1.
Card sharp
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A card sharp is a person who uses skill and/or deception to win at poker or other card games. Sharp and shark spellings have varied over time and by region, the label is not always intended as pejorative, and is sometimes used to refer to practitioners of card tricks for entertainment purposes. A card sharp or shark may be a rounder who travels, according to the prevailing etymological theory, the term shark, originally meaning parasite or one who preys upon others, derives from German Schorke or Schurke, as did the English word shirk. Sharp developed in the 17th century from this meaning of shark, Card sharp and card shark are synonymous, although American English is somewhat, but informally, beginning to favor shark as a positive term versus sharp as a negative one. Card sharps who cheat or perform tricks use methods to control of the order of the cards or sometimes to control one specific card. Many of these methods employ sleight of hand, essential skills are false shuffles and false cuts that appear to mix the deck but actually leave the cards in the same order. More advanced techniques include culling, and stacking, dealing the cards can also be manipulated. Once a desired card or cards are located they can be controlled and this is called a false dealing, if a card is dealt from the bottom it is called bottom dealing and if it is second from the top it is called second dealing. Two cards could be dealt as one or the card from the bottom could be dealt, hence the Greek deal. Dealing may also be done from the middle of the deck, known as the deal or center deal. Gambit, fictional Marvel superhero Card sharps are common characters in caper films, in Friends season 2, episode 10, The One with Russ, Ross debates with his doppelgänger Russ about the correctness of the term card shark vs. card sharp. On Mission, Impossible, members of the Impossible Missions Force, in Prison Break, the character Theodore T-Bag Bagwell is an expert card sharp, who says, there are maybe five people in this country who can do what I do with a deck of cards. T-Bag uses this skill successfully in season 1, episode 18, sanford and Son featured an episode wherein card sharps defeated Lamont at poker. Fred was able to defeat the card sharps and win Lamonts money back, in the Japanese anime Cowboy Bebop, characters Fay Valentine and Spike Spiegel both exhibit card sharping skills, usually at the expense of their partner, Jet Black. In Arrow season 1, episode 21, The Undertaking, Felicity Smoak poses as a sharp, so that she. In Downton Abbey series 4, episode 3, Ediths love interest Mr. Gregson expresses his pleasure in beating a card sharp, Mr Sampson, who was a card snark of the first degree. In the British reality TV show The Real Hustle, co-host Paul Wilson is a card mechanic who uses his skills to demonstrate scams. The antagonist Luxord, of Organization XIII in Kingdom Hearts II, is a gambler who fights with dice and cards, in League of Legends, the champion Twisted Fate is a card sharp
2.
Caravaggio
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Michelangelo Merisi da Caravaggio was an Italian painter active in Rome, Naples, Malta, and Sicily between 1592 and 1610. His paintings, which combine a realistic observation of the human state, in scarcely a year or so’s sojourn in Naples, he rapidly established himself once more as the most prominent painter, exploiting high-ranking connections. It was not long before these connections gave him an opening to travel on in 1607 to Malta, governed by the Order of Knights Hospitallers, Caravaggio probably hoped that the Knights would provide a channel whereby he could obtain a pardon from the Papacy. Once more his talents made an instant impression, along with the support of noble patrons and his hopes dashed, he contrived to escape and flee once, which before the end of 1608 led to his cancellation from the rolls of the Order. He made for Syracuse in Sicily, where he was received as a guest by a friend from his Roman days, the painter’s face was disfigured and rumours started to circulate of his death. Various commentators have formulated opinions about his state from works supposedly executed at this period. In fact, Caravaggio’s end is shrouded in mystery, mystery that is rendered only denser by conflicting hypotheses, some speak of a natural death from a persistent fever, others of an assassination by emissaries of the Knights of Malta. The loss of the paintings put the deal and his future in doubt, there is evidence that dogged by a serious fever, he was tended by a local religious confraternity near Porto Ercole, then in the Grand Duchy of Tuscany, but succumbed. His death was certified by them as taking place on 18 July 1610, if the story to this point is exact, it is likely he was buried in a paupers’ common grave. As to the place, though this continues to be contested. Famous while he lived, Caravaggio was forgotten almost immediately after his death, despite this, his influence on the new Baroque style that eventually emerged from the ruins of Mannerism was profound. The 20th-century art historian André Berne-Joffroy claimed, What begins in the work of Caravaggio is, quite simply, modern painting. Caravaggio was born in Milan where his father, Fermo, was an administrator and architect-decorator to the Marchese of Caravaggio. His mother, Lucia Aratori, came from a family of the same district. In 1576 the family moved to Caravaggio to escape a plague which ravaged Milan, Caravaggios mother died in 1584, the same year he began his four-year apprenticeship to the Milanese painter Simone Peterzano, described in the contract of apprenticeship as a pupil of Titian. Following his initial training under Simone Peterzano, in 1592 Caravaggio left Milan for Rome, in flight after certain quarrels, in Rome, where there was a demand for paintings to fill the many huge new churches and palazzos being built at the time. It was also a period when the Church was searching for an alternative to Mannerism in religious art that was tasked to counter the threat of Protestantism. Caravaggios innovation was a radical naturalism that combined close observation with a dramatic, even theatrical
3.
Oil painting
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Oil painting is the process of painting with pigments with a medium of drying oil as the binder. Commonly used drying oils include linseed oil, poppy seed oil, walnut oil, the choice of oil imparts a range of properties to the oil paint, such as the amount of yellowing or drying time. Certain differences, depending on the oil, are visible in the sheen of the paints. An artist might use different oils in the same painting depending on specific pigments and effects desired. The paints themselves also develop a particular consistency depending on the medium, the oil may be boiled with a resin, such as pine resin or frankincense, to create a varnish prized for its body and gloss. Its practice may have migrated westward during the Middle Ages, Oil paint eventually became the principal medium used for creating artworks as its advantages became widely known. In recent years, water miscible oil paint has come to prominence and, to some extent, water-soluble paints contain an emulsifier that allows them to be thinned with water rather than paint thinner, and allows very fast drying times when compared with traditional oils. Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint, Oil paint is usually mixed with linseed oil, artist grade mineral spirits, or other solvents to make the paint thinner, faster or slower-drying. A basic rule of oil paint application is fat over lean and this means that each additional layer of paint should contain more oil than the layer below to allow proper drying. If each additional layer contains less oil, the painting will crack. This rule does not ensure permanence, it is the quality and type of oil leads to a strong. There are many media that can be used with the oil, including cold wax, resins. These aspects of the paint are closely related to the capacity of oil paint. Traditionally, paint was transferred to the surface using paintbrushes. Oil paint remains wet longer than other types of artists materials, enabling the artist to change the color. At times, the painter might even remove a layer of paint. This can be done with a rag and some turpentine for a time while the paint is wet, Oil paint dries by oxidation, not evaporation, and is usually dry to the touch within a span of two weeks. It is generally dry enough to be varnished in six months to a year, art conservators do not consider an oil painting completely dry until it is 60 to 80 years old
4.
