Papers by Antonia Fondaras
This dissertation examines four altarpieces by different artists painted between 1485 and 1500 fo... more This dissertation examines four altarpieces by different artists painted between 1485 and 1500 for Santo Spirito, the church of the Augustinian Hermits in Florence, in light of the Hermits' influence on the paintings' iconography. I argue that each of the altarpieces expresses a distinct set of Augustinian values and suggests appropriate modes of devotion and praxis. Together, the paintings represent an attempt on the part of the Florentine Hermits to convey their institutional and religious identity as heirs to Augustine's spirituality. The first chapter reviews the history and thought of the Augustinian Hermits, the history of the convent of Santo Spirito and the building and decoration of its church. The second concerns Sandro Botticelli's 1485 Madonna and Child Enthroned with Saints John the Baptist and John the Evangelist, which displays a nursing Virgin in a garden of scriptural quotations. The altarpiece portrays Holy Wisdom as the garden of Ecclesiasticus 24, as the Virgin immaculate created before all things, and, most importantly, as the Christ Child whose engorged breasts feed mankind. The third chapter addresses Piero di Cosimo's 1490-1498 Visitation with Saints Nicholas of Bari and Anthony Abbot. Mary and Elizabeth's junctio dextrarum seals, under the impression of the Holy Spirit, the union of the Testaments and the unity and authority of Ecclesia and accomplishes the "kiss of Justice and Peace" of Psalm 84. The third chapter discusses Filippino Lippi's 1494 Madonna and Child with Saints Martin of Tours, Catherine of Alexandria, the Young Saint John the Baptist and Donors: Within a multilayered composition based on Augustine's City of God, the donors apply to familial relationships the model of Saint Martin's charity displayed in the chapel window. Finally, Agnolo del Mazziere's 1495-1500 Trinity with Saints Mary Magdalene and Catherine of Alexandria, discusses ways of seeing and imaging the Trinity in light of Augustine's De Trinitate. My close reading of these altarpieces and my focus on religious context breaks ground in revealing how, in Renaissance Florence, an order could fashion, through independent TABLE OF CONTENTS LIST OF FIGURES .
BRILL eBooks, Jan 24, 2020
BRILL eBooks, Jan 24, 2020
BRILL eBooks, Jan 24, 2020
BRILL eBooks, Jan 24, 2020
BRILL eBooks, Jan 24, 2020
BRILL eBooks, Jan 24, 2020
BRILL eBooks, Jan 24, 2020
BRILL eBooks, Jan 24, 2020
BRILL eBooks, Jan 24, 2020
The Tomb - Between the Living and the Dead: Souvenir, synaesthesia, and the Sepulcrum Domini - se... more The Tomb - Between the Living and the Dead: Souvenir, synaesthesia, and the Sepulcrum Domini - sensory stimuli as memorial stratagems, Stephen Lamia Lament for a lost queen - the sarcophagus of Dona Blanca in Najera, Elizabeth Valdez del Alamo The tomb as prompter for the chantry, Anne M. Morganstern Activating the effigy - Donatello's Pecci tomb in Siena cathedral, Geraldine A. Johnson Commemorating a real bastard - the chapel of Alvaro de Luna, Patrick Lenaghan. Shaping Communal Memory: The font is a kind of grave - remembrance in the Via Latina catacombs, Dorothy H. Verkerk Memory and the social landscape in 11th-century Upplandic commemorative practice, Kyle R. Crocker Stolen property - commemorating Saint Mark's first Venetian tomb, Thomas E. A. Dale Dream images, memoria, and the Heribert shrine, Carolyn Carty The queen's body and institutional memory - the tomb of Adelaide of Maurienne, Kathleen Nolan Monumenta et memoriae - the 13th-century episcopal pantheon of ...
The Medieval Review, 2002
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Augustinian Art and Meditation in Renaissance Florence, 2020
Augustinian Art and Meditation in Renaissance Florence, 2020
Augustinian Art and Meditation in Renaissance Florence, 2020
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Papers by Antonia Fondaras