1.
Portrait of Bernard van Orley
–
The Portrait of Bernhart von Reesen is a painting by German Renaissance master Albrecht Dürer, dating from 1521, now housed in the Gemäldegalerie Alte Meister of Dresden, Germany. The painting was executed during the trip to the Low Countries. On 16 March 1521, Dürer wrote that he had portrayed in Antwerp one Bernhart von Reesen, being paid eight florins and some gifts for his wife. The subject is unknown, although he could be one rich merchant from Danzig who was active in the cosmopolitan Flemish port, other scholars identify him with Bernard van Orley, a painter from Brussels. The man is portrayed with black garments, aside from the shirt under the jacket. His hands, which, according to the Flemish painting tradition, are lying on the lower border, hold a cartouche where it is perhaps written his address
Portrait of Bernard van Orley
–
Portrait of Bernhart von Reesen
Portrait of Bernard van Orley
–
Paintings
2.
Dutch and Flemish Renaissance painting
–
Dutch and Flemish Renaissance painting represents the 16th century response to Italian Renaissance art in the Low Countries. Antwerp was the most important artistic centre in the region, many artists worked for European courts, including Bosch, whose fantastic painted images left a long legacy. Jan Mabuse, Maarten van Heemskerck and Frans Floris were all instrumental in adopting Italian models and incorporating them into their own artistic language. Pieter Brueghel the Elder, with Bosch the only artist from the period to remain widely familiar, may seem atypical, dutch and Flemish painters were also instrumental in establishing new subjects such as landscape painting and genre painting. Like the world landscapes, these represented a typically Mannerist inversion of the normal decorum of the hierarchy of genres, Italian Renaissance influences begin to show on Early Netherlandish painting around 1500, but in many ways the older style was remarkably persistent. Antwerp Mannerism is a term for painters showing some Italian influence, hieronymus Bosch is a highly individual artist, whose work is strange and full of seemingly irrational imagery, making it difficult to interpret. The Romanists were the phase of influence, adopting Italian styles in a far more thorough way. The Fall of Icarus, although highly atypical in many ways and it hints at the renewed interest for antiquity, but the hero Icarus is hidden away in the background. The main actors in the painting are nature itself and, most prominently, the peasant, Brueghel shows man as an anti-hero, comical and sometimes grotesque. Northern Renaissance Art,1985, Harry N. Abrams, ISBN 0-13-623596-4 Orenstein, Nadine M. ed. Pieter Bruegel the Elder, Drawings and Prints
Dutch and Flemish Renaissance painting
–
The Fall of Icarus, now considered a copy of
Pieter Bruegel the Elder
Dutch and Flemish Renaissance painting
–
Hell, the right panel from the triptych
The Garden of Earthly Delights by
Hieronymus Bosch
Dutch and Flemish Renaissance painting
–
Cornelis Aerentsz van der Dussen by
Jan van Scorel (c. 1535) Panel, Weiss Gallery, London
3.
Brussels tapestry
–
Sophie Schneebalg-Perelmans attribution to Brussels of The Lady and the Unicorn at the Musée de Cluny may well be correct. Leo must have motivated by the already high technical quality of Brussels tapestries. A Hunts of Maximilian suite, depicting hunting in each of the months, was woven to cartoons by Bernard van Orley ca1531-33, van Orleys pupils, Pieter Coecke van Aelst and Michiel Coxie, also provided cartoons for Brussels looms under the general influence of Italian painting. A set of Seven Deadly Sins, of which four survive, are recognized as Pieter Coecke van Aelsts masterpieces, Brussels quickly took pre-eminence in tapestry weaving. In 1528 a city decree ordained that each piece of Brussels tapestry over a certain size bear the mark of a red shield flanked by two Bs, this aids in identifying Brussels production. Each tapestry was to include the woven mark of the maker or the merchant who commissioned the tapestry for resale, the public market for tapestry sales was Antwerp. Though he was the arch-rival of the Habsburgs, Francis I of France commissioned tapestries from Brussels and Antwerp in the early years of his reign. The prominent Brussels weaver Peter de Pannemaker executed for Francis that same year a suite enriched with silver and gold thread, to designs by Matteo del Nassaro of Verona, an engraver of gems. There were other commissions and purchases by Francis of Brussels tapestry until the establishment, about 1540 of a manufactory at Fontainebleau, the Valois tapestries depicting festivities at the court of France were woven in the Spanish Netherlands, likely in Brussels, shortly after 1580. Other nobles continued to support Brussels manufacture in the 16th century, only 136 tapestries from the initial original collection of 356 pieces remain today, from which the largest part was commissioned in Brussel. In England, both Cardinal Wolsey and Henry VIII amassed large tapestry collections, Wolsey furnished his palaces at York Place and Hampton Court with rich tapestries. Many of the cardinals acquisitions illustrate Biblical texts, but he also acquired secular works, one was purchased from the executors of the Bishop of Durham and one was commissioned directly by Wolsey. Evidence associates this later set with a partial set now in the Victoria & Albert Museum, the Seven Deadly Sins panels woven for Wolseys bedroom at Hampton Court are also thought to be Brussels work. By the time of his fall in 1529, Wolseys collection included over 600 tapestry pieces, old, but despite his commissions to the weavers of Brussels, his tastes were conventional, and none of his acquisitions seem to have been in the new style pioneered by van Orley. Conversely, Henry VIII embraced the new Italianate style, in October 1528, Henry acquired a small set of the Twelve Months and a much larger ten-piece set of The Story of David measuring 743 1/2 ells from the merchant Richard Gresham. Two of these, The Triumph of Hercules and the Triumph of Bacchus, the prominent atelier of Jan Raes the Elder and Younger had executed a set of Animals in Landscapes for Cardinal Montalto. and a suite of the History of Samson. Other leading Brussels ateliers of the 17th century were directed by Martin Reymbouts, rubenss pupil Jacob Jordaens also provided many cartoons for tapestries. Kermesse subjects drawn from life in the manner of the Teniers, father
Brussels tapestry
–
Diana of Ephesus, after a cartoon by
Perino del Vaga, Brussels, 1545, woven for
Andrea Doria of Genoa (
Nationalmuseum, Stockholm)
Brussels tapestry
–
David Sees Bathsheba Washing and Invites Her to His Palace from The Story of David, Brussels, ca 1526–28 (Musée National de la Renaissance, Écouen)
Brussels tapestry
–
The Marriage of Clovis (detail) by
Jean Le Clerc, Brussels, 17th century (ex-
Palace of Tau)
Brussels tapestry
–
The Miraculous Draught of Fishes from the Acts of the Apostles, workshop of Pieter d'Enghien van Aelst after a cartoon by Raphael, ca 1517-1519 (
Vatican Museums)
4.
Romanism (painting)
–
Romanism is a term used by art historians to refer to painters from the Low Countries who had travelled in the 16th century to Rome. In Rome they had absorbed the influence of leading Italian artists of the such as Michelangelo and Raphael. Upon their return home, these Northern artists created a Renaissance style, the style continued its influence until the early 17th century when it was swept aside by the Baroque. By drawing on mythological subject matter, the Romanists introduced new themes in Northern art that corresponded with the interests, the Romanists painted mainly religious and mythological works, often using complex compositions and depicting naked human bodies in an anatomically correct way but with contrived poses. Their style often appears forced and artificial to the modern viewer, however, the artists saw their efforts as an intellectual challenge to render difficult subjects through a struggle with form. The term Romanist was coined by 19th-century art historians such as Alfred Michiels and they attributed the shift to the influence of artists who had visited Italy, an in particular Rome, and called them Romanists. Jan Gossaert was one of the first Netherlandish artists to make the Rome trip in 1508/9 and after his return to the northern Netherlands, jan van Scorel worked in Rome in the years 1522 and 1523 where he was particularly impressed by Michelangelo and Raphael. Pieter Coecke van Aelst was probably in Italy before 1527, jan Sanders van Hemessen traveled to Italy early in his career, around 1520. Here he studied both models from antiquity, such as the Laocoön as well as the contemporary works of Michelangelo. Michiel Coxie of Mechelen was in Rome for a period of time roughly between 1529 and 1538. He was most influenced by Raphael and worked in a completely Italianized style upon his return, maarten van Heemskerck travelled to Rome around 1532 where he produced many paintings and drawings after Classical sculpture. After his return to the north, his work helped spread a very Italianizing style, lambert Lombard of Liège travelled to Rome in 1537 and developed influential theories about classicism. He may have encouraged his pupil Frans Floris to study in Rome as well, Floris was in Rome from about 1640 and was influenced mainly by Michelangelo and Giulio Romano. A second group of Northern artists who travelled to Rome in the half of the 16th century included Dirck Barendsz, Adriaen de Weerdt. The last two artists did not return home although Spranger exerted an important influence through other Northern artists who spent time at the Prague court where he worked and this later generation of artists are usually referred to as Mannerists. They showed a greater feeling for proportion and used a formal language then the first generation of Romanists. The most important influences on the Romanists were works by Michelangelo, Raphael and Raphael’s students such as Giulio Romano, Polidoro da Caravaggio, the Classical monuments and artefacts in Rome were also an important object of study and inspiration for Netherlandish artists in Rome. In a later phase other Italian cities exercised an important appeal in particular Venice, rosso Fiorentino, Vasari and various sculptors were the Florentine artists that appealed to the Northern artists while in Emilia, Parmigianino and his followers were the preferred models
Romanism (painting)
–
St. Luke painting the Madonna by Jan Gossaert
Romanism (painting)
–
Triumphal procession of Bacchus by Maerten van Heemskerck
Romanism (painting)
–
Venus en Mars by Frans Floris
5.
