English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Plus monthly

Global: Zendy Tools annual

Global: Zendy Tools monthly

Global: Zendy Free Plan

COUNTER-REFORMATION AGENDA IN THE PAINTINGS OF THE VIRGIN MARY Sharon Lynne Heaphy April 15,2011 This paper investigates the objectives ofCounter-Refonnation leaders as seen through the visual culture of the Virgin Mary in the time period. This study was completed by examining three paintings by three different artists: Federico Barocci, Madonna del Popolo, 1579; Guido Reni, Immaculate Conception, 1627; and Annibale Carracci, Assumption of the Virgin, 1592. Although these painters all embrace the Catholic ideology of the time, this study highlights the many differences that exist between them as a result of their individualized influences as artists. In order to accurately interpret the artworks and the complex Catholic doctrine presented, the evolution of the Cult of the Virgin was also examined. This served to uncover the origins of Mary's influential following and the manifold events associated with her, which are not included in scripture yet playa prominent role in the Catholic faith of the Counter-Refonnation as they faced criticism from Protestant leaders.

Counter-Reformation agenda in the paintings of the Virgin Mary.