Kimbell Art Museum
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The Kimbell Art Museum in Fort Worth, Texas, hosts an art collection as well as traveling art exhibitions, educational programs and an extensive research library. Its initial artwork came from the collection of Kay and Velma Kimbell. The building was designed by architect Louis I. Kahn and is recognized as one of the most significant works of architecture of recent times. It is especially noted for the wash of silvery natural light across its vaulted gallery ceilings, Kay Kimbell was a wealthy Fort Worth businessman who built an empire of over 70 companies in a variety of industries. He married Velma Fuller, who kindled his interest in art collecting by taking him to an art show in Fort Worth in 1931, where he bought a British painting. Kay left much of his estate to the Kimbell Art Foundation, upon accepting the post, Brown declared that the new building should itself be a work of art, as much a gem as one of the Rembrandts or Van Dycks housed within it. The proposed museum was given space in a 9, Brown discussed the goals of the institution and its new building with the trustees and summarized them in a four-page Policy Statement and a nineteen-page Pre-Architectural Program in June 1966. After interviewing a number of prominent architects, the museum hired Louis I. Kahn in October 1966, construction for the Kimbell Art Museum began in the summer of 1969. The new building opened in October 1972 and quickly achieved a reputation for architectural excellence. Brown also expanded the Kimbell collection by acquiring several works of significant quality by artists like Duccio, El Greco, Rubens, after Richard Fargo Browns death in 1979, Edmund Ted Pillsbury was appointed director of the museum. Previously he had been the director of the newly opened Yale Center for British Art and he had also been a curator at the Yale Art Gallery, Kahns first art museum. Pillsbury continued the art program in an aggressive but disciplined fashion. In 2007, the Kimbell solved that problem by announcing plans to construct an additional, designed by Renzo Piano, and relocated to the west lawn, the new structure opened to the public in November 2013. In 1966, before the museum even had a building, founding director Brown included this directive in his Policy Statement, The goal shall be definitive excellence, accordingly, the museums collection today consists of only about 350 works of art, but they are of notably high quality. Works from the period include antiquities from Ancient Egypt, Assyria, Greece. The Asian collection comprises sculptures, paintings, bronzes, ceramics, and works of art from China, Korea, Japan, India, Nepal, Tibet, Cambodia. Precolumbian art is represented by Maya works in ceramic, stone, shell, and jade, Olmec, Zapotec, the museum owns few pieces created after the mid-20th century or any American art. Browns Policy Statement set a clear architectural direction by calling for the new building to be a work of art, Brown called for a building of modest scale that would not overwhelm either the artwork or the viewer
5.
Fort Worth
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Fort Worth is the 16th-largest city in the United States and the fifth-largest city in the state of Texas. The city is in North Central Texas and covers nearly 350 square miles in the counties of Denton, Parker, Wise, according to the 2015 census, estimates, Fort Worths population is 833,319. The city is the second-largest in the Dallas–Fort Worth–Arlington metropolitan area, the city was established in 1849 as an Army outpost on a bluff overlooking the Trinity River. Today, Fort Worth still embraces its Western heritage and traditional architecture, USS Fort Worth is the first ship of the United States Navy named after the city. Fort Worth is home to the Van Cliburn International Piano Competition, also of note is the Modern Art Museum of Fort Worth, designed by Tadao Ando. The Amon Carter Museum of American Art, designed by Philip Johnson, the Sid Richardson Museum, redesigned by David M. Schwarz, has one of the most focused collections of Western Art in the U. S. emphasizing Frederic Remington and Charles Russell. The Treaty of Birds Fort between the Republic of Texas and several Native American tribes was signed in 1843 at Birds Fort in present-day Arlington, Texas. Article XI of the treaty provided that no one may pass the line of trading houses without permission of the President of Texas and these trading houses were later established at the junction of the Clear Fork and West Fork of the Trinity River in present-day Fort Worth. At this river junction, the U. S, War Department established Fort Worth in 1849 as the northernmost of a system of 10 forts for protecting the American Frontier following the end of the Mexican–American War. The City of Fort Worth continues to be known as where the West begins, originally 10 forts had been proposed by Major General William Jenkins Worth, who commanded the Department of Texas in 1849. In January 1849, Worth proposed a line of 10 forts to mark the western Texas frontier from Eagle Pass to the confluence of the West Fork, One month later, Worth died from cholera in South Texas. General William S. Harney assumed command of the Department of Texas, Arnold to find a new fort site near the West Fork and Clear Fork. On June 6,1849, Arnold, advised by Middleton Tate Johnson, established a camp on the bank of the Trinity River, in August 1849, Arnold moved the camp to the north-facing bluff, which overlooked the mouth of the Clear Fork of the Trinity River. The United States War Department officially named the post Fort Worth on November 14,1849, E. S. Terrell from Tennessee claimed to be the first resident of Fort Worth. The fort was flooded the first year and moved to the top of the bluff, the fort was abandoned September 17,1853. As a stop on the legendary Chisholm Trail, Fort Worth was stimulated by the business of the cattle drives, millions of head of cattle were driven north to market along this trail. Fort Worth became the center of the drives, and later. It was given the nickname of Cowtown, during Civil War, Fort Worth suffered from shortages of money, food, and supplies
6.
Giuseppe Cesari
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Giuseppe Cesari was an Italian Mannerist painter, also named Il Giuseppino and called Cavaliere dArpino, because he was created Cavaliere di Cristo by his patron Pope Clement VIII. He was much patronized in Rome by both Clement and Sixtus V and he was the chief of the studio in which Caravaggio trained upon the younger painters arrival in Rome. Cesaris father, Muzio Cesari, had been a native of Arpino, here, he was apprenticed to Niccolò Pomarancio. Cesari is stigmatized by Lanzi, as not less the corrupter of taste in painting than Marino was in poetry, Cesaris first major work done in his twenties was the painting of the right counterfacade of San Lorenzo in Damaso, completed from 1588 to 1589. On 28 June 1589, he receives the commission for the murals of the vault in the Certosa di San Martino in Naples. From 1591 he is again in Rome, where he painted the vault in the Contarelli Chapel within the church of San Luigi dei Francesi and he also completed murals in the Cappella Olgiati in Santa Prassede, and the vault of the Sacristy in the Certosa di San Martino. He was a man of touchy and irascible character, and rose from penury to the height of opulence and his brother Bernardino Cesari assisted in many of his works. Cesari became a member of the Accademia di San Luca in 1585, in 1607, he was briefly jailed by the new papal administration. He died in 1640, at the age of seventy-two, or perhaps of eighty and his only direct followers were his sons Muzio and Bernardino. Pier Francesco Mola apprenticed in his studio, other pupils include Francesco Allegrini da Gubbio, Guido Ubaldo Abatini, Vincenzo Manenti, and Bernardino Parasole. His most notable and perhaps surprising pupil was Caravaggio, 1593-94, Caravaggio held a job at Cesaris studio as a painter of flowers and fruit. London, Macmillan Hobbes, James R. Picture collectors manual, T. & W. Boone,29 Bond Street, London, Digitized by Googlebooks from Oxford library
7.
Prospero Orsi
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Prospero Orsi, also referred to as Prosperino delle Grottesche was an Italian painter of the late-Mannerist and early-Baroque period, active mainly in Rome. He apparently trained under Giuseppe Cesari d’Arpino, Baglione recounts that during the papacy of Sixtus V, Prospero was one of the many artists that decorated the Scala Sancta walls and ceilings with frescoes. He worked on the depiction of Moses parting the Sea and Isaac blessing Jacob, in the benediction loggia of San Giovanni Laterano, he depicted an episode in the Life of Constantine. He also worked painting in the Vatican libraries and he is described as an avid painter of Grotteseques. He also worked with Antonio Circignani to decorate a room in the Palazzo Antici-Mattei in Rome, while he initially was a close follower of the Cavaliere d’Arpino, he later became allied with Michelangelo da Caravaggio. Orsi and Cherubino Alberti, were among those who helped bail Caravaggio out of prison in 1605. His date of birth is unclear, Baglione describes him as young during the papacy of Sixtus V and his first works documented are with Galeazzo Ghidoni in decorating the Castel Sant’Angelo in 1582. Mancini in 1620 describes him as in his 50s and this all suggests a birth in early 1560s, and death after 1630
8.
