Article
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The traces of Blessed Ramon Llull in Sermo IV and Sermo CXCIII of Cardinal Nicholas of Cusa
Manuel ORTUÑO ARREGUI
Original title: Las huellas del beato Ramon Llull en el Sermo IV y Sermo CXCIII del cardenal Nicolás de Cusa
Published in Games from Antiquity to Baroque
Keywords: Faith and Reason, Nicholas of Cusa, Ramon Llull, Sermons.
The aim of this paper has been to present some features of the relationship between Faith and Reason based on the interest of Nicholas of Cusa (1401-1464) in the work of Ramon Llull (1232-1316). Specifically, we have focused on two of his sermons: Sermo IV: “Fides autem catholica”, and Sermo X: “Beati mundo corde”, which represent an indisputable example of the lulian traces in the conception of the relationship between Faith and Reason in the work of the Cusan. In his analysis we discover the use of two foundations: on the one hand, the quotation of Isaiah 7, 9 to reaffirm the idea that faith is the beginning of science; and on the other hand, the use of the analogy of water and oil, which was already recognized in patristic authors, and which was generalized by St. Augustine. Augustine. In short, we can see an evolution of his thought from his youth (Sermo IV) to his maturity (Sermo X), which undoubtedly leads to the confirmation of Nicholas of Cusa's adherence to the model of lulian thought in the dialogue Faith and Reason.
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At the Dawn of Modernity. Music and Painting in the time of Afonso V (1396-1458), the Magnanimous
Ricardo da COSTA; Alexandre Emerick NEVES; Antonio Celso RIBEIRO
Original title: Na Alvorada da Modernidade. Música e Pintura no tempo de Afonso V (1396-1458), o Magnânimo
Published in Games from Antiquity to Baroque
Keywords: Afonso the Magnanimous, Crown of Aragon, Hispano-Flemish Art, Renaissance Music.
Estudo da música renascentista e da pintura hispano-flamenga da corte napolitana da Coroa de Aragão durante o reinado de Afonso V, o Magnânimo (1396-1458) à época do Poemário (Dictats) de Ausiàs March (c.1397-1459).
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The play of divine beauty: Bronzino’s decoration of the Chapel of Eleonora in the Palazzo Vecchio (1541-1543)
Thainan Noronha de ANDRADE
Published in Games from Antiquity to Baroque
Keywords: Agnolo Bronzino, Chapel of Eleonora, Neoplatonism.
Starting in 1540, Cosimo I de' Medici (1519-1574) commissioned a series of structural and decorative reforms in the old seat of the Republic of Florence, the Palazzo della Signoria, transforming it into the official residence of his principato. One of the first artistic commissions ordered by the duke was the chapel dedicated to his wife, Eleonora de Toledo (1522-1562), decorated in fresco by Agnolo Bronzino (1503-1572) between 1541 and 1543. This chapel stands out as one of the earliest and most significant examples of the Florentine aesthetic language from the mid-16th century. Resulted from a series of artistic and theoretical developments that took place in the first half of the century, it is characterized by highly symbolic expressiveness whose content manifests in a polysemic manner, simultaneously incorporating various levels of meaning, including political, religious, and philosophical elements. In this sense, the present study analyzes the respective pictorial cycle considering the Neoplatonic aesthetic speculations circulating within Italian and Florentine culture, influencing contemporary conceptions of the nature of artistic beauty and its appreciation, linking this process to a broader attitude that characterized Medici patronage.
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Imaginari: the absent present in the Baroque
Waldir BARRETO; Thais CAREZZATO
Original title: Imaginari: a presença ausente no Barroco
Published in Games from Antiquity to Baroque
Keywords: Absence, Baroque, Imagination, Presence.
This essay presents an introductory and speculative approach to the paradigmatic change that occurred between the 16th and 17th centuries in the artistic treatment of the idea of “presence in absence”. Based on some comparative categories by Heinrich Wölfflin and semiotics by Charles Peirce, taken as merely functional tools and not directive concepts, it proposes the Baroque as the starting point of a historical process of relativization, opening and expansion of the space constituting a work of art.
