This e-book addresses the matter of Milton's poetics of the fervour, a practice he revises by means of turning clear of past due medieval representations of the crucifixion and drawing as a substitute on previous Christian photographs and replacement innovations.
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Extra info for Milton and the Reformation aesthetics of the passion
30 30 chapter one Gerbier also mentions a sculpture of Christ by Michelangelo at the Minerva church; the paintings of Raphael at the Palace of Guisi; the works of Bronsino at Monte Giordano; the works of Holbein and Michelangelo at Cardinal Cresentio; and many other individual works and locations housing Italian paintings and sculptures. Though Gerbier’s royalism sets him at odds with Milton’s point of view, his survey at the least indicates the variety of works available, even unavoidable, for the English traveler to Italy.
In J. B. Trapp, “Iconography,” in John Milton: Introductions, ed. J. B. Broadbent (Cambridge: Cambridge University Press, 1973), 162. 20 See G. Stanley Koehler, “Milton and the Art of Landscape,” Milton Studies 8 (1975): 3–40; Marjorie Garber, “Fallen Landscape: The Art of Milton and Poussin,” ELR 5 (1975): 96–124; and Wylie Sypher, Four Stages of Renaissance Style (Garden City, NY: Doubleday, 1955). 21 Roland Mushat Frye, Milton’s Imagery and the Visual Arts: Iconographic Tradition in the Epic Poems (Princeton: Princeton University Press, 1978), 7.
10 In the passion, Jesus could be shown as a sacrifice, a second Adam, the Man of Sorrows, or in the Christus Patiens (Christ suffering) mode. Artists could depict Christ dead or alive, or to attempt to capture both states. ”11 Visual artists also Chong, 13–14. See Schiller for examples of each of these types of Christ figure. 10 One example of this technique is the mosaic series at S. Apollinare Nuovo in Ravenna; this sequence includes many scenes from the passion but omits any image of the crucifixion.
Milton and the Reformation aesthetics of the passion by Henriksen