Mannerism
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Mannerism is a style in European art that emerged in the later years of the Italian High Renaissance around 1520, lasting until about 1580 in Italy, when the Baroque style began to replace it. Northern Mannerism continued into the early 17th century, stylistically, Mannerism encompasses a variety of approaches influenced by, and reacting to, the harmonious ideals associated with artists such as Leonardo da Vinci, Raphael, and early Michelangelo. Where High Renaissance art emphasizes proportion, balance, and ideal beauty, Mannerism exaggerates such qualities, Mannerism is notable for its intellectual sophistication as well as its artificial qualities. Mannerism favors compositional tension and instability rather than the balance and clarity of earlier Renaissance painting, Mannerism in literature and music is notable for its highly florid style and intellectual sophistication. The definition of Mannerism and the phases within it continue to be a subject of debate among art historians, for example, some scholars have applied the label to certain early modern forms of literature and music of the 16th and 17th centuries. The term is used to refer to some late Gothic painters working in northern Europe from about 1500 to 1530. Mannerism also has been applied by analogy to the Silver Age of Latin literature, the word mannerism derives from the Italian maniera, meaning style or manner. Like the English word style, maniera can either indicate a type of style or indicate an absolute that needs no qualification. Vasari was also a Mannerist artist, and he described the period in which he worked as la maniera moderna, james V. Mirollo describes how bella maniera poets attempted to surpass in virtuosity the sonnets of Petrarch. This notion of bella maniera suggests that artists thus inspired looked to copying and bettering their predecessors, in essence, bella maniera utilized the best from a number of source materials, synthesizing it into something new. As a stylistic label, Mannerism is not easily defined, “High Renaissance” connoted a period distinguished by harmony, grandeur and the revival of classical antiquity. The term Mannerist was redefined in 1967 by John Shearman following the exhibition of Mannerist paintings organised by Fritz Grossmann at Manchester City Art Gallery in 1965. The label “Mannerism” was used during the 16th century to comment on social behaviour, however, for later writers, such as the 17th-century Gian Pietro Bellori, la maniera was a derogatory term for the perceived decline of art after Raphael, especially in the 1530s and 1540s. From the late 19th century on, art historians have used the term to describe art that follows Renaissance classicism. By the end of the High Renaissance, young artists experienced a crisis, no more difficulties, technical or otherwise, remained to be solved. The young artists needed to find a new goal, and they sought new approaches, at this point Mannerism started to emerge. The new style developed between 1510 and 1520 either in Florence, or in Rome, or in both cities simultaneously and this period has been described as a natural extension of the art of Andrea del Sarto, Michelangelo, and Raphael. Michelangelo from an early age had developed a style of his own, one of the qualities most admired by his contemporaries was his terribilità, a sense of awe-inspiring grandeur, and subsequent artists attempted to imitate it
9.
The Fortune Teller (Caravaggio)
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The Fortune Teller is a painting by Italian Baroque artist Michelangelo Merisi da Caravaggio. It exists in two versions, both by Caravaggio, the first from 1594, the second from 1595, the dates in both cases are disputed. The painting shows a boy, having his palm read by a gypsy girl. The boy looks pleased as he gazes into her face, close inspection of the painting reveals what the young man has failed to notice, the girl is removing his ring as she gently strokes his hand. However, Bellori ends by saying, and in these two half-figures translated reality so purely that it came to confirm what he said and it entered the collection of a wealthy banker and connoisseur, the Marchese Vincente Giustiniani, who became an important patron of the artist. Giustinianis friend, Cardinal Francesco Maria Del Monte, purchased the piece, Cardsharps, in 1595. For Del Monte, Caravaggio painted a version of The Fortune Teller, copied from the Giustiniani. The light is more radiant, and the cloth of the boys doublet, the dupe becomes more childlike and more innocently vulnerable, the girl less wary-looking, leaning in towards him, more in command of the situation. The Fortune Teller is one of two known genre pieces painted by Caravaggio in the year 1594, the other being Cardsharps, the subject of the painting was not unprecedented. A Caravaggio Rediscovered, The Lute Player, a catalog from The Metropolitan Museum of Art
10.
Georges de La Tour
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Georges de La Tour was a French Baroque painter, who spent most of his working life in the Duchy of Lorraine, which was temporarily absorbed into France between 1641 and 1648. He painted mostly religious chiaroscuro scenes lit by candlelight, Georges de La Tour was born in the town of Vic-sur-Seille in the Diocese of Metz, which was technically part of the Holy Roman Empire, but had been ruled by France since 1552. Baptism documentation revealed that he was the son of Jean de La Tour, a baker and it has been suggested that Sybille came from a partly noble family. His parents had seven children in all, with Georges being the second-born, La Tours educational background remains somewhat unclear, but it is assumed that he travelled either to Italy or the Netherlands early in his career. He may possibly have trained under Jacques Bellange in Nancy, the capital of Lorraine and his paintings reflect the Baroque naturalism of Caravaggio, but this probably reached him through the Dutch Caravaggisti of the Utrecht School and other Northern contemporaries. In particular, La Tour is often compared to the Dutch painter Hendrick Terbrugghen and he painted mainly religious and some genre scenes. He was given the title Painter to the King in 1638, and he worked for the Dukes of Lorraine in 1623–4, but the local bourgeoisie provided his main market. He is not recorded in Lunéville in 1639–42, and may have travelled again, Georges de La Tour and his family died in 1652 in an epidemic in Lunéville. His son Étienne was his pupil and these are believed to date from relatively early in his career. Unlike Caravaggio his religious paintings lack dramatic effects and he painted these in a second phase of his style, perhaps beginning in the 1640s, using chiaroscuro, careful geometrical compositions, and very simplified painting of forms. His work moves during his career towards greater simplicity and stillness—taking from Caravaggio very different qualities than Jusepe de Ribera and he often painted several variations on the same subjects, and his surviving output is relatively small. His son Étienne was his pupil, and distinguishing between their work in versions of La Tours compositions is difficult, the version of the Education of the Virgin, in the Frick Collection in New York is an example, as the Museum itself admits. Another group of paintings, of skill but claimed to be different in style to those of La Tour, have been attributed to an unknown Hurdy-gurdy Master. All show older male figures, mostly solitary, either beggars or saints, director Peter Greenaway has described La Tours work as a primary influence on his 1982 film The Draughtsmans Contract. Job Mocked by His Wife by La Tour appears in the 2003 Francis Veber film Le Dîner de Cons, a reference to a work purportedly by La Tour is featured prominently in the 2003 Merchant Ivory film Le Divorce. C. Tenebrism Joseph Wright of Derby Le Floch, Jean-Claude, Le Floch, La Tour, Le Clair et LObscur, Herscher,1995 Le Floch, Jean-Claude. Le signe de contradiction, essai sur Georges de La Tour et son oeuvre, Presses Universitaires de Rennes 2,1995 Thuilier, Georges de La Tour, Flammarion,1992 Wright, Christopher. The Art of the Forger,1984, Gordon Fraser, London, ISBN 0-86092-081-X Georges de La Tour at Gallery of Art Attributed painting at the Kimbell Art Museum of Fort Worth Georges de La Tour
11.
Francesco Maria del Monte
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Francesco Maria del Monte, full name Francesco Maria Bourbon del Monte Santa Maria, was an Italian Cardinal, diplomat and connoisseur of the arts. His fame today rests on his patronage of the important Baroque master Caravaggio. Born in Venice of the aristocratic del Monte family of Tuscan origin, he was the son of Marquis Ranieri Bourbon del Monte, first count of Monte Baroccio and he began his ecclesiastical career as Abbot commendatario of Santa Croce a Monte Fabali. He then went to Rome when he was quite young. He was created cardinal deacon in the consistory of 14 December 1588 under Pope Sixtus V and he took part in the two conclaves of 1590, the conclave of 1591 and the conclave of 1592. He subsequently took the titles of Santa Maria in Aracoeli, Santa Maria in Trastevere and he served as Prefect of the Tridentine Council and as Bishop of Palestrina from 1615 to 1621. He participated in the Papal Conclave of 1621 and had ambitions of being elected Pope, van Ameyden mischievously painted a portrait of a man that seemed to display more than a paternal care for the boys in his charge. But Graham-Dixon argues that such accusations seem deliberately to have been cast by the pro-Spanish Ameyden against the pro-French Del Monte in order to discredit him, besides which there is better evidence that Del Monte had courted women in his youth. He died in his Rome palace, the and was buried in the church of SantUrbano, the epitaph on De Montes tomb describes him as an excellent patron of the good arts. At his death his art collection contained more than six hundred paintings, together with his brother, he helped Galileo win a lectureship in mathematics in Pisa in 1589 and in Padua in 1592. In the wake of Galileo’s discovery of the Medicean Planets, he gave the Cardinal a copy of his Sidereus Nuncius and a telescope as gifts. When Galileo went to Rome in 1611, Grand Duke Cosimo II recommended him to the Cardinal’s council so that he could be helped during his sojourn at the Vatican, Del Monte was a patron of German painter Adam Elsheimer and Andrea Sacchi
12.
