| Popis: |
Images are among the most precise and durable traces of human thought and action. All the paintings discussed in this chapter embed or invoke the cross in the presence of the Christ Child to convey the thoroughly familiar yet nameless relationship between his incarnation and sacrifice. All of them do so with studied investment in a conscious, gradual, and precious labour of seeing. The chapter also pursues indirection based on the substance of the cross rather than its shape, but with an unusual temporal dimension. Piena di grazia is a phrase best known as part of Gabriel’s salutation to Mary, but in Vasari’s time it was no less famously applicable to the art of Parmigianino. The insinuated or hidden cross was persistently appealing to Renaissance artists in part because it enlivens a point of theology so elemental as to seem almost obvious. Keywords:ligPiena di grazial/ig; Christ Child; Renaissance painting; The Cross |
