Academic literature on the topic 'San Clemente (Church)'

AbstractDuring the eleventh and twelfth centuries the Church began a process of renovation (renovatio) and the city of Rome was given new meanings. Antiquity is part of the identity of the Eternal City; the reuse or reframing of aspects of antiquity inevitably transformed the image of Rome. Public spaces, architecture and objects were given new Christian readings. Inscriptions, present both in sacred and secular settings, played an important role. A similar rewriting can also be found in travel literature and descriptions of the city, such as in the Mirabilia urbis Rome, where ancient monuments were re-interpreted to demonstrate the superiority of Christianity. Inscriptions were used as symbols of authority, as can be seen in the altar of the church of Santa Maria in Portico, in the papal thrones (San Clemente, Santa Maria in Cosmedin, San Lorenzo fuori le mura) and also in mosaics (San Clemente, Santa Maria in Trastevere). Inscriptions appeared on porticoed atriums built on new churches and added to older foundations, and they were used to renew ancient monuments and places. The Roman Commune used a similar strategy with civil buildings. The image of Rome was transformed through restoration and new construction that used spolia as meaningful objects, and inscriptions for their authoritative value.

The oeuvre of the sculptor Paolo Callalo (Venice 1655-1725) is a paradigmatic example of how the oeuvres of seventeenth- and eighteenth-century Venetian sculptors have been expanded, supplemented and revised during the last twenty years. Until Simone Guerriero’s ground-breaking article of 1997, Paolo Callalo was almost completely unknown. In his search for Callalo’s earliest preserved work, Simone Guerriero suggested that Callalo was responsible for the stipes of the altar of St Joseph, featuring the relief of the Flight into Egypt flanked by two putti which are almost free standing, which was made between 1679 and 1685 for San Giovanni Crisostomo at Venice. However, another significant sculpture can now be added to the catalogue of Callalo’s early works: a memorial monument to the Bishop of Nin Francesco Grassi (Chioggia, 3 October 1667 – Zadar, 29 January 1677) which is located on the left presbytery wall in the Cathedral of Santa Maria Assunta at Chioggia. As we learn from its commemorative inscription, the monument was commissioned by Paolo Grassi, the nephew of the deceased who was a prominent member of this aristocratic family from Chioggia. The Grassi (de Grassi) family produced as many as three bishops of Chioggia: Pasquale (1618-1639), Francesco (1639 -1669) and Antonio (1696-1715) who was a brother of Francesco, the Bishop of Nin, and a great-nephew of the first two. The monumental memorial to the Bishop of Nin Francesco Grassi in the presbytery of Chioggia Cathedral consists of a rectangular marble plaque topped with a semi-circular pediment with two reclining putti. Immediately below, two more putti are depicted flying and drawing a curtain in front of an oval niche containing the bishop’s bust, the commemorative inscription and the bishop’s coat of arms set in a wreath. All the elements of this excellent work point to Paolo Callalo’s hand. The bishop’s bust was most probably created posthumously by relying on one of the portraits of the bishop as a source model. It depicts him as having a somewhat square face with a lively mouth opened in a melodramatic way and as having probing eyes with emphasized pupils, all of which characterize Callalo’s sculpting technique. A direct parallel for such a physiognomy can be found in the 1686 sculpture of St Michael in San Michele in Isola at Venice. Two remarkably beautiful and skilfully modelled putti which are drawing the curtain can be connected to the putti on the stipes of the altar of St Joseph in San Giovanni Crisostomo at Venice, but also with a putto on the keystone of a niche on the 1684 altar of St Teresa in the Church of the Scalzi. The richly draped marble curtain being drawn by the two flying putti is an example of Callalo’s thorough knowledge of contemporary sculptural innovations and trends in Venice. He could have seen a similar curtain on the 1677 monument to Giorgio Morosini in San Clemente in Isola at Venice, which belongs to the oeuvre of Giusto Le Court, the most important Venetian sculptor of the second half of the seventeenth century. That Callalo was no stranger to this type of decoration is also demonstrated by one of his later works, now sadly lost, the contract for which set out the terms for the sculptural decoration of the high altar in the old Venetian church of La Pietà. In 1692 Callalo agreed to make for this high altar ‘a curtain out of yellow marble of Verona being held by putti’.The stylistic analysis of the memorial to the Bishop of Nin Francesco Grassi indicates that it was erected in a relatively short period of time after the bishop’s death in 1677. It seems highly likely that it was made in the early 1680s or around 1686 at the latest because in that year Callalo made the statue of St Michael in San Michele in Isola. The memorial to the Bishop of Nin Francesco Grassi in Chioggia Cathedral is the first monument on the left-hand side of presbytery wall which would in time become a ‘mausoleum’ of the Grassi family. Around the same time or perhaps somewhat later, the Bishop of Chioggia by the name Francesco Grassi was honoured posthumously with a memorial containing