Name | Dynasty | Details | Justification |
St. Francis Xavier | c. 1700 | Diocese Museum of the Požega Diocese Požega, Slavonia, Croatia | Francis Xavier was known as the "Apostle of the Indies" for his missionary work in the Far East. He played a central role in the iconography of the Jesuits. The gesture of the saint, dressed in his usual black habit and white surplice and in the act of baptising the natives, stands out against the sober brown background. | Invention of the Holy Cross | 1653Capuchin Monastery and the Church of the Invention of the Holy Cross | Brno, Moravia, Czech Republic | | Crypt of the Capuchins in the Church of the Immaculate Conception | 1732–75 | Rome, Latium, Italy | Cardinal Antonio Barberini, founder of the monastery and brother of Urban VIII, was a member of the Order of Capuchin Friars, which was established around 1520 in the name of a return to more pure Franciscan rule. In the 18th century, they turned the old mortuary deposits into architectural structures built and decorated with human bones.Name | Dynasty | Details | Justification |
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Chapel of Bones in the Old Convent of St. Francis, Évora | Basic structure: around 1515; decoration: 17th–18th century | Évora, Évora, Portugal | During the Baroque era, the prominent role given to the theme of a "good death" generated spectacular solutions, adding scenic accents to a devotion that had existed since the Middle Ages. | | Paulines at Prayer | About 1740 | Diocese Museum of the Zagreb Archdiocese Zagreb, North-West Croatia, Croatia | Against a background of the Pauline Fathers in prayer is the mystical vision of the founder: the Agnus Dei between the Virgin and St. John the Baptist. Despite the seriousness of the subject, the scene has obvious Baroque decorative elements. | Church and Convent of Madre de Deus | 1509–1589 | Lisbon, Lisbon, Portugal | The simple single chamber, typical of Franciscan churches, is decorated with rich wooden intaglios and azulejos. The story unfolds in scenes that expand the spatial and luminous effect of the space.Name | Dynasty | Details | Justification |
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Church and Convent of Madre de Deus | 1509–1589 | Lisbon, Lisbon, Portugal | On the bright azulejo landscape stands the ornate pulpit, the very essence of preaching and the Counter-Reformation message. | Church and Convent of Madre de Deus | 1509–1589 | Lisbon, Lisbon, Portugal | In addition to the brightness of the subject, the foreshortening brings the faithful into the same dimension as the story. | Paintings and azulejos of the nave and main chapel | Ceiling paintings: c.1675–1690; triumphal arch paintings: c.1740–50; azulejos: 1698–1707; pulpit: 1747–1759; main altar: after 1755 Nave and main chapel, Church and Convent of Madre de Deus | Lisbon, Lisbon, Portugal | | | Revelation of St. Joseph Calasanctius | 1755–1759Piarist Church of St. John the Baptist | Kroměříž, Moravia, Czech Republic | | |