MARC Record from harvard_bibliographic_metadata

LEADER: 07502cam a2200529 i 4500
001 013339776-9
005 20130327130226.0
008 111212t20122012caua b 001 0 eng
010 $a 2011051002
016 7 $a016163404$2Uk
020 $a9781606061169 (pbk.)
020 $a160606116X (pbk.)
035 0 $aocn768728939
040 $aDLC$erda$beng$cDLC$dYDX$dBTCTA$dUKMGB$dYDXCP$dBWX$dERASA$dCDX$dCOO$dBDX$dPUL$dSTF$dORZ
041 1 $aeng$hita
042 $apcc
050 00 $aBR115.A8$bP3513 2012
082 00 $a246$223
100 1 $aPaleotti, Gabriele,$d1524-1597,$eauthor.
240 10 $aDiscorso intorno alle imagini sacre e profane.$lEnglish
245 10 $aDiscourse on sacred and profane images /$cGabriele Paleotti ; introduction by Paolo Prodi ; translation by William McCuaig.
260 $aLos Angeles, CA :$bGetty Research Institute,$c[2012], ©2012.
300 $axiii, 353 pages :$billustrations ;$c26 cm
336 $atext$2rdacontent
337 $aunmediated$2rdamedia
338 $avolume$2rdacarrier
490 1 $aTexts & documents
500 $aThis volume translates Gabriele Paleotti, Discorso intorno alle imagini sacre e profane (printed in Bologna, 1582).
504 $aIncludes bibliographical references and index.
505 0 $aThe main intention of the present treatise concerning the abuse of images -- What we mean by the word "image" -- Elements to be considered in every image -- On the origin of all images -- Whether the introduction of images preceded that of books, and the extent to which they go together -- Whether the art of forming images ranks with the noble or ignoble arts -- When exercised in a Christian way, the art of forming images is of the utmost nobility -- Examples of some painters, sculptors, and other formers of images who were numbered among saints and the blessed, or renowned for the exemplary goodness of their lives -- On painting and sculpture and other arts engaged in the making of images -- All images fall under two main headings : the sacred and the profane -- Which images are called profane -- On the reasons profane images were introduced -- The meaning of "idols," "simulacra," "graven image," "cast image," and "likeness" -- On the origin of idols and simulacra --
505 0 $aThe occasion of the introduction of idols and simulacra into the world for the first time -- Which images are called sacred -- On the antiquity and origin of sacred images -- Why sacred images were introduced among the Christian people -- On the proper and particular end of Christian images -- Christian images relate to God, ourselves, and our neighbor -- On the similarity between the office and end of the Christian painter and those of the orator -- On the delight that Christian images bring -- Christian images are of great service for teaching the people to live rightly -- Other reasons proving the helpfulness of Christian images in instructing the people -- Christian images have great power to move the feelings of persons -- On the various remarkable effects produced by pious and devout images -- How much force the Demon has used to get rid of sacred images among the Christian people --
505 0 $aAuthorities form holy scripture, the high pontiffs, and the councils that prove the use of sacred images -- Ancient examples cited by various Greek and Latin authors that prove the use of images -- What the true mode is of venerating sacred images in a Christian manner and the cult that is due them -- One th difference between Christians and pagans in adoring images -- Whether the same cult is owed to a sacred image as the cult suitable to its "imaged" prototype, and whether this is a single act, and how -- When Christians adore images today, the danger of their committing idolatry is utterly remote --
505 0 $aBeing unable to get rid of the use of images, the Demon tries to fill them with abuses -- On the things that can and cannot be depicted, and the order to be followed in the present book -- On sacred pictures that sin in matters of faith, and first on what are called rash pictures -- On scandalous pictures -- On erroneous pictures -- On suspect pictures -- On heretical pictures -- On superstitious pictures -- On apocryphal pictures -- On pictures of Jove, Apollo, Mercury, Juno, Ceres, and other false gods -- On pictures of male and female saints or other religious subjects -- Abuses in profane pictures and whether they are admissible from a Christian perspective -- Profane pictures are not suitable in churches -- On the images of pagan emperors, tyrants, and other persecutors of the Christian name -- Replies to various objections int he matter of possessing images of pagan emperors and others like them --
505 0 $aAmong images of philosophers, orators, poets, captains, or other pagans, which should be allowed -- On the statues set up by Christian peoples in honor of their ruler -- On statues that Christian rulers erect to themselves -- On images from nature, which are called portraits -- On portraits of others -- Portraits of lovers : guidelines for painters in dealing with them -- On portraits of heretics -- In portraits of saints -- On profane pictures representing various things, such as battles, landscapes, edifices, animals trees, plants, and others -- Abuses common to sacred and profane pictures -- On nonverisimiliar pictures -- On disproportionate pictures -- On imperfect pictures -- On vain and otiose pictures -- On ridiculous pictures -- On pictures that bring novelty and are unusual -- On pictures that are obscure and difficult to understand -- On indifferent and uncertain pictures -- On fierce, horrendous pictures -- On monstrous and prodigious pictures --
505 0 $aOn the paintings called grotesques and whether in antiquity they were used only in underground places or also in buildings above ground -- Various opinions on the origin of paintings of grotesques -- Other reasons for the origin of grotesques and why they were called that -- The reason why grotesques have been so embraced by both ancients and moderns and have kept their name -- Grotesques are hardly suitable elsewhere today, and not at all in churches -- Response to various objections commonly adduced in defense of grotesques -- On pictures of the virtues and vices and the great difficulty in representing these -- A few guidelines for representing images of the vices and virtues -- On pictures of symbols -- On pictures in imprese -- On pictures of family arms -- Family arms are unsuitable in churches -- Why spiritual books may bear the name of the author, but family arms are unsuited to sacred pictures --
505 0 $aOn family arms set up in churches, relative to the intention of donors who affix them and relative to the opinion that may be formed by those who view them -- A few general warnings set down by authors to be observed in every picture so that it may satisfy everyone -- COnclusion on what we judge most necessary so that the things depicted will be commended by all.
650 0 $aArt and religion$zItaly$vEarly works to 1800.
650 0 $aChristian art and symbolism$zItaly$vEarly works to 1800.
650 0 $aChristianity and art$xCatholic Church$vEarly works to 1800.
650 0 $aPainting, Italian$xThemes, motives.
700 1 $aMcCuaig, William,$d1949-$etranslator.
700 1 $aProdi, Paolo.
830 0 $aTexts & documents.
899 $a415_565536
988 $a20120830
049 $aHLSS
906 $0DLC