SACRIMA Digital Atlas

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  • Depiction of mary dressed indecently

    Seville, Choir of the convent of la Cartuja (Monasterio de la Cartuja)


    Pacheco states that Mary must be depicted decently in her Betrothal scene. The artist Don Luis Pascual was criticised by the Spanish author, whose painting shows a Virgin Mary not dressed “appropriately in correspondence to Her greatness and importance”. The reason for such criticism is because the artist depicted her without a mantle, “with a large Venetian skirt very tucked into the waist, full of many bows of colored ribbons and with large sleeves”. (Pacceho 1990, book 3, ch.12, 591-592)

    Conflict
    Inadequate manner Indecency/Impropriety
    Mention
    Seville, 1649
    Subject
    Betrothal of Mary
  • Almanacs are superstitious



    Molanus condemns the use of Almanacks since they display dangerous images and false doctrines

    Conflict
    Heretical image Superstitious
    Mention
    Leuven, 1617
    Subject
    Almanacks ; Zodiac ; zodiacal signs
  • Frostispiece of Molanus, De historia sanctarum imaginum et picturarum (1617), Antwerp, Gasparus Bellerus

    Sacred and profane paintings that promote indecency should be prohibited



    Molanus calls for the prohibition of sacred and profane paintings that deliberately discuss, recount or teach indecent or obscene matters, like is the case for books.

    Conflict
    Nudity/Obscenity/Lasciviousness
    Mention
    Leuven, 1617
    Subject
    Indecent art ; Obscene art
  • Frostispiece of Molanus, De historia sanctarum imaginum et picturarum (1617), Antwerp, Gasparus Bellerus

    The unworthiness of the pagan gods comes forward in their appearance



    Molanus condemns and ridicules the pagan gods and names several of them: Vulcan, Apollo, Saturn, Diana, Mercury, Pan, June, and Neptune.

    Conflict
    Monstrosity/Unacceptable configuration
    Mention
    Leuven, 1617
    Subject
    Aesculapius ; Apollo ; Diana ; Diana of Ephesus ; Janus ; Juno ; Jupiter ; Mercury ; Neptune ; Pagan Gods ; Pan ; Saturn ; Vulcan
  • The saints are just poles

    Aragon


    Juan de la Fuente affirmed that for testing the power of the saint – that is, to believe in “those stick saints” – the person should take the object to a river and if the saint went upriver he could well believe in him, and if not “he was a piece of the stick”.

    Conflict
    Morisco
    Mention
    Aragon, 1582
    Subject
    Saints
  • Painting the flight into Egypt scene versus The return from Egypt scene

    1570


    Pacheco when analysing the scenes about the flight into Egypt and the return from there, observes that the artists did not pay attention to some elements concerning these two different moments, mainly concerning the passage of time and the different ages of Christ as a child in such scenes.

    Conflict
    Inadequate manner Untruthfulness/Not probable/Not corresponding to history
    Mention
    Seville, 1649
    Subject
    The flight into Egypt ; The return from Egypt
  • Frontispiece of: Gilio, Giovanni Andrea, Due dialogi (1564), Camerino : Antonio Giojoso

    “There are few painters of our time who do not make mistakes when painting histories”



    Conflict
    Ignorance/Negligence of the artist
    Mention
    Fabriano, 1564
    Subject
    historic painting
  • Painting the flight into Egypt scene versus The return from Egypt scene



    Pacheco when analysing the scenes about the flight into Egypt and the return from there, observes that the artists did not pay attention to some elements concerning these two different moments, mainly concerning the passage of time and the different ages of Christ as a child in such scenes.

    Conflict
    Inadequate manner Untruthfulness/Not probable/Not corresponding to history
    Mention
    Seville, 1649
    Subject
    The flight into Egypt ; The return from Egypt
  • Frostispiece of Molanus, De historia sanctarum imaginum et picturarum (1617), Antwerp, Gasparus Bellerus

    Paintings visually reproduce a holy story and thus must be venerated with the same devotion



    Molanus argues that paintings are the visual reproduction of a written story, therefore they should receive the same devotion while venerated as the texts themselves.

    Conflict
    Visual tradition/Artistic model vs. written Tradition/History
    Mention
    Leuven, 1617
    Subject
    Established narrative ; Lives of the Fathers ; Martyrs
  • Joseph holding an axe and other apocryphal subjects are allowed



    Molanus argues that, despite the lack of reference in the Scripture, depicting Joseph with an axe does not pose an error.

    Conflict
    Acceptable errors Not corresponding to Scriptures Not corresponding with Church teaching/dogma
    Mention
    Leuven, 1617
    Subject
    Joseph
  • How to depict death in painting



    Molanus calls for caution from artists in the depiction of death since nothing is more uncertain than the moment one passes away.

    Conflict
    Figurative vs. literal reading
    Mention
    Leuven, 1617
    Subject
    Death
  • Crowns or other attributes in the images of Saints to emphasise their virtue



    Molanus discusses attributes, like crowns, halos and the like in the depictions of saints, they represent the four cardinal virtues.

