Competing Hermeneutics: The Martyr Murals at Santo Stefano Rotondo
The frescoed martyrdom murals at Santo Stefano Rotondo in Rome (c. 1582) have inspired much conflicting commentary down through the centuries. Painted by Niccolò Circignani (familiarly known as il Pomarancio), they feature gruesome, realistic renderings of torture scenes dating from the late Roman p...
| Autor principal: | |
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| Tipo de documento: | Electrónico Artículo |
| Lenguaje: | Inglés |
| Verificar disponibilidad: | HBZ Gateway |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Publicado: |
2025
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| En: |
Renaissance and reformation
Año: 2024, Volumen: 47, Número: 4, Páginas: 41-68 |
| Otras palabras clave: | B
Catholic
B Jesuit B Representational Art B Intentionality B Niccolò Circignani B Il Pomarancio B Readings B St. Stefano Totondo B Martyrdom B Protestante |
| Acceso en línea: |
Presumably Free Access Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Sumario: | The frescoed martyrdom murals at Santo Stefano Rotondo in Rome (c. 1582) have inspired much conflicting commentary down through the centuries. Painted by Niccolò Circignani (familiarly known as il Pomarancio), they feature gruesome, realistic renderings of torture scenes dating from the late Roman persecutions. Protestant and Catholic audiences have offered dramatically opposing evaluations of the harrowing subject matter on display. In this article, I report on and analyze the paintings from both a Protestant and a Catholic point of view. I want to show how a careful historical analysis can recover intentionality - the original purpose and aspirations embodied in an artwork - and, at the same time, make sense of incompatible readings of the very same visual content. |
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| ISSN: | 2293-7374 |
| Obras secundarias: | Enthalten in: Renaissance and reformation
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| Persistent identifiers: | DOI: 10.33137/rr.v47i4.45369 |
