Journal articles on the topic 'San Francesco del Deserto (Church)'

A study devoted to the gradual emergence of pictorial depth in Cimabue's paintings, and how it applies, together with other factors, to the understanding of their sequential chronology. The conclusions reached underscore the vast difference in Cimabue 's conservative art and the exceptional naturalism of the evolving Life of Saint Francis mural cycle lining the lower nave walls in the upper church of San Francesco at Assisi.

In his will, dating from 1490, the nobleman Francesco Scottivoli from Ancona ordered his heirs to erect a chapel in his memory at the church of San Francesco delle Scale, and have it adorned with a painted altarpiece, executed in 1508 by a painter of Greek origin residing in Ancona. In the late 18th-century a full-scale renovation of the church resulted to the dissolution of the Scottivoli chapel and the removal of the painted altarpiece, which was subsequently lost and has been considered missing ever since. This article aims to identify the long-missing Scottivoli altarpiece and determine the identity of its creator based on the re-evaluation of previously published sources and the discovery of unpublished archival and visual material. In light of this new information, this study interprets the Scottivoli altarpiece within the context of the intense cross-cultural transfer that took place in the multicultural contact zone of the early modern Eastern Mediterranean and Adriatic Seas.

Francesco Ricci (1930–1991) was an Italian priest, canon of the cathedral of Forli, ecclesiastical assistant of the Communion and Liberation, and rector of the church of San Filippo Neri in Forli. He travelled to many countries to promote Communion and Liberation: Yugoslavia, Peru, Poland, Hungary, Japan and Korea, Uganda, Paraguay, Czechoslovakia, and Brazil. Due to his interest in Eastern Europe, which was then under communist rule, he founded the Center for the Study of Eastern Europe (CSEO) in Forlì, which was dedicated to deepening and spreading knowledge about the countries of this area in Italy. The Center published, among others: translations of works by Václav Havel, Józef Tischner, and other authors.

Italy is a high seismic risk country since 1900 more than 30 earthquakes with magnitude greater than Mw=5.8 have occurred, and the last one is the Central Italy seismic sequence. The first shock occurred in the 24 August (Mw=6.2) followed by another stronger quake in the 30th October (Mw=6.5). It hit the regions of Marche, Umbria, and Abruzzo heavily causing many deaths, injuries and extensive damages on the cultural heritage. This paper analyses the church of San Francesco in Amadola, located in the Marche region that has been considered condemned for the severe damages reported after these earthquakes. The church is globally analyzed by the application of nonlinear static analysis on a Finite Element Model where the nonlinearity of masonry is taking into account with a proper constitutive law. The study wants to prove how global analysis combined by the local analysis can reproduce the behavior of this structure during a quake, showing that it can repeat the real damages produced by earthquakes.

Leo Steinberg’s doctoral dissertation of 1960 contained an exposé of the complex geometry of Francesco Borromini’s San Carlo alle Quattro Fontane, and while his scheme has been the starting point for subsequent interpretations, Joseph Connors points out that the majority of drawings relied upon by Steinberg were in fact reworked by Borromini in the 1660s, after the church was built. The geometrical armature of the 1660s plans must therefore be read with caution, measured against the dimensions of the actual building and the geometry discernible in the drawings of the design stage. Whatever the basis of the geometrical reconstruction, something remains unclear, namely, the rationale of the curvature of the lateral chapels. In Practical and Symbolic Geometry in Borromini’s San Carlo alle Quattro Fontane, Michael Hill explores the geometrical rationale of the plan, particularly the role of the biangolo, to unlock its developmental sequence. He also argues for the symbolic importance of the biangolo that provides a cue for a consideration of the plan in terms of an epiphanic representation of the Trinity, a characterization that in turn sheds light on the devotion of San Carlo Borromeo, co-dedicatee of the church, as well as the meaning of the normally ignored altarpieces.