Italian Renaissance painting
–
The city of Florence in Tuscany is renowned as the birthplace of the Renaissance, and in particular of Renaissance painting. A detailed background is given in the companion articles Renaissance and Renaissance architecture, Italian Renaissance painting can be divided into four periods, the Proto-Renaissance, the Early Renaissance, the High Renaissance, and Mannerism. These dates are approximations rather than specific points because the lives of individual artists, the Proto-Renaissance begins with the professional life of the painter Giotto and includes Taddeo Gaddi, Orcagna and Altichiero. The Early Renaissance was marked by the work of Masaccio, Fra Angelico, Paolo Uccello, Piero della Francesca, the High Renaissance period was that of Leonardo da Vinci, Michelangelo, Raphael and Titian. The Mannerist period included Andrea del Sarto, Pontormo and Tintoretto, Mannerism is dealt with in a separate article. The influences upon the development of Renaissance painting in Italy are those also affected Philosophy, Literature, Architecture, Theology, Science, Government. The following is a summary of points dealt with more fully in the articles that are cited above. A number of Classical texts, that had been lost to Western European scholars for centuries and these included Philosophy, Poetry, Drama, Science, a thesis on the Arts and Early Christian Theology. The resulting interest in Humanist philosophy meant that mans relationship with humanity, a revived interest in the Classics brought about the first archaeological study of Roman remains by the architect Brunelleschi and sculptor Donatello. Simultaneous with gaining access to the Classical texts, Europe gained access to advanced mathematics which had its provenance in the works of Byzantine and Islamic scholars. The advent of movable type printing in the 15th century meant that ideas could be disseminated easily, the development of oil paint and its introduction to Italy had lasting effects on the art of painting. The establishment of the Medici Bank and the subsequent trade it generated brought unprecedented wealth to a single Italian city, Cosimo de Medici set a new standard for patronage of the arts, not associated with the church or monarchy. A similar heritage of artistic achievement occurred in Venice through the talented Bellini family, their influential inlaw Mantegna, Giorgione, Titian, much painting of the Renaissance period was commissioned by or for the Catholic Church. These works were often of large scale and were frequently painted in fresco of the Life of Christ. There were also many paintings on the theme of Salvation. Churches also commissioned altarpieces, which were painted in tempera on panel, apart from large altarpieces, small devotional pictures were produced in very large numbers, both for churches and for private individuals, the most common theme being the Madonna and Child. Throughout the period, civic commissions were also important, during the 15th century portraiture became common, initially often formalised profile portraits but increasingly three-quarter face, bust-length portraits. Portraiture was to become a subject for High Renaissance painters such as Raphael and Titian
Italian Renaissance painting
–
Raphael,
The Betrothal of the Virgin
Italian Renaissance painting
–
Giovanni Bellini, The
San Zaccaria Altarpiece
Italian Renaissance painting
–
Masaccio,
The Tribute Money for the Brancacci, a fresco cycle that had great influence upon subsequent artists
Italian Renaissance painting
–
Domenico Ghirlandaio,
The Birth of the Virgin Mary, shows the introduction of patron's families into religious cycles.
6.
Raphael
–
Raffaello Sanzio da Urbino, known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running a large workshop and, despite his death at 37. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, the best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings and he was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region and his poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Under them, the court continued as a centre for literary culture, growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a humanistic education however, it is unclear how easily he read Latin. His mother Màgia died in 1491 when Raphael was eight, followed on August 1,1494 by his father, Raphael was thus orphaned at eleven, his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master and he had already shown talent, according to Vasari, who says that Raphael had been a great help to his father. A self-portrait drawing from his teenage years shows his precocity and his fathers workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter, and Luca Signorelli, according to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice despite the tears of his mother. The evidence of an apprenticeship comes only from Vasari and another source, an alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters, the Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a master, that is to say fully trained and his first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was named in the commission
Raphael
–
Presumed Portrait of Raphael
Raphael
–
Self-portrait with a friend (1518 circa),
Louvre,
Paris
Raphael
–
Giovanni Santi, Raphael's father; Christ supported by two angels, c.1490
Raphael
–
The
Mond Crucifixion, 1502–3, very much in the style of
Perugino
7.
Brussels
–
Brussels, officially the Brussels-Capital Region, is a region of Belgium comprising 19 municipalities, including the City of Brussels which is the capital of Belgium. The Brussels-Capital Region is a part of both the French Community of Belgium and the Flemish Community, but is separate from the region of Flanders or Wallonia. The region has a population of 1.2 million and an area with a population of over 1.8 million. Brussels is the de facto capital of the European Union as it hosts a number of principal EU institutions, the secretariat of the Benelux and the headquarters of the North Atlantic Treaty Organization are also located in Brussels. Today, it is considered an Alpha global city, historically a Dutch-speaking city, Brussels has seen a language shift to French from the late 19th century onwards. Today, the majority language is French, and the Brussels-Capital Region is a bilingual enclave within the Flemish Region. All road signs, street names, and many advertisements and services are shown in both languages, Brussels is increasingly becoming multilingual with increasing numbers of migrants, expatriates and minority groups speaking their own languages. The most common theory of the origin of Brussels name is that it derives from the Old Dutch Broekzele or Broeksel, meaning marsh, Saint Vindicianus, the bishop of Cambrai made the first recorded reference to the place Brosella in 695 when it was still a hamlet. The origin of the settlement that was to become Brussels lies in Saint Gaugericus construction of a chapel on an island in the river Senne around 580. The official founding of Brussels is usually situated around 979, when Duke Charles of Lower Lotharingia transferred the relics of Saint Gudula from Moorsel to the Saint Gaugericus chapel, Charles would construct the first permanent fortification in the city, doing so on that same island. Lambert I of Leuven, Count of Leuven gained the County of Brussels around 1000 by marrying Charles daughter, as it grew to a population of around 30,000, the surrounding marshes were drained to allow for further expansion. The Counts of Leuven became Dukes of Brabant at about this time, in the 13th century, the city got its first walls. After the construction of the city walls in the early 13th century, to let the city expand, a second set of walls was erected between 1356 and 1383. Today, traces of it can still be seen, mostly because the small ring, Brabant had lost its independence, but Brussels became the Princely Capital of the prosperous Low Countries, and flourished. In 1516 Charles V, who had been heir of the Low Countries since 1506, was declared King of Spain in St. Michael and St. Gudula Cathedral in Brussels. Upon the death of his grandfather, Maximilian I, Holy Roman Emperor in 1519 and it was in the Palace complex at Coudenberg that Charles V abdicated in 1555. This impressive palace, famous all over Europe, had expanded since it had first become the seat of the Dukes of Brabant. In 1695, during the Nine Years War, King Louis XIV of France sent troops to bombard Brussels with artillery, together with the resulting fire, it was the most destructive event in the entire history of Brussels
Brussels
–
A
collage with several views of Brussels, Top: View of the
Northern Quarter business district, 2nd left: Floral carpet event in the
Grand Place, 2nd right:
Brussels City Hall and
Mont des Arts area, 3rd:
Cinquantenaire Park, 4th left:
Manneken Pis, 4th middle:
St. Michael and St. Gudula Cathedral, 4th right:
Congress Column, Bottom:
Royal Palace of Brussels
Brussels
–
Charles of Lorraine founded what would become Brussels c. 979
Brussels
–
Grand Place after
the 1695 bombardment by the French army
Brussels
–
Episode of the
Belgian Revolution of 1830,
Wappers (1834)
8.
Habsburg
–
The House of Habsburg, also called House of Hapsburg, or House of Austria, was one of the most influential royal houses of Europe. The throne of the Holy Roman Empire was continuously occupied by the Habsburgs between 1438 and 1740, from the sixteenth century, following the reign of Charles V, the dynasty was split between its Austrian and Spanish branches. Although they ruled distinct territories, they maintained close relations. The House takes its name from Habsburg Castle, a built in the 1020s in present-day Switzerland, in the canton of Aargau, by Count Radbot of Klettgau. His grandson Otto II was the first to take the name as his own. The House of Habsburg gathered dynastic momentum through the 11th, 12th, by 1276, Count Radbots seventh generation descendant Rudolph of Habsburg had moved the familys power base from Habsburg Castle to the Duchy of Austria. Rudolph had become King of Germany in 1273, and the dynasty of the House of Habsburg was truly entrenched in 1276 when Rudolph became ruler of Austria, which the Habsburgs ruled until 1918. A series of dynastic marriages enabled the family to expand its domains to include Burgundy, Spain and its colonial empire, Bohemia, Hungary. In the 16th century, the separated into the senior Habsburg Spain and the junior Habsburg Monarchy branches. The House of Habsburg became extinct in the 18th century, the senior Spanish branch ended upon the death of Charles II of Spain in 1700 and was replaced by the House of Bourbon. It was succeeded by the Vaudemont branch of the House of Lorraine, the new successor house styled itself formally as the House of Habsburg-Lorraine, although it was often referred to as simply the House of Habsburg. His grandson Radbot, Count of Habsburg founded the Habsburg Castle, the origins of the castles name, located in what is now the Swiss canton of Aargau, are uncertain. There is disagreement on whether the name is derived from the High German Habichtsburg, or from the Middle High German word hab/hap meaning ford, the first documented use of the name by the dynasty itself has been traced to the year 1108. The Habsburg Castle was the seat in the 11th, 12th and 13th centuries. The Habsburgs expanded their influence through arranged marriages and by gaining political privileges, in the 13th century, the house aimed its marriage policy at families in Upper Alsace and Swabia. They were also able to high positions in the church hierarchy for their members. Territorially, they often profited from the extinction of other families such as the House of Kyburg. By the second half of the 13th century, count Rudolph IV had become one of the most influential territorial lords in the area between the Vosges Mountains and Lake Constance
Habsburg
–
House of Habsburg
Habsburg
–
Growth of the Habsburg Empire in Central Europe.