Palazzo Madama
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Palazzo Madama in Rome is the seat of the Senate of the Italian Republic. It was built atop the ruins of the ancient baths of Nero, the terrain had been acquired in the Middle Ages by the monks of the Abbey of Farfa, who later ceded it to France. The new building was begun at the end of the 15th century and completed in 1505 and it housed two Medici cardinals and cousins, Giovanni and Giulio, who both later became popes as Leo X and Clement VII, respectively. Catherine de Medici, Clement VIIs niece, also lived here before she was married to Henry, cardinal Francesco Maria Del Monte, patron of the artist Caravaggio, lived there until his death in 1627. Thus part of the art collection of the Florentine Medici family was inherited by the Farnese family, the current façade was built in the mid-1650s by both Cigoli and Paolo Maruccelli. The latter added the ornate cornice and whimsical decorative urns on the roof, after the extinction of the Medici in 1743, the palace was handed over to the House of Lorraine and, later, to Pope Benedict XIV, who made it the seat of the Papal Government. In 1849, Pius IX moved here the Ministries of Finances and of the Public Debt, in 1871, after the conquest of Rome by the newly formed Kingdom of Italy, the palazzo became the seat of the Senato del Regno
13.
Piazza Navona
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Piazza Navona is a piazza in Rome, Italy. It is built on the site of the Stadium of Domitian, built in 1st century AD, the ancient Romans went there to watch the agones, and hence it was known as Circus Agonalis. It is believed that time the name changed to in avone to navone. Piazza Navona has two other fountains, at the southern end is the Fontana del Moro with a basin and four Tritons sculpted by Giacomo della Porta to which, in 1673, Bernini added a statue of a Moor, or African, wrestling with a dolphin. At the northern end is the Fountain of Neptune also created by Giacomo della Porta, during its history, the piazza has hosted theatrical events and other ephemeral activities. From 1652 until 1866, when the festival was suppressed, it was flooded on every Saturday and Sunday in August in elaborate celebrations of the Pamphilj family. The pavement level was raised in the 19th century, and in 1869 the market was moved to the nearby Campo de Fiori, a Christmas market is held in the piazza. During June 2008, Ron Howard directed several scenes of the adaptation of Angels & Demons on the southern section of the piazza. The piazza is featured in scenes of director Mike Nichols 1970 adaptation of Joseph Hellers novel. The Fontana dei Quattro Fiumi was used in the 1990 film Coins in the Fountain, the characters threw coins into the fountain as they made wishes. The Trevi Fountain was used in the 1954 version of the film, the piazza is featured in Eugene Levys Once Upon A Crime film. In the early hours of 3 September 2011, the Fontana del Moro was damaged by a vandal, roth, Leland M. Understanding Architecture, Its Elements, History, and Meaning. Birds eye view of Piazza Navona, virtual Tour of Piazza Navona Bernini Fountains Video Introduction
14.
Antonio Barberini
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As one of the cardinal-nephews of Pope Urban VIII and a supporter of France, he played a significant role at a number of the papal conclaves of the 17th century. With his brothers Cardinal Francesco Barberini and Taddeo Barberini he helped to shape politics, religion, art and he is sometimes referred to as Antonio the Younger or Antonio Barberini iuniore to distinguish him from his uncle Antonio Marcello Barberini. Barberini was born on 5 August 1607 in Rome, the youngest of 6 children to Carlo Barberini, like his brothers, Antonio was educated at the Collegio Romano. Barberinis uncle, Maffeo Barberini was elected as pope on 6 August 1623, almost immediately, he elevated his brother, Antonios other uncle, Antonio Marcello Barberini to the position of cardinal. In the tradition of cardinal nephews, Urban also elevated Antonios older brother Francesco Barberini to the rank of cardinal, Urbans famous nepotism wasnt sufficiently quelled by the appointment of one cardinal-nephew. Less than a month after his 20th birthday and without having established a career of his own. His elevation was made in pectore and was published on 7 February 1628, Urban also purchased the comune of the town of Palestrina outside Rome, and Antonios other brother, Taddeo Barberini, became the Prince of Palestrina. During his time in France he became unwell and employed Joseph Barsalou as his private physician and he returned to Rome and assumed the post of Camerlengo of the Holy Roman Church in 1638. In 1636, against the wish of his uncle the Pope and it has been estimated that during Urbans 21-year pontificate, Barberini amassed more than 63 million scudi in personal wealth. In 1639 Odoardo Farnese, Duke of Parma and Piacenza, came to Rome, during his visit he insulted Antonio and his brother Francesco by suggesting to the Pope that the brothers were too young to manage the Popes affairs. Pope Urban responded by banning grain shipments from Farnese controlled areas, when the Farnese were then unable to pay their debts the Pope sent debt collectors. Finally the Pope send troops to occupy Castro, the Popes forces were led by Antonio, his brother Taddeo and mercenary field commander Luigi Mattei. Castro fell to Urbans forces without significant resistance and the victory was celebrated in song by Barberini family composer, but the victory was short lived and thereafter Antonio and his troops suffered a series of decisive losses and Antonio himself was almost captured. Pope Urban was forced to defeat and signed a peace treaty with the Farnese Dukes in an attempt to prevent them from marching on Rome itself. When Urban died, the Church was facing financial struggle, the cardinals were divided between France and Spain and the Farnese were moving toward Rome with an army in tow. Mazarin became so angry because of Antonios attitude that he deprived him of the protectorate of the Kingdom of France, however, the conflict was of short duration and both cardinals quickly reconciled with each other. For reasons unknown, Pope Innocent X reneged on the deal and Antonio, the two went into exile in 1645 in Paris under the protection of Cardinal Mazarin, and were joined a year later by Francesco. Before leaving Rome, Antonio had the crest of the King of France affixed above his door as a warning to his rivals that he was now protected by the French Kingdom
15.
Pope Urban VIII
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Pope Urban VIII, reigned as Pope from 6 August 1623 to his death in 1644. He expanded the territory by force of arms and advantageous politicking, and was also a prominent patron of the arts. However, the debts incurred during his pontificate greatly weakened his successors. He was also involved in a controversy with Galileo and his theory on heliocentrism during his reign and he is the most recent pope to date to take the pontifical name of Urban upon being elected as pope. He was born Maffeo Barberini in April 1568 to Antonio Barberini, a Florentine nobleman and his father died when he was only three years old and his mother took him to Rome, where he was put in the charge of his uncle, Francesco Barberini, an apostolic protonotary. At the age of 16 he became his uncles heir and he was educated by the Society of Jesus, and received a doctorate of law from the University of Pisa in 1589. In 1601, Barberini, through the influence of his uncle, was able to secure from Pope Clement VIII appointment as a legate to the court of King Henry IV of France. In 1604, the pope appointed him as the Archbishop of Nazareth. At the death of his uncle, he inherited his riches, on 6 August 1623, at the papal conclave following the death of Pope Gregory XV, Barberini was chosen as Gregory XVs successor and took the name Urban VIII. Upon Pope Urban VIIIs election, Zeno, the Venetian envoy, wrote the description of him. His Holiness is tall, dark, with features and black hair turning grey. He is exceptionally elegant and refined in all details of his dress, has a graceful and aristocratic bearing and he is an excellent speaker and debater, writes verses and patronises poets and men of letters. Urban VIIIs papacy covered 21 years of the Thirty Years War, despite an early friendship and encouragement for his teachings, Urban VIII was responsible for summoning the scientist and astronomer Galileo to Rome in 1633 to recant his work. Urban VIII practiced nepotism on a scale, various members of his family were enormously enriched by him. He elevated his brother Antonio Marcello Barberini and then his nephews Francesco Barberini and he also bestowed upon their brother, Taddeo Barberini, the titles Prince of Palestrina, Gonfalonier of the Church, Prefect of Rome and Commander of SantAngelo. Historian Leopold von Ranke estimated that during his reign, Urban VIIIs immediate family amassed 105 million scudi in personal wealth, Urban VIII was a skilled writer of Latin verse, and a collection of Scriptural paraphrases as well as original hymns of his composition have been frequently reprinted. The 1638 papal bull Commissum Nobis protected the existence of Jesuit missions in South America by forbidding the enslavement of natives who were at the Jesuit Reductions. At the same time, Urban VIII repealed the Jesuit monopoly on missionary work in China and Japan, opening these countries to missionaries of other orders and missionary societies
16.
