Papers by Meghan Callahan
Tamar Herzig. A Convert’s Tale: Art, Crime, and Jewish Apostasy in Renaissance Italy
Canadian Journal of History
Contemporaneity: Historical Presence in Visual Culture, 2019
Book Review: Sandra Cardarelli and Laura Fenelli, eds., Saints, Miracles and the Image: Healing S... more Book Review: Sandra Cardarelli and Laura Fenelli, eds., Saints, Miracles and the Image: Healing Saints and Miraculous Images in the Renaissance. Tournhout: Brepols, 2017. 318pp; 87 color ills.; 30 b/w ills. Hardcover €120.00 (9782503568188)
Bronzino, Giambologna Adriaen Devries
A Scarlet Renaissance
Suor Domenica da Paradiso as alter Christus: Portraits of a Renaissance Mystic
The Sixteenth Century Journal: The Journal of Early Modern Studies, 2012
This article examines the highly unusual iconography in a drawing of the mystic and stigmatic Suo... more This article examines the highly unusual iconography in a drawing of the mystic and stigmatic Suor Domenica da Paradiso (1473– 1553) as alter Christus. A Dominican tertiary from a lower- class background and influenced by Savonarola, Suor Domenica founded and built the convent of La Crocetta in Florence in 1511. Probably drawn by her confessor, Francesco da Castiglione (1466–1542), Suor Domenica is depicted displaying her stigmata while in the midst of a vision of the crucified Christ, shown opposite her on the page, affxed with four nails to a Y- shaped cross. The drawing departs from traditional imagery of stigmatics, and the iconography was abandoned in favor of more conservative portraits of Suor Domenica during the seventeenth- and eighteenth-century canonization attempts made by her followers.
Antonio del Ceraiuolo at la Crocetta and a note on Lorenzo di Credi's niece
The writer provides evidence of the dating and original location of Antonio del Ceraiuolo's p... more The writer provides evidence of the dating and original location of Antonio del Ceraiuolo's panel depicting Christ on the road to Calvary, which was completed for the high altar of the church of the convent of la Crocetta in Florence. She also provides a note on Benedetta, a nun at La Crocetta and a niece of of Lorenzo di Credi, who taught del Ceraiuolo.
Nuns’ Networks: Letters from Suor Domenica da Paradiso at La Crocetta in Renaissance Florence
A Convert's Tale: Art, Crime, and Jewish Apostasy in Renaissance Italy by Tamar Herzig (review)
Lorenzo Ghiberti’s “Gates of Paradise”: Humanism, History, and Artistic Philosophy in the Italian Renaissance. Amy R. Bloch. Cambridge: Cambridge University Press, 2016. xxi + 360 pp. $99.99
Renaissance Quarterly
Giambologna´s rented house in Florence
Burlington Magazine, 2013
Sister Domenica da Paradiso founded La Crocetta, a Dominican-affiliated convent, in Florence in 1... more Sister Domenica da Paradiso founded La Crocetta, a Dominican-affiliated convent, in Florence in 1511. The architecture reflected Girolamo Savonarola's focus on simplicity in his imagined but never built convent. The convent also provided a safe space for Sister Domenica to engage in her unusual activity of preaching and giving sermons to her conventicle of secular followers and her nuns.
Renaissance Studies, 2010
In 1864 the V&A (then the South Kensington Museum) purchased a large marble altar frame from a de... more In 1864 the V&A (then the South Kensington Museum) purchased a large marble altar frame from a dealer in Florence. The quality of the frame identifies it as the product of a leading Florentine sculpture workshop, possibly that of Giuliano da Sangallo at the end of the fifteenth century. Its dimensions indicate that it would have housed a large altarpiece in one of the city's churches. The frame's provenance remains obscure, but this article offers the first critical evaluation of the object based on first-hand examination. Comparisons with similar frames in Florentine churches (surviving and documented) suggest that the V&A frame can be identified as an example of a particular category of monumental altar that was popular in the city in the decades around 1500. This type combined painted panel altarpieces with sculpture, integrating both within impressive architectural superstructures comprising lateral columns, elaborate entablatures, and arched lunettes. Identifiable examples housed altarpieces by Perugino, Lorenzo di Credi, Piero di Cosimo, and Ridolfo del Ghirlandaio, each juxtaposed with tin-glazed terracotta reliefs by the Della Robbia shop. The popularity of these arched frames was relatively short-lived, but their brief heyday provides important evidence for the gathering appreciation of aesthetic integration, formal order and spatial symmetry within Italian church interiors in the years around 1500.
Renaissance Studies, Jan 1, 2010
“An Annunciation Pair at the Victoria and Albert Museum, London,” in Andrea Bregno. Il senso della forma. Edited by C. Strinati and C. Crescentini. Rome: Ministero per i Beni e le Attività Culturali, 2008: 41-51.
“’In her name and with her money,’ Suor Domenica da Paradiso’s Convent of la Crocetta in Florence,” in Italian Art, Society and Politics: A Festschrift for Rab Hatfield, Edited by B. Deimling, J.K. Nelson, G. Radke. New York: Syracuse University Press, 2007: 117-127.
The Politics of Architecture: Suor Domenica Da Paradiso and Her Convent of La Crocetta In Post-Savonarolan Florence
UMI, ProQuest ® Dissertations & Theses. The world's most comprehensive collectio... more UMI, ProQuest ® Dissertations & Theses. The world's most comprehensive collection of dissertations and theses. Learn more... ProQuest, The politics of architecture: Suor Domenica da Paradiso and her convent of la Crocetta in post-Savonarolan Florence (Italy). ...
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Papers by Meghan Callahan