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Abstract

Stained glass windows created by Jean-Pierre Raynaud and Pierre Soulages for the Abbeys of Noirlac and Conques employ a minimalistic style sensitive to their Romanesque contexts but also express qualities one might call Cistercian, even though only one of the commissions was created for an actual Cistercian abbey. As a form of monasticism, “Cistercian” signifies values of simplicity, poverty, and austerity presented by the founders of the Cistercian Order as essential to the monastic life and embodied in the rigor of their architecture. Natural light is a key element in Cistercian fenestration, differing significantly from the display of color associated with Gothic stained glass. I argue that a form of neo-Cistercianism is evident in and exemplified by the works of Raynaud and Soulages for their respective abbey commissions, in which an aesthetic of restraint and economy aims, above all, to treat the configuration of light as the primary consideration.

Open Access
In: Religion and the Arts
In: Journal of American-East Asian Relations
A Jesuit Life in Baroque Rome
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As a key figure in baroque Rome, Sforza Pallavicino embodies many of the apparent tensions and contradictions of his era: a man of the church deeply involved in the new science, a nobleman and courtier drawn to ascetism and theology, a controversial polemicist involved in poetry and the arts. This volume collects essays by specialists in the fields and disciplines that cover Pallavicino’s activities as a scholar, author and Jesuit, and situate him within the Roman cultural, political and social elite of his times. Through the figure of Pallavicino, an image of baroque Rome emerges that challenges historical periodisations and disciplinary boundaries.

Contributors: Silvia Apollonio, Stefan Bauer, Eraldo Bellini, Chiara Catalano, Maarten Delbeke, Maria Pia Donato, Federica Favino, Irene Fosi, Sven K. Knebel, Alessandro Metlica, Anselm Ramelow, Pietro Giulio Riga, and Jon R. Snyder.