Habsburg
–
A map of the dominion of the Habsburgs following the
Battle of Mühlberg (1547) as depicted in The Cambridge Modern History Atlas (1912); Habsburg lands are shaded green, but do not include the lands of the
Holy Roman Empire over which they presided, nor the vast Castilian holdings outside of Europe, particularly in the
New World.
Habsburg
–
Spanish branch's family tree with connections to Emperors' branch
9.
Beeldenstorm
–
Most of the destruction was of art in churches and public places. The Dutch term usually refers to the wave of disorderly attacks in the summer of 1566 that spread rapidly through the Low Countries from south to north. In England there was both government-sponsored removal of images and also attacks from 1535 onwards, and in Scotland from 1559. In France there were several outbreaks as part of the French Wars of Religion from 1560 onwards, the region affected was perhaps the richest in Europe, but still seethed with economic discontent among parts of the population, and had suffered a poor harvest and hard winter. However, recent historians are less inclined to see the movement as prompted by these factors than was the case a few decades ago. The Beeldenstorm grew out of a turn in the behaviour of Low Country Protestants starting around 1560, Catholic preachers were interrupted in sermons, and raids were organized to rescue Protestant prisoners from jail, who then often fled into exile in France or England. Protestant views were spread by a movement of field sermons or open-air sermons held outside towns. Prosecutions for heresy continued, especially in the south, although they were erratic, by 1565 the authorities seem to have realized that persecution was not the answer, and the level of prosecutions slackened, and the Protestants became increasingly confident in the open. A letter of July 22,1566, from officials to the Regent, warned that the scandalous pillage of churches, monasteries. Iconoclastic attacks spread rapidly northwards and resulted in the destruction of not only images but all sorts of decoration and fittings in churches, however, there was relatively little loss of life, unlike similar outbreaks in France, where the clergy were often killed, and some iconoclasts too. Valenciennes was the most southerly town attacked, in the east, Maastricht on September 20 and Venlo on October 5 saw attacks, but generally the outbreaks were restricted to more westerly and northern areas. Over 400 churches were attacked in Flanders alone, so that in fine, I cannot write you in x sheets of paper the strange sight I saw there, organs and all destroyed. Nicolas Sander, an English Catholic exile who was a professor of theology at Louvain and these fresh followers of this new preaching threw down the graven and defaced the painted images, not only of Our Lady but of all others in the town. The Blessed Sacrament of the altar and they trod under their feet and shed their stinking piss upon it. Such details are corroborated by other sources. Alcohol features largely in many accounts, perhaps in some cases because in Netherlandish law being drunk could be regarded as a mitigating factor in criminal sentencing. The destruction frequently included ransacking the priests house, and sometimes private houses suspected of sheltering church goods, there are many accounts of rituals of inversion, in which the church sometimes stood for the whole social order. Children sometimes participated enthusiastically, and street games afterwards became play battles between papists and beggars, one child was killed in Amsterdam by a stone thrown in such a game
Beeldenstorm
–
Print of the destruction in the
Church of Our Lady in Antwerp, the "signature event" of the Beeldenstorm, August 20, 1566, by
Frans Hogenberg
Beeldenstorm
–
A German
woodcut of 1530, showing orderly Lutheran destruction supervised by a magistrate or lord, leaving a plain altar.
Beeldenstorm
–
An outdoor sermon (The Preaching of St. John the Baptist) depicted by
Pieter Bruegel the Elder, apparently in 1565, the year before the Beeldenstorm movement began.
Beeldenstorm
–
Damaged relief statues in the
Cathedral of Saint Martin, Utrecht.
10.
Cartoon
–
A cartoon is a type of two-dimensional illustration. An artist who creates cartoons is called a cartoonist, the concept originated in the Middle Ages and first described a preparatory drawing for a piece of art, such as a painting, fresco, tapestry, or stained glass window. In the 19th century, it came to refer to humorous illustrations in magazines and newspapers, in the 21st century, cartoons could be published on the Internet. A cartoon is a drawing made on sturdy paper as a study or modello for a painting. Cartoons were typically used in the production of frescoes, to link the component parts of the composition when painted on damp plaster over a series of days. Such cartoons often have pinpricks along the outlines of the design so that a bag of soot patted or pounced over the cartoon, held against the wall, would leave black dots on the plaster. Cartoons by painters, such as the Raphael Cartoons in London, tapestry cartoons, usually coloured, were followed with the eye by the weavers on the loom. In modern print media, a cartoon is an illustration or series of illustrations and this usage dates from 1843, when Punch magazine applied the term to satirical drawings in its pages, particularly sketches by John Leech. The first of these parodied the preparatory cartoons for grand historical frescoes in the then-new Palace of Westminster, Cartoons can be divided into gag cartoons, which include editorial cartoons, and comic strips. Modern single-panel gag cartoons, found in magazines, generally consist of a drawing with a typeset caption positioned beneath. Newspaper syndicates have also distributed single-panel gag cartoons by Mel Calman, Bill Holman, Gary Larson, George Lichty, Fred Neher, many consider New Yorker cartoonist Peter Arno the father of the modern gag cartoon. The roster of magazine gag cartoonists includes names like Charles Addams, Charles Barsotti, Bill Hoest, Jerry Marcus and Virgil Partch began as magazine gag cartoonists and moved to syndicated comic strips. Richard Thompson is noteworthy in the area of newspaper cartoon illustration, the sports section of newspapers usually featured cartoons, sometimes including syndicated features such as Chester Chet Browns All in Sport. Editorial cartoons are found almost exclusively in news publications and news websites, although they also employ humor, they are more serious in tone, commonly using irony or satire. The art usually acts as a metaphor to illustrate a point of view on current social and/or political topics. Editorial cartoons often include speech balloons and sometimes use multiple panels, editorial cartoonists of note include Herblock, David Low, Jeff MacNelly, Mike Peters and Gerald Scarfe. Comic strips, also known as cartoon strips in the United Kingdom, are daily in newspapers worldwide. In the United States, they are not commonly called cartoons themselves, nonetheless, the creators of comic strips—as well as comic books and graphic novels—are usually referred to as cartoonists
Cartoon
–
John Leech, Cartoon no.1: Substance and Shadow, 1843, satirized preparatory cartoons for frescoes in the Palace of Westminster, creating the modern meaning of "cartoon".
Cartoon
–
Example of a modern cartoon. The text was excerpted by cartoonist Greg Williams from the Wikipedia article on
Dr. Seuss.
Cartoon
–
Nast depicts the
Tweed Ring: "Who stole the people's money?" / "'Twas him."
11.
Charles V, Holy Roman Emperor
–
Charles V was ruler of both the Spanish Empire from 1516 and the Holy Roman Empire from 1519, as well as of the Habsburg Netherlands from 1506. He voluntarily stepped down from these and other positions by a series of abdications between 1554 and 1556, through inheritance, he brought together under his rule extensive territories in western, central, and southern Europe, and the Spanish colonies in the Americas and Asia. As a result, his domains spanned nearly four square kilometers and were the first to be described as the empire on which the sun never sets. Charles was the heir of three of Europes leading dynasties, the Houses of Valois-Burgundy, Habsburg, and Trastámara and he inherited the Burgundian Netherlands and the Franche-Comté as heir of the House of Valois-Burgundy. From his own dynasty, the Habsburgs, he inherited Austria and he was also elected to succeed his Habsburg grandfather, Maximilian I, as Holy Roman Emperor, a title held by the Habsburgs since 1440. Charles was the first king to rule Castile and Aragon simultaneously in his own right, the personal union, under Charles, of the Holy Roman Empire with the Spanish Empire resulted in the closest Europe would come to a universal monarchy since the death of Louis the Pious. France recovered and the wars continued for the remainder of Charless reign, enormously expensive, they led to the development of the first modern professional army in Europe, the Tercios. The struggle with the Ottoman Empire was fought in Hungary and the Mediterranean, after seizing most of eastern and central Hungary in 1526, the Ottomans’ advance was halted at their failed Siege of Vienna in 1529. A lengthy war of attrition, conducted on his behalf by his younger brother Ferdinand, in the Mediterranean, although there were some successes, Charles was unable to prevent the Ottomans’ increasing naval dominance and the piratical activity of the Barbary Corsairs. Charles opposed the Reformation and in Germany he was in conflict with the Protestant Princes of the Schmalkaldic League who were motivated by religious and political opposition to him. Once the rebellions were quelled the essential Castilian and Burgundian territories remained mostly loyal to Charles throughout his rule, Charles’s Spanish dominions were the chief source of his power and wealth, and they became increasingly important as his reign progressed. In the Americas, Charles sanctioned the conquest by Castillian conquistadors of the Aztec, Castillian control was extended across much of South and Central America. The resulting vast expansion of territory and the flows of South American silver to Castile had profound long term effects on Spain. Charles was only 56 when he abdicated, but after 34 years of rule he was physically exhausted and sought the peace of a monastery. Upon Charles’s abdications, the Holy Roman Empire was inherited by his younger brother Ferdinand, the Spanish Empire, including the possessions in the Netherlands and Italy, was inherited by Charles’s son Philip II. The two empires would remain allies until the 18th century, Charles was born in 1500 as the eldest son of Philip the Handsome and Joanna of Castile in the Flemish city of Ghent, which was part of the Habsburg Netherlands. The culture and courtly life of the Burgundian Low Countries were an important influence in his early life and he was tutored by William de Croÿ, and also by Adrian of Utrecht. He also gained a decent command of German, though he never spoke it as well as French, a witticism sometimes attributed to Charles is, I speak Spanish to God, Italian to women, French to men and German to my horse
Charles V, Holy Roman Emperor
–
Charrles V by
Titian, 1548.
Alte Pinakothek, Munich, Germany
Charles V, Holy Roman Emperor
–
Signature
Charles V, Holy Roman Emperor
–
Copper coin "korte" with portrait of Charles V, struck in Antwerp, 1548
Charles V, Holy Roman Emperor
–
A young Charles V, by
Bernard van Orley,
Louvre Museum, Paris, France
12.
