Devotion to the Passion in Milanese Confraternities, 1500-1630: Image, Ritual, Performance.

early modern Italy;confraternities;Catholic Reformation;Passion of Christ;Milan and Lombardy;Art History;Arts;History of Art

Stewart, Pamela A. V.Willette, Thomas ;

University of Michigan

关键词: early modern Italy;    confraternities;    Catholic Reformation;    Passion of Christ;    Milan and Lombardy;    Art History;    Arts;    History of Art;   

Others  :  https://deepblue.lib.umich.edu/bitstream/handle/2027.42/111425/pavs_1.pdf?sequence=1&isAllowed=y

瑞士|英语

来源: The Illinois Digital Environment for Access to Learning and Scholarship

【 摘 要 】

This dissertation examines the visual culture of lay confraternities in Milan dedicated to the Passion of Christ from circa 1500-1630.In three case studies, presented chronologically, I explore how confraternal imagery structured devotees;; experiences of the sacred and immersed participants in an intimate and highly sensorial encounter with Christ;;s suffering body.These case studies provide a lens through which to interpret the ;;long sixteenth century,” often characterized as politically and culturally disjunctive following Milan;;s fall to occupying powers in 1499.Beyond alternative channels of artistic patronage, confraternities provided continuity with the religious culture under the Visconti and Sforza regimes and the early Ambrosian church.With their chapels and decorated oratories, processional routes and festive ephemera, and their relics and articulated links with Milanese history, confraternities contributed to the fashioning of a dynamic sacred topography in the city.Through their focus on the body of Christ, these case studies further elucidate Milan;;s critical role as a ;;laboratory;; for Catholic Reform. The first investigates a Corpus Christi confraternity and its chapel in the church of San Giorgio al Palazzo, decorated with a Passion cycle by Bernardino Luini (1516).Lacking surviving documentation, I reconstruct the sodality;;s ritual practices and relate Luini;;s cycle to the Planctus Mariae and affective devotion.I posit Luini;;s perspectival illusions as figurations of the ;;spiritual eye;; needed to perceive Christ;;s sacramental presence and contextualize these innovations, and the cycle;;s iconography, within anxieties about Eucharistic theology on the eve of the Reformation.The second addresses the confraternity of Santa Corona at Santa Maria delle Grazie, dedicated to a relic from the Crown of Thorns.It interprets the chapel;;s frescoes by Gaudenzio Ferrari and altarpiece by Titian (1540-1542) in relation to the sodality;;s somatic piety and probes the significance of ;;sculptural visualizations;; to engage the viewer;;s sense of touch.The third investigates the confraternities of Santa Croce, with their monumental stational crosses that transformed urban space in Carlo Borromeo;;s ;;ritual city.;;This chapter works to recover these monuments and the images and ephemera that surrounded them, mapping the Passion onto the topography of Milan and transforming it into a New Jerusalem.