Gaudenzio Ferrari (c. 1471 – 11 January 1546) was an Italian painter and sculptor of the Renaissance.
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👉 Gaudenzio Ferrari in the context of Life of Christ in art
The life of Christ as a narrative cycle in Christian art comprises a number of different subjects showing events from the life of Jesus on Earth. They are distinguished from the many other subjects in art showing the eternal life of Christ, such as Christ in Majesty, and also many types of portrait or devotional subjects without a narrative element.
They are often grouped in series or cycles of works in a variety of media, from book illustrations to large cycles of wall paintings, and most of the subjects forming the narrative cycles have also been the subjects of individual works, though with greatly varying frequency. By around 1000, the choice of scenes for the remainder of the Middle Ages became largely settled in the Western and Eastern churches, and was mainly based on the major feasts celebrated in the church calendars.
In this Dossier
Gaudenzio Ferrari in the context of Protoevangelium of James
The Gospel of James (or the Protoevangelium of James) is a second-century infancy gospel telling of the miraculous conception of Mary, the mother of Jesus, her upbringing and marriage to Joseph, the journey of the couple to Bethlehem, the birth of Jesus, and events immediately following. It is the earliest surviving assertion of the perpetual virginity of Mary, meaning her virginity not just prior to the birth of Jesus, but during and afterwards, and despite being condemned by Pope Innocent I in 405 and classified as apocryphal by the Gelasian Decree around AD 500, became a widely influential source for Mariology.
Gaudenzio Ferrari in the context of Viola da braccio
Viola da braccio (from Italian "arm viola", plural viole da braccio) is a term variously applied during the baroque period to instruments of the violin family, in distinction to the viola da gamba ("leg viola") and the viol family to which the latter belongs. At first "da braccio" seems to encompass the entire violin family. Monteverdi's Orfeo (printed 1609) designates an entire six-part string section "viole da brazzo", apparently including bass instruments held between the knees like the cello and bass violin. His Selva morale (1641) contains a piece calling for "due violini & 3 viole da brazzo ouero 3 Tronboni" (2 violins & 3 viole da braccio or trombones), reflecting a general shift in meaning towards the lower instruments. Eventually it came to be reserved for the alto member, the viola. A famous example is Bach's Sixth Brandenburg Concerto (1721), combining two viole da braccio with two viole da gamba. The German word for viola, Bratsche, is a relic of this last use.