Portrait of Maffeo Barberini
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Portrait of Maffeo Barberini is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio. It is held in a collection in Florence. Barberinis support would continue into later years – in 1603 he commissioned a Sacrifice of Isaac from Caravaggio, in 1623 he became Pope as Urban VIII
17.
Fort Worth, Texas
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Fort Worth is the 16th-largest city in the United States and the fifth-largest city in the state of Texas. The city is in North Central Texas and covers nearly 350 square miles in the counties of Denton, Parker, Wise, according to the 2015 census, estimates, Fort Worths population is 833,319. The city is the second-largest in the Dallas–Fort Worth–Arlington metropolitan area, the city was established in 1849 as an Army outpost on a bluff overlooking the Trinity River. Today, Fort Worth still embraces its Western heritage and traditional architecture, USS Fort Worth is the first ship of the United States Navy named after the city. Fort Worth is home to the Van Cliburn International Piano Competition, also of note is the Modern Art Museum of Fort Worth, designed by Tadao Ando. The Amon Carter Museum of American Art, designed by Philip Johnson, the Sid Richardson Museum, redesigned by David M. Schwarz, has one of the most focused collections of Western Art in the U. S. emphasizing Frederic Remington and Charles Russell. The Treaty of Birds Fort between the Republic of Texas and several Native American tribes was signed in 1843 at Birds Fort in present-day Arlington, Texas. Article XI of the treaty provided that no one may pass the line of trading houses without permission of the President of Texas and these trading houses were later established at the junction of the Clear Fork and West Fork of the Trinity River in present-day Fort Worth. At this river junction, the U. S, War Department established Fort Worth in 1849 as the northernmost of a system of 10 forts for protecting the American Frontier following the end of the Mexican–American War. The City of Fort Worth continues to be known as where the West begins, originally 10 forts had been proposed by Major General William Jenkins Worth, who commanded the Department of Texas in 1849. In January 1849, Worth proposed a line of 10 forts to mark the western Texas frontier from Eagle Pass to the confluence of the West Fork, One month later, Worth died from cholera in South Texas. General William S. Harney assumed command of the Department of Texas, Arnold to find a new fort site near the West Fork and Clear Fork. On June 6,1849, Arnold, advised by Middleton Tate Johnson, established a camp on the bank of the Trinity River, in August 1849, Arnold moved the camp to the north-facing bluff, which overlooked the mouth of the Clear Fork of the Trinity River. The United States War Department officially named the post Fort Worth on November 14,1849, E. S. Terrell from Tennessee claimed to be the first resident of Fort Worth. The fort was flooded the first year and moved to the top of the bluff, the fort was abandoned September 17,1853. As a stop on the legendary Chisholm Trail, Fort Worth was stimulated by the business of the cattle drives, millions of head of cattle were driven north to market along this trail. Fort Worth became the center of the drives, and later. It was given the nickname of Cowtown, during Civil War, Fort Worth suffered from shortages of money, food, and supplies
18.
Denis Mahon
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Sir John Denis Mahon CH CBE was a British collector and historian of Italian art. After attending Eton College, he went up to Christ Church, University of Oxford, a lover of opera, he decided not to enter the family business but study art, spending a year working at the Ashmolean Museum under the supervision of Kenneth Clark. Clark then suggested him to his friend Nikolaus Pevsner, who had just joined the newly formed Courtauld Institute of Art in London, Pevsner introduced Mahon to Italian Mannerist and Baroque painting, and also gave him private tuition. Mahon bought his first artwork, Guercinos Jacob Blessing the Sons of Joseph in 1934 in Paris for £120. He subsequently met art historian Otto Kurz, whom he used as an Italian translator, in the late 1930s. In 1936, Mahon began an association with the National Gallery. Serving as an honorary attache, he offered to buy Guercinos Elijah Fed By Ravens from the Barberini collection in Rome, however, Clark who was now the Gallerys Director, felt that it would be impossible to persuade the trustees of the merits of buying an Italian baroque painting. As a result, Mahon decided to form his own collection, Mahons Studies in Seicento Art and Theory, a series of essays promoting Italian art of the 17th century, was published in 1947. In the 1970s he came into disagreement with Edward Heaths Paymaster-General, David Eccles and this came to a head in 1970 when Mahon attempted to pay the capital taxes on his deceased mothers estate by offering The Coronation of the Virgin by Annibale Carracci from his collection. Worth substantially more than the taxes payable, after HM Treasury declined to credit Mahon with the difference, in 1971 he sold it to the Metropolitan Museum, New York. In the 1990s, Mahon donated his entire 57 piece art collection to museums in the UK, the Pinacoteca Nazionale in Bologna. In December 2007, a painting Mahon bought for £50,400 the previous year was authenticated by him as a true Caravaggio and it is an early version of the painting The Cardsharps. Mahon turned 100 in November 2010, Mahon authenticated two versions of Caravaggios The Taking of Christ as original, one in the National Gallery of Ireland in 1993, and the other in Florence in 2004. Jonathan Harr disputes the attribution, ascribing it to Mahons advanced age. Mahon lived at 33 Cadogan Square, London and he died on 24 April 2011, aged 100. Mahon was appointed a Commander of the Order of the British Empire in 1967 and he was made a Companion of Honour in 2002 for his services to art, and received honorary doctorates from the universities of Newcastle, Oxford, Rome and Bologna. In 1957 Mahon was awarded the Medal for Benemeriti della Cultura by the Italian president, for services to criticism, in 1982 he was made an honorary citizen of Cento, Guercinos birthplace. Made a fellow of the British Academy in 1964, it awarded him its Serena Medal for Italian Studies in 1972, in 1996 he was made an honorary student of Christ Church, Oxford
19.