The oeuvre of the sculptor Paolo Callalo (Venice 1655-1725) is a paradigmatic example of how the oeuvres of seventeenth- and eighteenth-century Venetian sculptors have been expanded, supplemented and revised during the last twenty years. Until Simone Guerriero’s ground-breaking article of 1997, Paolo Callalo was almost completely unknown. In his search for Callalo’s earliest preserved work, Simone Guerriero suggested that Callalo was responsible for the stipes of the altar of St Joseph, featuring the relief of the Flight into Egypt flanked by two putti which are almost free standing, which was made between 1679 and 1685 for San Giovanni Crisostomo at Venice. However, another significant sculpture can now be added to the catalogue of Callalo’s early works: a memorial monument to the Bishop of Nin Francesco Grassi (Chioggia, 3 October 1667 – Zadar, 29 January 1677) which is located on the left presbytery wall in the Cathedral of Santa Maria Assunta at Chioggia. As we learn from its commemorative inscription, the monument was commissioned by Paolo Grassi, the nephew of the deceased who was a prominent member of this aristocratic family from Chioggia. The Grassi (de Grassi) family produced as many as three bishops of Chioggia: Pasquale (1618-1639), Francesco (1639 -1669) and Antonio (1696-1715) who was a brother of Francesco, the Bishop of Nin, and a great-nephew of the first two. The monumental memorial to the Bishop of Nin Francesco Grassi in the presbytery of Chioggia Cathedral consists of a rectangular marble plaque topped with a semi-circular pediment with two reclining putti. Immediately below, two more putti are depicted flying and drawing a curtain in front of an oval niche containing the bishop’s bust, the commemorative inscription and the bishop’s coat of arms set in a wreath. All the elements of this excellent work point to Paolo Callalo’s hand. The bishop’s bust was most probably created posthumously by relying on one of the portraits of the bishop as a source model. It depicts him as having a somewhat square face with a lively mouth opened in a melodramatic way and as having probing eyes with emphasized pupils, all of which characterize Callalo’s sculpting technique. A direct parallel for such a physiognomy can be found in the 1686 sculpture of St Michael in San Michele in Isola at Venice. Two remarkably beautiful and skilfully modelled putti which are drawing the curtain can be connected to the putti on the stipes of the altar of St Joseph in San Giovanni Crisostomo at Venice, but also with a putto on the keystone of a niche on the 1684 altar of St Teresa in the Church of the Scalzi. The richly draped marble curtain being drawn by the two flying putti is an example of Callalo’s thorough knowledge of contemporary sculptural innovations and trends in Venice. He could have seen a similar curtain on the 1677 monument to Giorgio Morosini in San Clemente in Isola at Venice, which belongs to the oeuvre of Giusto Le Court, the most important Venetian sculptor of the second half of the seventeenth century. That Callalo was no stranger to this type of decoration is also demonstrated by one of his later works, now sadly lost, the contract for which set out the terms for the sculptural decoration of the high altar in the old Venetian church of La Pietà. In 1692 Callalo agreed to make for this high altar ‘a curtain out of yellow marble of Verona being held by putti’.The stylistic analysis of the memorial to the Bishop of Nin Francesco Grassi indicates that it was erected in a relatively short period of time after the bishop’s death in 1677. It seems highly likely that it was made in the early 1680s or around 1686 at the latest because in that year Callalo made the statue of St Michael in San Michele in Isola. The memorial to the Bishop of Nin Francesco Grassi in Chioggia Cathedral is the first monument on the left-hand side of presbytery wall which would in time become a ‘mausoleum’ of the Grassi family. Around the same time or perhaps somewhat later, the Bishop of Chioggia by the name Francesco Grassi was honoured posthumously with a memorial containing a bust portrait that can be attributed to Giuseppe Torretti (Pagnano, 1664 – Venice, 1743). This group of episcopal memorials in the presbytery of Chioggia Cathedral ends with 1715 when Alvise Tagliapietra (Venice, 1680 – 1747) made the tomb for Bishop Antonio Grassi while he was still alive.Callalo’s Dalmatian oeuvre is relatively modest and consists of the following works so far identified as his: two marble angels set next to the high altar in the Parish Church at Vodice and four music-making putti at the sides of the high altar as well as those on a side altar in the Parish Church at Sutivan on the island of Brač. However, Callalo’s hand can also be recognized in a statue from a large-scale sculptural group which adorned the altar of the Blessed Sacrament in Zadar Cathedral. The altar structure was built by Antonio Viviani in 1719 while Francesco Cabianca (Venice, 1666-1737) carved the majority of the altar’s rich sculptural decoration. At the centre of the altar is a niche with a relatively small marble statue of Our Lady of Sorrows with the dead Christ in her lap. It is difficult to find a place for this marble Pietà from Zadar in Francesco Cabianca’s catalogue especially with regard to his Pietà above a door in the cloister of the Frari Church at Venice in 1714. Compared to the Zadar Pietà, Cabianca’s Venetian Pietà displays a number of differences: a crisper chiselling technique, a certain roughness of workmanship, robust bodies as well as a different treatment of the figures’ physiognomies and drapery. However, the Pietà from Zadar can be added to the catalogue of Paolo Callalo’s works. The carefully modelled figure of Our Lady of Sorrows and the soft drapery which spreads outwards in a radial fashion around her feet can be compared to the statues of Faith and Hope on the altar of the Blessed Sacrament in Udine Cathedral, which was made after 1720. The statue of the Risen Christ on the tabernacle of the aforementioned altar from Udine provides a parallel for the modelling of Christ’s body and, in particular, his face with a restrained expression. The same can be said for the Risen Christ on the tabernacle of the Parish Church at Clauzetto, which I also attribute to Callalo, as well as for earlier, more monumental, examples such as the Christ from the 1708 altar of the Transfiguration in the Parish Church at Labin.Callalo’s memorial to the Bishop of Nin Francesco Grassi in Chioggia is an important indicator of his personal stylistic development. He transformed his stylistic expression from the robust energy of this ‘youthful work’ at Chioggia to the lyrical poetics characterized by softness which can be seen in his late work, the Pietà on the altar of the Blessed Sacrament in the Cathedral of St Anastasia at Zadar. It is likely that future research in Venice, Dalmatia and the rest of the Adriatic coast will expand Paolo Callalo’s already rich oeuvre and confirm the important place he holds in Venetian sculpture as one of its protagonists during the late Seicento and early Settecento.

The architectural process, from the concept to the actual building itself, is a long sequence of compromises, reconsiderations and unexpected events that require mediation strategies and the balancing of the attitudes of the architects. The relationship between the client and the designer represents a significant part of the architectural process as it has a considerable influence on the end result. This study investigates episodes of formal negotiation between the architect Francesco Berarducci (Rome, 1924-92) and the client of the San Valentino church in the Olympic Village in Rome (promoted in 1960). It examines archival documents such as letters, sketches and drawings of the cross correspondence between Berarducci and the priest. The aim is to investigate the involvement of the religious client in the decision-making process, resulting in the final consistency of the church, and to individuate the mediation strategies at the base of the professional skill of Berarducci.

Throughout history, natural hazards, wars, political changes and urban evolution have contributed to the obliteration of outstanding monuments. The study of their remains, frequently recovered as archaeological findings, can be the basis for a reconstruction of the lost structures, by way of their size, function, decoration and stylistic evolution. The present study developed a multidisciplinary approach to gather and interpret archaeological fragments and archive sources, in order to gain as much information as possible on “lost monuments”. The approach was tested with remnants (i.e., several hundreds of marble fragments found during archaeological excavations) of the monastic complex of San Francesco di Castelletto (Genoa), which was demolished after the Napoleonic suppressions. A preliminary organisation of the sample set was attained through cataloguing shape, size, and decoration. After this, a comparison with similar complexes still existing in Genoa allowed the inference of the age and specific ornamental functions for the majority of the pieces. Surface analysis, carried out in situ (portable microscope) and on micro‐samples (petrographic analysis and SEM‐EDS), allowed the characterisation of the materials (e.g., assessing marble provenance and identifying pigments). As a whole, the method evolved into an operational protocol, which helped both the organisation of the archaeological findings and the reconstruction of unknown phases of the lost monument.

In the time of the Renaissance, a major aspect of vision science was understanding how spatial information projected to the viewpoint of the observer, that is, visual perspective, which is one of the primary cues to depth perception. Perspective representation was thus an early form of virtual reality. Although accurate perspective representation was developed earlier in the 15th century, the first analytic perspective scheme was developed by Piero della Francesca, whose chef d’oeuvre is in the Church of San Francesco, Arezzo, in which the present lecture took place. The focus of the lecture was to evaluate some of the contributions of Piero della Francesca and his 15th-century contemporaries to the visual science, art and symbolism of his era, and its significance for the perception of depth structure from two-dimensional images.

In Naples (Italy), the passage from Renaissance to Baroque architectonic language could be identified between 1580 and 1612. During this era, one of the most significant topics of the architectonic research on the sacred space was the right compromise among the Counter-Reformation patterns, the central space and the oval plan. Giovanni Antonio Dosio and Dionisio di Bartolomeo were the most representative architects of this passage. They provide the access to new experimental varieties. So, when the architect Cosimo Fanzago arrived in Naples in 1612, the city was almost ready to use the emblematic ellipse plan of the Baroque, such as the churches Santa Maria della Sanita` and San Giovanni dei Fiorentini by Fra’ Nuvolo prove. Fanzago’s architectonic research was followed by the studies by Bartolomeo and Francesco Antonio Picchiatti, father and son, up to Domenico Antonio Vaccaro that was the most representative director of the Baroque sacred space scene. Moving from the analysis and comparison of the most representative churches of Neapolitans Baroque era, the paper proposes an unedited studio about the evolution of sacred space’s idea related to decoration, symbology and allegory, with a focus on Domenico Antonio Vaccaro’s works, such as the churches of Santa Maria della Concezione in Montecalvario neighbourhood, San Michele Arcangelo in Naples’ Piazza Dante, San Michele in Anacapri (on Capri Island), the Palazzo Abbaziale di Loreto and Saviour Church in San Guglielmo al Goleto Monastery, both near Avellino.

