hermit of the legend,is not clear. (Grosvenor Gallery.) 6. Rubens makes the ceremony take place in presence ofSt. Peter, St. Paul, and a vast company of saints and mar-tyrs. A magnificent picture, containing more than twentyfigures, in the church of the Augustines at Antwerp. 7. Vandyck. The Virgin holds a wreath of flowers in herhand ready to crown the saint at the same moment that shereceives the ring from Christ; the expression of St. Catherine 1 (The picture is in the National Gallery, London. A similar work, in thePitti, Florence, is referred by Crowe and Cavalcaselle to Cesare Vecelli.)
Text Appearing After Image:
MARRIAGE OF ST. CATHERINE (Correggio) ST. CATHERINE , 477 as she bends in adoration is most charming ; in one hand sheholds the palm-branch, resting it upon the wheel. The ex-ceeding beauty of the Virgin has obtained for this picture theappellation of la plus belle des Vierges. (In the QueensGallery, Buckingham Palace.) Sometimes the Dlvoto for whom the picture has been paintedis supposed to be present. I remember a Marriage of St.Catherine in presence of the Emperor Matthias and his court.I have seen some instances in which the divine Infant, in-stead of presenting the nuptial ring, places a wreath of roseson her head. In all these examples Christ is represented asa child. In one instance only I have seen Him figured as aman about thirty, standing on one side attended by a com-pany of angels, while Catherine stands opposite attended by atrain of virgin martyrs. I do not remember a single instance of The Marriage ofSt. Catherine in the stained glass of the fourteenth century;but such
By the last decades of the 16th century, the refined Mannerism style had ceased to be an effective means of religious art expression. Catholic Church fought against Protestant Reformation to re-establish its dominance in European art by infusing Renaissance aesthetics enhanced by a new exuberant extravagance and penchant for the ornate. The new style was coined Baroque and roughly coincides with the 17th century. Baroque emphasizes dramatic motion, clear, easily interpreted grandeur, sensuous richness, drama, dynamism, movement, tension, emotional exuberance, and details, and often defined as being bizarre, or uneven. The term Baroque likely derived from the Italian word barocco, used by earlier scholars to name an obstacle in schematic logic to denote a contorted idea or involuted process of thought. Another possible source is the Portuguese word barroco (Spanish barrueco), used to describe an irregular or imperfectly shaped pearl, and this usage still survives in the jeweler’s term baroque pearl. Baroque spread across Europe led by the Pope in Rome and powerful religious orders as well as Catholic monarchs to Northern Italy, France, Spain, Flanders, Portugal, Austria, southern Germany, and colonial South America.
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