Résumés
Abstract
The frescoed martyrdom murals at Santo Stefano Rotondo in Rome (c. 1582) have inspired much conflicting commentary down through the centuries. Painted by Niccolò Circignani (familiarly known as il Pomarancio), they feature gruesome, realistic renderings of torture scenes dating from the late Roman persecutions. Protestant and Catholic audiences have offered dramatically opposing evaluations of the harrowing subject matter on display. In this article, I report on and analyze the paintings from both a Protestant and a Catholic point of view. I want to show how a careful historical analysis can recover intentionality—the original purpose and aspirations embodied in an artwork—and, at the same time, make sense of incompatible readings of the very same visual content.
Keywords:
- St. Stefano Totondo,
- Niccolò Circignani,
- Il Pomarancio,
- Martyrdom,
- Jesuit,
- Catholic,
- Protestant,
- Representational Art,
- Intentionality,
- Readings
Résumé
Les murales et fresques des martyrs de la rotonde de l’église Saint Stéphane à Rome (vers 1582) ont inspiré plusieurs commentaires conflictuels à travers les siècles. Peintes par Niccolò Circignani (connu sous le nom de il Pomarancio), elles montrent des scènes horribles qui présentent des tortures de façon très réaliste datant des dernières persécutions romaines. Les Protestants et Catholiques ont offert des évaluations opposées de ces sujets poignantes. Dans ce texte, j’analyserai les peintures des points de vue protestants et catholiques. Je veux montrer comment une analyse historique minutieuse peut retrouver l’intention – le but original et les aspirations comprises dans une oeuvre d’art – et, en même temps, trouver un sens à des lectures incompatibles mais d’un contenu visuel identique.
Parties annexes
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