This article discusses an altarpiece by Luca Giordano painted for the church of San Francesco Saverio (now San Ferdinando) in Naples in 1685. Described in contemporary sources as “St. Francis Xavier baptizing the people of Japan,” the painting reveals little about Japan or Jesuit missionary efforts in Asia; instead, the painting discloses much about how Jesuits approached their mission in Naples. Here, Jesuit missionaries found a heterogeneous environment, filled with a variety of different types of potential converts, including unruly nobles, superstitious peasants, fallen women, and a large number of Muslim slaves. Giordano’s altarpiece uses the figures of St. Francis Xavier and St. Francisco de Borja to exemplify two models for the conversions that Neapolitan Jesuits hoped to bring about—the baptism of non-Christians and the religious reform of those who had been born Christian. This article will demonstrate that Giordano’s altarpiece thematized the transformation of heterodoxy into orthodoxy, while also contributing to a Jesuit discourse that characterized Naples as being another “Indies,” an environment mired in religious heterodoxy and thus attractive to ambitious Jesuits who longed for the mission fields of far off lands.

The frescoes on the subjects of the life of St. Francis in the choir of the main Franciscan church in Montefalco were painted by Benozzo Gozzoli in 1452. For a long time they remained poorly studied, and the program of the cycle was unclear. Studies of the end of the XX century indicate a steadily increasing interest in the artist's work, including his monumental paintings in Montefalco. The subject of this article is to clarify the program design of the chapel, which probably belonged to Fra Jacopo of Montefalco, a Franciscan theologian and rector of the church. The appearance of rare plots, atypical for earlier and later Franciscan cycles in Italy, and a careful analysis of each composition in connection with the literary tradition of the Franciscan order, allowed us to more fully substantiate that the idea of "Francis as another Christ" (Franciscus alter Christus) was consistently carried out in the chapel program. The cycle executed by Gozzoli includes twelve fresco compositions and a stained glass window. All of them represent twenty episodes from the life of St. Francis from his birth to his ascension to heaven, which are accompanied by explanatory comments in Latin. Many of the scenes are multi-episode, reflecting the passion for storytelling in the middle of the XV century and the desire to bring all the details and details necessary to explain the plot. The analysis of the compositions in comparison with hagiographic literature allows us to conclude that the compilers of the program mainly relied on three main texts about the life of the saint: the first and second lives of Thomas by Chelan, as well as the Great Legend by St. Bonaventure. The choice of subjects and the overall design of the chapel emphasize the living ministry of the saint, and also reflect another, more important by this time, Franciscan idea – the glorification of Francis as another Christ. The depictions of scenes telling about the birth, childhood and about the early years of Francis' life, appearing in the pictorial tradition for the first and last time, make this painting cycle truly unique.

In the midst of the turbulent years following the Battle of Vienna, Gülnuş Valide Sultan’s Galata New Mosque replaced the San Francesco Convent, which had been the principal Catholic shrine of Galata in Istanbul. This mosque was intentionally built on the site of the church in 1696 in order to reshape the religious and demographic character of Galata, and was probably a compensation for the recent disastrous Ottoman military defeats. It appears that economic and social constraints shaped the architecture of the mosque, which was extraordinarily modest despite being a royal mosque. The Galata New Mosque later fell into ruin, and was finally replaced by a hardware market in mid-twentieth century. Drawing on hitherto unused Ottoman archival documents, rare photographs, and other primary sources, this article sheds new light on the history and architecture of a long forgotten royal mosque. I investigate reasons for the unusual architecture of the Galata New Mosque, compare it with contemporary structures, and discuss possible factors that motivated the appropriation of a Catholic space.

Stylistic changes in a sculptor’s oeuvre are simultaneously a challenge and a cause of dilemmas for researchers. This is particularly true when attempting to identify the early works of a sculptor while the influence of his teacher was still strong. This article focuses on the Venetian sculptor Giovanni Bonazza (Venice, 1654 – Padua, 1736) and attributes to him numerous new works both in marble and in wood, all of which are of uniform, high quality. Bonazza’s teacher was the sculptor Michele Fabris, called l’Ongaro (Bratislava, c.1644 – Venice, 1684), to whom the author of the article attributes a marble statue of Our Lady of the Rosary on the island of San Servolo, in the Venetian lagoon, which has until now been ascribed to Bonazza. The marble bust of Giovanni Arsenio Priuli, the podestat of Koper, is also attributed to the earliest phase of Bonazza’s work; it was set up on the façade of the Praetorian Palace at Koper in 1679. This bust is the earliest known portrait piece sculpted by the twenty-five-year old artist. The marble relief depicting the head of the Virgin, in the hospice of Santa Maria dei Derelitti, ought to be dated to the 1690s. The marble statue of the Virgin and Child located on the garden wall by the Ponte Trevisan bridge in Venice can be recognized as Bonazza’s work from the early years of the eighteenth century and as an important link in the chronological chain of several similar statues he sculpted during his fruitful career. Bonazza is also the sculptor of the marble busts of the young St John and Mary from the library of the monastery of San Lazzaro on the island of San Lazzaro degli Armeni in the Venetian lagoon, but also the bust of Christ from the collection at Castel Thun in the Trentino-Alto Adige region; they can all be dated to the 1710s or the 1720s. The article pays special attention to a masterpiece which has not been identified as the work of Giovanni Bonazza until now: the processional wooden crucifix from the church of Sant’Andrea in Padua, which can be dated to the 1700s and which, therefore, precedes three other wooden crucifixes that have been identified as his. Another work attributed to Bonazza is a large wooden gloriole with clouds, cherubs and a putto, above the altar in the Giustachini chapel in the church of Santa Maria del Carmine at Padua. The article attributes two stone angels and a putto on the attic storey of the high altar in the church of Santa Caterina on the island of Mazzorbo in the Venetian lagoon to Giovanni’s son Francesco Bonazza (Venice, c.1695 – 1770). Finally, Antonio Bonazza (Padua, 1698 – 1763), the most talented and well-known of Giovanni Bonazza’s sons, is identified as the sculptor of the exceptionally beautiful marble tabernacle on the high altar of the parish church at Kali on the island of Ugljan. The sculptures which the author of the article attributes to the Bonazza family and to Giovanni Bonazza’s teacher, l’Ongaro, demonstrate that the oeuvres of seventeenth- and eighteenth-century Venetian masters are far from being closed and that we are far from knowing the final the number of their works. Moreover, it has to be said that not much is known about Giovanni’s works in wood which is why every new addition to his oeuvre with regard to this medium is important since it fills the gaps in a complex and stylistically varied production of this great Venetian sculptor.

