Giorgione’s Homage to the Eucharist
In the context of the Italian reformation movements in the fifteenth and sixteenth centuries, this paper examines the influence of the Transubstantiation and Real Presence controversies on Giorgione’s painting known as the Homage to a Poet. The picture is seen as a development of the treatment of th...
| Auteur principal: | |
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| Type de support: | Électronique Article |
| Langue: | Anglais |
| Vérifier la disponibilité: | HBZ Gateway |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Publié: |
2025
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| Dans: |
Religion and the arts
Année: 2025, Volume: 29, Numéro: 3, Pages: 301-349 |
| Sujets non-standardisés: | B
Homage to a Poet
B Giorgione B Raphael’s frescos B Ecce Homo B man of sorrows B Transubstantiation B Schools of the Most Holy Sacrament B Acts of the Apostles |
| Accès en ligne: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Résumé: | In the context of the Italian reformation movements in the fifteenth and sixteenth centuries, this paper examines the influence of the Transubstantiation and Real Presence controversies on Giorgione’s painting known as the Homage to a Poet. The picture is seen as a development of the treatment of this subject in Raphael’s frescos La Disputa and Mass at Bolsano and in the illustrations of the statute books of the Venetian Confraternities of the Most Holy Sacrament. Several analogies to the Allendale Nativity are noted. The main figure in Giorgione’s picture is identified as a fusion of the Man of Sorrows and Ecce Homo images, representing the Eucharist on the altar. The other figures are interpreted to be Aeneas, Tabitha, and Cornelius (Acts 10:34–43). The conversion of bread and wine into the body and blood of Christ is exemplified in the painting by the conversion narrative uniting these three secondary figures. |
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| ISSN: | 1568-5292 |
| Contient: | Enthalten in: Religion and the arts
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| Persistent identifiers: | DOI: 10.1163/15685292-02903001 |