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Iconographic analysis of the Façade of the Temple of San Pablo, in Yuriria, Guanajuato
Carmen Fabiola MORENO VIDAL
Original title: Análisis iconográfico de la Portada del Templo de San Pablo, en Yuriria, Guanajuato
Published in Games from Antiquity to Baroque
Keywords: Apollo, Augustinians, Caliculus, Candelieri, Façade, Hades, Heracles canephores, Yuriria.
The plateresque doorway of the temple of San Pablo in Yuriria, incorporates elements of the classical world with a clear Christological allusion where the representation of Apollo is a prefiguration of Christ and Hades of death through sin, which are in permanent struggle and for this reason they are represented as archers facing each other, sirens are evil beings who tempt with their songs and canephores are carriers of divine grace through the abundance of fruits of the earth and food dishes. The program of the theological discourse is organized in eminently didactic terms where the abundance of nutritious food for man can only be given through divine mercy. The novelty of this Façade is the profuse decoration with caliculus, these are present in all the bodies and in an infinity of compositions, in addition to incorporating in the auction the holy founder of the Augustinian order, of gigantic dimensions, making this one of the most notable convent Façade of the 16th century in Mexico.
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Can a Christian agree with the “modern values” of Modernity about abortion and homosexuality?
Eirini ARTEMI
Published in Games from Antiquity to Baroque
Keywords: Abortion, Church Fathers, Homosexuality, Orthodoxy, Sodomy.
Today, many people insist that their body belongs to them and they are free to use it as they want. Some argue that homosexuality and abortion are morally reprehensible and other try to embody in a law their moral or immoral convictions. Christianity refuses sodomy and abortion. God forbids the killing of innocent human beings because we are made in his image. Moreover, according to the doctrine of the Orthodox Church, fetus is a perfect human being since its conception. As for homosexuality, God created Adam and Eve, not Adam and Steve, or Eve and Mary. Of course, a very small percentage of homosexuals indicate a genetic basis for their homoerotic sexual orientation. Is homosexuality accepted by Christianity in this case? What do the Church Fathers believe about that? People who support abortions argue that it is up to the woman to decide whether it is right for her to have an abortion because it is her body. Some Christians believe that a woman has a right to a safe abortion, and that it shows compassion if the law allows this. Here is the mistake, our body does not belong to us, it is a creature of God, and we should pray for the miracle in any case. We are the directors of our body, not the masters. Roman Catholics and Orthodox Christian believe that abortion is morally wrong because of their belief that human life begins at conception. They may make an exception if an abortion is essential to save the life of the mother (the 'principle of double effect'), assuming all efforts have been made to save the fetus. So, the sin of wilfully aborting a child, except in those very rare situations where it may be necessary to save the life of the mother, is a sinful act, totally contrary to the will of God. Additionally, the homosexuality is condemned in the Bible and by Church Fathers. Is there a common place between traditional and modern values? How can religious people face these new “values”?
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To be here and now. Study of the time and the space in the Viatge al Purgatori nomenat de Sant Patrici written by Ramon de Perellós i de Roda (c. 1350-1424)
Héctor ALAMINOS RAMIRO
Original title: Ser aquí y ahora. Estudio del tiempo y del espacio en el Viatge al Purgatori nomenat de Sant Patrici de Ramon de Perellós i de Roda (c. 1350-1424)
Published in Returning to Eden
Keywords: Medieval Time-Space, Purgatory, Ramon de Perellós.
This paper analyzes the temporal and spatial dimensions of the work of Ramon de Perellós referred to his journey to Saint Patrick’s Purgatory. Firstly, real, and imaginary-marvellous spheres are studied by separated to detach its meanings. Afterwards its contents are synthesized to obtain a panoramic view. Finally, these ideas are extrapolated to its historical context. By doing so, some conclusions are developed with the aim of connecting this work with the general transformations that take place in the Christian society of the medieval Western Europe.