Duchy of Brabant
–
The Duchy of Brabant was a State of the Holy Roman Empire established in 1183. Today all the former territories, apart from exclaves are in Belgium except for the Dutch province of North Brabant. The Duchy of Brabant was historically divided into four parts, each with its own capital, the four capitals were Leuven, Brussels, Antwerp and s-Hertogenbosch. Before s-Hertogenbosch was founded, Tienen was the fourth capital and its most important cities were Brussels, Antwerp, Leuven, Breda, s-Hertogenbosch, Lier and Mechelen. The modern flag of Belgium takes its colors from Brabants coat of arms, probably first used by Count Lambert I of Louvain, the lion is documented in a 1306 towns seal of Kerpen, together with the red lion of Limburg. Up to the present, the Brabant lion features as the charge on the coats of arms of both Flemish and Walloon Brabant, and of the Dutch province of North Brabant. The regions name is first recorded as the Carolingian shire pagus Bracbatensis, upon the 843 Treaty of Verdun it was part of Lotharingia within short-lived Middle Francia, and was ceded to East Francia according to the 880 Treaty of Ribemont. In earlier Roman times, the Nervii, a Belgic tribe and they were incorporated into the Roman province of Belgica, and considered to have both Celtic and Germanic cultural links. At the end of the Roman period the region was conquered by the Germanic Franks, in 959 the East Frankish king Otto I of Germany elevated Count Godfrey of Jülich to the rank of duke of Lower Lorraine. In 962 the duchy became a part of the Holy Roman Empire. Here, the counts of Leuven rose to power, when about 1000 Count Lambert I the Bearded married Gerberga, the daughter of Duke Charles of Lower Lorraine, and acquired the County of Brussels. About 1024 southernmost Brabant fell to Count Reginar V of Mons, in 1190, after the death of Godfrey III, Henry I also became Duke of Lower Lotharingia. By that time the title had lost most of its territorial authority, according to protocol, all his successors were thereafter called Dukes of Brabant and Lower Lotharingia. After the Battle of Worringen in 1288, the dukes of Brabant also acquired the Duchy of Limburg, in 1354 Duke John III of Brabant granted a Joyous Entry to the citizens of Brabant. In 1430 the Duchies of Lower Lotharingia, Brabant and Limburg were inherited by Philip the Good of Burgundy, in 1477 the Duchy of Brabant became part of the House of Habsburg as part of the dowry of Mary of Burgundy. At that time the Duchy extended from Luttre, south of Nivelles to s Hertogenbosch, the subsequent history of Brabant is part of the history of the Habsburg Seventeen Provinces. The Eighty Years War brought the parts under military control of the northern insurgents. The southern part remained in Spanish Habsburg hands as a part of the Southern Netherlands and it was transferred to the Austrian branch of the Habsburg monarchy in 1714
Duchy of Brabant
–
Duchy of Brabant and
Prince-Bishopric of Liège (1477)
13.
Retable
–
A retable is a structure or element placed either on or immediately behind and above the altar or communion table of a church. At the minimum it may be a shelf for candles behind an altar. A retable which incorporates sculptures or painting is referred to as an altarpiece. Many altars have both a reredos and a retable and this distinction is not always upheld in common use, and the terms are often confused or used as synonyms. The non-English word retable therefore often refers to what should in English be called a reredos, the retable may hold the altar cross, mostly in Protestant churches, as well as candles, flowers and other things. This article incorporates text from a now in the public domain, Chisholm, Hugh
Retable
–
The centuries-old retablo of the Main Altar of the Basilica Minore del Sto. Niño in Cebu City, Philippines.
Retable
–
Retablo Mayor in the
Seville Cathedral, greatest retable in the world
Retable
–
Retablo of the Iglesia de Nuestra Señora de la Asunción,
Tarancón.
Retable
–
The "Grand Retablo," a contemporary piece created in Spain in 2007 and located in Southern California's
Mission Basilica San Juan Capistrano.
14.
Gothic art
–
Gothic art was a style of medieval art that developed in Northern France out of Romanesque art in the 12th century AD, led by the concurrent development of Gothic architecture. It spread to all of Western Europe, and much of Southern and Central Europe, in the late 14th century, the sophisticated court style of International Gothic developed, which continued to evolve until the late 15th century. In many areas, especially Germany, Late Gothic art continued well into the 16th century, primary media in the Gothic period included sculpture, panel painting, stained glass, fresco and illuminated manuscripts. The earliest Gothic art was monumental sculpture, on the walls of Cathedrals, Christian art was often typological in nature, showing the stories of the New Testament and the Old Testament side by side. Increased literacy and a body of secular vernacular literature encouraged the representation of secular themes in art. Gothic art emerged in Île-de-France, France, in the early 12th century at the Abbey Church of St Denis built by Abbot Suger, monastic orders, especially the Cistercians and the Carthusians, were important builders who disseminated the style and developed distinctive variants of it across Europe. Gothic art was often typological in nature, reflecting a belief that the events of the Old Testament pre-figured those of the New, Old and New Testament scenes were shown side by side in works like the Speculum Humanae Salvationis, and the decoration of churches. The Gothic period coincided with a resurgence in Marian devotion. Images of the Virgin Mary developed from the Byzantine hieratic types, through the Coronation of the Virgin, to human and initimate types. Artists like Giotto, Fra Angelico and Pietro Lorenzetti in Italy, and Early Netherlandish painting, brought realism, Western artists, and their patrons, became much more confident in innovative iconography, and much more originality is seen, although copied formulae were still used by most artists. Even in Last Judgements Christ was now usually shown exposing his chest to show the wounds of his Passion, the word Gothic for art was initially used as a synonym for Barbaric, and was therefore used pejoratively. Its critics saw this type of Medieval art as unrefined and too remote from the aesthetic proportions, Renaissance authors believed that the Sack of Rome by the Gothic tribes in 410 had triggered the demise of the Classical world and all the values they held dear. Gothic art was criticized by French authors such as Boileau, La Bruyère, Rousseau, before becoming a recognized form of art. Molière would famously comment on Gothic, The besotted taste of Gothic monuments, These odious monsters of ignorant centuries, in its beginning, Gothic art was initially called French work, thus attesting the priority of France in the creation of this style. Painting in a style that can be called Gothic did not appear until about 1200, or nearly 50 years after the origins of Gothic architecture and sculpture. Then figures become more animated in pose and facial expression, tend to be smaller in relation to the background of scenes, and are arranged more freely in the pictorial space, where there is room. This transition occurs first in England and France around 1200, in Germany around 1220, painting during the Gothic period was practiced in four primary media, frescos, panel paintings, manuscript illumination and stained glass. Frescoes continued to be used as the pictorial narrative craft on church walls in southern Europe as a continuation of early Christian
Gothic art
–
The Western (Royal) Portal at
Chartres Cathedral (ca. 1145). These architectural statues are the earliest Gothic sculptures and were a revolution in style and the model for a generation of sculptors.
Gothic art
–
Later Gothic depiction of the
Adoration of the Magi from
Strasbourg Cathedral.
Gothic art
–
Gothic sculpture, late 15th century,
Amiens Cathedral.
Gothic art
–
14th Century
International Gothic Mary Magdalene in St. John Cathedral in
Toruń.
15.
Renaissance
–
The Renaissance was a period in European history, from the 14th to the 17th century, regarded as the cultural bridge between the Middle Ages and modern history. It started as a movement in Italy in the Late Medieval period and later spread to the rest of Europe. This new thinking became manifest in art, architecture, politics, science, Early examples were the development of perspective in oil painting and the recycled knowledge of how to make concrete. Although the invention of movable type sped the dissemination of ideas from the later 15th century. In politics, the Renaissance contributed to the development of the customs and conventions of diplomacy, the Renaissance began in Florence, in the 14th century. Other major centres were northern Italian city-states such as Venice, Genoa, Milan, Bologna, the word Renaissance, literally meaning Rebirth in French, first appeared in English in the 1830s. The word also occurs in Jules Michelets 1855 work, Histoire de France, the word Renaissance has also been extended to other historical and cultural movements, such as the Carolingian Renaissance and the Renaissance of the 12th century. The Renaissance was a movement that profoundly affected European intellectual life in the early modern period. Renaissance scholars employed the humanist method in study, and searched for realism, however, a subtle shift took place in the way that intellectuals approached religion that was reflected in many other areas of cultural life. In addition, many Greek Christian works, including the Greek New Testament, were back from Byzantium to Western Europe. Political philosophers, most famously Niccolò Machiavelli, sought to describe life as it really was. Others see more competition between artists and polymaths such as Brunelleschi, Ghiberti, Donatello, and Masaccio for artistic commissions as sparking the creativity of the Renaissance. Yet it remains much debated why the Renaissance began in Italy, accordingly, several theories have been put forward to explain its origins. During the Renaissance, money and art went hand in hand, Artists depended entirely on patrons while the patrons needed money to foster artistic talent. Wealth was brought to Italy in the 14th, 15th, and 16th centuries by expanding trade into Asia, silver mining in Tyrol increased the flow of money. Luxuries from the Eastern world, brought home during the Crusades, increased the prosperity of Genoa, unlike with Latin texts, which had been preserved and studied in Western Europe since late antiquity, the study of ancient Greek texts was very limited in medieval Western Europe. One of the greatest achievements of Renaissance scholars was to bring this entire class of Greek cultural works back into Western Europe for the first time since late antiquity, Arab logicians had inherited Greek ideas after they had invaded and conquered Egypt and the Levant. Their translations and commentaries on these ideas worked their way through the Arab West into Spain and Sicily and this work of translation from Islamic culture, though largely unplanned and disorganized, constituted one of the greatest transmissions of ideas in history
Renaissance
–
David, by
Michelangelo (
Accademia di Belle Arti,
Florence) is a masterpiece of Renaissance and world art.
