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Imposición casulla a San Ildefonso. by iaphtube on Oct 24, 2011More
Imposición casulla a San Ildefonso.

by iaphtube on Oct 24, 2011
Josefina Rojo
wow... maravilloso el cuadro y la restauración 👍
Irapuato
Ildefonse ou en espagnol Ildefonso ou Alonzo ou Alfonso (+667), né vers 606, a été archevêque de Tolède en Espagne depuis 657 jusqu'à sa mort, le 23 janvier. Son jour de fête est le 23 janvier, jour de sa mort.
Iconographie
Les apparitions de la vierge Marie à Ildefonse ont inspiré la majeure partie de son iconographie comme L'imposition de la chasuble à Saint Ildefonse de Bartolomé …More
Ildefonse ou en espagnol Ildefonso ou Alonzo ou Alfonso (+667), né vers 606, a été archevêque de Tolède en Espagne depuis 657 jusqu'à sa mort, le 23 janvier. Son jour de fête est le 23 janvier, jour de sa mort.
Iconographie
Les apparitions de la vierge Marie à Ildefonse ont inspiré la majeure partie de son iconographie comme L'imposition de la chasuble à Saint Ildefonse de Bartolomé Esteban Murillo en 1560 (Musée du Prado, Madrid).
fr.wikipedia.org/wiki/Ildefonse_de_Tolède
Irapuato
Saint Ildefonsus or Ildephonsus (rarely Ildephoses; died 23 January 667) was the metropolitan bishop of Toledo from 657 until his death. He was a Visigoth[1] and his Gothic name was Hildefuns, which evolved into the Castilian name Alfonso. Ildefonsus, however, is known as San Ildefonso in Castilian and there are several places named after him. He was canonised and his feast dayMore
Saint Ildefonsus or Ildephonsus (rarely Ildephoses; died 23 January 667) was the metropolitan bishop of Toledo from 657 until his death. He was a Visigoth[1] and his Gothic name was Hildefuns, which evolved into the Castilian name Alfonso. Ildefonsus, however, is known as San Ildefonso in Castilian and there are several places named after him. He was canonised and his feast day is 23 January, the date of his death. His writings were less influential outside of Hispania, but he remained a potent force in the peninsula for centuries.[2] Like several of his seventh-century predecessors, Ildefonsus was a monk from Agali, and specifically abbot, before being raised to the metropolitan see of Carthaginiensis.
Theologically, Ildefonsus regarded the Nicene Creed as sufficientem scientiam salutarem (sufficient knowledge for salvation) and as a foedus (compact) between believer and God.[4] Like Isidore of Seville before him, he regarded the creed as foming "two pacts" between God and believer: that renouncing the devil and the statement of belief itself.[5] Ildefonsus encouraged frequent Communion, implying that normal practice was infrequent, and insisted upon preparation, which may have discouraged many.[6]
In his De cognitione baptismi, Ildefonsus objected to the view of Isidore that Masses could be said efficaciously for the dead who had not had their last rites.[7] Julian of Toledo in his Prognosticum follows Ildefonsus in this objection.
Ildefonsus' De viris illustribus emphasises the monasticism of the earlier bishops of Toledo. Nonetheless, the "pastoral concern" and emphasis on praedicatio (preaching) is noted by modern editors.[8] De viris contains no biblical quotations, however.[9] Ildefonsus' De viris is a continuation in thirteen parts of a work of Isidore bearing the same name. Among the illustrious personages included in Ildefonsus' expanded version is Isidore himself, though Ildefonsus' was apparently ignorant of the better treatment of Isidore by Braulio of Zaragoza.[10] Nonetheless, Ildefonsus' continuation, with its Toledan emphasis, is an important source for that city in the sixth and seventh centuries.
Ildefonsus' most important work, however, is his De perpetua virginitate Mariae contra tres infideles, which imitated an earlier work of Jerome's.[11] In it he utilises the "synonymous method" of Isidore for theological purposes, introducing the so-called Synonyma Ciceronis, wherein he repeats every phrase several times in different, purportedly identical, ways.[3][12] The identifications reveal the arguments in a rhetorically strong way. The synonyms Ildefonsus uses are of interest to lexicographers.
Ildefonsus is the probably author of the Visigothic Mass of Ascension, in which he explains how the benefits received from Christ are richer than the wonders he performed, such as "ascending unaided to the clouds".[13] Ildefonsus also wrote a Liber Prosopopoeia Imbecillitatis Propriae which has not survived. Such a treatise (on his own imbecility) was probably a confessional monologue or dialogue and it may have served as the basis for Valerius of Bierzo's work.[14] It is only recorded in the Elogium Ildefonsi of Julian of Toledo, along with a reference to another lost work, an opusculum de proprietate personarum Patris, et Filii et Spiritus Sanctus dealing with monothelitism.[15] Among his other works, Ildefonsus prepared an anthology of Isidore's works, excluding the Epistula ad Leudefredum.[16]
Ildefonsus himself was included in a continuation made to the De viris illustribus by his later successor, Julian. His immediate successor was Quiricus, the dedicatee of Ildefonsus' De perpetua virginitate.
en.wikipedia.org/wiki/Ildephonsus_of_Toledo
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Irapuato
... fotografías sobre el proceso de restauración llevado a cabo por el IAPH sobre la pintura Imposición de la casulla a San Ildefonso del Museo de Bellas Artes de Granada. (Fray Juan Sánchez Cotón (1618-1625).

