/library/oar/handle/123456789/20122 2026-08-06T05:27:38Z /library/oar/handle/123456789/136795 Title: The Journal of Baroque Studies : volume 1 : number 4 Authors: Ciappara, Frans Abstract: Table of contents:; - In Defence of Baroque: The Wiilfflin-Frankl-Giedion Tradition: Lino Bianco; - A Painter of Pain: Games of Wit and Ambiguities in Caravaggio's Boy Bitten by a Lizard: Daniel Unger; - Music Performance Spaces in Maltese Churches during the Seventeenth and Eighteenth Centuries, and their Relevance Today: Frederick Aquilina; - Between Augustine and Pelagius: Leonard Lessius in the Leuven Controversies, from 1587 to the 20th century: Eleonora Rai; - L'altare 'macchina da festa' nell'universo barocco: modelli romani in Sicilia e Malta: Lucia Trigilia; - La geometria della guerra: evoluzioni tattiche marittime e terrestri nei secoli XVII-XVIII: Francesco Frasca; - D'Aleccio's Fortifications: Faithful Representation or Artistic Imagination?: Stephen C. Spiteri; - Giovan Francesco Buonamico -A Flaneur in Baroque Style: Bernard Micallef; - Anciens usages des Maltais d'apres un guide touristique de Malte du XVIIIe siecle: Carmen Depasquale; - Book Reviews 2016-01-01T00:00:00Z /library/oar/handle/123456789/136793 Title: A painter of pain : games of wit and ambiguities in Caravaggio's Boy Bitten by a Lizard Authors: Unger, Daniel Abstract: Looking at Caravaggio's Boy Bitten by a Lizard (fig. 1), what strikes us initially is the femininity of the hand gestures of the youth at the centre and his agonized expression. His effeminate elements are complemented by the flower in his hair and the loose garment exposing his shoulder. Reacting to being bitten by a lizard while reaching for two red cherries, the boy is posed against a greyish wall. On the table in front of him are various fruits of a similar greyish colour, which highlights the cherries, and a glass vase with flowers. The lizard, the cause of the boy's reaction, is barely visible. The boy is dressed in a Roman outfit- a white tunic beneath a brown toga. The red of his lips corresponds to that of the cherries. Red is the only colour that does not blend with the greyish-brown of the rest of the painting. 2016-01-01T00:00:00Z /library/oar/handle/123456789/136791 Title: Music performance spaces in Maltese churches during the seventeenth and eighteenth centuries, and their relevance today Authors: Aquilina, Frederick Abstract: Throughout the ages church architecture and music united to create a unique combination of disciplines experienced through space and time: on the one hand, church buildings were planned with specially designed performance spaces to be occupied by musicians and their instruments; on the other hand, musical works were created by composers primarily to be heard in such designated locations within the church building - the performance spaces. While architecture is timeless and can be appreciated as a spatial whole, music can only be experienced over a period of time within the spatial whole. 2016-01-01T00:00:00Z /library/oar/handle/123456789/136790 Title: Between Augustine and Pelagius : Leonard Lessius in the Leuven controversies, from 1587 to the 20th century Authors: Rai, Eleonora Abstract: In the second half of the 1580s, Leuven - a stronghold of Catholicism in the Spanish Netherlands during the wars of religion' - was the scene of a thorny dispute over Grace, free will, predestination and Holy Writ, which was part of the series of theological controversies which developed in the 16th and 17th centuries. The Leuven controversies represent the essential connection between Michael Bay and Cornelius Jansen's theologies and the necessary background to understand the later controversia de auxiliis. 2016-01-01T00:00:00Z