Renaissance
–
Renaissance
Renaissance
–
Leonardo da Vinci 's
Vitruvian Man (c. 1490) shows clearly the effect writers of Antiquity had on Renaissance thinkers. Based on the specifications in
Vitruvius '
De architectura (1st century BC), Leonardo tried to draw the perfectly proportioned man.
Renaissance
–
Portrait of a young woman (c. 1480-85) (
Simonetta Vespucci) by
Sandro Botticelli
16.
Antwerp
–
Antwerp is a city in Belgium, the capital of Antwerp province in the region of Flanders. With a population of 510,610, it is the most populous city proper in Belgium and its metropolitan area houses around 1,200,000 people, which is second behind Brussels. Antwerp is on the River Scheldt, linked to the North Sea by the Westerschelde estuary, the Port of Antwerp is one of the biggest in the world, ranking second in Europe and within the top 20 globally. Antwerp has long been an important city in the Low Countries, the inhabitants of Antwerp are nicknamed Sinjoren, after the Spanish honorific señor or French seigneur, lord, referring to the Spanish noblemen who ruled the city in the 17th century. The city hosted the 1920 Summer Olympics, according to folklore, notably celebrated by a statue in front of the town hall, the city got its name from a legend about a giant called Antigoon who lived near the Scheldt river. He exacted a toll from passing boatmen, and for those who refused, he severed one of their hands, eventually the giant was killed by a young hero named Silvius Brabo, who cut off the giants own hand and flung it into the river. Hence the name Antwerpen, from Dutch hand werpen, akin to Old English hand and wearpan, a longstanding theory is that the name originated in the Gallo-Roman period and comes from the Latin antverpia. Antverpia would come from Ante Verpia, indicating land that forms by deposition in the curve of a river. Note that the river Scheldt, before a period between 600 and 750, followed a different track. This must have coincided roughly with the current ringway south of the city, however, many historians think it unlikely that there was a large settlement which would be named Antverpia, but more something like an outpost with a river crossing. However, John Lothrop Motley argues, and so do a lot of Dutch etymologists and historians, aan t werp is also possible. This warp is a hill or a river deposit, high enough to remain dry at high tide. Another word for werp is pol hence polders, historical Antwerp allegedly had its origins in a Gallo-Roman vicus. Excavations carried out in the oldest section near the Scheldt, 1952–1961, produced pottery shards, the earliest mention of Antwerp dates from the 4th century. In the 4th century, Antwerp was first named, having been settled by the Germanic Franks, the name was reputed to have been derived from anda and werpum. The Merovingian Antwerp was evangelized by Saint Amand in the 7th century, at the end of the 10th century, the Scheldt became the boundary of the Holy Roman Empire. Antwerp became a margraviate in 980, by the German emperor Otto I, in the 11th century Godfrey of Bouillon was for some years known as the marquis of Antwerp. In the 12th century, Norbert of Xanten established a community of his Premonstratensian canons at St. Michaels Abbey at Caloes
Antwerp
–
Antwerp Antwerpen
Antwerp
–
Coat of arms
Antwerp
–
The
Onze-Lieve-Vrouwekathedraal (Cathedral of our Lady) and the
Scheldt river.
Antwerp
–
Grote Markt
17.
Raphael Cartoons
–
Reproduced in the form of prints, they rivalled Michelangelos ceiling as the most famous and influential designs of the Renaissance, and were well known to all artists of the Renaissance and Baroque. Admiration of them reached its highest pitch in the 18th and 19th centuries, originally the set was intended to include 16 tapestries. Raphael was paid twice by Leo, in June 1515 and December 1516, tapestries retained their Late Gothic prestige during the Renaissance. Most of the expense was in the manufacture, although the creation of the tapestries in Brussels cost 15,000 ducats, the cartoons are painted in a glue distemper medium on many sheets of paper glued together, they are now mounted on a canvas backing. They are all slightly over 3 m tall, and from 3 to 5 m wide, although some colours have faded, they are in general in very good condition. The tapestries are mirror-images of the cartoons, as they were worked from behind, there would have been other drawings for all the subjects, which have been lost, it was from these that the first prints were made. The seven cartoons were probably completed in 1516 and were sent to Brussels. Various other sets were later, including one acquired by Henry VIII of England in 1542. Cartoons were sometimes returned with tapestries to the commissioner, but this clearly did not happen here, the tapestries had very wide and elaborate borders, also designed by Raphael, which these cartoons omit, presumably they had their own cartoons. The borders included ornamentation in an imitation of Ancient Roman relief sculpture, the tapestries were made with both gold and silver thread, some were later burnt by soldiers in the Sack of Rome in 1527 to extract the precious metals. The first delivery was in 1517, and seven were displayed in the Chapel for Christmas Day in 1519 and it was partly this that made the designs so effective in reduced print versions. The Raphael Cartoons represent scenes from the lives of Saints Peter, there were relatively few precedents for these subjects, so Raphael was less constrained by traditional iconographic expectations than he would have been with a series on the life of Christ or Mary. He no doubt received some advice or instructions in choosing the scenes to depict, an intervening small frieze showed subjects from the life of Leo, also designed to complement the other series. Each sequence begins at the wall, with the Life of Peter on the right side of the Chapel. The Healing of the Lame Man The Death of Ananias, Life of Paul The Stoning of St Stephen at which Paul was present before his conversion. The Conversion of Saint Paul The Conversion of the Proconsul or The Blinding of Elymas, after Paul miraculously cures a cripple, the people of Lystra see him and his companion Barnabas as gods, and want to make a sacrifice to them. Paul tears his garments in disgust, whilst Barnabas speaks to the crowd, St Paul in prison, smaller than the others. St Paul Preaching in Athens, the standing at the left in a red cap is a portrait of Leo, next to him is Janus Lascaris
Raphael Cartoons
–
The Miraculous Draught of Fishes
Raphael Cartoons
–
St Paul Preaching in Athens
Raphael Cartoons
–
Christ's Charge to Peter
Raphael Cartoons
–
The Death of
Ananias
18.
Acts of the Apostles
–
The Acts of the Apostles, often referred to simply as Acts, is the fifth book of the New Testament, it tells of the founding of the Christian church and the spread of its message to the Roman Empire. Acts and the Gospel of Luke make up a work, Luke–Acts, by the same anonymous author. The first part, the Gospel of Luke, tells how God fulfilled his plan for the salvation through the life, death, and resurrection of Jesus of Nazareth. Acts continues the story of Christianity in the 1st century, beginning with Jesuss Ascension to Heaven, the early chapters, set in Jerusalem, describe the Day of Pentecost and the growth of the church in Jerusalem. Initially the Jews are receptive to the Christian message, but soon turn against the followers of Jesus. Rejected by the Jews, under the guidance of the Apostle Peter the message is taken to the Gentiles. The later chapters tell of Pauls conversion, his mission in Asia Minor and the Aegean, and finally his imprisonment in Rome, the title Acts of the Apostles was first used by Irenaeus in the late 2nd century. It is not known whether this was a title or one invented by Irenaeus, it does seem clear, however. The Gospel of Luke and Acts make up a work which scholars call Luke–Acts. The author is not named in either volume. )He admired Paul, the earliest possible date for the composition of Acts is set by the events with which it ends, Pauls imprisonment in Rome c.63 AD, but an early date is now rarely put forward. In either case there is evidence that it was still being revised well into the 2nd century. Luke aligned his work, Luke–Acts, to the narratives which many others had written, Acts, the second part, is widely thought of as a history, but it lacks exact analogies in Hellenistic or Jewish literature. The title Acts of the Apostles would seem to identify it with the telling of the deeds and achievements of great men. By and large the sources for Acts can only be guessed at, but Luke would have had access to the Septuagint, the gospel of Mark and the collection of sayings of Jesus called the Q source. )There are also points of contacts with 1 Peter, the Letter to the Hebrews, and 1 Clement. Other sources can only be inferred from internal evidence—the traditional explanation of the three we passages, for example, is that they represent eye-witness accounts, the search for such inferred sources was popular in the 19th century, but by the mid-20th it had largely been abandoned. Acts was read as a history of the early church well into the post-Reformation era. The mid-19th century scholar Ferdinand Baur suggested that Luke had re-written history to present a united Peter and Paul, Baur continues to have enormous influence, but today there is less interest in determining Lukes historical accuracy than in understanding his theological program. Luke was written to be read aloud to a group of Jesus-followers gathered in a house to share the Lords supper, the author assumes an educated Greek-speaking audience, but directs his attention to specifically Christian concerns rather than to the Greco-Roman world at large
Acts of the Apostles
–
Books of the
New Testament
Acts of the Apostles
–
Ministry of the Apostles:
Russian icon by
Fyodor Zubov, 1660
Acts of the Apostles
–
Acts 1:1-2a from the 14th century
Minuscule 223
Acts of the Apostles
–
Paul's conversion, from Livre d'Heures d'Étienne Chevalier (c. 1450–1460),
Jean Fouquet, in the
Château de Chantilly.
19.
