This affords some useful insights, since millennialism has been predominantly a Protestant phenomenon. After presenting a glossary of the rather arcane terminology of millennial believers , he introduces his topic by emphasizing the tendency of those believers to form themselves into cults. It is a useful theme, although throughout the book the author tends to overstate the tendency of millennialists to resort to violence. There follows in the first chapters a clear presentation of the evolution of ideas of the Millennium from the Bible through their several important manifestations in the Roman Empire and the Middle Ages. His presentation would have benefited, however, by utilization of Norman Cohn's The Pursuit of the Millennium, a book whose theme is virtually identical with Baumgartner's and while questionable in some of its conclusions, is rich in its evocation of the broader historical context.
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Academic journal article The Catholic Historical Review. Historia y Sentido del Arte Cristiano. By Juan Plazaola. Madrid: Biblioteca de Autores Cristianos. Pp xii, This is an ambitious, single-volume encyclopedia that may be used as a resource for facts, for lists of artists and works of Christian art from its origins to the present, but with caution.
It is limited by a largely dated historiography, especially for the premodern periods. The organization of historical periods, partitioned regionally or nationally, into architecture and visual art by media, usually resolves into style histories, intellectual histories, and occasional iconographical commentary, followed by text excerpts. In keeping with an organization that derives in part from its encyclopedic scope and in part from formalist conventions, a limited social or political history that would oblige style to be historicized, limits the interpretive usefulness of such a range of information.
For example, the critique of luxury, a powerful modality in ecclesiastic history, is omitted. Eusebius' ekphrasis of the Holy Sepulchre is included among the sources. Jerome's aggressive rejection of luxury building is not, although the history of the Church and its lavish art and architecture is punctuated by this debate, in which Jerome's phrases were periodically revived in disputes that ultimately informed the Reformation.
In a work about Christian art, the seigneurial rank of clergy, who exercised broad authority over the spiritual and material lives of their subjects, is absent, and consequently the history of communal rebellions which accompanied the transformation of Europe's topography by ever larger, technically advanced and increasingly lavish churches.
Accordingly, new interpretations of images at key sites, Vezelay and Chartres for example, as explicit responses to local and hostile environments is also absent.
In its place, represented by Chartres, the entire range of obsolete paradigms and historical myths about community and cooperation are repeated. This is not strictly the author's problem. These myths have had an astonishing resilience that invites an examination of their reception and reproduction. Seftor Plazaola's account of Christian art does not present a pious or naive history, but rather a clean and victimless one.
With a few exceptions the Inquisition is referenced in the singular and as an aberration , this history is stripped of the discomforting events for which the contemporary church has begun to apologize.
Each chapter is introduced by a brief narrative Historical Frame , usually comprised of political events, followed by a discussion of art and architecture which tends toward formal descriptions and the necessary lists of an encyclopedic project.
Contexts are provided by the author's concluding sections Significance. Nonetheless, opportunities are missed that might have made the historical frame more pertinent to the works discussed. The Reformation is introduced by a review of the doctrinal range of Protestant confessions and their critiques of Rome, which recognizes abuses that prompted the reform movement.
We might expect reproaches of ambitious popes, simoniacs, excessive centralization and super-institutionalization, therefore, to appear here rather than at the end of the book. There follows a lengthy list of disastrous iconoclastic attacks on churches, images, and shrines. Luther fares well in this account for his tolerant views toward art, as opposed to "the fanatical Zwingli. An unknown error has occurred.
Academic journal article The Catholic Historical Review. Historia y Sentido del Arte Cristiano. By Juan Plazaola. Madrid: Biblioteca de Autores Cristianos. Pp xii,
Historia Y Sentido del Arte Cristiano
Saltiri Chludov. Immaculada de Murillo. El blanc un "no color" simbolitza la puresa i s'identifica amb la llum. Mural de les primeres catacumbes , Roma, Segle IV.
HISTORIA DEL ARTE CRISTIANO
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