a bust portrait that can be attributed to Giuseppe Torretti (Pagnano, 1664 – Venice, 1743). This group of episcopal memorials in the presbytery of Chioggia Cathedral ends with 1715 when Alvise Tagliapietra (Venice, 1680 – 1747) made the tomb for Bishop Antonio Grassi while he was still alive.Callalo’s Dalmatian oeuvre is relatively modest and consists of the following works so far identified as his: two marble angels set next to the high altar in the Parish Church at Vodice and four music-making putti at the sides of the high altar as well as those on a side altar in the Parish Church at Sutivan on the island of Brač. However, Callalo’s hand can also be recognized in a statue from a large-scale sculptural group which adorned the altar of the Blessed Sacrament in Zadar Cathedral. The altar structure was built by Antonio Viviani in 1719 while Francesco Cabianca (Venice, 1666-1737) carved the majority of the altar’s rich sculptural decoration. At the centre of the altar is a niche with a relatively small marble statue of Our Lady of Sorrows with the dead Christ in her lap. It is difficult to find a place for this marble Pietà from Zadar in Francesco Cabianca’s catalogue especially with regard to his Pietà above a door in the cloister of the Frari Church at Venice in 1714. Compared to the Zadar Pietà, Cabianca’s Venetian Pietà displays a number of differences: a crisper chiselling technique, a certain roughness of workmanship, robust bodies as well as a different treatment of the figures’ physiognomies and drapery. However, the Pietà from Zadar can be added to the catalogue of Paolo Callalo’s works. The carefully modelled figure of Our Lady of Sorrows and the soft drapery which spreads outwards in a radial fashion around her feet can be compared to the statues of Faith and Hope on the altar of the Blessed Sacrament in Udine Cathedral, which was made after 1720. The statue of the Risen Christ on the tabernacle of the aforementioned altar from Udine provides a parallel for the modelling of Christ’s body and, in particular, his face with a restrained expression. The same can be said for the Risen Christ on the tabernacle of the Parish Church at Clauzetto, which I also attribute to Callalo, as well as for earlier, more monumental, examples such as the Christ from the 1708 altar of the Transfiguration in the Parish Church at Labin.Callalo’s memorial to the Bishop of Nin Francesco Grassi in Chioggia is an important indicator of his personal stylistic development. He transformed his stylistic expression from the robust energy of this ‘youthful work’ at Chioggia to the lyrical poetics characterized by softness which can be seen in his late work, the Pietà on the altar of the Blessed Sacrament in the Cathedral of St Anastasia at Zadar. It is likely that future research in Venice, Dalmatia and the rest of the Adriatic coast will expand Paolo Callalo’s already rich oeuvre and confirm the important place he holds in Venetian sculpture as one of its protagonists during the late Seicento and early Settecento.

This essay describes an integrated approach – field survey, historic research, climate data, and topography – for the analysis of a complex stratigraphical archaeological site, highlighting its peculiar aspects and its conservation state, and contributing to the studies of this area. <br><br> The case study is San Calocero monastery in Albenga, one of the most important historical evidence of the city, located on the San Martino Hillside, dating back to the VI century but with a complex historical stratigraphy until the XVI century, along with other relevant archaeological sites, such as the Baptistery, the Ponte Lungo, the churches of San Clemente and San Vittore, which, as long as San Calocero, went through several changes over the years.

‘I will carry with me the best architect in Europe.’ With these bold words Robert, first Viscount Molesworth, announced to his wife his arrival in Ireland in the company of the young Italian architect and engineer Alessandro Galilei in May 1717. Lord Molesworth could not know that, twenty years later, Galilei would be indeed one of the best-known architects in Europe, after having built in Rome, to the order of Pope Clement XII Corsini (1730–40), the facade of San Giovanni in Laterano (St John Lateran), the Cappella Corsini in the same church and the facade of San Giovanni dei Fiorentini.Galilei was born on 25 August 1691, in Florence, the eldest son of the notary Giuseppe Maria Galilei and his wife Margherita Merlini. The Galilei family could trace their lineage to the Buonaiuti, who in the fourteenth century twice held the post of ‘Gonfaloniere della Giustizia’, then the most important position in the city government. They took the surname Galilei from the last Gonfaloniere in their family, the master of philosophy and medicine, Galileo (early fifteenth century). Even into the sixteenth century, members of the family belonged to the town council. The most famous bearer of the name was without doubt Galileo Galilei (1564–1641), from whom Alessandro was not directly descended but to whom he was remotely related. Although Alessandro’s father, Giuseppe, who in 1707 and 1711 was Proconsul of Notaries, counted himself as one of the nobili, the standing of the old patrician families had been considerably reduced under the Medici Grand Dukes because they did not actually hold a landed title. Financial decline seems also to have damaged the prestige of Alessandro’s branch of the family.

