ATHANOR XIII Francois Bucher A Stepless Walk through the Louvre Areli Marina Gislebertus’s Eve: An Alternative Interpretation of the Eve Lintel Relief from the Church of Saint-Lazare, Autun Joanna Minich The Art of the Spiro Warrior: Engravings in Shell from the Spiro Site Matt Landrus Caravaggism in the Work of Guido Reni Amber McAlister Blazer From Icon to Relic: The Baroque Transformation of the Salus Populi Romani Mary Parke Luttrull Rosedown Plantation Gardens: The Evolution of a Southem Masterpiece Catherine Morris Westcott ‘The Sublime and the Millennialist in John Martin's Mezzotints for Paradise Lost Louly Peacock Konz Marie Bashkirtseff (1858-1884): La dame en blanche” Marie Watkins August Macke and Native American Imagery Karen A. Trella The Parodic Strategies of Jasper Johns ATHANOR XII: Frangois Bucher, Faculty Advisor, Department of Art History Allys Palladino-Craig, General Editor, Florida State University Museum of Fine Arts Press Julienne T. Mason, Senior Editorial Assistant & Designer, Florida State University Museum of Fine Arts Press ‘Typography and Design: Florida State University Museum of Fine Arts Press Printing: Rapid Press, Tallahassee Gislebertus's Eve: An Alternative Interpretation of the Eve Lintel Relief from the Church of Saint-Lazare, Autun, by Areli Marina won the Giinther Stamm Prize for Excellence at the 1994 Art History Graduate Student Symposium. 31 B st 63 n 79A Stepless Walk through the Louvre ‘A computer company recently advertised A Walk through the Louvre, painting by painting, stop action lingering on shades of patina, the lips of Mona Lisa, For me it began in Florence, 1989. An air-conditioned bus replete with tourists staring at 5x 5” television screens stops in front of the fagade of the Academia, The guide intones: "Here you can view the famous David by the divine Michelangelo. Go from the entrance along the corridor, you'l find the sculpture in the rotunda...” Three tourists stumble out while the others ‘watch the fluid images taken by a tuning camera, caressing the boy from toes to the furrowed brow. Pari, air-conditioned bus, "Mesdames, Messieurs, here is the famous cathedral of Notre Dame...” Six tourists enter the building. The eyes of the others remain riveted on the little screens where capitals blossom, piers energetically rise toward the vaults, and the brilliance of the stained glass emerges faultlessly, accompanied by a soft explanatory voice and Gregorian chant, One tourist comments: "You can really see more if you stay inthe bus, fantastic details, vivid colors; it would take hours to discover all this.” Teletourism, It took several centuries to develop a viable alphabet, at least five decades to introduce movable type, about 25 years to perfect electronic screens, half of that to create computer imagery and around the comer virtual reality. By 2010 wall sized screens of what then might be called "virtuoso imagery” will be standardized. ‘The best results will be in a windowless room. One wall dedicated to bring up any of thousands of programs, ¢gladiatoril battles, wildlife in the former Everglades, Margot Fonteyn dancing Swan Lake, etc. A work wall for the projec- tion of published texts, lengthening shadows produced by high- rises, oscillating musical compositions accompanied by ‘mathematical explanations. Yet another wall is dedicated to shopping worldwide, ordering a netsuke from a small shop in Taiwan, browsing at Tiffany's, lingering over the Royal treasures in the Tower of London, or attending an auction at, Christie's. The third wallis given toutitities. Butah the ceiling! A planetarium with clouds or thunderstorms, and to wake up to magnificent sunrises framed by palm fronds. ‘Architecture will need to be nothing but ferroconcrete cubes and architects would therefore create ever more virtual structures rotating in or zooming through space, or Shangri Las ‘on the ocean bottom. It's happening already in Tee Vee. Looking over the contents of ATHANOR XIII a 2ist century reader could wonder if most of the illustrations accompanying the essays could not have been immeasurably, enhanced through the use of virtual reality. Marina's Autun Eve could be repaired and colorized to approximate the original pigmentation. We might be able to determine if the S shape at the rights indeed a snake. Is Eve perhaps as innocent as achild ignoring a viper