Negotiating gender in post‐World War II America

Janet Walker, Couching Resistance: Women, Film, and Psychoanalytic Psychiatry. Minneapolis and London: University of Minnesota Press, 1993. 211 pp.

Jackie Byars, All That Hollywood Allows: Re‐reading Gender in 1950s Melodrama. Chapel Hill and London: University of North Carolina Press, 1991. 326 pp.     

New and Improved: Repetition as Originality in Italian Baroque Practice and Theory

In 1614 Padovanino, a virtually unknown artist, arrived in Rome, where he copied Titian's Bacchanals in the Aldobrandini collection. At about the same time the celebrated painter Domenichino did the same. In that year Domenichino also unveiled The Last Communion of Saint Jerome, which was clearly a repetition of an earlier work by his master, Agostino Carracci. Although Giovanni Lanfranco, Domenichino's rival, dismissed the painting as a theft, the larger Roman art community did not quite agree. This paper examines artistic influence and production in an age before anxiety and outlines an aesthetic of repetition in an age before originality.     

The Ulric Crosses

There are many special legends connected with the great figures of the Catholic faith which have enriched the art of the Church. Among these legends which have been commemorated is the story of the cross which is supposed to have been brought by an angel to St. Ulric as he went into battle against the Huns. While many different types of this cross were designed as objects of devotion and as talismans the crosses based on this theme are not commonly known because so few of the existing examples are in the large museums and collections. Two examples, both struck from the same mold and chased by hand, are in the Museo Cristiano of the Vatican Library at Rome (Nos. 165, 166).²