Pope Paul V's global design: the fresco cycle in the Quirinal Palace

Mayu Fujikawa

doi:10.1111/rest.12123

The Fresco Cycle of Saint Maria Maddalena De’ Pazzi (1566–1607)

Religion and the Arts ◽

10.1163/15685292-02504002 ◽

2021 ◽

Vol 25 (4) ◽

pp. 421-454

Author(s):

Michal Shalit-Kollender

Keyword(s):

Counter Reformation ◽

Santa Maria ◽

The Church ◽

Fresco Cycle

Abstract Saint Maria Maddalena de’ Pazzi, a Florentine Carmelite nun and mystic, was recognized as a saint in 1669. After her canonization, a church in Florence was renovated and renamed Santa Maria Maddalena de’ Pazzi, and new artworks were commissioned for it. This article will explore in detail a series of ten frescoes on the top section of the walls in the church, part of the renovation. Although these works are part of the saint’s public iconography and depict major narratives of her cult, they have not been studied in depth to date. Though the scenes have meaning to a general Catholic audience, they appeal to different audiences—the Carmelite nuns, the local Florentine population, and the post-Counter Reformation believer—to differing degrees, the scenes with Jesuit undertones aimed particular at the latter group.

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The Frescoes of Saint Bruno of Querfurt in the Monastery of the Camaldolese Order at Pažaislis

Lithuanian Historical Studies ◽

10.30965/25386565-01401002 ◽

2009 ◽

Vol 14 (1) ◽

pp. 11-26

Author(s):

Mindaugas Paknys

Keyword(s):

Seventeenth Century ◽

The Church ◽

Fresco Cycle

This article investigates the story of St Bruno of Querfurt featured in the fresco cycle in the monastery church of Pažaislis at Kaunas, Lithuania. The frescoes were executed by the Italian artist Michelangelo Palloni in the latter half of the seventeenth century. They are to be found in a corridor linking the church with the monastery: eight of them present the story of the saint and three celebrate his apotheosis. The article examines the causes of the circumstances of the appearance of this cycle in the Camaldolese hermitage, the tradition of the veneration of St Bruno in contemporary Poland-Lithuania as well as a detailed iconography of the frescoes.

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The depiction of warrior saints in frescoes of 1380 at the church of Our Saviour in Kovaliovo: Whether Balkan masters painted the Novgorod Church?

Zograf ◽

10.2298/zog0933121d ◽

2009 ◽

pp. 121-135 ◽

Cited By ~ 2

Author(s):

Svetlana Dmitrijeva

Keyword(s):

The Church ◽

Selection Of ◽

Fresco Cycle

This article examines the theme of warrior saints in the Kovaliovo fresco cycle, based on the archival photographs and frescoes assembled by the conservators. The analysis of the selection of warrior saints (including the seated figure of St. Demetrios), the arrangement of their figures in the overall iconographic programme, the separate iconographic characteristics of the frescoes and - finally - the style of painting, confirms that the Kovaliovo master-painters were not local nor were they Russian, but it obliges us to reject the theory that the Kovaliovo frescoes resemble the art of the Morava school in Serbia. It is feasible that the Kovaliovo painters came from one of the Balkan centers closely linked to Thessaloniki and within the tradition of Novgorodian monumental painting, the best Kovaliovo frescoes seem to bear the legacy of their great predecessor, Theophanes the Greek.

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