and thus not about to lose her state of grace” Wouldn't Minich’s essay on the Spiro Site be infinitely improved if we could "walk" around the mound, and visually touch” the shell engravings she so carefully explains? Or imagine Guido Reni's Crucifivion of St. Peter brought up tothe third dimension, which he tried to achieve at any cost; accompanied by the commentaries of Landrus and perhaps the ‘groans of the Apostle? Wouldn't Reni’s painting of Lot's daughters be enhanced if their hands moved suggestively? Thave for years negotiated with laser specialists asking them to produce images of interiors, giving a spectator in ‘motion an illusion of the third dimension. Virtual reality would immeasurably more enhance a walk through the Capella Paolina, whose kaleidoscopic splendor cannot be described even in Blazer's words. Or, imagine a walk through the gardens cof Rosewood Plantation, being given a sense of scale, taking in the whisper of a breeze, and admiring the glorious colors ofthe flower arrangements. Both Luttrul’s and Blazer's essays are crying out for the third dimension, as are Westcott's ‘magnificent landscapes of the Millennialists, Their incredible istas akin to the contemporary concepts of wormholes, the infinite views imbued with tempestuous visions of catastrophes are the bread and butter of science fiction films. Our seemingly bizarre exercise leads to this question: Will society replete with any choice and any type of virtual reality still be in need of traditional art, and if $0, what might these ‘works—instantly globally transmittable—look like? Itis interesting to note that the last three essays by Kon7, Watkins and Trella might provide an answer since the works they discuss are least easily “virtualized.” Portraits, photo- ‘graphs and objects transform “real life” and even motion into Static, immovable icons: they fix a moment, they stop time. ven the most dramatic photographs such as Robert Cay Spanish Civil War soldier being shot (1937) or Eddie Adams’ execution of a Vietnamese traitor (1968) remain frozen and suspended in deadly action. Portraits possess an iconic quality, catching” the sitter in a position which will remain unchangeable and therefore more memorable than action in paintings or photographs. A reversal of reality takes place in Macke's paintings in which strong intemal frames consisting of trees, planar buildings, flat hills prevent the motion of figures, His compositions encapsulate action and evoke immutable siillness. In spite or perhaps because of the palimpsests in Jasper John's flags, they remain as stable as a stone floor invaded by ants. And so do Duchamp's Objets Trowvés which, because they are not what they seem, enter the realm of virtual reality. Dare we hope that the future innumerable panoramas flicked onby the touch ofa switch will still be discernible from ‘outside reality"? And will accepted art become relevant only because it is NOT what it seems? Frangois Bucher Professor of Art History and Faculty AdvisorFrom Icon to Relic: The Baroque Transformation of the Salus Populi Romani Amber McAlister Blazé In partial response to the Protestant denunciation of sa- cred images, the Counter-Reformation Church in Rome init ated a widespread program to resanctify holy icons." The re- newed importance of such images for the renovatio of the Church was stated emphatically by the elaborate Baroque vo- cabulary employed in their re-installation, An important ex- ample of this process is seen in the tomb chapel erected by Paul V at S. Maria Maggiore and its altar that houses the icon, today known as the Salus Populi Romani (Figure 1) Because of the long and revered history of the icon, the papal patronage of the site, and the nascent Baroque style used for the altar itself, the Pauline installation serves as a paradigm for the Counter-Reformation display of icons. In its new setting, em- bedded in a series of gold and marble frames, the Salus Populi ‘Romani is revealed to be not simply a painted image of the Madonna and Child, but a relic, the precious remains of the Incamation itself. ‘The program at the Pauline Chapel, initiated in 1605 and completed a decade later, is anticipated by the re-installation “This paper was developed inthe £993 fall quarter seminar conducted by Professor Shelley Zara. T wish to express my thanks to Dr Zara for ‘ner inspiration and