Leo X
–
Pope Leo X, born Giovanni di Lorenzo de Medici, was Pope from 9 March 1513 to his death in 1521. The second son of Lorenzo the Magnificent, ruler of the Florentine Republic, following the death of Pope Julius II, Giovanni was elected pope after securing the backing of the younger members of the Sacred College. Early on in his rule he oversaw the sessions of the Fifth Council of the Lateran. In 1517 he led a war that succeeded in securing his nephew as duke of Urbino. He later only narrowly escaped a plot by some cardinals to poison him and he is probably best remembered for granting indulgences for those who donated to reconstruct St. Peters Basilica, which practice was challenged by Martin Luthers 95 Theses. He seems not to have taken seriously the array of demands for reform that would quickly grow into the Protestant Reformation. His Papal Bull of 1520, Exsurge Domine, simply condemned Luther on a number of areas and he did, however, grant establishment to the Oratory of Divine Love. A significant patron of the arts, upon election Leo is alleged to have said, Since God has given us the papacy, under his reign, progress was made on the rebuilding of Saint Peters Basilica and artists such as Raphael decorated the Vatican rooms. Leo also reorganised the Roman University, and promoted the study of literature, poetry and he died in 1521 and is buried in Santa Maria sopra Minerva, Rome. He is the last pope not to have been in priestly orders at the time of his election to the papacy. Giovanni di Lorenzo de Medici was born on December 11,1475 in the Republic of Florence, the son of Lorenzo the Magnificent. From an early age he was destined for an ecclesiastical career and he received the tonsure at the age of seven and was soon granted rich benefices and preferments. Meanwhile, he received an education at Lorenzos humanistic court under such men as Angelo Poliziano, Pico della Mirandola, Marsilio Ficino, from 1489 to 1491 he studied theology and canon law at Pisa. On 23 March 1492, he was admitted into the Sacred College of Cardinals and took up his residence at Rome. The death of Lorenzo on the following 8 April, however and he returned to Rome to participate in the conclave of 1492 which followed the death of Innocent VIII, and unsuccessfully opposed the election of Cardinal Borgia. While Piero found refuge at Venice and Urbino, Giovanni traveled in Germany, in the Netherlands, in May 1500, he returned to Rome, where he was received with outward cordiality by Pope Alexander VI, and where he lived for several years immersed in art and literature. In 1503 he welcomed the accession of Pope Julius II to the pontificate and this and other attempts to regain political control of Florence were frustrated until a bloodless revolution permitted the return of the Medici. Giovannis younger brother Giuliano was placed at the head of the republic, Giovanni was elected Pope on 9 March 1513, and this was proclaimed two days later
Leo X
–
Pope Leo X
Leo X
–
Santa Maria in Domnica
Leo X
–
Bulla Contra errores Martini Lutheri of 1521.
Leo X
–
Statue of Leo X in the church of Santa Maria in Aracoeli, Rome.
20.
Kunsthistorisches Museum
–
The Kunsthistorisches Museum is an art museum in Vienna, Austria. Housed in its festive palatial building on Ringstraße, it is crowned with an octagonal dome, the term Kunsthistorisches Museum applies to both the institution and the main building. It is the largest art museum in the country and it was opened around 1891 at the same time as the Naturhistorisches Museum, by Emperor Franz Joseph I of Austria-Hungary. The two museums have similar exteriors and face each other across Maria-Theresien-Platz, both buildings were built between 1871 and 1891 according to plans drawn up by Gottfried Semper and Karl Freiherr von Hasenauer. The two Ringstraße museums were commissioned by the Emperor in order to find a shelter for the Habsburgs formidable art collection. The façade was built of sandstone, the building is rectangular in shape, and topped with a dome that is 60 meters high. The inside of the building is decorated with marble, stucco ornamentations, gold-leaf. It was featured in an episode of Museum Secrets on the History Channel and it had been the biggest art theft in Austrian history. Treasure of Nagyszentmiklós Media related to Kunsthistorisches Museum at Wikimedia Commons Official website Spherical panorama of entrance Hofburgs Armory - photo gallery in Flickr
Kunsthistorisches Museum
–
Kunsthistorisches Museum
Kunsthistorisches Museum
–
Interior
Kunsthistorisches Museum
–
Madonna of the Meadow by
Raphael.
Kunsthistorisches Museum
–
Tower of Babel by Pieter Brueghel.
21.
Royal Museums of Fine Arts of Belgium
–
The Royal Museums of Fine Arts of Belgium are a group of art museums in Brussels, Belgium. In 1845 it is decided by royal Decree that a museum is to be founded with works of art of deceswed and this is accorded by Minister Sylvain van de Weyer a national Commission is founded to select important works of art. This commission is presided by the First president Count de Beaufort, other members are, Gustaf Wappers, President of the Royal Museum of Antwerpen. François-Joseph Navez, President of the Académie royale des beaux-arts de Bruxelles, guillaume Geefs Eugène Simonis Tilman-François Suys, professor at the Académie Royale des Beaux-Arts. Much of the members were active in the Royal Academy of Science, Letters and Fine Arts of Belgium. The museums are situated in the capital Brussels in the area on the Coudenberg. There are six museums connected with the Royal Museum, and two of them, are in the main building, the Royal Museum contains over 20,000 drawings, sculptures, and paintings, which date from the early 15th century to the present. The museum has a collection of Flemish painting, among them paintings by Bruegel and Rogier van der Weyden, Robert Campin, Anthony van Dyck. The museum is also proud of its Rubens Room, which more than 20 paintings by the artist. The painting Landscape with the Fall of Icarus, long-attributed to Brueghel, is located here and forms the subject of W. H. Audens famous poem Musée des Beaux Arts, named after the museum. The chief curators of the museum have been or are, from 1961 till 1984, balat was the kings principal architect, and this was one part of the kings vast building program for Belgium. The building was completed in 1887, and stands as an example of the Beaux-Arts architecture use of themed statuary to assert the identity, the finial, gilded Genius of Art was also designed by de Groot. The two bas-relief panels are Music by Thomas Vincotte and Industrial Arts by Charles Brunin, the two bronze groups on pedestals represent The Crowning of Art by Paul de Vigne, and The Teaching of Art by Charles van der Stappen. On the side of the building, a memorial commemorates five members of the Mouvement National Royaliste, a resistance group, killed during the liberation of Brussels on 3–4 September 1944
Royal Museums of Fine Arts of Belgium
–
Entrance
Royal Museums of Fine Arts of Belgium
–
Location within Brussels
Royal Museums of Fine Arts of Belgium
–
View on the upper floor
Royal Museums of Fine Arts of Belgium
–
The
Jacob Jordaens room
22.
Our Blessed Lady of Zavel Church
–
It is characterized by its late Brabantine Gothic exterior and rich interior decoration including two Baroque chapels. This chapel became the chapel of the Crossbow Guild, the woman stole the statue and through some miraculous events was able to bring it to Brussels by boat in 1348. The statue of Mary was then placed in the chapel. The Guild also promised to hold a procession, called an Ommegang. This Ommegang developed into an important religious and civil event in the calendar of Brussels. The exact date of commencement of the construction of the church replaced the chapel is not known with certainty. It is generally believed that it was around the turn of the fifteenth century, the whole construction process took about a century. The choir was finished in 1435 as is testified by mural paintings of that date, the works were interrupted because of the troubles after the death of Charles the Bold in 1477 but recommenced by the end of the century. The nave finally had seven bays the last two of which should have been surmounted by a tower that was never completed, the sacrarium built behind the choir dates from 1549. At the end of the century the church was sacked by the Calvinists. At the beginning of the French occupation in 1795 the church was saved from the anti-religious zeal of the occupiers, the church remained closed for a few years and was returned to religious service under Napoleon, as a subsidiary of the Chapel Church. Soon after the completion of the section of the Regentschapsstraat or Rue de la Régence in 1872. The church appeared so dilapidated after this removal that restoration works were commenced immediately, the first works were entrusted in 1870 to the local architect Auguste Schoy. He proposed a project that was so radical that the Commission of Monuments at first refused to endorse it. The site was entrusted to the Belgian architect Jules-Jacques Van Ysendijck. Jules-Jacques van Ysendijck was a disciple of Eugène Viollet-le-Duc and led the work in accordance with the principle of unity of style of the latter, from 1895 to 1912, he and his son implemented six construction phases by which they created a monument that had never existed. They added turrets, pinnacles and openwork balustrades, covered the aisles with perpendicular gables instead of the continuous gables parallel to the nave, from 1917 to 1937 the architect François Malfait directed the placement of 57 statues from 27 different sculptors. More recently, the city of Brussels undertook a restoration to restore the church to its former glory
Our Blessed Lady of Zavel Church
–
Our Blessed Lady of the Sablon Church
Our Blessed Lady of Zavel Church
–
External view of the sacrarium
Our Blessed Lady of Zavel Church
–
The nave
Our Blessed Lady of Zavel Church
–
Detail of the pulpit by Marc de Vos
23.
