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Relevant bibliographies by topics / Paul. III, Pope, (1468-1549)

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Academic literature on the topic 'Paul. III, Pope, (1468-1549)'

Author: Grafiati

Published: 26 July 2024

Last updated: 27 July 2024

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Journal articles on the topic "Paul. III, Pope, (1468-1549)"

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Hunt, John M. "Cussen, Bryan. Pope Paul III and the Cultural Politics of Reform, 1534–1549." Renaissance and Reformation 43, no. 4 (April 16, 2021): 302–4. http://dx.doi.org/10.33137/rr.v43i4.36415.

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DeSilva, Jennifer Mara. "Pope Paul III and the Cultural Politics of Reform, 1534–1549 , by Bryan Cussen." Church History and Religious Culture 102, no. 2 (July 4, 2022): 280–82. http://dx.doi.org/10.1163/18712428-10202004.

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Flemer, Paul. "Pope Paul III and the Cultural Politics of Reform: 1534–1549. Bryan Cussen. Renaissance History, Art and Culture. Amsterdam: Amsterdam University Press, 2020. 208 pp. €89." Renaissance Quarterly 75, no. 3 (2022): 1080–81. http://dx.doi.org/10.1017/rqx.2022.286.

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vester, matthew. "Papal banking in renaissance Rome: Benvenuto Olivieri and Paul III, 1534–1549 – By Francesco Guidi Bruscoli." Economic History Review 61, no. 2 (May 2008): 521–22. http://dx.doi.org/10.1111/j.1468-0289.2008.00432_21.x.

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Valente, Michaela. "Pope Paul III and the cultural politics of reform, 1534–1549. By Bryan Cussen. (Renaissance History, Art and Culture.) Pp. 207. Amsterdam: Amsterdam University Press, 2020. €89. 978 94 6372 252 0 - Between popes, inquisitors and princes. How the first Jesuits negotiated religious crisis in early modern Italy. By Jessica M. Dalton. (St Andrews Studies in Reformation History.) Pp. xii + 218. Leiden–Boston: Brill, 2020. €121. 978 90 04 41382 5; 2468 4317." Journal of Ecclesiastical History 73, no. 1 (January 2022): 162–64. http://dx.doi.org/10.1017/s0022046921000841.

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Dissertations / Theses on the topic "Paul. III, Pope, (1468-1549)"

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Bajard, Sophie. "Paul III à la recherche du modèle antique : lecture iconographique des fresques du château Saint-Ange (1543-1548)." Paris, EHESS, 1996. http://www.theses.fr/1996EHES0122.

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Cette these a pour propos de souligner la figure, mal connue, du pape paul iii comme humaniste, et d'analyser la maniere dont sa culture a pu influencer son mecenat et ses commandes artistiques. La premiere partie est dediee a la formation intellectuelle d'alexandre farnese, qui fait tour a tour l'apprentissage du latin puis du grec a rome et a florence, a son ascension sociale, ainsi qu'a sa politique familiale et territoriale, qui vise a accroitre les possessions farnesiennes dans le latium; la seconde concerne ses realisations architecturales et urbanistiques hors du vatican, dans une volonte de restaurer l'image ternie de rome; la troisieme est consacree au monument-clef de la fortification de la cite pontificale, le chateau saint-ange, ainsi qu'a une analyse, a la fois attributive eticonographique, des decors peints qui y furent entrepris au cours des dernieres annees du pontificat de paul iii; enfin, la these se termine par une analyse approfondie de la frise d'eros et psyche et de ses connotations neo-platoniciennes, revelatrices de l'influence qu'exerce encore le milieu florentin sur la personnalite de paul iii. Cette etude met en valeur la fonction ideologique et politique de ces fresques et cherche a identifier les sources figuratives, essentiellement antiques, mais aussi modernes, qui ont pu les influencer. En conclusion, ce decor me parait etre l'ultime temoin d'un quattrocento revolu, qui n'aura plus droit de cite dans les grands decors romains de la seconde moitie du xvie siecle, et scelle une importante transition entre renaissance humaniste et contre-reforme.

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Books on the topic "Paul. III, Pope, (1468-1549)"

1

Zavala, Silvio Arturo. Repaso histórico de la bula Sublimis Deus de Paulo III, en defensa de los indios. México: Universidad Iberoamericana, Departamento de Historia, 1991.

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Cussen, Bryan. Pope Paul III and the Cultural Politics of Reform: 1534-1549. Amsterdam University Press, 2020.

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Book chapters on the topic "Paul. III, Pope, (1468-1549)"

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DUPREE, ROBERT S. "POPE PAUL III (1468–1549, r. 1534–49 CE), MICHELANGELO BUONARROTI (1475–1564 CE), AND THE CAMPIDOGLIO." In People and Places of the Roman Past, 111–22. Arc Humanities Press, 2019. http://dx.doi.org/10.2307/j.ctvmd83p9.16.

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"Chapter Ten. Pope Paul III (1468–1549, r. 1534–49 CE ), Michelangelo Buonarroti (1475–1564), and the Campidoglio." In People and Places of the Roman Past, 111–22. ARC, Amsterdam University Press, 2019. http://dx.doi.org/10.1515/9781942401568-013.

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Brennan, T. Corey. "Roman Fasces in the Medieval and Renaissance Eras." In The Fasces, 109—C7.P33. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197644881.003.0007.

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Abstract In the medieval period, the word “fasces” never fully fell out of Latin use, at least in a general sense of “supreme power” or “official honors.” Nor did the term “lictor,” because of its appearance in scripture, which preserved understanding of this attendant’s punitive role. Renaissance humanists mostly grasped the meaning of the “fasces.” Yet other than an isolated Anglo-Saxon representation of the fasces, artistic renderings of the fasces were slow to come—not until the last quarter of the fifteenth century, where they tend to signify the exercise of authority and the administration of justice. The artist Raphael (1483–1520), however, took a pronounced interest in the details of the Roman fasces, which he prominently incorporated into two high-profile Vatican commissions, which spectacularly reintroduced the fasces into the iconographic mainstream. In the next decades, papal efforts to control the administration of law in Rome culminated in a celebratory painting with—for the first time—the fasces as a key component in an elaborate allegorical scene. It was a powerful cardinal-nephew of Pope Paul III Farnese (reigned 1534–1549) who commissioned this piece in 1544 from Giorgio Vasari (1511–1574). Through this artist’s rendering of “Farnese Justice,” the fasces entered the rapidly expanding repertory of “emblems,” i.e., symbolic images with a moralizing purpose, a growth industry in the first half of the sixteenth century. Indeed, four popes over the next two centuries had their tombs adorned with the rods and axe as a symbol of justice, starting with that of Paul III himself.

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