This book offers a fresh perspective on Michelangelo’s well-known masterpiece, the Vatican Pietà, by tracing the shifting meaning of the work of art over time. Lisa M. Rafanelli chronicles the object history of the Vatican Pietà and the active role played by its many reproductions. The sculpture has been on continuous view for over 500 years, during which time its cultural, theological, and artistic significance has shifted. Equally important is the fact that over its long life it has been relocated numerous times and has also been reproduced in images and objects produced both during Michelangelo’s lifetime and long after, described here as artistic progeny: large-scale, unique sculpted variants, smaller-scale statuettes, plaster and bronze casts, and engraved prints. The book will be of interest to scholars working in art history, Renaissance studies, early modern studies, religion, Christianity, and theology.

As advertised in The New York Times Book Review, December 6, 1992 & Other Publications. Over 60,000 copies sold in the Vatican Museums since 1975. Now in its 4th printing. 150 PHOTOGRAPHS & TEXT IN 6 LANGUAGES BY ROBERT HUPKA. 9" X 6" soft cover high quality art book. New ISBN 0-9635132-0-6 Only $8.95. "I have never seen a book like it. It combines a highly original appraisal & sensitive technique with a totally miraculous subject & really ought to be better known."--Art Historian, Sir Ernst Gombrich. A Timeless Gift. At bookstores or prepaid (plus $3.00 postage) order from THE DISTRIBUTORS, 702 South Michigan, South Bend, IN 46601. Telephone: (219) 232-8500. Also available at St. Francis Book Shop, 135 West 31st Street, New York, NY 10001. Telephone: (212) 736-8500, Ext. 324.

This study explores the phenomenon of the cults of Raphael and Michelangelo in relation to their death, burial, and posthumous fame—or second life—from their own times through the nineteenth century. These two artists inspired fervent followings like no other artists before them. The affective response of those touched by the potency of the physical presence of their art- works, personal effects, and remains—or even touched by the power of their creative legacy—opened up new avenues for artistic fame, divination, and commemoration. Within this cultural framework, this study charts the elevation of the status of dozens of other artists in Italy through funerals and tomb memorialization, many of which were held and made in response to those of Raphael and Michelangelo. By bringing together disparate sources and engaging material as well as a variety of types of artworks and objects, this book will be of great interest to anyone who studies early modern Italy, art history, cultural history, and Italian studies.

Today most of us enjoy the work of famed Renaissance artist Michelangelo by perusing art books or strolling along the galleries of a museum—and the luckier of us have had a chance to see his extraordinary frescoes on the ceiling of the Sistine Chapel. But as Bernadine Barnes shows in this book, even a visit to a well-preserved historical sight doesn’t quite afford the experience the artist intended us to have. Bringing together the latest historical research, she offers us an accurate account of how Michelangelo’s art would have been seen in its own time. As Barnes shows, Michelangelo’s works were made to be viewed in churches, homes, and political settings, by people who brought their own specific needs and expectations to them. Rarely were his paintings and sculptures viewed in quiet isolation—as we might today in the stark halls of a museum. Instead, they were an integral part of ritual and ceremonies, and viewers would have experienced them under specific lighting conditions and from particular vantages; they would have moved through spaces in particular ways and been compelled to relate various works with others nearby. Reconstructing some of the settings in which Michelangelo’s works appeared, Barnes reassembles these experiences for the modern viewer. Moving throughout his career, she considers how his audience changed, and how this led him to produce works for different purposes, sometimes for conventional religious settings, but sometimes for more open-minded patrons. She also shows how the development of print and art criticism changed the nature of the viewing public, further altering the dynamics between artist and audience. Historically attuned, this book encourages today’s viewers to take a fresh look at this iconic artist, seeing his work as they were truly meant to be seen.

Grace is the heart of the Christian gospel. It's a doctrine that touches the very depths of human existence and makes Christianity such an essential alternative to the dissolution and nihilism of modern culture. Grace Alone guides you into a better doctrinal understanding of the issue and gives you a more glorious vision of an active and saving God. The language of grace fills the Bible so much that to say "grace alone" may not evoke much reflection. Unlike "faith alone," there's no theological controversy among expressions of Christianity. Reviving one of the five great declarations of the Reformation (and one of the more overlooked)—sola Gratia—professor and church historian Carl Trueman: Provides a thorough definition of grace as it's found in the Bible and an overview of biblical references to, and teaching on, grace. Tracks the doctrine of grace as it's been articulated throughout church history, with discussions of Augustine, Pelagius, Thomas Aquinas, and ending with the Reformation and theologies of Luther and Calvin. Looks at the relationship between the means of grace and the modern church, defining the practical implications of the Reformation's understanding of grace. Explanations throughout on the relationship of grace to sin, salvation and glorification, God's sovereignty, the sacraments, and the controversies regarding freewill and predestination. Grace Alone is a beautiful and much-needed revival of this foundational doctrine and the assurance of salvation. —THE FIVE SOLAS— Historians and theologians have long recognized that at the heart of the sixteenth-century Protestant Reformation were five declarations, often referred to as the "solas." These five statements summarize much of what the Reformation was about, and they distinguish Protestantism from other expressions of the Christian faith: that they place ultimate and final authority in the Scriptures, acknowledge the work of Christ alone as sufficient for redemption, recognize that salvation is by grace alone through faith alone, and seek to do all things for God’s glory. The Five Solas Series is more than a simple rehashing of these statements, but instead expounds upon the biblical reasoning behind them, leading to a more profound theological vision of our lives and callings as Christians and churches.