Sotheby's
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Sothebys /ˈsʌðəbiz/ is a British multinational corporation headquartered in New York City. One of the worlds largest brokers of fine and decorative art, jewelry, real estate, the company’s services range from corporate art services to private sales. Sothebys is the fourth oldest auction house in continuous operation. As of December 2011, the company had 1,446 employees worldwide and it is the worlds largest art business with global sales in 2011 totalling $5.8 billion. Sothebys was established on 11 March 1744 in London, the American holding company was initially incorporated in August 1983 in Michigan. In June 2006, Sothebys Holdings, Inc. reincorporated in the State of Delaware and was renamed Sothebys, in July 2016, Chinese insurance giant Taikang Life became Sothebys largest shareholder. Three Swedish auction houses are older and Sothebys great rival in London and then New York. The current business dates back to 1804, when two of the partners of the business left to set up their own book dealership. After Baker’s death in 1778, his estate was divided between Leigh and John Sotheby, George Leigh died unmarried in 1816, but not before endeavouring to secure his succession by recruiting Samuel E Leigh into the business. Under the Sotheby family, the house extended its activities to auctioning prints, medals. John Wilkinson, Sothebys Senior Accountant, became the company’s new CEO, the business did not seek to auction fine arts in general until much later, their first major success in this field being the sale of a Frans Hals painting for nine thousand guineas as late as 1913. In 1917, Sothebys relocated from 13 Wellington Street to 34-35 New Bond Street and they soon came to rival Christies as leaders of the London auction market, which had become the most important for art. In 1955, Sothebys opened an office at Bowling Green, New York City, in 1964, Sothebys purchased Parke-Bernet, then the largest auctioneer of fine art in the United States. In the following year, Sothebys moved to 980 Madison Avenue, Sothebys became a U. K. public company in 1977. The auction house closed its Madison Avenue galleries at East 76th Street, the Los Angeles galleries were sold and auctions of West Coast material moved to New York. In the following year, a group of investors purchased and privatized Sothebys, Sothebys was initially incorporated as Sothebys Holdings, Inc. in Michigan in August 1983. Taubman took Sothebys public in 1988, listing the shares on the New York Stock Exchange. In June 2006, Sothebys Holdings, Inc. reincorporated in the State of Delaware and was renamed Sothebys shortly after, with private transactions constituting an essential and increasingly profitable business segment, through the years Sothebys has bought art galleries and helped dealers finance purchases
20.
Pentimento
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A pentimento is an alteration in a painting, evidenced by traces of previous work, showing that the artist has changed his or her mind as to the composition during the process of painting. The word is Italian for repentance, from the verb pentirsi, some pentimenti have always been visible on the final painting with careful inspection, others are revealed by the increasing transparency that some paint acquires after several centuries. Others, especially in the underdrawing, can only be seen with modern methods such as X-rays and infrared reflectography and these are able to record photographically some pigments, depending on their chemical composition, which remain covered by later paint layers. For example, white lead, a pigment, will be detected by X-ray. These methods have greatly expanded the number of art historians are aware of. Normally secondary versions or copies will have few if any pentimenti, although this will not always be the case, like Rembrandt, Titian and many other masters, Caravaggio seems rarely to have made preliminary drawings, but to have composed straight onto the canvas. The number of found in the work of such masters naturally tends to be higher. The term is usually treated as an Italian word and therefore written in italics, the fully anglicised word pentiment is much rarer, though included in the Grove Dictionary of Art. The word pentimento is occasionally used synonymously with palimpsest, but strictly the latter is used for documents and parchments which, a portrait in the National Gallery, London of Jacques de Norvins by Ingres was painted in 1811–12 when the sitter was Napoleons Chief of Police in Rome. Originally, instead of the curtain at the left, there was a fully painted bust of a head on top of a small column. Probably this was a bust of Napoleons son, who was known as the King of Rome, the presumption is that this was overpainted with the curtain after the fall of Napoleon, either by Ingres himself, or another artist. The bust can just be out in the enlarged online photo, with its chin level with the sitters hair-line. These may always have been visible, or have become so by the paint becoming transparent with age, few viewers of the painting would notice the bust without it being pointed out. Strictly speaking, these alterations might not be described as pentimenti, because of the lapse of time. These are used in discussing the painting and comparing it to version of the subject in Bari. A Zurbarán in the Cleveland Museum of Art shows that the size of a cloth was expanded after the dark background under-paint had been applied. The term has sometimes used in a modern sense to describe the appearance of the sides of buildings with painted advertising. Often old ads are painted over with newer ads and the paint wears away to reveal the older layers, examples in Amsterdam, New York City and elsewhere have been photographed
21.
The Lute Player (Caravaggio)
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The Lute Player is a composition by the Italian Baroque master Caravaggio. It exists in three versions, one in the Wildenstein Collection, another in the Hermitage Museum, St. Petersburg and a third from Badminton House, Gloucestershire, E questo che fu il piu bel pezzo, che facesse mai. The painting exists in three versions, all show a boy with soft facial features and thick brown hair, accompanying himself on the lute as he sings a madrigal about love. As in the Uffizi Bacchus, the artist places a table-top in front of the figure, in the Hermitage and Badminton House versions it is bare marble, with a violin on one side and a still life of flowers and fruit on the other. In the Wildenstein version the table is covered with a carpet and extended forwards to hold a tenor recorder, while the life is replaced by a spinetta. The musical instruments are valuable and probably came from Del Montes personal collection, the Hermitage and Badminton House versions show madrigals by Jacques Arcadelt, and the visible text reads in part, Vous savez que je vous aime et vous adore. Je fus vôtre. The Wildenstein version shows songs by a native Florentine on a text by Petrarch, Laisse le voile, the flowers and damaged fruit, and the cracked body of the lute, suggest the theme of transience, love, like all things, is fleeting and mortal. The choice of Franco-Flemish composers over native Italians – only Layolle was a native Italian – no doubt reflects the cultural affiliations of the pro-French Del Monte-Giustiniani circle, all three versions demonstrate the innovative approach to light that Caravaggio adopted at this time. The carafe is a motif from another image, where the main light came from a window at more or less the same level as the carafe itself. Such a complex illustration of refracted light is unprecedented in the Cinquecento and his multi-volume De Refractione Optices was particularly concerned with optical matters, the second volume being devoted entirely to the incidence of light on water-filled and glass spheres. The anatomical anomalies in the Wildenstein and Badminton House paintings, like the slightly out of line eyes, the painting is illuminated by a soft chiaroscuro inspired by the Brescia masters of the 16th century and characteristic of the early phase of Caravaggios development. e. Towards the heightened contrast between shadows and light that would mark paintings such as The Martyrdom of Saint Matthew, the Hermitage version is from the collection of the artists other important patron of the period, Del Montes friend and neighbour, Marchese Vincenzo Giustiniani. The Badminton House painting came to light at auction in Sothebys, originally covered in a thick yellow varnish, it corresponds in all details with the description made by Baglione of the work he saw at Cardinal Del Monte’s palace. The flowers are scattered with dewdrops as Baglione remarks, and the carafe of water reflects the window and these elements, and the considerable number of pentimenti, set the Badminton House painting apart from the Hermitage version. It is slightly larger than the Hermitage work, whose original edge cuts the flowers on the left and the scroll of the violin and this painting would seem to be the one described in the 1627 inventory of Del Monte’s collection. The flowerpiece is of importance for the still-life tradition, not only in Italy, but also in the Netherlands. Once again, Della Porta’s De refractione optices has a book devoted to ‘De Iride et colore’. But Federico Cesi and his Accademia dei Lincei were also dedicated followers of what they perceived as Paracelsian disciplines
22.
High Court of Justice
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Her Majestys High Court of Justice in England is, together with the Court of Appeal and the Crown Court, one of the Senior Courts of England and Wales. Its name is abbreviated as EWHC for legal citation purposes and it has three main divisions, the Queens Bench Division, the Chancery Division, and the Family Division. The jurisdictions overlap in some cases, and cases started in one division may be transferred by order to another where appropriate. Most High Court proceedings are heard by a judge, but certain kinds of proceedings, especially in the Queens Bench Division, are assigned to a Divisional Court. Exceptionally the court may sit with a jury, but in practice only in defamation cases or cases against the police. Litigants are normally represented by counsel, but may be represented by solicitors qualified to hold a right of audience, in principle the High Court is bound by its own previous decisions, but there are conflicting authorities as to what extent. In criminal matters appeals from the Queens Bench Divisional Court are made directly to the Supreme Court, the High Court is based at the Royal Courts of Justice on the Strand in the City of Westminster, London. It has district registries across England and Wales and almost all High Court proceedings may be issued, the High Court is headed by the Lord Chief Justice. The High Court is organised into three divisions, the Queens Bench Division, the Chancery Division, and the Family Division, a list of hearings in the High Courts divisions is published daily. The Queens Bench Division – or Kings Bench Division when the monarch is male – has two roles and it hears a wide range of common law cases and also has special responsibility as a supervisory court. Until 2005, the head of the QBD was the Lord Chief Justice, Sir Igor Judge was the first person to hold this office, appointed in October 2005. A single judge first decides whether the matter is fit to bring to the court, in addition, the Queens Bench Divisional Court hears appeals on points of law from the Magistrates Court and from the Crown Court. These are known as appeals by way of case stated, since the questions of law are considered solely on the basis of the facts found, other specialised courts of the Queens Bench Division include the Technology and Construction Court, Commercial Court, and the Admiralty Court. The specialised judges and procedures of these courts are tailored to their type of business, appeals from the High Court in civil matters are made to the Court of Appeal, in criminal matters appeal from the Divisional Court is made only to the Supreme Court of the United Kingdom. The Chancery Division deals with law, trusts law, probate law, insolvency. It has specialist courts which deal with patents and registered designs, all tax appeals are assigned to the Chancery Division. The head of the Chancery Division was known as the Vice-Chancellor until October 2005, the first Chancellor was Sir Andrew Morritt, who retired in 2013 to be succeeded by Sir Terence Etherton. In 2016, Sir Geoffrey Vos succeeded Sir Terence as Chancellor on the appointment as Master of the Rolls
23.