Stylistic changes in a sculptor’s oeuvre are simultaneously a challenge and a cause of dilemmas for researchers. This is particularly true when attempting to identify the early works of a sculptor while the influence of his teacher was still strong. This article focuses on the Venetian sculptor Giovanni Bonazza (Venice, 1654 – Padua, 1736) and attributes to him numerous new works both in marble and in wood, all of which are of uniform, high quality. Bonazza’s teacher was the sculptor Michele Fabris, called l’Ongaro (Bratislava, c.1644 – Venice, 1684), to whom the author of the article attributes a marble statue of Our Lady of the Rosary on the island of San Servolo, in the Venetian lagoon, which has until now been ascribed to Bonazza. The marble bust of Giovanni Arsenio Priuli, the podestat of Koper, is also attributed to the earliest phase of Bonazza’s work; it was set up on the façade of the Praetorian Palace at Koper in 1679. This bust is the earliest known portrait piece sculpted by the twenty-five-year old artist. The marble relief depicting the head of the Virgin, in the hospice of Santa Maria dei Derelitti, ought to be dated to the 1690s. The marble statue of the Virgin and Child located on the garden wall by the Ponte Trevisan bridge in Venice can be recognized as Bonazza’s work from the early years of the eighteenth century and as an important link in the chronological chain of several similar statues he sculpted during his fruitful career. Bonazza is also the sculptor of the marble busts of the young St John and Mary from the library of the monastery of San Lazzaro on the island of San Lazzaro degli Armeni in the Venetian lagoon, but also the bust of Christ from the collection at Castel Thun in the Trentino-Alto Adige region; they can all be dated to the 1710s or the 1720s. The article pays special attention to a masterpiece which has not been identified as the work of Giovanni Bonazza until now: the processional wooden crucifix from the church of Sant’Andrea in Padua, which can be dated to the 1700s and which, therefore, precedes three other wooden crucifixes that have been identified as his. Another work attributed to Bonazza is a large wooden gloriole with clouds, cherubs and a putto, above the altar in the Giustachini chapel in the church of Santa Maria del Carmine at Padua. The article attributes two stone angels and a putto on the attic storey of the high altar in the church of Santa Caterina on the island of Mazzorbo in the Venetian lagoon to Giovanni’s son Francesco Bonazza (Venice, c.1695 – 1770). Finally, Antonio Bonazza (Padua, 1698 – 1763), the most talented and well-known of Giovanni Bonazza’s sons, is identified as the sculptor of the exceptionally beautiful marble tabernacle on the high altar of the parish church at Kali on the island of Ugljan. The sculptures which the author of the article attributes to the Bonazza family and to Giovanni Bonazza’s teacher, l’Ongaro, demonstrate that the oeuvres of seventeenth- and eighteenth-century Venetian masters are far from being closed and that we are far from knowing the final the number of their works. Moreover, it has to be said that not much is known about Giovanni’s works in wood which is why every new addition to his oeuvre with regard to this medium is important since it fills the gaps in a complex and stylistically varied production of this great Venetian sculptor.

King Matthias Corvinus of Hungary (1458‒1490), son of the “Scourge of the Turks,” John Hunyadi, was a foremost patron of early Renaissance art. He was only fourteen years old in 1470 when he was elected king, and his patronage naturally took some time and maturity to develop, notably through his relations with the Neapolitan Aragon dynasty. In December 1476, he married Beatrice, daughter of Ferdinand of Aragon, who brought to Buda a love of books and music she had inherited from her grandfather, Alphonse of Aragon.I studied the work of Beatrice’s brother John of Aragon (Giovanni d’Aragona), previously known mainly from Thomas Haffner’s monograph on his library (1997), from the viewpoint of his influence on Matthias’s art patronage. John was born in Naples on June 25, 1456, the third son of Ferdinand I of Aragon. His father, crowned king by Pope Pius II in 1458 following the death of Alphonse of Aragon, intended from the outset that he should pursue a church career. Ferdinand’s children, Alphonse (heir to the throne), Beatrice, and John were educated by outstanding humanist teachers, including Antonio Beccadelli (Il Panormita) and Pietro Ranzano. Through his father and the kingdom’s good relations with the papacy, John acquired many benefices, and when Pope Sixtus IV (1471‒1484) created him cardinal at the age of twenty-one, on December 10, 1477, he made a dazzling entrance to Rome. John was — together with Marco Barbo, Oliviero Carafa, and Francesco Gonzaga — one of the principal contemporary patrons of the College of Cardinals.On April 19, 1479, Sixtus IV appointed John legatus a latere, to support Matthias’s planned crusade against the Ottomans. On August 31, he departed Rome with two eminent humanists, Raffaele Maffei (also known as Volaterranus), encyclopedist and scriptor apostolicus of the Roman Curia, and Felice Feliciano, collector of ancient Roman inscriptions. John made stops in Ferrara, and Milan, and entered Buda — according to Matthias’s historian Antonio Bonfini — with great pomp. During his eight months in Hungary, he accompanied Matthias and Beatrice to Visegrád, Tata, and the Carthusian monastery of Lövöld and probably exerted a significant influence on the royal couple, particularly in the collecting of books. Matthias appointed his brother-in-law archbishop of Esztergom, the highest clerical office in Hungary, with an annual income of thirty thousand ducats.Leaving Hungary in July 1480, John returned to Rome via Venice and Florence, where, as reported by Ercole d’Este’s ambassador to Florence, Lorenzo de’ Medici showed him the most valuable works of art in his palace, and he visited San Marco and its library and the nearby Medici sculpture garden.In September 1483, Sixtus IV again appointed John legate, this time to Germany and Hungary. He took with him the Veronese physician Francesco Fontana and stayed in Buda and Esztergom between October 1483 and June 1484. The royal couple presented him with silver church vessels, a gold chalice, vestments, and a miter.John’s patronage focused on book collecting and building. He spent six thousand ducats annually on the former. Among his acquisitions were contemporary architectural treatises by Leon Battista Alberti and Filarete, which he borrowed for copying from Lorenzo’s library. They were also featured in Matthias Corvinus’s library, perhaps reflecting John’s influence. Around 1480, during his stay in Buda (approximately 1478‒1480), the excellent miniaturist, Francesco Rosselli made the first few large-format luxury codices for Matthias and Beatrice. Both Queen Beatrice and John of Aragon played a part of this by bringing with them the Aragon family’s love of books, and perhaps also a few codices. The Paduan illuminator Gaspare da Padova (active 1466‒1517), who introduced the all’antica style to Neapolitan book painting, was employed in Rome by John as well as by Francesco Gonzaga, and John’s example encouraged Matthias and Beatrice commission all’antica codices. He may also have influenced the choice of subject matter: John collected only ancient and late classical manuscripts up to 1483 and mainly theological and scholastic books thereafter; Matthias’s collection followed a similar course in which theological and scholastic works proliferated after 1485. Anthony Hobson has detected a link between Queen Beatrice’s Psalterium and the Livius codex copied for John of Aragon: both were bound by Felice Feliciano, who came to Hungary with the Cardinal. Feliciano’s probable involvement with the Erlangen Bible (in the final period of his work, probably in Buda) may therefore be an important outcome of the art-patronage connections between John and the king of Hungary.John further shared with Matthias a passion for building. He built palaces for himself in the monasteries of Montevergine and Montecassino, of which he was abbot, and made additions to the cathedral of Sant’Agata dei Goti and the villa La Conigliera in Naples. Antonio Bonfini, in his history of Hungary, highlights Matthias’s interest, which had a great impact on contemporaries; but only fragments of his monumental constructions survive.We see another link between John and Matthias in the famous goldsmith of Milan, Cristoforo Foppa (Caradosso, c. 1452‒1526/1527). Caradosso set up his workshop in John’s palace in Rome, where he began but — because of his patron’s death in autumn 1485 — was unable to finish a famous silver salt cellar that he later tried to sell. John may also have prompted Matthias to invite Caradosso to spend several months in Buda, where he made silver tableware.Further items in the metalware category are our patrons’ seal matrices. My research has uncovered two kinds of seal belonging to Giovanni d’Aragona. One, dating from 1473, is held in the archives of the Benedictine Abbey of Montecassino. It is a round seal with the arms of the House of Aragon at the centre. After being created cardinal in late 1477, he had two types of his seal. The first, simple contained only his coat of arm (MNL OL, DL 18166). The second elaborate seal matrix made in the early Renaissance style, of which seals survive in the Archivio Apostolico Vaticano (Fondo Veneto I 5752, 30 September 1479) and one or two documents in the Esztergom Primatial Archive (Cathedral Chapter Archive, Lad. 53., Fasc. 3., nr.16., 15 June 1484). At the centre of the mandorla-shaped field, sitting on a throne with balustered arm-rest and tympanum above, is the Virgin Mary (Madonna lactans type), with two supporting figures whose identification requires further research. The legend on the seal is fragmentary: (SIGILL?)VM ……….DON IOANNIS CARDINALIS (D’?) ARAGONIA; beneath it is the cardinal’s coat of arms in the form of a horse’s head (testa di cavallo) crowned with a hat. It may date from the time of Caradosso’s first presumed stay in Rome (1475‒1479), suggesting him as the maker of the matrix, a hypothesis for which as yet no further evidence is known to me. The seals of King Matthias have been thoroughly studied, and the form and use of each type have been almost fully established.John of Aragon was buried in Rome, in his titular church, in the Dominican Basilica of Santa Sabina. Johannes Burckard described the funeral procession from the palace to the Aventine in his Liber notarum. Matthias died in 1490 in his new residence, the Vienna Burg, and his body was taken in grand procession to Buda and subsequently to the basilica of Fehérvár, the traditional place of burial of Hungarian kings. The careers of both men ended prematurely: John might have become pope, and Matthias Holy Roman emperor.(The bulk of the research for this paper was made possible by my two-month Ailsa Mellon Bruce Visiting Senior Fellowship at the Center for Advanced Study in the Visual Arts [CASVA] of the National Gallery of Art [Washington DC] in autumn 2019.) [fordította: Alan Campbell]

