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Conclusion

Conclusion Conclusion 391 Quod pros pic is, hospes, non est inanis aut anilis fabula ... , as Prudentius wrote in the hymn that served as a guideline through this expose. A closer examination of the Sistine frescoes in the context of the sixteenth-century historiography has proved fruitful. By means of the historiographic context of the paintings, a more complete description of the peculiarities of the Sistine frescoes has been obtained. As far as the contents are concerned, Cardinal Paleotti' s comparison of paintings with a mute book matches per­ fectly with Prudentius' hymn on Cassianus' Passion. The present study has continuously moved between History and Theology united by a great variety of written sources. To Bernini, Ovid's Metamorphoses was the source of inspiration for his sculptures. Bernini looked for sources that could express his concept of transformation. Antoniano, Rocca and other theologians and painters under their guidance received inspirational impulse from the theologians and histo­ rians that wrote on the History of the Church and the councils. It seems, however, that they subjected these theological and historical tractates to their own opinions. The Sistine frescoes represent the ecumenical councils, the famous li­ braries, the inventors of the alphabets, and the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Annuarium Historiae Conciliorum Brill

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Publisher
Brill
Copyright
Copyright © Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0003-5157
eISSN
2589-0433
DOI
10.30965/25890433-03402008
Publisher site
See Article on Publisher Site

Abstract

Conclusion 391 Quod pros pic is, hospes, non est inanis aut anilis fabula ... , as Prudentius wrote in the hymn that served as a guideline through this expose. A closer examination of the Sistine frescoes in the context of the sixteenth-century historiography has proved fruitful. By means of the historiographic context of the paintings, a more complete description of the peculiarities of the Sistine frescoes has been obtained. As far as the contents are concerned, Cardinal Paleotti' s comparison of paintings with a mute book matches per­ fectly with Prudentius' hymn on Cassianus' Passion. The present study has continuously moved between History and Theology united by a great variety of written sources. To Bernini, Ovid's Metamorphoses was the source of inspiration for his sculptures. Bernini looked for sources that could express his concept of transformation. Antoniano, Rocca and other theologians and painters under their guidance received inspirational impulse from the theologians and histo­ rians that wrote on the History of the Church and the councils. It seems, however, that they subjected these theological and historical tractates to their own opinions. The Sistine frescoes represent the ecumenical councils, the famous li­ braries, the inventors of the alphabets, and the

Journal

Annuarium Historiae ConciliorumBrill

Published: Jun 20, 2002

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