Wayback Machine
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The Internet Archive launched the Wayback Machine in October 2001. It was set up by Brewster Kahle and Bruce Gilliat, and is maintained with content from Alexa Internet, the service enables users to see archived versions of web pages across time, which the archive calls a three dimensional index. Since 1996, the Wayback Machine has been archiving cached pages of websites onto its large cluster of Linux nodes and it revisits sites every few weeks or months and archives a new version. Sites can also be captured on the fly by visitors who enter the sites URL into a search box, the intent is to capture and archive content that otherwise would be lost whenever a site is changed or closed down. The overall vision of the machines creators is to archive the entire Internet, the name Wayback Machine was chosen as a reference to the WABAC machine, a time-traveling device used by the characters Mr. Peabody and Sherman in The Rocky and Bullwinkle Show, an animated cartoon. These crawlers also respect the robots exclusion standard for websites whose owners opt for them not to appear in search results or be cached, to overcome inconsistencies in partially cached websites, Archive-It. Information had been kept on digital tape for five years, with Kahle occasionally allowing researchers, when the archive reached its fifth anniversary, it was unveiled and opened to the public in a ceremony at the University of California, Berkeley. Snapshots usually become more than six months after they are archived or, in some cases, even later. The frequency of snapshots is variable, so not all tracked website updates are recorded, Sometimes there are intervals of several weeks or years between snapshots. After August 2008 sites had to be listed on the Open Directory in order to be included. As of 2009, the Wayback Machine contained approximately three petabytes of data and was growing at a rate of 100 terabytes each month, the growth rate reported in 2003 was 12 terabytes/month, the data is stored on PetaBox rack systems manufactured by Capricorn Technologies. In 2009, the Internet Archive migrated its customized storage architecture to Sun Open Storage, in 2011 a new, improved version of the Wayback Machine, with an updated interface and fresher index of archived content, was made available for public testing. The index driving the classic Wayback Machine only has a bit of material past 2008. In January 2013, the company announced a ground-breaking milestone of 240 billion URLs, in October 2013, the company announced the Save a Page feature which allows any Internet user to archive the contents of a URL. This became a threat of abuse by the service for hosting malicious binaries, as of December 2014, the Wayback Machine contained almost nine petabytes of data and was growing at a rate of about 20 terabytes each week. Between October 2013 and March 2015 the websites global Alexa rank changed from 162 to 208, in a 2009 case, Netbula, LLC v. Chordiant Software Inc. defendant Chordiant filed a motion to compel Netbula to disable the robots. Netbula objected to the motion on the ground that defendants were asking to alter Netbulas website, in an October 2004 case, Telewizja Polska USA, Inc. v. Echostar Satellite, No.02 C3293,65 Fed. 673, a litigant attempted to use the Wayback Machine archives as a source of admissible evidence, Telewizja Polska is the provider of TVP Polonia and EchoStar operates the Dish Network
24.
Anna Colonna
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Anna Colonna was an Italian noblewoman of the Colonna and Barberini families. She was also the Princess of Paliano, Colonna was born in 1601, the daughter of Filippo Colonna, Prince of Paliano, and Lucrezia Tomacelli, of Galatro, and was thus Princess of Paliano. On 14 October 1627, at age 26, she married Taddeo Barberini, the marriage was celebrated by Barberinis uncle, Pope Urban VIII at Castel Gandolfo. At the castle, a coat of arms was erected which merged the heraldic bees of the Barberini with the column of the Colonna. As the wife of the patriarch of the popes family in Rome, Colonna became one of the most powerful women in the city. This is reflected in the wealth she and Barberini amassed during Urbans reign. Her status was made clear by the manner in which she was treated by her peers. Colonna distributed diamonds and other prizes to winning tournament entrants, botanist Giovanni Baptista Ferrari spent a significant amount of time working in the gardens established by Colonnas brother-in-law, Cardinal Francesco Barberini. The second edition of his reference book, De Florum Cultura, was dedicated to Colonna in 1638. Colonna was also a patron of botanical artist, Giovanna Garzoni, after the death of Pope Urban VIII, newly elected Pamphili Pope Innocent X launched an investigation into the Barberinis handling of funds during the Wars of Castro. Colonnas husband, Taddeo, and his brothers, cardinals Francesco Barberini, Mazarin was the uncle of Marie Mancini, wife of Colonnas nephew Lorenzo Onofrio Colonna and a confidant of Colonnas brother, Cardinal Girolamo Colonna. Mazarin had also served as captain under Colonnas father, Filippo Colonna. In 1646, Colonna joined her husband and children in Paris but not before making an appeal to the Pope. The Pope agreed and, though he paid some debts out of the Barberini estate, while in Paris, Colonna had developed a close friendship with Anne of Austria, Regent of France. When Taddeo died in 1647, Anne urged Colonna to stay in France, in 1653, with the assistance of Olimpia Maidalchini, she arranged the marriage of her 22-year-old son Maffeo Barberini to Maidalchinis 12-year-old granddaughter, Olimpia Giustiniani. Having returned to Rome, Colonna also planned to build a convent and chapel in honour of the Blessed Virgin Mary, however, her son declined her request and she was forced to seek funds from her brother, Girolamo. Colonna died in 1658 and was buried at the grounds of the convent, Colonna and Barberini had five children, Lucrezia Barberini who married Francesco I dEste and became Duchess of Modena. Camilla Barberini who died in infancy Carlo Barberini who became a Cardinal Maffeo Barberini future Prince of Palestrina Niccolò Maria Barberini
25.