<p>本文關注達彌施對阿西西教堂《聖方濟各的一生》系列壁畫的分析。有別於常見作品分析連貫的論點，達彌施的作品分析結構更顯破碎，議題各自分立。作品分析處理到五個議題：「繪畫作為工具」、構圖問題、壁畫層問題、手勢、風格。第一個議題討論符號理論出發點，第二、三、四議題則是對作品組成因素的功能探討，第五個議題論「風格」，並不將前面的發現串連為完整的符號解釋，而是一種延伸反思。研究發現，阿西西系列的分析在達彌施藝術符號學中是「句法」的例子，但「句法」不是規則，不是靜態的構圖方式，而是繪畫成形的歷程所透露的組織調度方式。</p> <p>&nbsp;</p><p>This essay focuses on Damisch&rsquo;s analysis of the fresco cycle The Life of St. Francis in the upper church of San Francesco at Assisi. A notable point in Damisch&rsquo;s treatise is its structure, which is rather fragmental compared to common argumentations. Damisch&rsquo;s analysis consists of five sections, respectively: the proposition of &ldquo;painting as an instrument,&rdquo; discussions on the composition, on the intanaco, an analysis of the usage of &ldquo;gesture,&rdquo; and discussions on &ldquo;style.&rdquo; The first section concerns the establishment of the semiotic theory framework. The following three parts assess the elements in the frescoes, specifically their function. As for the fifth section, the inquiry of the stylistic aspect does not simply provide a conclusion to the semiotic study. Instead, it applies the discoveries from previous investigations to reconstruct the focusing point of analysis of paintings. The main discovery of this study is that the analysis of the Assisi cycle exemplifies &ldquo;syntax&rdquo; in Damisch&rsquo;s Semiology of Art, yet not by being a static compositional scheme, a code, but by being the manifestation of a process of mise-en-scene.</p> <p>&nbsp;</p>

AbstractThis essay deals with the construction of the church of San Francesco della Vigna in Venice. This church is an interesting case of proportions applied to architecture. The author analyzes the design, verifies the proportions, virtually reconstructs the unrealized facade by Jacopo Sansovino and compares it with the one built by Andrea Palladio.

New scholarly insights about the sculptor and altar builder Antonio Michelazzi (Gradisca d’Isonzo, 1707 – Rijeka, 1771) have revealed him as a far more complex creative personality than it has been known so far. In this paper, the authors have attributed to him the marble statues of St John the Baptist and St Mark on the high altar of the parish church of San Biagio in Cinto Caomaggiore. Michelazzi’s authorship of the marble altar of the Holy Cross in the parish church of the Assumption of Mary in Rijeka has also been confirmed, based on a certificate from 1740 on the receipt of 150 gold coins for work on this altar. Besides Michelazzi’s statues in Cinto, there is a statue of Faith on the high altar, identified as work of the Venetian sculptor Francesco Cabianca (Venice, 1666-1737). A number of other sculptures have been attributed to him, including two marble angels in the parish church of Preganziol, which have been dated in 1697 and were originally located in the church of San Cristoforo in Udine. Cabianca is the author of four marble statues of the Evangelists (auction house), as well as of sculptural decoration on the high altar of the parish church of Sant’Andrea in Cereda. His catalogue of private commissions has been enriched with five newly attributed marble busts from the second decade of the 18th century. These include the busts of Flora and Apollo in the Winter Garden of Saint Petersburg, a bust of a girl (auction house) and two busts of girls from the convent of San Lazzaro degli Armeni in Venice. The marble relief of Ecce Homo in the church of Il Redentore in Venice and the angels on the altar of the Blessed Sacrament in the church of St Simeon in Zadar have also been attributed to Cabianca. Finally, a terracotta sculpture of St John the Evangelist (auction house) has been identified as the first model for a large marble statue of the same saint at the Scuola Grande di San Giovanni Evangelista in Venice.

