骚货视频

In 1290, at the height of the cult of the Virgin, Pope Nicholas IV dedicated the Orvieto Cathedral to the Assumption of the Virgin and decreed that it mirror the basilica of S. Maria Maggiore in Rome. The two Marian programs in the Cappella Maggiore鈥攐riginally the high chapel and locus of Mary鈥檚 cult, now the chancel鈥攁re shown to reflect that plan. Giovanni di Bonino da Assisi鈥檚 stained-glass window (1334), presents twenty-two Marian and Christological narrative panels that alternate with twenty-two prophets both horizontally and vertically that relate to each other in a heretofore unnoticed typological pattern. Local artist Ugolino di Prete Ilario鈥檚 forty-frame Marian fresco cycle (1370- 1384) is among the few programs outside of Rome to focus primarily on her life; it also chronicles her spiritual development. While both artists give new life and deeper meaning to traditional scenes, each includes rarely depicted events to fill an iconographic or liturgical void, uphold a dogma, or celebrate the church universal. Both artists promote agendas related to the cathedral鈥檚 corporal relic and the cult of Corpus Christi, and give unprecedented attention to Joseph鈥檚 vital role in salvation. The rhetorically driven arrangements of scenes, the complex iconography, and the role of the liturgy suggest advice from mendicant theologians. Finally, each program represents its artist鈥檚 masterpiece as well as the best work of their generations in their respective media in central Italy.聽