Generally speaking, paleochristian memoriae have emerged out of the funeral traditions of the pagan world of Antiquity with its particular expression of the cult of deceased, sustained with the culture that had come out of Christian theology and aesthetics. It came together withnew architectural forms some of which were characterized with cross-like forms, not only as a general symbol of new faith, but also as the spatial projection, model after which one had to build. It is defined by two axes that cross at the right angle, the framework of the overall architecturalcomposition, factor of building’s extension in its entire length and width, as well as the height of the building that is dominated and marked by a dome. This particular structure of the building expresses its own essence, memorial use and the Christian paradigm. Through form and function, these buildings have become a distinguished phenomenon of the Christian civilization, valued in the architecture from the late antiquity to Romanesque period.Mature form of the space intended for the cult of the deceased, particularly when small cruciform churches are in question, is remarkably expressed in the preserved chapel of St. Lawrence, widely known as the mausoleum of Galla Placidia, one of two identical buildings once located at the ends of the narthex of the Ravennate church of the Holy Cross. The lower space of Theodoric’s mausoleum in Ravenna is also cruciform, however one should also remember emperor Justinian’s cruciform tombin Constantinople church of the Holy Apostles. It was demolished in the 15 century, together with the whole complex, and is known only through historical sources.Together with the Ravennate memoriae, such tombs could have – directly or indirectly – influence the formation of the cruciform memoriae in the Adriatic cultural landscape from Late Antiquity to Romanesque period.This paper elaborates the group of approximately fifteen buildings that demonstrate – through their forms and funerary functions – perseverance of particular cruciform plan of a memoriae within the Adriatic ambiance. A particularly numerous group is that of southern Istria, which consists of the Pula cathedral baptistery, two chapels by the basilica of Sta Maria Formosa and St. Mathew’s chapel in Pula, that of St. Catharine on a nearby islet and the supposed cruciform church of St. Andrew on an island in front of Rovinj. To such a concentration of the paleochristian memoriae one should link two early-mediaeval chapels, that of St. Clement in Pula and St. Thomas’ near Rovinj. The latter’s forms were already commented by Ivan Matejčić to follow and repeat paleochristian features. Among these features there are three protruding apses similar to those of St. Catharine’s. Therefore, it seems that the forms and themeasures of pre-Romanesque chapels were taken from those of the nearby Byzantine buildings, rather than from the distant Carolingian examples in Italy or France. Earlier and later southern Istrian memoriae are treated here as a typological group with emphasized regional features and continuity. Their forms differ only in some less important details, e.g. facades being either flat or articulated with lesenes. Their common features are, on the other hand, elementary architectural composition, spatial structure that consists of four branches and the dome hidden in the drum, as well as their dimensions and proportions. An element ofparticular interest is the octagonal upper part of the dome on Pula baptistery, that on St. Catharine’s on an islet in front of Pula as well as one on St. Andrew’s on an islet in front of Rovinj. These are probably reconstructions of the older solution. Within the supposedly later construction, there is a dome, a trula, as Pietro Kandler has named it, relating it with the Longboard architecture. It is carried by squinches.This solution is, actually, the Byzantine tradition in the area of Ravennate influences. A similar dome is constructed above the cruciform chapel consecrated to St. Mary Mater Domini (Theotokos), built next to the church of St. Felix and Fortunato in Vicenza, in 6 century. It seems that the same tradition was followed by very similar buildings, Paduan chapel of San Prosdocimo, and the memory erected by Santi Apostoli in Verona. On the other hand, St. Clement’s in Pula did not have a dome of such type and this church had yet another significant difference from the other Istrian chapels, the rectangular extension of areas in front of the apses. Another example that stands out from the group is the church of St. Euphemia at Saline bay in Lim channel. It is an Early Romanesque chapel with three