Jan van Eyck
–
Jan van Eyck was a Flemish/Netherlandish painter active in Bruges. He is often considered one of the founders of Early Netherlandish painting school, the few surviving records of his early life indicate that he was born c. After Johns death in 1425 he was employed in Lille as court painter to Philip the Good, Duke of Burgundy, until 1429 before moving to Bruges, where he lived until his death. Apart from the Ghent Altarpiece and the miniatures of the Turin-Milan Hours, about 20 surviving paintings are confidently attributed to him. Ten, including the Ghent altarpiece, are dated and signed with a variation of his motto, ALS IK KAN always written in Greek characters, Van Eyck painted both secular and religious subject matter, including altarpieces, single panel religious figures and commissioned portraits. His work includes single panels, diptychs, triptychs, and polyptych panels and he was well paid by Philip, who sought that the painter was secure financially and had artistic freedom and could paint whenever he pleased. Van Eycks work comes from the International Gothic style, but he soon eclipsed it, through his developments in the use of oil paint he achieved a new level of virtuosity. Van Eyck was highly influential and his techniques and style were adopted and refined by the Early Netherlandish painters, little is known of Jan van Eycks early life and neither the date nor place of his birth is documented. This suggests a date of birth of 1395 at the latest, however, his apparent age in the London probable self-portrait of 1433 suggests to most scholars a date closer to 1380. He was identified in the late 1500s as having been born in Maaseik and this claim is still considered credible on etymological grounds, considering that Van Eyck means of Eyck which is an old variant spelling of eik. He had a sister Margareta, and at least two brothers, Hubert and Lambert, both painters, but the order of their births has not been established. Another significant, and rather younger, painter who worked in Southern France and it is not known where Jan was educated, but he had knowledge of Latin and used the Greek and Hebrew alphabets in his inscriptions, indicating that he was schooled in the classics. This level of education was rare among painters, and would have made him attractive to the cultivated Philip. Van Eyck served John of Bavaria-Straubing, ruler of Holland, Hainault, by this time van Eyck had assembled a small workshop and was involved in redecorating the Binnenhof palace in The Hague. After Johns death in 1425 he moved to Bruges and came to the attention of Philip the Good c and his emergence as a collectable painter generally follows his appointment to Philips court, and from this point his activity in the court is comparatively well documented. He served as court artist and diplomat, and a was a member of the Tournai painters guild. On 18 October 1427, the Feast of St. Luke, he travelled to Tournai to attend a banquet in his honour, also attended by Robert Campin, a court salary freed him from commissioned work, and allowed a large degree of artistic freedom. Over the following decade van Eycks reputation and technical ability grew, unlike most of his peers his reputation never diminished and he remained well regarded over the following centuries
Jan van Eyck
–
Portrait of a Man in a Turban, possible self-portrait, 1433
Jan van Eyck
–
The Three Marys at the Tomb, painted or begun by Jan's brother
Hubert van Eyck, perhaps between 1410 and 1420, completed by members of Jan's workshop c 1440.
Jan van Eyck
–
Ghent Altarpiece, c. 1432, Saint Bavo Cathedral, Ghent
Jan van Eyck
–
The Arnolfini Portrait, 1434;
National Gallery, London
24.
Rogier van der Weyden
–
Rogier van der Weyden or Roger de la Pasture was an Early Netherlandish painter whose surviving works consist mainly of religious triptychs, altarpieces and commissioned single and diptych portraits. By the latter half of the 15th century, he had eclipsed Jan van Eyck in popularity, however his fame lasted only until the 17th century, and largely due to changing taste, he was almost totally forgotten by the mid-18th century. There are few facts of van der Weydens life. What else is known of him has come from records and secondary sources. However the paintings now attributed to him are generally accepted, despite a tendency in the 19th century to attribute his work to others, all of his forms are rendered with rich, warm colourisation and a sympathetic expression, while he is known for his expressive pathos and naturalism. His portraits tend to be half length and half profile, Van der Weyden used an unusually broad range of colours and varied tones, in his finest work the same tone is not repeated in any other area of the canvas, even the whites are varied. Due to the loss of archives in 1695 and again in 1940, Rogelet de le Pasture was born in Tournai in 1399 or 1400. His parents were Henri de le Pasture and Agnes de Watrélos and he married around 1426, to Elisabeth Goffaert, and was made town painter of Brussels in 1436, and changed his name from the French to the Flemish format, becoming van der Weyden. The Pasture family had settled before in the city of Tournai where Rogiers father worked as a maître-coutelier, in 1426 Rogier married Elisabeth, the daughter of a Brussels shoemaker Jan Goffaert and his wife Cathelyne van Stockem. Rogier and Elisabeth had four children, Cornelius, who became a Carthusian monk, was born in 1427, a daughter Margaretha in 1432. Before 21 October 1435 the family settled in Brussels where the two children were born, Pieter in 1437 and Jan in 1438, who would go on to become a painter. On his move to Brussels, Rogier began using the Flemish version of his name, little is known about Rogiers training as a painter. The archival sources from Tournai were completely destroyed during World War II, the sources on his early life are confusing and have led to different interpretations by scholars. It is known that the city council of Tournai offered eight pitchers of wine in honour of a certain Maistre Rogier de le Pasture on the 17th November 1426. However, on 5 March of the year the records of the painters guild show a Rogelet de le Pasture entered the workshop of Robert Campin together with Jacques Daret. Records show that de le Pasture was already established as a painter, only five years later, on the first of August 1432, de le Pasture obtained the title of a Master painter. His later entry into apprenticeship might be explained by the fact that during the 1420s the city of Tournai was in crisis, the late apprenticeship may have been a legal formality. Also Jacques Daret was then in his twenties and had living and working in Campins household for at least a decade
Rogier van der Weyden
–
Rogier van der Weyden, portrait by
Cornelis Cort, 1572
Rogier van der Weyden
–
The Descent from the Cross (c. 1435), oil on oak panel, 220 × 262 cm.
Museo del Prado, Madrid
Rogier van der Weyden
–
Rogier van der Weyden - Portrait of a Woman with a Winged Bonnet
Rogier van der Weyden
–
The Braque Triptych, c. 1452 (right panel)
25.
Veurne
–
Veurne is a city and municipality in the Belgian province of West Flanders. The municipality comprises the town of Veurne proper and the settlements of Avekapelle, Booitshoeke, Bulskamp, De Moeren, Eggewaartskapelle, Houtem, Steenkerke, Vinkem, Wulveringem, and Zoutenaaie. Veurne, in Latin Furna, is first found in 877 as a possession of the Saint Bertin Abbey in Saint-Omer, around 890 AD, it was noted as a fortification against the Viking raids. It soon was placed at the head of the castellany of Veurne, Veurne became a city in the 12th century. During the following century, trade with England flourished, in 1270, however, the relations with England came to a standstill and the city’s economy went into a long decline, hence the nickname of the Veurne Sleepers. On August 20,1297, the Battle of Veurne was fought in the struggle between the Flemish cities and the French king. The beautiful gothic church of Saint Walburga and the tower of the church of Saint Nicolas, Saint Walburga housed a chapter of canons. Saint Nicholas and Saint Denis were the two parish churches and possessions of the Norbertine abbey of Saint Nicholas. The 15th century saw the construction of a new city hall, as most of the Westhoek, the city and the neighbourghood strongly recessed during the economic and religious problems around 1566–1583. But when the town and the castellany officially got together, the town flourished, most of the other historic buildings date from this time, the prosperous reign of the Archdukes Albert and Isabella around 1600. In 1644 the Capucines organised a procession, since 1646, this procession was organised by the Sodales, a religious confraternity, that organised a crossway during Advent time, under the leadership of the Norbertine monk Jacob Clou. The hooded Sodales took a cross for penitence and this procession was expanded at the end of the 17th century with scenes from the Bible, and is the only one of his kind, remaining up to now in Flanders. The second half of the 17th century was marked by the miseries brought to the region by Louis XIV’s wars, vauban built heavy fortifications around the city, the outlines of which are still noticeable from the air today. Joseph II of Austria put them down and closed some of the institutions, putting a temporary end to the penitents’ procession. Those few cloisters that were still operating were closed at the French Revolution, from the Battle of Waterloo until World War I, Veurne could enjoy a century of quiet and prosperity. In 1831, Veurne was the first city to welcome Belgium’s new king, Leopold I, during World War I, Veurne was located within the Yser pocket of Belgian resistance against the German troops. During the Battle of the Yser, the Veurne city hall became the headquarters for the Belgian troops under King Albert I, in 1920, the French President, Raymond Poincaré, came to Veurne to award the city the Croix de guerre with palm. Veurne suffered some damage during World War II, mainly from allied bombing, today, the city is a regional centre, which gives commercial, medical, and educational services to the surrounding communities while enjoying increasing tourist attention
Veurne
–
Veurne market square
Veurne
–
Veurne on the
Ferraris map (around 1775)
Veurne
–
View of the town
Veurne
–
Old Courthouse
26.
Grisaille
–
Grisaille is a term for a painting executed entirely in shades of grey or of another neutral greyish colour. It is particularly used in decorative schemes in imitation of sculpture. Many grisailles in fact include a slightly wider range, like the Andrea del Sarto fresco illustrated. Paintings executed in brown are referred to as brunaille, and paintings executed in green are called verdaille, a grisaille may be executed for its own sake, as underpainting for an oil painting, or as a model for an engraver to work from. Rubens and his school sometimes use monochrome techniques in sketching compositions for engravers, originally these were the sides on display for most of the time, as the doors were normally kept closed except on feast days or at the request of tourists. However today these images are invisible in museums when the tryptych is displayed open. In these cases imitation of sculpture was intended, sculpture was still more expensive than a painting even by a top master. The ceiling frescoes of the Sistine Chapel have portions of the design in grisaille, Grisaille, while less widespread in the 20th Century, continues as an artistic technique. Pablo Picassos painting Guernica is one contemporary example, hugo Bastidas is a contemporary American painter known for black and white paintings that imitate the effect of grisaille and often resemble black and white photographs. Bastidas’ paintings frequently reference architecture, water, vegetation and art history, and reflect his concern about the condition, globalization. After returning to New York from a Fulbright Fellowship in his native Ecuador in the early 1990s, Bastidas began using a color palette of black. His medium- and large-scale paintings allude to black-and-white photography, and feature contrasting zones of high, by making thousands of marks with a size No.1 hogs bristle brush on linen primed with rabbit-skin glue, Bastidas achieves a high level of image definition. He also works in photography, which informs his subject matter without rendering a photo-realistic effect. With the 20th centurys emphasis on painting, the grisaille technique lost favour with artists of the period. This historic method is still incorporated into the curriculum of some private ateliers, the term is also applied to monochrome painting in other media such as enamels, where an effect similar to a relief in silver may be intended. It is common in stained glass, where the need for sections in different colours was thereby greatly reduced, portions of a window may be done in grisaille — using, for example, silver stain or vitreous paint — while other sections are done in coloured glass. Sepia tone References A Watercolour Demonstration Using Grisaille Notes Jan Gossarts Saint Jerome Penitent using grisaille Jean-Auguste-Dominique Ingres and workshop, Odalisque in Grisaille
Grisaille
–
Christ and the Woman Taken in Adultery,
Pieter Bruegel the Elder, 1565, 24 cm × 34 cm (9.4 in × 13.4 in)
Grisaille
–
Battesimo della gente, one of
Andrea del Sarto 's gray and brown grisaille
frescoes in the Chiostro dello Scalzo,
Florence (1511-26).
