- Cannaregio 564/A
30121 Venezia (Italia)
- Iconography, History of Art, Christian Iconography, Byzantine Iconography, Theory and Philosophy of Image, History and theory of images (14th-16th centuries), and 28 moreCanon Law, Theory of images, Medieval Art, Medieval Art History, Renaissance Studies, Iconoclasm, Iconografia, Iconology, Medieval Iconography, Iconography and Iconology, Iconoclastic Controversy and Iconophilia, History of Devotion, Religion, Relics (Religion), Mediaeval Cult of Relics and Saints, Relics and Relic Veneration, Image of Edessa/Mandylion, Mandylion of Edessa, History of Church Councils, The History of Sacred Images, Jacopo Tintoretto, San Rocco, Holy Shroud of Turin, Medieval Frescoes, Jérôme Baschet, Plague, Saints' Cults, and Eschatologyedit
- - Facoltà teologica del Triveneto - professor- Founding Member of the Research Society "TeSto. Territorio - storia - società" (Trento, Italy)edit
The aim of the article is to show how, starting from some ideas of the primarily spiritual, devotional and homiletic literature, the pain of the Virgin Mary experienced on the occasion of the Passion and death of her Son becomes... more
The aim of the article is to show how, starting from some ideas of the primarily spiritual, devotional and homiletic literature, the pain of the Virgin Mary experienced on the occasion of the Passion and death of her Son becomes particularly significant in some of Jacopo Tintoretto’s works; and how these, in turn, are not restricted to reflecting what comes from the literature, but reformulate it in original ways and relaunch it, conditioning the results in a dynamic of virtuous circularity. In a period like the second half of the sixteenth century, when texts and images were part of the same ‘widespread’ religious climate, from which they were derived and in which they actively intervened through the use of shared themes and meanings, the devotional refocusing on the Passion of Christ also saw Our Lady of Sorrows playing a central role. Never before as in this period had Mary’s pain taken on precise theological meanings, becoming generative (the Virgin’s second, painful, spiritual delivery beneath the cross, thanks to which she became Mother of the Church and of believers) and redemptive (the pain of Mary, the new Eve, cooperates in paying for the redemption of sinful humanity by her Son). Tintoretto reworked these ideas in some of his most famous works, presenting Mary’s suffering either as an agonal entrustment to the divine will or as reflecting and reciprocating that of Christ, thus a model of participatory continuation, either as the throes of childbirth, or as co-operative in salvific and sacramental grace.
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Research Interests: Iconography, Theology, Modern Art, Biblical Studies, History of Plague, and 13 moreVenetian History, Italian Renaissance Art, Christian Iconography, Iconology, Bible and Art, Black Death, Iconography and Iconology, Tintoretto, Mannerism, The Bible in Art and Literature, Jacopo Tintoretto, Scuole Grandi, and Saint Roch
Research Interests: Canon Law, Iconography, Art History, Theology, History of Christianity, and 16 moreMedieval Studies, Medieval Church History, Byzantine Studies, History of Church Councils, Medieval Canon & Roman Law, Medieval Culture, Medieval Art, Christian Iconography, Early Medieval Art, Icons, Photius, Droit Canonique, Byzantine History and civilization . Patriarch Photius, Icons and Rituals: Sacred Biography, Pilgrimage and Sacred Spaces, The History of Sacred Images, and History of Ecumenical Councils
A brief presentation of the political-theological meanings of Tintoretto's majestic painting "Paradiso" in Palazzo Ducale (Venice)
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The article investigates the role that pictorial representation has in faith education of God’s people, taking as an example the case of the Venetian Tintoretto and his cycle realized for the Scuola Grande di San Rocco. First of all, the... more
The article investigates the role that pictorial representation has in faith education of God’s people, taking as an example the case of the Venetian Tintoretto and his cycle realized for the Scuola Grande di San Rocco. First of all, the world of confraternities and religious associations in sixteenth century Venice is explored, then, after having studied
the cycle as a whole, the article moves to The Annuciation, considering in a particular way Mary’s figure.
the cycle as a whole, the article moves to The Annuciation, considering in a particular way Mary’s figure.