apses at the rear. Lateral branches are reduced; they are much shorter than the front one, and give an impression of a transept rather than cruciform branches, as in other churches of the group. The upper part of the walls give no evidence of neither vaults nor a dome.Differently from the typological unity of the paleochristian and early mediaeval Istrian memoriae, those in Dalmatia show significant variability of the theme, already noticeable at the physiognomy of the earlier examples. For instance, the small baptistery in Baška on the island of Krk is an orderly cruciform building with relatively short branches and unarticulated flat walls, similar to Pula baptistery. The ground plan of St. Martin’s on the island of Cres is considerably different. It was a considerably larger building, probably in a memorial function related to a nearby villa rustica. It also has the rectangular extension in front of the apse, like St. Clement’s at Pula. Its walls show no traces of vaulted constructions. In a later phase, it was probably used as a parish church, like some examples of Dalmatian triconchal churches. A particular articulation of the walls, different from all of the Istrian and Dalmatiancruciform memoriae, was that of St. Cyprian’s chapel at Gata. Its short branches are rectangular on the outside, while on the inside they have inscribed round apses. Therefore, the outer surfaces have narrow round niches as relief of the thickened angles. Memory of the Holy Cross at Nin also has a round apse inscribed in the rectangular body of its rear branch. However, it is flanked by two smaller protruding apses, i.e. three in total. Other branches are vaulted with a half-dome on angular squinches that are also constructed below the drum with the dome inside. Ivo Petricioli has long ago suggested that its proportions indicate influences of the early mediaeval Byzantine architecture. This is further corroborated by its outer surfaces articulated with shallow niches. These features do not appear in Carolingian architecture, so it seems that the Holy Cross should be dated into the 10th or the 11th century. It also should be related tothe influences from nearby Zadar - contemporary capitol of the Byzantine Theme of Dalmatia - with the church of St. Vitus whose features, both general form and details, are of the same type of the building. Furthermore, they should be compared with the chapel of St. Donatus at Kornić on Krk Island. This small church is of apparently different groundplan, but one could still consider it a cruciform type. Its front and rear branches are rectangular, and there are indications that the rear branch had a round apse inscribed, similarly to the memory of the Holy Cross at Nin. However, its lateral branches are relatively small round apses, protruding from the sides of the chapel. Among them, there is a relativelyspacious central section with the dome constructed on the squinches. Miljenko Jurković has plausibly dated the church in 12th century, while I believe that it confirms the continuity of the paleochristian cruciform type of the Christian memory in Istria and Dalmatia from Late Antiquity to theRomanesque period. This is proven by some contemporary constructions, such as the chapel of an unknown title at Crkvina near Kašić, near Biljani Donji, that has also been dated in Romanesque period. In spite of some individual differences all of the memoriae compared in this paper, both groups are assembled by numerousness and similarities of both cruciform plans and funerary functions. Also, the influence of Adriatic Byzantine centres, particularly that of Ravenna, Pula and Zadar, is noticeable in formation of the regional characteristics of memorial architecture in the cultural ambiance of Istria and Dalmatia, within the context of long-lasting continuity of its forms and functions, from Late Antiquity to Romanesque period.

Jan Reisner (ca. 1655-1713) was a painter and architect. He was sent by King Jan III together with Jerzy Siemiginowski to study art at St. Luke Academy in Rome. He traveled to the Eternal City (where he arrived on February 24, 1678) with Prince Michał Radziwiłł’s retinue. Cardinal Carlo Barberini, who later became the protector of Regni Poloniae, was the guardian and protector of the artist during his studies in 1678-1682. In the architectural competition announced by the Academy in 1681 Reisner was awarded the fi prize in the fi class, and a little later he was accepted as a member of this prestigious university. He was awarded the Order of the Golden Spur (Aureatae Militiae Eques) and the title Aulae Lateranensis Comes, which was equivalent to becoming a nobleman. The