Real Presence and Mere Painting on the Counter-Reformation Altar
This article proposes a new paradigm for coordinating altarpiece painting and Eucharistic devotion after Trent. By both accepting the demotion of painting's holy efficacy and the establishment of the Eucharist as the most important sacrament, a new order of priorities on the high altar began to...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
|
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
The Catholic University of America Press
2023
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| In: |
The catholic historical review
Year: 2023, Volume: 109, Issue: 2, Pages: 269-301 |
| Standardized Subjects / Keyword chains: | B
Italy
/ Catholic church
/ Tridentinum (1545-1563 : Trient)
/ Altar-piece
/ Tabernacle
/ Iconoclastic controversy
|
| IxTheo Classification: | CE Christian art KAG Church history 1500-1648; Reformation; humanism; Renaissance KBJ Italy KCC Councils KDB Roman Catholic Church NBP Sacramentology; sacraments |
| Further subjects: | B
Altarpieces
B tabernacles B Efficacy B Iconoclasm |
| Online Access: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
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| 520 | |a This article proposes a new paradigm for coordinating altarpiece painting and Eucharistic devotion after Trent. By both accepting the demotion of painting's holy efficacy and the establishment of the Eucharist as the most important sacrament, a new order of priorities on the high altar began to develop. Painting in this era could no longer provide an authoritative source of divine matter, and its relational function was increasingly reinforced. However, there was a complex phenomenological and theological accommodation of the divinity and relationality as painting (on the side altars, that is, because the high altar was increasingly reserved for the Host) sought to regain or substitute the presence that came to be associated with the space above the altar. By examining a series of paintings—featuring reproduced sculptures, miraculous images, and visions—one is able to fully appreciate how painting either told stories to arouse devotion or, in order to compete with the Host, to charge the central part of the altarpiece with a holy substitute. | ||
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