Segneri, Paolo

Denise-Chloe Alevizou, Western art in the work of Panaghiotis Doxaras. The Lefkada icons- translation works- the ceiling paintings of St. Spyridon church in Corfu, Society for Lefkadian Studies, Athens 2021, p.302  ill. p.38  ISBN 978-960-7498-73-1
summary in English pp. 279-283.

The study presents new evidence on western art sources identified in the major works of  Panaghiotis Doxaras (Peloponnese, Mani 1662-Corfu 1729), offering  insights into aspects of his work that  lead to a new understanding of  the importance of his contribution to art  theory and practice in the Venetian-ruled Ionian islands of the early 18th century.

HERNÁNDEZ SOTELO, Anel, "El discurso imagográfico en L'Inferno Aperto y su recuperación en las ediciones poblanas del siglo XVIII" en Alberto Ortíz, María Isabel Terán Elizondo, Víctor Manuel Chávez Ríos y María del Carmen Fernández Galán Montemayor (coords.), Nueva España Insólita. Imaginario y peculiaridad en el mundo novohispano, Zacatecas: Universidad Autónoma de Zacatecas, 2017, pp. 87-116.

Artículo que aborda la relación entre la pintura Las penas del infierno, conservada en la Pinacoteca de La Profesa (Ciudad de México) y el libro El infierno abierto al cristiano, escrito por el jesuita italiano Pablo Señeri. En este texto, se plantea una primera propuesta de fuentes tanto literarias como visuales para el lienzo de La Profesa, el cual formó parte de la antigua casa de ejercicios espirituales anexa a dicho templo.

The musical activities connected with the teaching of Christian doctrine in the early modern era have failed to attract substantial scholarly attention. In fact, the noteworthy and by no means obvious association between singing and catechism is a longue durée phenomenon, and one of the most ubiquitous and characteristic elements of Catholic sonic cultures in the period 1550–1800. Interconnected as these practices are with many different aspects of early modern culture, their study raises questions and offers insights not only on musical issues, but on problems of interdisciplinary relevance. The present essay discusses their role in the pastoral work of early modern Jesuits and, conversely, the role of the Society of Jesus in the development of this tradition. Three different phases are examined: the export of the method from Spain to Italy in the sixteenth century; its adaptation to the French environment in the early seventeenth century; its further development in the golden age of popular missions.

Early modern itinerant preachers made large use of music and sound in their pastoral work. During the so-called popular missions in Europe (circa 1550-1750), music was indispensable for its emotional power (for instance during nocturnal processions), its effectiveness as a didactic tool, and as a technique for disciplining the crowds. Moreover, sounds and music could be used to offer a vivid depiction of the torments of Hell, as well as a foretaste of the joys of Heaven, thus giving sensorial concreteness to these often invoked eschatological archetypes. In this presentation I will explore the main sonic features of popular missions and show how they fit into the rich and complex soundscape of early modern Catholicism.