architectural award was conferred by the jury of Concorso Academico, composed of the Academy’s principe painter Giuseppe Garzi, its secretary Giuseppe Gezzi, and the architects Gregorio Tommassini and Giovanni B. Menicucci. In the Archivio storico dell’Accademia di San Luca, preserved are three design drawings of a church made by Jan Reisner in pen and watercolor, showing the front elevation, longitudinal section, and a projection. Although they were made for the 1681 competition, they were labelled with the date 1682, when the prizes were already being awarded. Reisner’s design reflected the complicated trends in the architecture of the 1660s and 1670s, especially in the architectural education of St. Luke’s Academy. There, attempts were made to reconcile the classicistic tendencies promoted by the French court with the reference to the forms of mature Roman Baroque. As a result of this attempt to combine the features of the two traditions, an eclectic work was created, as well as other competition projects created by students of the St. Luke’s Academy. The architect designed the Barberini temple-mausoleum, on a circular plan with eight lower chapels opening inwards and a rectangular chancel. The inside of the rotund is divided into three parts: the main body with opening chapels, a tambour, and a dome with sketches of the Fall of Angels. Inside, there is an altar with a pillar-and-column canopy. The architectural origin of the building was determined by ancient buildings: the Pantheon (AD 125) and the Mausoleum of Constance (4th century AD). A modern school based of this model was opened by Andrea Palladio, who designed the Tempietto Barbaro in Maser from 1580. In the near future, the Santa Maria della Assunzione in Ariccia (1662-1664) by Bernini and Notre-Dame-de-l’Assomption (1670-1676) in Paris by Charles Errard could provide inspiration. In particular, the unrealized project of Carlo Fontana to adapt the Colosseum to the place of worship of the Holy Martyrs was undertaken by Clement X in connection with the celebration of the Holy Year in 1675. In the middle of the Flavius amphitheatre, he designed the elevation of a church in the form of an antique-styled rotunda, with a dome on a high tambour and a wreath of chapels encircling it. Equally important was the design of the fountain of the central church in Basque Loyola (Santuario di S. Ignazio a Loyola). In the Baroque realizations of the then Rome we find patterns for the architectural decoration of the Reisnerian church. In the layout and the artwork of the facades we notice the influence of the columnar Baroque facades, so common in different variants in the works of da Cortona, Borromini and Rainaldi. The monumental columnar facades built according to Carlo Rainaldi’s designs were newly completed: S. Andrea della Valle (1656 / 1662-1665 / 1666) and S. Maria in Campitelli (designed in 1658-1662 and executed in 1663-1667), and Borromini San Carlo alle Quatro Fontane (1667-1677). The angels supporting the garlands on the plinths of the tambour attic are modelled on the decoration of two churches of Bernini: S. Maria della Assunzione in Ariccia (1662-1664) and S. Andrea al Quirinale (1658-1670). The repertoire of mature Baroque also includes the window frames of the front facade of the floor in the form of interrupted beams and, with the header made in the form of sections capped with volutes. The design indicates that the chancel was to be laid out on a slightly elongated rectangle with rounded corners and covered with a ceiling with facets, with a cross-section similar to a heavily flattened dome. It is close to the solutions used by Borromini in the Collegio di Propaganda Fide and the Oratorio dei Filippini. The three oval windows decorated with C-shaped arches and with ribs coming out of the volute of the base of the dome, which were among the characteristic motifs of da Cortona, taken over from Michelangelo, are visible. The crowning lantern was given an original shape: a pear-shaped outline with three windows of the same shape, embraced by S-shaped elongated volutes, which belonged to the canonical motifs used behind da Cortona by the crowds of architects of late Baroque eclecticism. Along with learning architecture, which was typical at the Academy, Reisner learned painting and geodesy, thanks to which, after his return to Poland, he gained prestige and importance at the court of Jan III, then with the Płock Voivode Jan Krasiński. His promising architectural talent did gain prominence as an architect in Poland, although – like few students of St. Luke’s Academy – he received all the honors as a student and graduate.

