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The Beauty of the CrossThe Passion of Christ in Theology and the Arts from the Catacombs to the Eve of the Renaissance$
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Richard Viladesau

Print publication date: 2005

Print ISBN-13: 9780195188110

Published to Oxford Scholarship Online: February 2006

DOI: 10.1093/019518811X.001.0001

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The Theology of High Scholasticism and Gothic Art

The Theology of High Scholasticism and Gothic Art

Chapter:
(p.87) 4 The Theology of High Scholasticism and Gothic Art
Source:
The Beauty of the Cross
Author(s):

Richard Viladesau (Contributor Webpage)

Publisher:
Oxford University Press
DOI:10.1093/019518811X.003.0004

The crucifix, painted by Giunta Pisano for the basilica of St. Francis in Assisi, represents the triumph of Franciscan spirituality of devotion to Christ’s humanity, along with a new style of representation that would develop into the Gothic image of the suffering but beautiful Christ. The theological theories of atonement developed during the period of high Scholasticism by Bonaventure, Thomas Aquinas, and John Duns Scotus combined elements of Anselm’s “satisfaction theory” with a more theoretical emphasis on grace, developing a “sacramental” model of salvation. Medieval methods of exegesis and new “revelations” led to the introduction of further detail in the portrayal of the crucifixion. The humanism of the period also extended to an increasing emphasis on the suffering of Christ’s mother Mary, as seen in the famous hymn “Stabat Mater”.

Keywords:   Aquinas, atonement, Bonaventure, Francis of Assisi, Gothic, Mary, sacrament, Scholasticism, Scotus, Stabat Mater

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