El tema iconográfico de esta pintura se corresponde con la Imposición de la casulla a san Ildefonso de Toledo por parte de la Virgen María. La historia de la vida de san Ildefonso se basa …More
... fotografías sobre el proceso de restauración llevado a cabo por el IAPH sobre la pintura Imposición de la casulla a San Ildefonso del Museo de Bellas Artes de Granada. (Fray Juan Sánchez Cotón (1618-1625).

El tema iconográfico de esta pintura se corresponde con la Imposición de la casulla a san Ildefonso de Toledo por parte de la Virgen María. La historia de la vida de san Ildefonso se basa en varios textos, aparte de lo escrito por él mismo en sus tratados. Se trata de una de las composiciones más acertadas y más bellas, así como cuidadas en técnica del pintor cartujo. La Virgen María ha sido representada como una joven idealizada de cabellos rubios y de gran belleza y finura en sus rasgos. Al carecer Sánchez Cotán de modelos al natural, parece que el pintor buscaba con su representaciones de la Virgen un ideal de belleza, y que encuentra sus modelos en los tipos rafaelescos del toledano Blas de Prado. En la parte derecha del lienzo, situado frente a la Virgen, se coloca san Ildefonso, arrodillado y en actitud orante. Por detrás del santo, se sitúan tres ángeles que sostienen la casulla. La riqueza de esta escena se ve acentuada por la presencia de una alfombra de las denominadas de Alcaraz. La composición se cierra en la parte alta con un "rompimiento de gloria" en el que se enmarcan tres angelotes. Es necesario destacar la precisión del dibujo en este lienzo, del que el artista hace un auténtico alarde en la decoración de la casulla, el manto de la Virgen y la alfombra. Ese preciosismo abarca hasta los detalles más insignificantes, como la taracea insertada en el reposabrazos del sillón de la Virgen, o las delicadas plumas celestes de los ángeles adolescentes. En opinión de Orozco, esta composición bebería de las desarrolladas durante el siglo XV por la Escuela Toledana. Toledo como ciudad donde el santo fue arzobispo, mantiene una gran devoción hacia san Ildefonso y la representación de esta escena sería muy frecuente. La gran diferencia que marca Sánchez Cotán, con respecto a los modelos toledanos, sería la cercanía con la cual ha retratado a la Virgen María y a los ángeles; que ya no aparecen sobre nubes sino que pisan descalzos la alfombra, lo cual le inyecta un gran realismo al lienzo.