Grisaille
–
Hans Memling wing, with
donor portrait in colour below grisaille Madonna imitating sculpture.
Grisaille
–
Grisaille stained glass (15th century)
27.
Galleria Sabauda
–
The Sabauda Gallery is an art collection in Turin, Italy, which contains the royal art collections amassed by the House of Savoy over the centuries. It is located on Via XX September,86, on October 2,1832, King Charles Albert of Savoy inaugurated the royal gallery at the Palazzo Madama, containing 365 paintings. In 1865, Massimo dAzeglio had the collection transferred to Guarino Guarinis Palazzo dellAccademia delle Scienze where it stood until 2012, on December 4,2014, at the presence of the Italian Minister of Culture, the Manica Nuova of Palazzo Reale was official opened. The collection has now found its place to be exhibited. The gallery is based on a new museum project conceived and developed by the superintendent Edith Gabrielli together with Studio Albini Associati. The lighting is by CastagnaRavelli Studio, based in Milan, the graphic is by Noorda Design
Galleria Sabauda
–
Fra Angelico Madonna and Child, c. 1430, 63 x 47 cm
Galleria Sabauda
–
Filippino Lippi Tobias and the Archangels, c. 1485,
Galleria Sabauda
–
Antonio del Pollaiolo Tobias and Angel, c. 1460
Galleria Sabauda
–
Rembrandt Old Man Sleeping by a Fire, c. 1629, 52 x 41 cm
28.
Charlemagne
–
Charlemagne or Charles the Great, numbered Charles I, was the King of the Franks from 768, King of the Lombards from 774 and Emperor of the Romans from 800. He united much of Europe during the early Middle Ages and he was the first recognised emperor in western Europe since the fall of the Western Roman Empire three centuries earlier. The expanded Frankish state which Charlemagne founded was called the Carolingian Empire, Charlemagne was the oldest son of Pepin the Short and Bertrada of Laon. He became king in 768 following his fathers death, initially as co-ruler with his brother Carloman I, carlomans sudden death in 771 in unexplained circumstances left Charlemagne as the undisputed ruler of the Frankish Kingdom. He continued his fathers policy towards the papacy and became its protector, removing the Lombards from power in northern Italy and he campaigned against the Saxons to his east, Christianising them upon penalty of death and leading to events such as the Massacre of Verden. Charlemagne reached the height of his power in 800 when he was crowned Emperor of the Romans by Pope Leo III on Christmas Day at Old St. Peters Basilica. Charlemagne has been called the Father of Europe, as he united most of Western Europe for the first time since the Roman Empire and his rule spurred the Carolingian Renaissance, a period of energetic cultural and intellectual activity within the Western Church. All Holy Roman Emperors considered their kingdoms to be descendants of Charlemagnes empire, up to the last Emperor Francis II and these and other machinations led to the eventual split of Rome and Constantinople in the Great Schism of 1054. Charlemagne died in 814, having ruled as emperor for thirteen years and he was laid to rest in his imperial capital of Aachen in what is today Germany. He married at least four times and had three sons, but only his son Louis the Pious survived to succeed him. By the 6th century, the western Germanic Franks had been Christianised, Francia, ruled by the Merovingians, was the most powerful of the kingdoms that succeeded the Western Roman Empire. Following the Battle of Tertry the Merovingians declined into powerlessness, for which they have dubbed the rois fainéants. Almost all government powers were exercised by their chief officer, the mayor of the palace, in 687, Pepin of Herstal, mayor of the palace of Austrasia, ended the strife between various kings and their mayors with his victory at Tertry. He became the governor of the entire Frankish kingdom. Pepin was the grandson of two important figures of the Austrasian Kingdom, Saint Arnulf of Metz and Pepin of Landen, Pepin of Herstal was eventually succeeded by his illegitimate son Charles, later known as Charles Martel. After 737, Charles governed the Franks in lieu of a king, Charles was succeeded in 741 by his sons Carloman and Pepin the Short, the father of Charlemagne. In 743, the brothers placed Childeric III on the throne to curb separatism in the periphery and he was the last Merovingian king. Carloman resigned office in 746, preferring to enter the church as a monk, Pepin brought the question of the kingship before Pope Zachary, asking whether it was logical for a king to have no royal power
Charlemagne
–
A coin of Charlemagne with the inscription KAROLVS IMP AVG (Karolus Imperator Augustus)
Charlemagne
–
Francia, early 8th century
Charlemagne
–
External video
Charlemagne
–
Moorish Hispania in 732
29.
Shroud of Turin
–
The shroud is kept in the royal chapel of the Cathedral of Saint John the Baptist in Turin, northern Italy. The Catholic Church has neither endorsed nor rejected the shroud. Pope John Paul II called the Shroud a mirror of the Gospel, the origins of the shroud and its images are the subject of intense debate among theologians, historians and researchers. Articles published from 2005 -2015 have highlighted concerns about this dating, aspects of the 1988 test continue to be debated, but meaningful challenges to the dating result have so far been unsuccessful. According to Christopher Ramsey of the Oxford Radiocarbon Accelerator Unit in 2011, there are various hypotheses as to why the dates might not be correct, but none of them stack up. A variety of methods have been proposed for the formation of the image, despite numerous investigations and tests, the status of the Shroud of Turin remains murky, and the nature of the image and how it was fixed on the cloth remain puzzling. The shroud continues to be intensely studied and controversial. The shroud is rectangular, measuring approximately 4.4 by 1.1 metres, the cloth is woven in a three-to-one herringbone twill composed of flax fibrils. Its most distinctive characteristic is the faint, brownish image of a front, the two views are aligned along the midplane of the body and point in opposite directions. The front and back views of the head nearly meet at the middle of the cloth, the image of the Man of the Shroud has a beard, moustache, and shoulder-length hair parted in the middle. Forensic doctors have interpreted markings on the cloth as follows, One wrist bears a large, round wound, small punctures around the forehead and scalp Scores of linear wounds on the torso and legs. Swelling of the face Streams of blood down both arms The details of the image on the shroud are not easily seen with the naked eye, in May 1898 Italian photographer Secondo Pia was allowed to photograph the shroud. He took the first photograph of the shroud on 28 May 1898, Pia was startled by the visible image of the negative plate, implying that the shroud is effectively a negative of some kind. Pia was at first accused of doctoring his photographs, but he was vindicated in 1931 when another photographer, Giuseppe Enrie, photographed the shroud, in 1978, ultraviolet photographs were taken of the shroud. The shroud was damaged in a fire in 1532 in the chapel in Chambery, There are some burn holes and scorched areas down both sides of the linen, caused by contact with molten silver during the fire that burned through it in places while it was folded. Fourteen large triangular patches and eight smaller ones were sewn onto the cloth by Poor Clare nuns to repair the damage, the historical records for the shroud can be separated into two time periods, before 1390 and from 1390 to the present. Prior to 1390 there are some similar images such as the Pray Codex. However, what is claimed by some to be the image of a shroud on the Pray Codex has crosses on one side, a step pyramid pattern on the other
Shroud of Turin
–
The Shroud of
Turin: modern photo of the face, positive left, digitally processed image right.
Shroud of Turin
–
Full-length image of the Turin Shroud before the
2002 restoration.
Shroud of Turin
–
Secondo Pia 's 1898 negative of the image on the Shroud of Turin has an appearance suggesting a positive image. It is used as part of the devotion to the
Holy Face of Jesus. Image from
Musée de l'Élysée,
Lausanne.
Shroud of Turin
–
The pilgrim medallion of Lirey (before 1453), drawing by Arthur Forgeais, 1865.
30.
Court painter
–
A court painter was an artist who painted for the members of a royal or noble family, sometimes on a fixed salary and on an exclusive basis where the artist was not supposed to undertake other work. Especially in the late Middle Ages, they were given the office of valet de chambre. Usually they were given a salary and formal title, and often a pension for life, in England the role of Serjeant Painter was set up for this, leaving the Kings painter free to paint mostly portraits. See category of Italian art collectors for lists that included non-aristocratic patrons, some artists, like Jan van Eyck or Diego Velázquez, were used in other capacities at court, as diplomats, functionaries, or administrators. In Islamic cultures, especially between the 14th and 17th centuries, similar arrangements operated for miniaturists and artists in other media. In the Persian miniature, the shah and other rulers typically maintained a workshop or atelier, of calligraphers, miniaturists, binders and other crafts. The name by which Riza Abbasi is usually includes the honorific title Abbasi. Abd as-Samad, a Persian painter who moved to the Mughal Empire, was given a number of significant administrative jobs, the court remained the focus of patronage of painting in the sub-Mughal princely courts of India, whether Muslim or Hindu. At many periods rulers owned or controlled royal workshops or factories making high-quality tapestries, porcelain or pottery, silks and this was especially the case in China and in the Byzantine Empire. Le Brun dominated, and largely created, the style found throughout Louis XIVs palaces, by the 20th century court painters was an obsolete position. Commonly more artists were granted permission by royalty who would sit for official portraits whether for private of patron purposes, Artists of the Tudor Court 21st Century Court Artists Michael Levey, Painting at Court, Weidenfeld and Nicholson, London,1971
Court painter
–
Las Meninas,
Diego Velázquez, 1656, shows a princess watching her unseen parents as Velázquez paints them; the cross on his chest was added later, according to legend painted by the king himself, after the artist received the
Order of Santiago in 1659 (click on image and run cursor over to identify figures).
_-_Triptiek_Haneton_-_KMSK_Brussel.jpg)