AbstractIn the mid-fifteenth century, Venice inherited Cardinal Bessarione’s collection of ancient manuscripts, an exceptional legacy that contributed to the renewal of mathematical studies. This essay outlines the spread of mathematics in Venice in the early Renaissance, when scholars actively discussed Euclid and universal proportions. Based on this cultural context, the author briefly analyzes the role of polyhedra and an example of the application of proportions to architecture: the church of San Francesco della Vigna in Venice. This church is an interesting and rare case of ‘declared’ application of proportions to architecture, since we have specific indications in Francesco Zorzi’s memorandum written in 1535.

The Saint Francis of Assisi with three angels crowning him in a day landscape and two donors in prayer has been known at least since the end of the seventeenth century in the church of San Francesco in Gallipoli, in the province of Lecce (currently the Saint Francis is relocated in the Diocesan Museum - section of Gallipoli “Mons. Vittorio Fusco”). In 1951 Giovanni Urbani brought it to the national attention of art history studies as the work of one of Titian’s greatest contemporaries, Giovanni Antonio de’ Sacchis known as Pordenone, based on an intuition of Sabino Jusco. Yet the provenance of the higher quality sixteenth-century work in a church in the Salento area remains mysterious. The direct inspection of the Saint Francis, including recent exhibitions and restoration interventions, made it possible to re-examine in depth or for the first time the issues concerning the genesis, chronology, paths and commissioning of the painting.

AbstractThe church of San Francesco del Prato in Parma (Italy) is a masterpiece of the Gothic style, dated back to the 13th century. However, its historical and monumental value could not be appreciated for a long time, especially due to the transformation of the building into a city jail. The recent restoration works brought back to light valuable frescos and wall paintings belonging to different periods. An in situ campaign was performed on the 15th-century wall paintings adorning the vault and the walls in the church apse, by using mobile Raman and X-ray fluorescence equipment. The characterization of the art pieces was further carried out with micro-Raman spectroscopy and gas chromatography–mass spectrometry analyses. Overall, a quick and thorough identification of the colours palette of the wall paintings was successfully obtained through the in situ measurements. Laboratory analyses corroborated the understanding of the techniques through the identification of pigments and binders. In addition, micro-Raman analyses highlighted the presence of degradation products. Interestingly, a pigment hierarchy has been noted in relation to the painted contents, enhancing the preciousness of holy figures and their distinctive details.

Abstract Among the legends disseminated by the friars of San Francesco in Assisi was an enduring tale that surfaced at the dawn of the sixteenth century, according to which a thirteenth-century queen of Cyprus was buried inside an exuberant Gothic canopied tomb in the convent’s Lower Church. This study examines the queen’s supposed funerary monument, explores the varying permutations of the legend, reveals the presumed gifts she donated to the friars, and unravels the conundrum surrounding her identity and the position of her tomb. In considering the convent-specific and wider contexts of Italy and Cyprus, the paper deconstructs the myth by uncovering new archival sources and offers fresh insights into the identity and activity of the Cypriot queen in Assisi. More importantly, it argues that the legend distorted historical facts as a means to enhance the connection between the Franciscan Order, the convent, and the Holy Land.

This paper will identify significant roles of Catholic Bishops’ Conference of the Philippines as a critical collaborator with the State. Instead of retribution and legal execution, the leaders of the Church in the Philippines are calling the government to encourage non-retribution-based justice; a non-retaliatory principle based on love, mercy and justice being taught by Jesus. Other than theological and Biblical perspectives to support above key points, multi-disciplinary approaches such as juridical, sociological, psychological, criminal justice and other fields of thought will also be used to explain the relevance of the statement of the Catholic Bishops’ Conference of the Philippines as a willing yet critical cooperator with the affairs of the State. References 1997. Catehism of the Catholic Church. 2nd. Vatican City: Libreria Editrice Vaticana. http://www.vatican.va/archive/ccc_css/archive/catechism/p3s. 2010. “The New American Bible.” Vatican Website. http://www.vatican.va/archive/ENG0839/_INDEX.HTM. Adams & Bastoy. 2010. “Sentenced to Serving the Good Life in Norway.” Time Magazine. July 12. http://content.time.com/time/magazine/article/0,9171,2000920,00.html. Ager, Maila. 2017. “”Pacquiao invokes Bible to defend death penalty.”.” Philippine Daily Inquirer. January 17. http://newsinfo.inquirer.net/863105/ pacquiao-invokes-bible-to-defend-death-penalty. Amnesty International. 2017. “Amnesty International Global Report: Death Sentences and Executions 2016.” Accessed January 2019. https://www.amnesty.org/download/Documents/ACT5057402017ENGLISH.PDF. Angeles, Albert Lee G. 2013. “Wrongful Conviction and the Case for Forensic Evidence in the Philippine Criminal Justice System .” Ateneo Law Journal 1155-1174. Asian Network of People who Use Drugs (ANPUD). 2017. “An open letter to Tim Cook: Immediately remove apps that are promoting war on drugs in the Philippines.” Asian Network of People who Use Drugs (ANPUD). October 10. http://www.anpud.org/an-open-letter-to-apple-ceo-mr-tim-cookimmediately-remove-apps-that-are-promotingwar-on-drugs-in-the-philippines/. Aurelio, Julie. 2017. “Pope lauds parish-based drug rehab: ‘This is the path to take’.” Philippine Daily Inquirer. October 22. Accessed July 6, 2019. https://newsinfo.inquirer.net/939723/war-on-drugs-drug-rehabilitation-drug-killingsextrajudicial-killings-sanlakbay-luis-antoniocardinal-tagle-oscar-albayalde-pope-francis. Bandura, Albert. 1977. Social learning theory. Englewood Cliffs, N.J.: Prentice Hall. Barkan, Steven E. 2012. Criminology: A Sociological Understanding (5th edition). New Jersey: Prentice Hall. Bernas, Joaquin G. 2009. The 1987 Constitution of the Philippines: A Commentary. Quezon City: Rex Bookstore, Inc. 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Sociology in Our Times. Boston, MA: Cengage Learning. McCrudden, Christopher. 2008. “Human Dignity and Judicial Interpretation of Human Rights.” The European Journal of International Law 19 (4): 656-657.