RESUMENEl objetivo de este artículo es reflexionar sobre los mecanismos de financiación y de control de las instituciones religiosas por los laicos en las primeras décadas de la conquista y colonización de Hispanoamérica. Investigar sobre la inversión laica en lo sagrado supone en un primer lugar aclarar la historiografía sobre laicos, religión y dinero en las sociedades de Antiguo Régimen y su trasposición en América, planteando una mirada desde el punto de vista de las motivaciones múltiples de los actores seglares. A través del ejemplo de restituciones, donaciones y legados en losAndes, se explora el papel de los laicos españoles, y también de las poblaciones indígenas, en el establecimiento de la densa red de instituciones católicas que se construye entonces. La propuesta postula el protagonismo de actores laicos en la construcción de un espacio cristiano en los Andes peruanos en el siglo XVI y principios del XVII, donde la inversión económica permite contribuir a la transición de una sociedad de guerra y conquista a una sociedad corporativa pacificada.PALABRAS CLAVE: Hispanoamérica-Andes, religión, economía, encomienda, siglos XVI y XVII.ABSTRACTThis article aims to reflect on the mechanisms of financing and control of religious institutions by the laity in the first decades of the conquest and colonization of Spanish America. Investigating lay investment in the sacred sphere means first of all to clarifying historiography on laity, religion and money within Ancien Régime societies and their transposition to America, taking into account the multiple motivations of secular actors. The example of restitutions, donations and legacies inthe Andes enables us to explore the role of the Spanish laity and indigenous populations in the establishment of the dense network of Catholic institutions that was established during this period. The proposal postulates the role of lay actors in the construction of a Christian space in the Peruvian Andes in the sixteenth and early seventeenth centuries, when economic investment contributed to the transition from a society of war and conquest to a pacified, corporate society.KEY WORDS: Hispanic America-Andes, religion, economics, encomienda, 16th and 17th centuries. BIBLIOGRAFIAAbercrombie, T., “Tributes to Bad Conscience: Charity, Restitution, and Inheritance in Cacique and Encomendero Testaments of 16th-Century Charcas”, en Kellogg, S. y Restall, M. (eds.), Dead Giveaways, Indigenous Testaments of Colonial Mesoamerica end the Andes, Salt Lake city, University of Utah Press, 1998, pp. 249-289.Aladjidi, P., Le roi, père des pauvres: France XIIIe-XVe siècle, Rennes, Presses universitaires de Rennes, 2008.Alberro, S., Les Espagnols dans le Mexique colonial: histoire d’une acculturation, Paris, A. Colin, 1992.Alden, D., The making of an enterprise: the Society of Jesus in Portugal, its empire, and beyond 1540-1750, Stanford California, Stanford University Press, 1996.Angulo, D., “El capitán Gómez de León, vecino fundador de la ciudad de Arequipa. Probança e información de los servicios que hizo a S. M. en estos Reynos del Piru el Cap. Gomez de León, vecino que fue de cibdad de Ariquipa, fecha el año MCXXXI a pedimento de sus hijos y herederos”, Revista del archivo nacional del Perú, Tomo VI, entrega II, Julio-diciembre 1928, pp. 95-148.Atienza López, Á., Tiempos de conventos: una historia social de las fundaciones en la España moderna, Madrid, Marcial Pons Historia, 2008.Azpilcueta Navarro, M. de, Manual de penitentes, Estella, Adrián de Anvers, 1566.Baschet, J., “Un Moyen Âge mondialisé? Remarques sur les ressorts précoces de la dynamique occidentale”, en Renaud, O., Schaub, J.-F., Thireau, I. (eds.), Faire des sciences sociales, comparer, Paris, éditions de l’EHESS, 2012, pp. 23-59.Boltanski, A. y Maldavsky, A., “Laity and Procurement of Funds», en Fabre, P.-A., Rurale, F. (eds.), Claudio Acquaviva SJ (1581-1615). 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Politique, culture, société, n. 3, nov.-dic. 2007.Cantú, F., “Evoluzione et significato della dottrina della restituzione in Bartolomé de Las Casas. Con il contributo di un documento inedito”, Critica Storica XII-Nuova serie, n. 2-3-4, 1975, pp. 231-319.Castelnau-L’Estoile, C. de, “Les fils soumis de la Très sainte Église, esclavages et stratégies matrimoniales à Rio de Janeiro au début du XVIIIe siècle», en Cottias, M., Mattos, H. (eds.), Esclavage et Subjectivités dans l’Atlantique luso-brésilien et français (XVIIe-XXe), [OpenEdition Press, avril 2016. Internet : <http://books.openedition.org/ http://books.openedition.org/oep/1501>. 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By now widely recognized as England’s leading composer, Arthur Sullivan devoted the first half of the 1870s to sacred works, including a massive Te Deum to celebrate the recovery of the Prince of Wales from typhoid fever (1872), his most significant oratorio, The Light of the World (1873), forty-two original hymn tunes and seventy-five hymn tune arrangements and numerous sacred songs and ballads. The Light of the World broke significant new ground by dispensing with a narrator and for the first time in English oratorio making Jesus a real character who appeared and sang and interacted with other characters. As well as acting as editor for a major Anglican hymnal, Church Hymns and Tunes (1874), Sullivan wrote numerous hymn tunes, including the ever-popular ST GERTRUDE for ‘Onward, Christian soldiers’ and NOEL for ‘It came upon the midnight clear’. He may also have had a hand in ST CLEMENT for ‘The day, Thou gavest, Lord, is ended’. In 1877, sitting at the bedside of his dying brother, he wrote the tune for his sacred ballad, ‘The Lost Chord’ which became the best-selling song of the last quarter of the nineteenth century.