Book contents
- Frontmatter
- Contents
- Introduction
- 1 The Place of Renaissance Italy in the History of Emotions
- 2 The Emotional Language of Justice in Late Medieval Italy
- 3 The Anxiety of the Republics: “Timor” in Italy of the Communes during the 1330s
- 4 Humiliation and the Exercise of Power in the Florentine: Contado in the Mid-Fourteenth Century
- 5 The Words of Emotion: Political Language and Discursive Resources in Lorenzo de Medici’s Lettere (1468-1492)
- 6 Metaphor, Emotion and the Languages of Politics in Late Medieval Italy: A Genoese Lamento of 1473
- 7 Debt, Humiliation, and Stress in Fourteenth-Century Lucca and Marseille
- 8 Renaissance Emotions: Hate and disease in European perspective
- 9 The Emotive Power of an Evolving Symbol: The Idea of the Dome from Kurgan Graves to the Florentine Tempio Israelitico
- 10 The Emotions of the State: A Survey of the Visconti Chancery Language (Mid-Fourteenth-Mid- Fifteenth Centuries)
- 11 Control of Emotions and Comforting Practices before the Scaffold in Medieval and Early Modern Italy (with Some Remarks on Lorenzetti’s Fresco)
- 12 “Bene Comune e Benessere”: The Affective Economy of Communal Life
- Contributors
9 - The Emotive Power of an Evolving Symbol: The Idea of the Dome from Kurgan Graves to the Florentine Tempio Israelitico
Published online by Cambridge University Press: 28 December 2023
- Frontmatter
- Contents
- Introduction
- 1 The Place of Renaissance Italy in the History of Emotions
- 2 The Emotional Language of Justice in Late Medieval Italy
- 3 The Anxiety of the Republics: “Timor” in Italy of the Communes during the 1330s
- 4 Humiliation and the Exercise of Power in the Florentine: Contado in the Mid-Fourteenth Century
- 5 The Words of Emotion: Political Language and Discursive Resources in Lorenzo de Medici’s Lettere (1468-1492)
- 6 Metaphor, Emotion and the Languages of Politics in Late Medieval Italy: A Genoese Lamento of 1473
- 7 Debt, Humiliation, and Stress in Fourteenth-Century Lucca and Marseille
- 8 Renaissance Emotions: Hate and disease in European perspective
- 9 The Emotive Power of an Evolving Symbol: The Idea of the Dome from Kurgan Graves to the Florentine Tempio Israelitico
- 10 The Emotions of the State: A Survey of the Visconti Chancery Language (Mid-Fourteenth-Mid- Fifteenth Centuries)
- 11 Control of Emotions and Comforting Practices before the Scaffold in Medieval and Early Modern Italy (with Some Remarks on Lorenzetti’s Fresco)
- 12 “Bene Comune e Benessere”: The Affective Economy of Communal Life
- Contributors
Summary
Preliminaries: Complementarity and Contradiction
It is a truism within the history of art and architecture that a given visual form may symbolize more than one idea simultaneously – even ideas that contradict each other, although there is usually a logic to the apparent contradiction. Thus in abstract Islamic art, for example, the relationship between God and humanity might be symbolized by a monumental structure – such as a domed building or the mihrab form on a prayer rug – overrun with minutely detailed decoration. In that case, the decoration, in being minute, symbolizes humanity, while its monumental framework symbolizes God. But simultaneously, the framework, in being, as a frame, finitizing, symbolizes humanity, while the infinitizing pattern truncated by the frame symbolizes the God who is infinite.
Thus “monumental” versus “minute” and “infinite” versus “finite” are visually presented in an interwoven array of apparent contradictions that nonetheless offer a logic to their interweave. For God is by definition utterly other than humanity, yet, according to the Muslim – and Jewish and Christian – tradition, God breathes the soul into us that makes us more than a clod of earth (Bible) or a blood clot (Qur’an), which means that, in some sense, we are like God. And therefore in some sense God must be like us. So the simultaneous similitude and absolute alterity of that relationship is effectively conveyed by the relationship among these abstract visual elements.
We may see this principle well articulated by the dome form. From the beginning of our existence, humans have looked up at the heavens and observed the changing patterns of night and day, winter and summer. Men have watched points of light moving slowly across the skies and those that race across them, suddenly disappearing into the darkness – and the infinite pattern of lights that shifts gradually from one horizon to the next without apparent change of its order. We have wondered, as we have recorded the shifting shapes: what underlies them? What forces move the heavens and how might those forces affect what happens to us, here on the earth. Myriad religious traditions assume that the dome of heaven contains secrets that, because it is the inhabitation of gods, can improve or upset our lives – if we can unravel them.
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- Information
- Emotions, Passions, and Power in Renaissance Italy , pp. 171 - 192Publisher: Amsterdam University PressPrint publication year: 2015