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Extracts from the exhibition catalog "Spontaneamente" ("Spontaneously") (2019). The exhibition has presented the food world of "samples" from a historical-cultural perspective: hunting, fishing and the collection of wild herbs. Art... more
Extracts from the exhibition catalog "Spontaneamente" ("Spontaneously") (2019). The exhibition has presented the food world of "samples" from a historical-cultural perspective: hunting, fishing and the collection of wild herbs. Art reworks the relationship between man and the sphere of the wild. A chapter is dedicated to the Ursine saints, especially to San Lucano, whose cult was widespread in Primiero valley. Another regards Riccardo Schweitzer (1925-2004), artist and hunter. Another section is dedicated to the iconography of the Mystical Hunt, or the Hunt of the Unicorn: this is present in a fresco in the parish church of Santa Maria Assunta in Primiero (end of XV cent.). Finally, a chapter deals with the presence, rich of symbolic meanings, of fish in art.
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Some extracts from the catalog exhibition "COSE DI PANE", in which are presented some aspects of bread in art: iconography of Saint Anthony giving bread to the poor child, the bread of San Rocco, bread as food given to puerperas and... more
Some extracts from the catalog exhibition "COSE DI PANE", in which are presented some aspects of bread in art: iconography of Saint Anthony giving bread to the poor child, the bread of San Rocco, bread as food given to puerperas and finally the Last Supper in the medieval church of San Vittore in Tonadico di Primiero (Trentino), where even four different types of bread are depicted.
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Meditation on the Incarnation of Christ is undoubtedly one of the focus of Augustinian spirituality. That is why even the images, which through the centuries enriched the liturgical space of the eremitan church of Santo Stefano in Venice,... more
Meditation on the Incarnation of Christ is undoubtedly one of the focus of Augustinian spirituality. That is why even the images, which through the centuries enriched the liturgical space of the eremitan church of Santo Stefano in Venice, outline a path of meditation on the coming into the world of Jesus, which includes the Nativity of Mary by Nicolò Bambini, the teleri of Christ's childhood (Adoration of the Magi, Slaughter of the Innocents, Flight into Egypt) made by Gaspare Diziani for the greater Sacristy, and the Baptism of Christ by Pomponio Amalteo in the Contarini chapel. The following text is the result of a conference on these issues, held in church on 14 December 2017.
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Meditation on the Incarnation of Christ is undoubtedly one of the focus of Augustinian spirituality. That is why even the images, which through the centuries enriched the liturgical space of the eremitan church of Santo Stefano in Venice,... more
Meditation on the Incarnation of Christ is undoubtedly one of the focus of Augustinian spirituality. That is why even the images, which through the centuries enriched the liturgical space of the eremitan church of Santo Stefano in Venice, outline a path of meditation on the coming into the world of Jesus, which includes the Nativity of Mary by Nicolò Bambini, the teleri of Christ's childhood (Adoration of the Magi, Slaughter of the Innocents, Flyght into Egypt) made by Gaspare Diziani for the greater Sacristy, and the Baptism of Christ by Pomponio Amalteo in the Contarini chapel. The following text is the result of a conference on these issues, held in church on 14 December 2017.
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These are some preliminary notes in order to open an anthropological-spiritual perspective on the dimension of nutrition and conservation of art, connected with the exposition "A.R.T. Nutrimento e conservazione nell'arte". The attention... more
These are some preliminary notes in order to open an anthropological-spiritual perspective on the dimension of nutrition and conservation of art, connected with the exposition "A.R.T. Nutrimento e conservazione nell'arte". The attention oriented on the exhibited artworks is, firstly, an anthropological consideration: the act of eating perceived as an action that is at the base of man’s self-perception, the way he lives relations and establishes ties with what transcends him.
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Livia Tivoli, wife of the famous Venetian painter Guido Cadorin, was also a painter. This essay, written on the occasion of the 2016-2017 Venice exhibition on the Cadorin family, investigates the life of Livia, through the documentation... more
Livia Tivoli, wife of the famous Venetian painter Guido Cadorin, was also a painter. This essay, written on the occasion of the 2016-2017 Venice exhibition on the Cadorin family, investigates the life of Livia, through the documentation collected in the family archive.
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The present essay, written with Fabio Tonizzi on the occasion of the catalog of the 2012 venetian Exhibition on the presence of Camaldolese order in Venice, investigates the specific traits of the spirituality and devotion of Camaldolese... more
The present essay, written with Fabio Tonizzi on the occasion of the catalog of the 2012 venetian Exhibition on the presence of Camaldolese order in Venice, investigates the specific traits of the spirituality and devotion of Camaldolese convent in San Michele in Isola.