    Conflict
    Issues with attributes
    Mention
    Leuven, 1617
    Subject
    Attributes indicating virtue ; St. Gregory
  • Rodrigo de Velasco mocked a sculpted and painted image of the crucifix which was in the prison

    Aragon


    The Portuguese Rodrigo de Velasco was denounced by a prison companion

    Conflict
    Derision/Blasphemy Iconoclasm/Critic to image cult
    Mention
    Aragon, 1570
    Subject
    Crucifix
  • The correct way of creating art



    In this section, the characters discuss the correct technical process of creating a work of art.

    Conflict
    Capriccio Ignorance/Negligence of the artist
    Mention
    Fabriano, 1564
    Subject
    the necessity of drawings and models to prevent subjective ideas in painting
  • Lack of visual clarity depicting the Holy Trinity as three equal figures



    Regarding the Holy Trinity iconography of three equal figures seated with the same suit and age, with crowns on their heads and scepters in their hands, Pacheco considers an unclear iconography, since it might confuse “the ignorant”. He argues it needs a particular sign of attribute in which each person is known, as well as the distinction of each character and their places, in which the Holy Spirit has to be in the middle.

    Conflict
    Issues with attributes Lack of visual clarity
    Mention
    Seville, 1649
    Subject
    holy trinity
  • Archangel St. Michael with the weight scale



    Concerning the representation of Archangel St. Michael, Pacheco is clear: is an inadequate manner to depict the St. without a weight scale. Such an element is considered essential to connect with the St.’s role, which is to help the common people to understand that it has the power to receive men’s souls and weigh their merits.

    Conflict
    Inadequate manner
    Mention
    Seville, 1649
    Subject
    Archangel St. Michael
  • Frostispiece of Molanus, De historia sanctarum imaginum et picturarum (1617), Antwerp, Gasparus Bellerus

    Matters uncertain in the sources, but whose depiction is judged probable by the painters



    Molanus concludes that a certain pictorial tradition of an unestablished story does not mean this story has become certain, but that this way of depicting is most probable.

    Conflict
    Not corresponding to Scriptures Visual tradition/Artistic model vs. written Tradition/History
    Mention
    Leuven, 1617
    Subject
    Flight into Egypt ; Saul ; Virgin Mary
  • Paintings based on the apocryphal books, the Nativity of Mary and the Infancy of Christ



    Molanus affirms that iconographies derived from apocryphal sources but that are approved by the commentators are allowed in art.

    Conflict
    Open doctrinal issues
    Mention
    Leuven, 1617
    Subject
    Infancy of Christ ; Nativity of Mary
  • Frostispiece of Molanus, De historia sanctarum imaginum et picturarum (1617), Antwerp, Gasparus Bellerus

    In painting St. Peter and St. Paul the painting tradition precedes written texts



    Molanus discusses the conflicts between the written sources and the tradition in painting regarding the exterior features of St. Paul, in this case the pictorial tradition should prevail.

    Conflict
    Outer appearance Visual tradition/Artistic model vs. written Tradition/History
    Mention
    Leuven, 1617
    Subject
    St. Paul ; St. Peter
  • Painting of the crucifix described in the letter of the Suprema to the inquisition in Valencia

    Valencia


    Letter of the Suprema to the Inquisitors of the town of Valencia describing some canvases that allegedly entered the kingdom and recommending that they be collected so that they do not continue to circulate.

    Conflict
    Lutheran
    Mention
    Valencia, 3. October 1571
    Subject
    Crucifix ; Schola Cordis
  • Images destroyed by fire in France

    Béarn


    Conflict
    Lutheran
    Mention
    Aragon, 1572
    Subject
  • How to represent St. Jerome (and how not to do it)



    Dealing with the story of St. Jerome, Pacheco indicates two distinct ways of depicting this saint: one, in his penance in the desert, which is the most common, and the other one, in his cardinal’s costume.

    Conflict
    Inadequate manner Untruthfulness/Not probable/Not corresponding to history
    Mention
    Seville, 1649
    Subject
    St. Jerome
  • Frostispiece of Molanus, De historia sanctarum imaginum et picturarum (1617), Antwerp, Gasparus Bellerus

    Only theologians should Judge the religious aspects of art



    Molanus argues that only theologians are capable of judging whether art is in accordance with the viewpoints of the Church.

    Conflict
    Judging art
    Mention
    Leuven, 1617
    Subject
    Judgement of religious art
  • Frostispiece of Molanus, De historia sanctarum imaginum et picturarum (1617), Antwerp, Gasparus Bellerus

    Magistrates should take action against indecent art in public places



    Molanus calls for the removal of lascivious art from public areas by worldly authorities.

    Conflict
    Indecency/Impropriety Nudity/Obscenity/Lasciviousness
    Mention
    Leuven, 1617
    Subject
    Indecent art
  • Bacchus is a token of the unworthiness of drunkenness



    Molanus condemns and ridicules the pagan gods and focusses on Bacchus.

    Conflict
    Heretical image Sacred vs. profane imagery
    Mention
    Leuven, 1617
    Subject
    Bacchus