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Salvator Rosa (1615-1673), an Italian artist from Naples, participated in this movement from 1640 until his death. As interests in the occult heightened during his time in Florence, he participated in suspicions of witchcraft through his Scenes of Witchcraft (1645-1649). Located at the Cleveland Museum of Art, the series consists of four tondi, each portraying a witch with harrowing spectators at different times of the day. However, to ensure his esteemed prominence, he returned to Rome and produced religious works. The macabre interests that captivated Rosa in Scenes of Witchcraft (1645-49) became a vehicle of undermining the church through The Shade of Samuel Appears to Saul (1668) when the artist returned to Rome. In this paper I propose that through shared iconography, The Shade of Samuel Appears to Saul is a painting of witchcraft, and serves to undermine the authority of the church. Witches or other necromancing subjects were accepted solely to elevate the morality of biblical characters. By giving the witch of Endor agency, Rosa is offering an alternative subject that serves to rival the power of God. \r\n"],"license_tesim":["http://creativecommons.org/publicdomain/zero/1.0/"],"date_created_tesim":["April 26, 2026 "],"related_url_tesim":["N/A"],"thumbnail_path_ss":"/downloads/2v23vw18j?file=thumbnail","suppressed_bsi":false,"actionable_workflow_roles_ssim":["admin_set/default-default-depositing"],"workflow_state_name_ssim":["deposited"],"member_ids_ssim":["2v23vw18j"],"file_set_ids_ssim":["2v23vw18j"],"visibility_ssi":"open","admin_set_tesim":["Default Admin Set"],"sort_title_ssi":"DANCING WITH THE DEVIL SALVATOR ROSAS MANIFESTATIONS OF WITCHCRAFT IN SEVENTEENTH CENTURY ITALY","human_readable_type_tesim":["Student Work"],"read_access_group_ssim":["public"],"edit_access_group_ssim":["admin"],"edit_access_person_ssim":["banksc3@mail.uc.edu"],"nesting_collection__pathnames_ssim":["70795912q"],"nesting_collection__deepest_nested_depth_isi":1,"_version_":1863574983202045952,"timestamp":"2026-04-26T22:46:38.177Z","score":0.00049999997},{"system_create_dtsi":"2025-04-29T14:23:19Z","system_modified_dtsi":"2025-04-29T14:25:48Z","has_model_ssim":["Document"],"id":"xk81jm953","accessControl_ssim":["ec50c7f3-c199-420f-9b61-153efd3220f0"],"hasRelatedMediaFragment_ssim":["6682x5215"],"hasRelatedImage_ssim":["6682x5215"],"depositor_ssim":["wells2ml@mail.uc.edu"],"depositor_tesim":["wells2ml@mail.uc.edu"],"title_tesim":["Globalization of The Adoration: Pilgrimage, Trade, and Shifting Perspectives within The Master of the Legend of Saint Lucy’s 'Adoration of the Magi' (c. 1480-85)"],"date_uploaded_dtsi":"2025-04-29T14:23:18Z","date_modified_dtsi":"2025-04-29T14:23:18Z","isPartOf_ssim":["admin_set/default"],"alternate_title_tesim":["Globalization of the Adoration"],"geo_subject_tesim":["Cincinnati, Ohio","Europe","Bruges, Belgium "],"genre_tesim":["Report"],"time_period_tesim":["15th century "],"college_tesim":["Design, Architecture, Art and Planning"],"department_tesim":["Unknown"],"creator_tesim":["Wells, Maiana"],"subject_tesim":["Art History "],"language_tesim":["English"],"description_tesim":["By considering various depictions of the Adoration of the Magi between 1400 to 1485, I establish that the portrayal of the Magus within The Master of the Legend of Saint Lucy’s painting directly reflects the economic realities in Bruges throughout the same period. 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