Cloe Cavero examined the complex afterlife of ritual murder accusations as religious cults at the Departamental Seminar of Spanish and Latin American Studies of The Hebrew University of Jerusalem.
At the International Conference Capricci luterani. L’opera di Michelangelo sullo sfondo del dibattito interconfessionale (Frankfurt, 5-7 May 2021), Chiara Franceschini discussed new possibilities for interpreting the Sagrestia Nuova and other sixteenth-century Italian works in relation to vigilance and artistic practices of working at night.
Cloe Cavero‘s new article in the Journal of the Warburg and Courtauld Institutes reconstructs the original context of Cajés’s altarpiece to offer a new perspective on the way in which religious art engaged with the tensions prompted by the issue of the purity of blood, as well as with anxieties related to family and procreation
Cloe Cavero gave a guest lecture on the circulation of cults of saints in the early modern Catholic world at the Department of History of the Universidad Iberoamericana in Mexico City.
Erin Giffin provides new insights on the seventeenth-century tradition of flower mosaics through the engravings of Pieter de Bailliu in her recent contribution to the Print Quarterly.
We welcome Katharina Vukadin, who recently joined the Sacrima team as a PhD Researcher.
In the winter issue of I Tatti Studies, Erin Giffin proposes a new interpretation of the bronze Saint Peter cult statue in Saint Peter’s Basilica in Rome based on an unpublished print of the cult site by Giovanni Battista Braccelli.
On 10 December, Nelleke de Vries presented her paper on the impact of the engravings of Martin Schongauer (c. 1445/1450-1491) on Spanish painting from the late-fifteenth century onwards.
Chiara Franceschini spoke about the ‘Devil’s Crucifixes’ and Ter Brugghen in a digital conference organized by Villa Médicis, Académie de France à Rome.
Cloe Cavero’s new book chapter reconstructs the process of transformation of the image of Our Lady del Sagrario into the contact relic of the Virgin’s Descent by examining a series of artistic retoolings and spatial relocations within Toledo Cathedral.