Art History

This article examines the ways in which the members of the confraternity of Saint Peter Martyr in Modena used ephemeral architecture, symbolic imagery, inscriptions, lavish decorations, and performance to activate and emphasize the spiritual function of Correggio's Madonna di San Giorgio in response to a decree of plenary indulgence issued in 1577. Detailed descriptions of the resulting Quarant'ore devotions in the confraternity's chronicle reveal that the brothers very carefully considered the multifaceted role of the altarpiece within the temporary constructions they designed to guide visitors on their spiritual and physical approach to the altar and to educate them about the significance of the indulgence they hoped to receive.

The question of influence on the Stanza della Segnatura has kept scholars busy for many years. Harry B. Gutman proposed that the theme came from St. Bonaventure's Journey of the Mind to God, which John Pope-Hennessy later restated. Christiane L. Joost-Gaugier denied this idea entirely, and advanced her own explanation of the Stanza's iconology. More recently, Nicholas Temple examined the Stanza in relation to Pope Julius II's larger goals for Renaissance Rome, and briefly discussed a Bonaventurean interpretation of the Stanza. Despite these studies, the field lacks an expansive examination of the ways in which St. Bonaventure's Journey of the Mind to God can be used to interpret the Disputa fresco. Therefore, I seek to expand upon this scholarship by providing my own interpretation of St. Bonaventure and the Disputa; hopefully bringing to light the many intricate forces at work in the Stanza della Segnatura.

This article examines the ways in which the members of the confraternity of Saint Peter Martyr in Modena used ephemeral architecture, symbolic imagery, inscriptions, lavish decorations, and performance to activate and emphasize the spiritual function of Correggio’s Madonna di San Giorgio in response to a decree of plenary indulgence issued in 1577. Detailed descriptions of the re­sulting Quarant’ore devotions in the confraternity’s chronicle reveal that the brothers very carefully considered the multifaceted role of the altarpiece within the temporary constructions they designed to guide visitors on their spiritual and physical approach to the altar and to educate them about the significance of the indulgence they hoped to receive.

This article examines the ways in which the members of the confraternity of Saint Peter Martyr in Modena used ephemeral architecture, symbolic imagery, inscriptions, lavish decorations, and performance to activate and emphasize the spiritual function of Correggio’s Madonna di San Giorgio in response to a decree of plenary indulgence issued in 1577. Detailed descriptions of the re­sulting Quarant’ore devotions in the confraternity’s chronicle reveal that the brothers very carefully considered the multifaceted role of the altarpiece within the temporary constructions they designed to guide visitors on their spiritual and physical approach to the altar and to educate them about the significance of the indulgence they hoped to receive.

The question of influence on the Stanza della Segnatura has kept scholars busy for many years. Harry B. Gutman proposed that the theme came from St. Bonaventure's Journey of the Mind to God, which John Pope-Hennessy later restated. Christiane L. Joost-Gaugier denied this idea entirely, and advanced her own explanation of the Stanza's iconology. More recently, Nicholas Temple examined the Stanza in relation to Pope Julius II's larger goals for Renaissance Rome, and briefly discussed a Bonaventurean interpretation of the Stanza. Despite these studies, the field lacks an expansive examination of the ways in which St. Bonaventure's Journey of the Mind to God can be used to interpret the Disputa fresco. Therefore, I seek to expand upon this scholarship by providing my own interpretation of St. Bonaventure and the Disputa; hopefully bringing to light the many intricate forces at work in the Stanza della Segnatura.