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One pontile, two pontili: the choir screens of Modena Cathedral
Renaissance Studies, 2005As a living monument, Modena Cathedral has been subjected to numerous alterations since its foundation in the eleventh century. The choir screens, or pontili, demarcating the edge of the presbytery are one part of the church that underwent radical changes as they were adapted, removed, reused, and replaced.
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Renaissance Quarterly, 2016
This essay contends that Donatello’s High Altar at the Santo in Padua represents the Immaculate Virgin, reflecting a controversial doctrine of burgeoning interest in fifteenth-century Italy that she was exempted from original sin prior to the first moment of her conception.
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This essay contends that Donatello’s High Altar at the Santo in Padua represents the Immaculate Virgin, reflecting a controversial doctrine of burgeoning interest in fifteenth-century Italy that she was exempted from original sin prior to the first moment of her conception.
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The Commissioners of the “San Marco-Type” Choir Screens Across Stato da mar
2018The so-called “Venetian-type” of the choir screen, embodied in the late fourteenth-century iconostasi of San Marco, has been recognised as part of the symbolic imagery of the political establishment in the Venetian newly acquired territories. The emulation of the San Marco model can be traced in a number of fifteenth- century churches both in ...
Marinković, Ana, Marušić, Matko
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Netherlandish Renaissance choir screens
Publications du Centre Européen d'Etudes Bourguignonnes, 1985openaire +1 more source