Inculturation emerged as a result of paradigm shifts in the missionary outlook of the Church necessitated by a heightened sense of culture, especially the plurality of cultures. This outlook saw culture as a tool for the transmission of the Gospel message to different frontiers. In view of this, dialogue with culture has passed from being an exception to the rule to becoming normative. Inculturation is a complex process, which must be undertaken gradually and critically. Overall, it aims to incarnate the Gospel in every culture by maintaining a healthy balance between tradition and progress. In this paper, the method of inculturation that is highlighted is the one developed by Charles Kraft and Anscar Chupungco known as “dynamic equivalence,” which seeks to build a “communicational bridge” between the Gospel message and human experience. This paper, therefore, embarks upon the discussion of faith-culture dialogue, keeping in mind Church’s efforts to proclaim the message of the Gospel: first, by first tracing the historical development of Inculturation, highlighting the Church’s disposition towards faith culture dialogue; second, by discussing the nature and dynamics of inculturation, focusing on its essential characteristics; and lastly, delineating the process of inculturation, which underscores dynamic equivalence as method. References Acevedo, Marcelo S.J., Inculturation and the Challenge of Modernity. Rome: Pontifical Gregorian University, 1982. Alberigo, Giuseppe “The Announcement of the Council: From Security of the Fortress to the Lure of Quest,” in History of Vatican II, 1 Announcing and Preparing Vatican II: Toward a New Era in Catholicism, ed. Giuseppe Alberigo and Joseph A. Komonchak. Maryknoll, NY: Orbis. 1-54. Aleaz, K.P. “The Theology of Inculturation Re-Examined,” Asia Journal of Theology 25, 2 (2011):232. Amalorpavadass, D.S. “Indian Culture. Integrating Cultural Elements into Spirituality” in Indian Christian Spirituality ed. By D.S. Amalorpvadass, Bangalore: NBCLC, 1982, 100. Arbuckle, Gerard A. “Christianity, Identity, and Cultures: A Case Study” The Australasian Catholic Report (January, 2013): 41-43. Arbuckle, Gerard Earthing the Gospel: An Inculturation Handbook for the Pastoral Worker. Maryknoll, New York: Orbis Books, 1990. Arevalo, Catalino “Inculturation in the Church: The Asian Context,” Landas 25 (2011): 83-134. Arrupe, P. 1978, “Letter to the Whole Society on Inculturation” Aixala (ed.) 3, 172-181. Barnes, Michael SJ, Theology and the Dialogue of Religions. Cambridge: Cambridge Unviersity Press, 2002. Bevans, Stephen SVD. “Revisiting Mission as Vatican II: Theology and Practice for Today’s Mission Church” Theological Studies 74 (2013): 26. Chupungco, Anscar. “Two Methods of Liturgical Inculturation: Creative Assimilation and Dynamic Equivalence” in Liturgy for the Filipino Church: A Collection of Talks of Anscar J. Chupungco, OSB given at the National Meeting of Diocesan Directors of Liturgy (1986-2004), ed. Josefina M. Manabat, SLD. Mendiola. Manila: San Beda College, Graduate School of Liturgy, 2004. 18-33. Chupungco, Anscar Liturgies of the Future: the Process and Methods of Inculturation. Collegeville Minnesota: A Pueblo Book, 1989. Chupungco, Anscar. “Liturgy and Inculturation,” East Asian Pastoral Review 18 (1981): 264. Costa R.O. (ed.) One Faith, Many Cultures: Inculturation, Indigenization, and Contextualization. Maryknoll: NY Orbis, 1988. Chupungco, Anscar in “Liturgy and Inculturation,” East Asian Pastoral Review 18 (1981): 264. De la Rosa, Rolando V. Beginnings of the Filipino Dominicans: History of the Filipinization of the Religious Orders in the Philippines, Revised Edition. Manila: UST Publishing House, 1990. De Mesa, Jose M. Why Theology is Never Far from Home. Manila: De La Salle University Press, Inc., 2003. Eilers, Franz-Josef. Communicating Between Cultures: An Introduction to Intercultural Communication. Fourth Updated Edition. Manila: Logos, Divine Word Publication, 2012. Federation of Asian Bishops’ Conferences, Resource Manual for Catholics in Asia: Dialogue. Thailand: FABC-OEIA, 2001. Follo, Francesco “Inculturation and Interculturality in John Paul II and Benedict XVI.” Retrieved 5 February 2014 from http://www.oasiscenter.eu/articles/interreligious-dialogue/2010/03/29/inculturation-and-interculturality-in-john-paul-ii-and-benedict-xvi quoting Ratzinger’s speech during the 25th anniversary of the John Paul II Institute for Studies on Marriage and Family, 11 May 2006. Genero, Bartolome. ed. Inculturazione della fede: Sagi Interdisciplinarii. Naple: Edizioni ehoniane, 1981. Gorski, John F. M.M., “Christology, Inculturation, and Their Missiological Implications: A Latin American Perspective,” International Bulletin of Missionary Research 28, 2 (2004): 61, Javier, Edgar G. SVD, Dialogue: Our Mission Today. Quezon City: Claretian Publication and ICLA Publications, 2006. Jeremiah, Anderson “Inculturation: A Sub-Altern Critique of K.P. Aleaz’ ‘Indian Christian Vedanta,’ The Asia Journal of Theology 21, 2. (October 2007): 398-411. Kraft, Charles H. Christianity in Culture: A Study in Biblical Theologizing in Cross-Cultural Perspective. New York: Orbis Books, 1980. Kroeger, James, H., “The Faith-Culture Dialogue in Asia: Ten FABC Insights on Inculturation,” oletin Eclesiastico de Filipinas 85, 870 (2009): 7-28. Masson, Joseph ‘L Église ouverte ser le monde’in NRT, 84 (1962) 1038. Mercado, Leonardo N. Inculturation and Filipino Theology, Asia Pacific Missiological Series 2. Manila: Divine Word Publication, 1992. Mercado, Leonardo N. Elements of Filipino Theology. Tacloban City, Philippines: Divine Word University, 1975. Mitchell, Nathan “Culture, Inculturation, and Sacrosanctum Concilium,” Worship 77, 2 (March 2003): 171-181. Pietrzak, Daniel Interculturality and Internationality: A Utopia or a Constructive Tension for a Franciscan Missiology? Retrieved September 9, 2014 from http://www2.ofmconv.pcn.net/docs/en/general/miscon06_india/Interculturality%20and%20Internationality%20%20a%20utopia%20or%20a%20constructive%20tension%20for%20a%20Franciscan%20Missiology.pdf Radcliffe, Timothy. “Inculturation,” Review for Religious (Sept – Oct 1994): 646-657. Schreiter, Robert. “The Legacy of St. Francis Xavier: Inculturation of the Gospel Then and Now” East Asian Pastoral Review 44 (2007): 17-31. Schreiter, Robert J. Constructing Local Theologies. Maryknoll, New York: Orbis Books, 1993. Shorter, Aylward Toward a Theology of Inculturation. Eugene, Oregon: Wipf and Stock Publishers, 1999. Stanley, Brian. “Inculturation: Historical Background, Theological Foundations and Contemporary Questions,” Transformation 24, 1 (January 2007): 21-27. Timoner, Gerard F. “Intercultural Theology as a Way of Doing Theology” in Philippiniana Sacra XLI, 121 (January-April, 2006): 75-46. Timoner, Gerard. “Theology of Inculturation: A Critical Appraisal,” Philippiniana Sacra XL no. 119 (2005): 322-325. Ustorf, Werner “The Cultural Origins of Intercultural Theology” Mission Studies 25 (2008): 229-251. Wijsen, Frans “Intercultural Theology” Exchange 30, 3 (2001): 222-230.

