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proposes a new interpretation of the bronze Saint Peter cult statue in Saint Peter’s Basilica in Rome based on an unpublished print of the cult site by Giovanni Battista Braccelli.
Erin Giffin, “Giovanni Battista Braccelli’s Etched Devotions before the Vatican Bronze Saint Peter,” I Tatti Studies in the Italian Renaissance, Vol. 23, No. 2 (2020), pp. 341-374.
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.
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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.
We welcome Melania Ruiz Sanz de Bremond, who joins Sacrima for a one-month research stay (November-December 2020).
Chiara Franceschini on analogies between the global stasis of the past months and the condition in limbo
In this new article, Cloe Cavero unearths unpublished archival sources to reconstruct the Roman sojourn of Luis de Oviedo (ca. 1585-1624), one of the most significant non-aristocratic collectors in early seventeenth-century Spain.
Cloe Cavero participated in the Virtual Encounters of the Museo Sefardí de Toledo with a public lecture on the imagery of the Holy Child of La Guardia.
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On 8 June, Cloe Cavero discussed processes of migration of local cults within the Catholic world in the framework of Neue Forschungen zur Frühen Neuzeit, a seminar organized by Arndt Brendecke.
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On 29 May, Nelleke de Vries discussed the impact of the engravings of Martin Schongauer (c. 1445/1450-1491) in Spain from the late-fifteenth century onwards.
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In the new issue of the Mitteilungen des Kunsthistorischen Institutes in Florenz, Chiara Franceschini reconstructs and discusses the genesis, iconography, functions, and removal of two altarpieces dedicated to the Messinese Madonna della Lettera, respectively in Rome (1642) and in Malta (1668), on the basis of previously unpublished inquisitorial documents.