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The essay, contained in a publication edited by the author, wants to investigate the iconography of the Particular Judgment of the souls in the lower register of the late Romanesque counter-façade of the church of San Vittore in Tonadico... more
The essay, contained in a publication edited by the author, wants to investigate the iconography of the Particular Judgment of the souls in the lower register of the late Romanesque counter-façade of the church of San Vittore in Tonadico (Trentino, Italian Dolomites). The Judgment put in place by the frescoes presents, within a consolidated figurative system and populated by some traditional elements, some interesting original developments: first of all, the presence of a procession of souls in the flames, directed towards the Paradise symbolized by the Breast of Abraham. The essay discusses the possibility of considering this iconography as a very early form of visualization of Purgatory.
Research Interests: Iconography, Medieval History, Liturgy, Purgatory, Medieval Art History, and 14 moreTeologia, Storia medievale, Medieval Iconography, Storia Dell'Arte Medievale, Medieval Liturgy, Purgatorio, Last Judgment, Medieval Frescoes, Arte Medievale, Icone, Iconografia Medievale, Escathology, Affreschi Medievali, Italian medieval frescoes, Escatology, and Escatoloigía
The Venetian Scuole Grandi were among the most important welfare institutions in the city before the fall of the Serenissima Repubblica. Art, whether painting or sculpture, reflects their mission and their ideals, following a precise... more
The Venetian Scuole Grandi were among the most important welfare institutions in the city before the fall of the Serenissima Repubblica. Art, whether painting or sculpture, reflects their mission and their ideals, following a precise theological program. In the case of the Scuola Grande di San Marco, being next to the important Dominican convent of Santi Giovanni e Paolo, the theology of charity expressed by the façade and the pictorial decoration of the Sala dell'Albergo is inspired by the Thomist theological system and is closely related to Dominican spirituality.
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One of the chapters of the new guide of the church of S. Pantalon in Venice. It describes the ancient main chapel ("cappella maggiore") dedicated to the saint to whom the whole church is entitled, decorated by Paolo Veronese and Jacopo... more
One of the chapters of the new guide of the church of S. Pantalon in Venice. It describes the ancient main chapel ("cappella maggiore") dedicated to the saint to whom the whole church is entitled, decorated by Paolo Veronese and Jacopo Palma il giovane.
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Unlike other Scuole Grandi , the iconography of the pictorial cycles with which Tintoretto, between 1564 and 1688 , decorates the three main halls of the Scuola Grande di San Rocco, does not have a cycle dedicated to the saint. However,... more
Unlike other Scuole Grandi , the iconography of the pictorial cycles with which Tintoretto, between 1564 and 1688 , decorates the three main halls of the Scuola Grande di San Rocco, does not have a cycle dedicated to the saint. However, traces of the biography of this saint run along the thirty paintings of the Sala Superiore, where it can be said that the saint is present, albeit "in absentia". He Is almost never shown, but the biblical scenes that populate the hall reflect his exemplary life. Biblical themes such as temptation, sickness and punishment, saving intervention of God, miraculous power of the cross, are depicted by Tintoretto taking account of the life of the saint, which is reflected.
Research Interests: Iconography, Renaissance Studies, Renaissance, History of Plague, Venetian art and architectural history, and 10 moreVenetian History, Christian Iconography, Iconology, Venice, Iconography and Iconology, Venetian Renaissance art, Venice and the Veneto, History of Venice, Plague, and Jacopo Tintoretto
Research Interests: Tourism Studies, Cultural Heritage, Cultural Tourism, Tourism, Education and Cultural Heritage, and 12 moreReligious Tourism and Festivals, Cultural Heritage and Tourism, Religious Tourism, Religious and Cultural Identity, The Churches of Venice – preventive conservation, art and display, Religious Heritage, Church and culture, Ecclesiastical Heritage, Travel and Religious Tourism, Religious Tourism Management, Reuse of Religious Heritage, and Scuola Grande di San Rocco
The paper aims to address the commonplace, still widely popular nowadays, which puts Eastern and Western religious art in a ratio of irreducible opposition, the first seen as "revealing", the second as a mere "biblia pauperum".... more
The paper aims to address the commonplace, still widely popular nowadays, which puts Eastern and Western religious art in a ratio of irreducible opposition, the first seen as "revealing", the second as a mere "biblia pauperum". Considering the multi-functionality of sacred art, the paper aims to clear up any attempt to simplification and reductionism that can be read in a series of current publications. On the one hand, the historical analysis is aimed at argue against the idea that Western sacred art has been only didactic and illustrative. On the other, the theological analysis discusses the claim that only adherence to a precise formal canon allows the image to be revelatory, that is, an effective "transitus" to the model represented.