encouragentent with his projet. I would also ike 10 ‘hank the School of Art atthe University of Georgia for its continued Financial support of this underaking. \ Emile Mile rt Religieecaprés le Conile de Trene (Paris: A. Coin 1922) esp. 29.36, Howard Hibbard, "Ur pleura sermones: The Fist Painted Decoration ofthe Ges. in Barague Art: The Jesuit Cnribu tion, ed, Rug Watkower and rma Jat (New York: Fordham Univer: sity Press, 1972) 30; and Rudolf Witkower, Art and Architecture in uals, 160010 1730 Ge. Harmondyworh: Penguin Books. Lid, 1991) 21-25. For iconographic issues relating to icons and especialy their ole {nthe Counter Reformation, se the recent publication by Hans Belt- ing, Likeness and Presence: A History ofthe Image before the Era of ‘Attra. Edun Jephcot (Chicago: The Unversity of Chicago Press, 1994), See also David Freedberg, “The Origins and Rise of the Flemish Ma- ddonnas in Flower Garlands: Decoration and Devotion.” Minchner Jahrbuch der Bldenden Kunst 32 (1981): 115-130: and Sylvia Pagdes, "Prom Cult Images tothe Cult of Images: The Case of Raphael's Aat= pieces," in The Altarpice inthe Renaissance ed. Peter Humfeey and ‘Matin Kemp (Cambridge: Cambridge University Press, 1990) 178, ‘Alexandra Herz discusses the tombs and their chapels a reflections of CCounter-Reformation thought in The Stine and Pauline Tombs in St Maria Maggiore. An Iconographical Study (Aan Arbor, Mich: Uni- ‘versity Microfilms, 1974: and ina summary of her dissertation, “The Sistine and Pauline Tombs. Documents of the Counter Reformation.” Storia de’Avte 43 (1981): 241-262. See ako Klaus Schwager, "Die of of another revered icon at the Chiesa Nuova.’ This contempo- rary project anticipates the formal solution employed at the Pauline altar. In 1606, the Oratorian fathers of S. Maria in Vallicella commissioned a painting from Peter Paul Rubens for the high altar oftheir new church, the Chiesa Nuova. One of their requirements was that it should incorporate the miracu- lous image of the Madonna and Child which the fathers had preserved from their old church. Rubens finished the canvas of Sis. Gregory and Domitilla, Surrounded by Four Saints [Sts. Maurus and Papianus, Nereus and Achilleus] in 1607.5 Be. cause of the poor light in the church the painting was unread- able, and the Church fathers asked Rubens to tedo the work on a non-reflective surface. Instead of merely copying the com- position on stone, in 1608 the painter came up with an entirely new arrangement that emphasized the venerated image (Fig- ure 2). He removed the four flanking saints to two separate side panels, thereby focusing on the central scene. As in the previous version, the miracle-working image was concealed behind a copper panel that was, in tar, painted with Rubens’ Architehtonische Exncucrung von $, Maria Maggiore unter Paul V, Romisches Jahrbuch fr Kunstgeschechte 20 (1983): 241-327. 5 See Torgil Magnuscn, Rome inthe Age of Bemini, vol. 1 (Stockholm, ‘Sweden Almgsist & Wiksell, 1982) 162; and Ike von zur Mublen, "Nachtridentineishe Bildauffassungen: Cesare Baronio und Rubens Gere fr, Maria in Vallicella in Rom,” Minchner Jahrbuch der Bildenden Kunst $1 (1990): 46, and 11 ‘The parallels between these two shars has also een drawn hy Gerhard ‘Wolf in his recent tice "Regina Cosi, Facies Lunas, et i terra pa Ramisches Jahrbuch der Bibliotheca Herziana 21728 (1991/92): 23 4331. Here, the author explores the iconography ofthe Treo pros 25 well asthe relationship ofthe decoration ofthe chapel 10 te installa. tion ofthe icon tthe all Regarding this commission see: Michael Jaf, "Peter Paul Rubens ant the Oratorian Fathers," Proporsioni 4 (1963): 209-241; J. Muller “Rubens first bozztto for Sa. MaiainValicel,” Burfingion te 106 (1964): 442-451; Martin Warnke, "Ralienische Bildibernakel bis zam Frharock,” Munchaer Jar der Bildenden Kur 19 (1968): 61-102: Michael lalfé, Rubens and aly (hea, New York: Comell University Press, 1977) 85.99: Volker Hermer, "Honor refertured protoypa: Nocheinmal zu Rubens Altarwerken fr die Chest [Nuova in Rom," Zeitschrift fir Kunstgeschichte 42 (1979): 117-132: Julius Held, The Oil Skrches of Peter Paul Rubens, vol. | (Princeton, Nd Princeton Univesity Press, 1980) 537-545: and Peter Suton, ed The Age of Rubens, exh cat, Boston, Museum of Fine Arts, September 22, 1993 January 2, 1994 (New York: Harty N. Abrams, In. 1993) 226-231,