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1

The flowering meadows of Paradise. Images of the Land of the Redeemed in paintings of the Last Judgment by Beato Angelico and his imitators

100%
Zalewska K.
Ikonotheka
|
2006
|
issue 19
175-188
EN
In four paintings by Beato Angelico which depict the Last Judgment, angels receive the redeemed into paradise which looks like a green, flowering meadow. In the most complex of these compositions, created in the 1430's (Florence, Museo di San Marco), in the centre of the meadow there is a wall which surrounds the core of the Paradise; an open gate leads inside. In the painting from the years 1447-48 (Berlin, Staatliche Museen), on the other side of the meadow there are green hills, over which the blessed step onto clouds which transport them to the luminous Elysium. The heavenly paradise, where the redeemed can dance with the angels or stroll among shrubs in bloom and trees laden with fruit, resembles the garden of Eden, which God created for the first man and woman. Although mediaeval theologians were careful to observe the difference between the paradisus terrestris and paradisus coelestis, representations can be found in mediaeval iconography in which timeless, ceremonial depictions of Christ, the Virgin Mary and the saints are imbued with motifs derived from the images of the terrestrial paradise. However, such conception is very rare in the case of scenes of the Last Judgment. The closest ideological analogy to Beato Angelico's paintings is the fresco in the church of Santa Maria del Piano in Loreto Aprutino, dating from the 1st quarter of the 15th c. Beato Angelico did not model his work on the Loreto Aprutino fresco, however; most probably authors of these works drew their inspiration from some common literary source. Descriptions of paradise as a meadow or a garden full of fragrant flowers had appeared already in the Christian apocalypses; later this idea was found in mediaeval descriptions of afterlife until the end of the 15th c. Iconographic patterns could also be provided by the output of Venetian artists from the turn of the 14th c., who introduced the motif of a meadow to depictions of Mary with Child among saints or of Mary's coronation. It is also not possible to rule out the possibility that the image was spread through works of Gentile da Fabriano. Beato Angelico's pictorial formula was later referred to by his pupils and imitators (Zanobi Strozzi, Domenico di Michelino, Benozzo Gozzoli), who introduced various modifications of this topic.
2

The late-Gothic monstrance from the Lublin main parochial church of Archangel Michael

80%
Kuczynska J.
Ikonotheka
|
2006
|
issue 19
213-220
EN
In the 16th c., the main parochial church of Archangel Michael in Lublin had a monstrance of the retable type, with a rich architectural decoration supplemented with figural motifs, mainly those of angels. Four figurines of angels in the round flanked the box with the luna: two holding the Arma Passionis, two with sconces. Another pair of angels supported an openwork tower. In the lower level of the tower several images of Archangel Michael were mounted, in the upper level a figurine of Christ; the whole composition was crowned with a crucifix. The first mention of the monstrance dates from the year 1564 and is connected with the pastoral visit of bishop Filip Padniewski. Its appearance can be reconstructed from a description in the report from the pastoral visit of bishop Bernard Maciejowski in 1603. The monstrance survived in the church until 1794, when the canons donated it to the state treasury together with other pieces of goldware. An image of Archangel Michael appears on monstrances only exceptionally. The monstrance from the Lublin parochial church constituted such an exception; Archangel Michael, as the patron of both the church and the town, and the protector of the entire Christian folk, was there granted an important place above the box for the host. The iconographic programme of the piece stressed not only hagiographic, but also Christological and ecclesiological elements. Due to the profusion of figural representations, mainly those of angels, the monstrance belonged to works which would be exceptional not only in Poland. It must have been made in some renowned workshop; it was probably commissioned in Cracow, where goldsmiths attained a very high artistic level. The period of its creation may be ascertained as falling between the last quarter of the 15th c. and mid-16th c. The ante quem date is the year 1564, in which it was recorded among church furnishings.
3

ICONOGRAPHIC STUDIES OF THE BAS-RELIEFS AND IVORIES BY PAUL EGELL

61%
Leibetseder S.
ARS
|
2013
|
vol. 46
|
issue 1
43 -50
EN
The Palatine court sculptor Paul Egell (1691 – 1752) was one of the outstanding artists of Southern German Rococo. Due to his fine carvings and use of precious materials, such as ivory or gilded lime wood, especially his small size bas-reliefs have always been highly estimated. Scholars as Adolf Feulner or Theodor Demmler first commented on the aesthetic values of these in the 1920s and 1930s and much research has been done since. Yet, it is a critique of style that is prevailing within the discussion of this works. Along with other questions it has not been mentioned that the iconography of his bas-reliefs is rooted within the tradition of the late medieval passion images. Therefore this essay sets its focus on Egell’s reception and development of new iconographic patterns based on medieval passion images.
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