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Research Interests: Aesthetics, Art History, Late Antique and Byzantine Studies, Theology, Medieval History, and 15 moreMedieval Studies, Iconoclasm, Early Medieval History, Byzantine Studies, Byzantine History, Byzantine Iconography, Medieval Art History, Byzantine Iconoclasm, Orthodox Theology of Images, Roman Catholic Theology of Images, Art and Art History, Orthodox Iconography, Icons, Byzantine Art, Libri carolini, Theory and Philosophy of Image, and western theory of images (VIII-IX sec.)
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This article wants to point out the particular Christological meaning emerging from the paintings Jacopo Tintoretto painted for the Sala Superiore of the Scuola Grande di San Rocco (1576-1581). In comparison to the traditional tripartite... more
This article wants to point out the particular Christological meaning emerging from the paintings Jacopo Tintoretto painted for the Sala Superiore of the Scuola Grande di San Rocco (1576-1581). In comparison to the traditional tripartite interpretation based on Sacraments suggested by Henri Thode, the basic Christological frame has been come out, which is strongly soteriologic and shaped on the Fourth Gospel. This interpretation finds a pertinent contextualization in venetian historical situation between 1575 and 1576, marked by spead of the plague.
Research Interests: Iconography, Art History, Theology, History of Medicine, Modern Art, and 18 moreHistory of Plague, Brotherhood, Venetian art and architectural history, Venetian History, History of Art, Social History of Medicine, Christian Iconography, Iconology, Fifteenth and Sixteenth century culture, Iconography and Iconology, Plague, History of theology, Sixteenth Century History, Jacopo Tintoretto, Plague Literature, Reinassance Art, Art and theology, and Scuola Grande di San Rocco
Starting from the identification and analysis of common points between the different stories of origin of the icons so-called "acheiropoieta" (or "not made by human hands"), the article wants to give an account of the theological... more
Starting from the identification and analysis of common points between the different stories of origin of the icons so-called "acheiropoieta" (or "not made by human hands"), the article wants to give an account of the theological implications of such cycles of legends, true "founding myths" of the Christian image. The article identifies some shared features and themes in the stories – related in particular the miraculous specificities of the “acheiropoieton” image, the inability of the artist to paint the face of the Lord, the particular quality of the image “not made by human hands” to be vicar on earth of the model, the Christological and redemptive beauty inspiration – in order to highlight the line of continuity linking the icons “not made by human hands” to the anthropological status of the image and art.
Research Interests: Iconography, Art History, Medieval History, History of Christianity, Early Christianity, and 15 moreMedieval Church History, History of Art, History of Religion (Medieval Studies), Christian Iconography, Iconology, Medieval Devotional Culture, Mandylion of Edessa, Image of Edessa/Mandylion, Acheiropoietos images, Early Christian Art and Iconography, Mediaeval Art, Theory of images, The Medieval Cult of Relics, History of the Church, and Theory and Philosophy of Image
Research Interests: Canon Law, Iconography, Medieval History, Medieval Studies, Iconoclasm, and 14 moreMedieval Church History, History of Church Councils, History of Art, Medieval Art, Christian Iconography, Medieval Visual Culture, Medieval Devotional Culture, Byzantine Iconoclasm, The theory and practice of icon-painting; interpreting Eastern icons with Western cultural sensitivity, The Medieval Cult of Relics, History of the Orthodox Church, History of the Church, Libri carolini, and Theory and Philosophy of Image
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Summary: §1. Svolgimento del concilio Trullano e prima fase della sua ricezione occidentale. §2. Ecumenicità del concilio Trullano: attuale status quæstionis storiografico. §3. Gli “accordi di Nicomendia” nella storiografia coeva e... more
Summary: §1. Svolgimento del concilio Trullano e prima fase della sua ricezione occidentale. §2. Ecumenicità del concilio Trullano: attuale status quæstionis storiografico. §3. Gli “accordi di Nicomendia” nella storiografia coeva e successiva. §4. L’oggetto degli “accordi di Nicomendia”: una revisione della lista dei c.d. “canoni anti-romani”. §5. Il pontificato di Gregorio II in relazione al concilio Quinisesto: nuove
prospettive di lettura.
prospettive di lettura.