The Directory on Popular Piety and the Liturgy (DPPL) upholds that Christian worship originates and is brought to completion in the Spirit of Christ, which dispenses truthful liturgical devotion and realistic manifestations of popular piety. A vigorous engagement of evangelization and culture is embodied in the Sabuaga Festival, an Easter Sunday celebration in Sto. Tomas, Pampanga. It is a collaboration of the Catholic Church (St. Thomas the Apostle Parish) and the Local Government Unit (Sto. Tomas). This paper argues how a true and fruitful harmony between liturgy and popular piety is achieved in the Sabuaga Festival. Hence, the researcher articulates the following, namely: First, the dimensions of the Sabuaga Festival that make it an expression of popular piety. Second, the principles offered by DPPL for the true and fruitful harmonization of liturgy and popular piety. Third, the pastoral action plan, entitled: “An Authentic Pastoral Action of the Liturgy: Towards Building upon the Riches of the Sabuaga as a Popular Piety,” which provides suitable catechesis for the harmonization of Liturgy and Popular Piety in the Sabuaga Festival. References Archdiocese of Saint Paul and Minneapolis, “What Is ‘Liturgy’? Why Is It Important?” Accessed last March 29, 2021 from https://www.archspm.org/faith-and-discipleship/catholic-faith/what-is-liturgy-why-is-it-important/. Benedict XVI, Jesus of Nazareth. Holy Week: From the Entrance into Jerusalem to the Resurrection. London: Catholic Truth Society. Catholic Church. Catechism of the Catholic Church: Revised in Accordance with the Official Latin Text Promulgated by Pope John Paul II. Vatican City: Libreria Editrice Vaticana, 1997. Catholic Bishops’ Conference of the Philippines. Acts and Decrees of the Second Plenary Council of the Philippines. Manila: CBCP, 1992. Catholic Bishops’ Conference of the Philippines. Catechism for Filipino Catholics. Manila: ECCCE Word and Life Publications, 2008. Robert E. Alvis. “The Tenacity of Popular Devotions in the Age of Vatican II: Learning from the Divine Mercy,” Religions 12, 1 (2021): 65. https://doi.org/10.3390/rel12010065 Catholic Culture. “Catholic Activity: Liturgy of Easter Sunday and the Octave of Easter,” Accessed March 16, 2021 from https://www.catholicculture.org/culture/liturgicalyear/activities/view.cfm?id=1044. Chupungco, Anscar J. “Liturgical Inculturation: The Future That Awaits Us.” Accessed last 3 April 2021 from https://www.valpo.edu/institute-of-liturgical-studies/files/2016/09/chupungco2.pdf. Cole, Father. “St. John Damascene: Holy Pictures to the Rescue!” National Catholic Register. Last modified December 1, 1996. Accessed last March 31, 2021 from https://www.ncregister.com/news/st-john-damascene-holy-pictures-to-the-rescue. Coffey, David. “The Common and the Ordained Priesthood,” Theological Studies 58 (1997). Congregation for Divine Worship and Discipline of the Sacraments. Directory on Popular Piety and the Liturgy, Principles, and Guidelines. Promulgated on December 2001. Accessed from http://www.vatican.va/roman_curia/congregations/ccdds/documents/rc_con_ccdds_doc_20020513_vers-direttorio_en.html Deguma, Jabin J. Melona S. Case, and Jemima N. Tandag. “Popular Religiosity: Experiencing Quiapo and Turumba.” American Research Journal of Humanities & Social Science Vol. 2, 6 (June 2019). https://www.researchgate.net/publication/337158384_Popular_Religiosity_Experiencing_Quiapo_and_Turumba Duggan, Robert D. “Good Liturgy: The Assembly,” America: The Jesuit Review. Last modified, 1 March 2004. Accessed last 4 April 2021 from https://www.americamagazine.org/issue/475/article/good-liturgy-assembly Ecclesia in Asia, Post Synodal Exhortation solemnly promulgated by His Holiness: John Paul II on November 6, 1999. Accessed last March 29, 2021 from http://www.vatican.va/content/john-paul-ii/en/apost_exhortations/documents/hf_jp- ii_exh_06111999_ecclesia-in-asia.html. Estevez, Jorge Arturo Medina. “Popular Piety And The Life Of Faith,” Catholic Culture. Accessed March 31, 2021 from https://www.catholicculture.org/culture/library/view.cfm?recnum=4614. Evangelii Gaudium. Apostolic Exhortation on the Proclamation of the Gospel in Today’s World of the His Holiness Pope Francis promulgated on 24 November 2013. Accessed last 4 April 2021 from http://www.vatican.va/content/francesco/en/apost_exhortations/documents/papa-francesco_esortazione-ap_20131124_evangelii-gaudium.html#The_evangelizing_power_of_popular_piety Evangelii Nuntiandi Apostolic Exhortation, solemnly promulgated by His Holiness Pope Paul VI on December 8, 1975. Accessed last 30 March 2021 from http://www.vatican.va/content/paul-vi/en/apost_exhortations/documents/hf_p-vi_exh_19751208_evangelii-nuntiandi.html. Fifth General Conference of the Bishops of Latin America and the Caribbean convened in Aparecida (Brazil), from May 13 to 31, 2007. 258-265. Gueguen, John. “Jesus of Nazareth from Baptism in the Jordan to the Transfiguration Joseph Ratzinger-Pope Benedict XVI." Accessed last 14 March 2021, from http://my.ilstu.edu/~jguegu/BenedictXVIPart2.pdf?fbclid=IwAR2Ehr2_33BasxvvDnOGBEqaEz0VajyxpzfO2FYCq5Vi-j0et09a_St2PiU Graduateway. “Popular Piety: Emotive Christianity in Medieval Society Example.” Accessed last 11 December 2020 from https://graduateway.com/popular-piety-emotive-christianity-in-medieval-society/. Guardini, Romano. “The Spirit of the Liturgy.” Accessed last March 31, 2021 from https://www.ewtn.com/catholicism/library/spirit-of-the-liturgy-11203. Ivan About Town. “Pampanga: Easter Sunday Salubong, Pusu-Puso, and Sagalas of Santo Tomas.” Last modified, 6 April 2010. 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McEvoy, Bernice. “Why Do Catholics Wear Medals, Scapulars &amp; Venerate Relics?” St Martin Apostolate. Last modified July 8, 2019. Accessed last 4 April 2021 from https://www.stmartin.ie/why-do-catholics-wear-medals-scapulars-venerate-relics/. Mirus, Jeff. “Vatican II on the Liturgy: Particular Norms and the Eucharist,” Catholic Culture. Last modified 11 February 2010. Accessed last March 29, 2021 from https://www.catholicculture.org/commentary/vatican-ii-on-liturgy-particular-norms-eucharist/. Musicam Sacram, Second Vatican Ecumenical Council Instruction on Music in the Liturgy solemnly promulgated on 5 March 1967. 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