Colonna family
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The Colonna family, also known as Sciarrillo or Sciarra, is an Italian noble family. It was powerful in medieval and Renaissance Rome, supplying one Pope and many other Church, the family is notable for its bitter feud with the Orsini family over influence in Rome, until it was stopped by Papal Bull in 1511. According to tradition, the Colonna are a branch of the Counts of Tusculum — by Peter son of Gregory III, called Peter de Columna from his property the Columna Castle in Colonna, Alban Hills. The first cardinal from the family was appointed in 1206 when Giovanni Colonna di Carbognano was made Cardinal Deacon of SS and he served as the Provincial of the Roman province of the Dominican Order and led the provincial chapter of 1248 at Anagni. Colonna was appointed as Archbishop of Messina in 1255, in 1248, after having dedicated her entire life to serving God and the poor, Margherita Colonna died. A member of the Franciscan Order, she was beatified by Pope Pius IX in 1848, at this time a rivalry began with the pro-papal Orsini family, leaders of the Guelph faction. This reinforced the pro-Emperor Ghibelline course that the Colonna family followed throughout the period of conflict between the Papacy and the Holy Roman Empire, in 1297, Cardinal Jacopo disinherited his brothers Ottone, Matteo, and Landolfo of their lands. The latter three appealed to Pope Boniface VIII who ordered Jacopo to return the land, and furthermore hand over the familys strongholds of Colonna, Palestrina, Jacopo refused, in May, Boniface removed him from the College of Cardinals and excommunicated him and his followers. The Colonna family declared that Boniface had been elected illegally following the abdication of Pope Celestine V. The dispute led to warfare, and in September Boniface appointed Landolfo to the command of his army. By the end of 1298 Landolfo had captured Colonna, Palestrina and other towns, the familys lands were distributed among Landolfo and his loyal brothers, the rest of the family fled Italy. The exiled Colonna allied with the Popes other great enemy, Philip IV of France, in September 1303, Sciarra and Philipps advisor, Guillaume de Nogaret, led a small force into Anagni to arrest of Boniface VIII and bring him to France, where was to stand trial. While the two managed to apprehend the Pope and Sciarra reportedly slapped the pope in the face in the process, the attempt eventually failed after a few days, when locals freed the Pope. However, Boniface VIII died on the 11th October, allowing France to dominate his weaker successors during the Avignon papacy, the family remained at the centre of civic and religious life throughout the late Middle Ages. Cardinal Egidio Colonna died at the court in Avignon in 1314. An Augustinian, he had studied theology in Paris under St. Thomas of Aquinas to become one of the most authoritative thinkers of his time, in the 14th century, the family sponsored the decoration of the Church of San Giovanni, most notably the floor mosaics. In 1328, Louis IV of Germany marched into Italy for his coronation as Holy Roman Emperor. As Pope John XXII was residing in Avignon and had declared that he would not crown Louis, the King decided to be crowned by a member of the Roman aristocracy
26.
JSTOR
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JSTOR is a digital library founded in 1995. Originally containing digitized back issues of journals, it now also includes books and primary sources. It provides full-text searches of almost 2,000 journals, more than 8,000 institutions in more than 160 countries have access to JSTOR, most access is by subscription, but some older public domain content is freely available to anyone. William G. Bowen, president of Princeton University from 1972 to 1988, JSTOR originally was conceived as a solution to one of the problems faced by libraries, especially research and university libraries, due to the increasing number of academic journals in existence. Most libraries found it prohibitively expensive in terms of cost and space to maintain a collection of journals. By digitizing many journal titles, JSTOR allowed libraries to outsource the storage of journals with the confidence that they would remain available long-term, online access and full-text search ability improved access dramatically. Bowen initially considered using CD-ROMs for distribution, JSTOR was initiated in 1995 at seven different library sites, and originally encompassed ten economics and history journals. JSTOR access improved based on feedback from its sites. Special software was put in place to make pictures and graphs clear, with the success of this limited project, Bowen and Kevin Guthrie, then-president of JSTOR, wanted to expand the number of participating journals. They met with representatives of the Royal Society of London and an agreement was made to digitize the Philosophical Transactions of the Royal Society dating from its beginning in 1665, the work of adding these volumes to JSTOR was completed by December 2000. The Andrew W. Mellon Foundation funded JSTOR initially, until January 2009 JSTOR operated as an independent, self-sustaining nonprofit organization with offices in New York City and in Ann Arbor, Michigan. JSTOR content is provided by more than 900 publishers, the database contains more than 1,900 journal titles, in more than 50 disciplines. Each object is identified by an integer value, starting at 1. In addition to the site, the JSTOR labs group operates an open service that allows access to the contents of the archives for the purposes of corpus analysis at its Data for Research service. This site offers a facility with graphical indication of the article coverage. Users may create focused sets of articles and then request a dataset containing word and n-gram frequencies and they are notified when the dataset is ready and may download it in either XML or CSV formats. The service does not offer full-text, although academics may request that from JSTOR, JSTOR Plant Science is available in addition to the main site. The materials on JSTOR Plant Science are contributed through the Global Plants Initiative and are only to JSTOR
27.
Associated Press
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The Associated Press is an American multinational nonprofit news agency headquartered in New York City that operates as a cooperative, unincorporated association. The AP is owned by its contributing newspapers and radio and television stations in the United States, all of which stories to the AP. Most of the AP staff are members and are represented by the Newspaper Guild, which operates under the Communications Workers of America. As of 2007, news collected by the AP was published and republished by more than 1,700 newspapers, in addition to more than 5,000 television, the photograph library of the AP consists of over 10 million images. The AP operates 243 news bureaus in 120 countries and it also operates the AP Radio Network, which provides newscasts twice hourly for broadcast and satellite radio and television stations. Many newspapers and broadcasters outside the United States are AP subscribers, as part of their cooperative agreement with the AP, most member news organizations grant automatic permission for the AP to distribute their local news reports. The AP employs the inverted pyramid formula for writing that enables the news outlets to edit a story to fit its available publication area without losing the storys essentials. Cutbacks at rival United Press International in 1993 left the AP as the United States primary news service, although UPI still produces and distributes stories and photos daily. Other English-language news services, such as the BBC, Reuters, some historians believe that the Tribune joined at this time, documents show it was a member in 1849. The New York Times became a member shortly after its founding in September 1851, initially known as the New York Associated Press, the organization faced competition from the Western Associated Press, which criticized its monopolistic news gathering and price setting practices. The revelations led to the demise of the NYAP and in December 1892, when the AP was founded, news became a salable commodity. The invention of the press allowed the New York Tribune in the 1870s to print 18,000 papers per hour. During the Civil War and Spanish–American War, there was a new incentive to print vivid, Melville Stone, who had founded the Chicago Daily News in 1875, served as AP General Manager from 1893 to 1921. He embraced the standards of accuracy, impartiality, and integrity, the cooperative grew rapidly under the leadership of Kent Cooper, who built up bureau staff in South America, Europe and, the Middle East. He introduced the telegraph typewriter or teletypewriter into newsrooms in 1914, in 1935, AP launched the Wirephoto network, which allowed transmission of news photographs over leased private telephone lines on the day they were taken. This gave AP a major advantage over other media outlets. While the first network was only between New York, Chicago, and San Francisco, eventually AP had its network across the whole United States, in 1945, the Supreme Court of the United States held in Associated Press v. The decision facilitated the growth of its main rival United Press International, AP entered the broadcast field in 1941 when it began distributing news to radio stations, it created its own radio network in 1974
28.
Chronology of works by Caravaggio
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The following is a list of paintings by the Italian artist Caravaggio, listed chronologically. Gilbert, Creighton E. Caravaggio and His Two Cardinals, M, The Man Who Became Caravaggio
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Boy Peeling Fruit (Caravaggio)
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Boy Peeling Fruit is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio painted circa 1592–1593. This is the earliest known work by Caravaggio, painted soon after his arrival in Rome from his native Milan in mid 1592 and his movements in this period are not certain. According to his contemporary Giulio Mancini he stayed for a time with Monsignor Pandulfo Pucci in the Palazzo Colonna. He copied religious pictures for Pucci, and apparently did a few pieces of his own for personal sale, the piece may also date from slightly later, when he was working for Giuseppe Cesari, the cavaliere dArpino. It is not known how these works came to be in Cesaris collection at the time, the fruit being peeled by the boy is something of a mystery. Seen as a genre painting, it differs from most in that the boy is not rusticated. An allegoric meaning behind the painting is plausible, given the complex Renaissance symbology of fruit, spike has recently suggested that the boy demonstrates resistance to temptation by ignoring the sweeter fruits in favour of the bergamot, but no specific reading is widely accepted. The model is thought to bear a resemblance to the angel in Caravaggios Ecstasy of Saint Francis and to the boy dressed as Cupid on the far left in his Young Musicians, the work survives in several copies. Spike identified the original in a painting auctioned in London that year. In 2014 it was put on display in the Cumberland Gallery in Hampton Court Palace, Caravaggios fruit Caravaggios secular paintings Peter Robb, M
30.
Young Sick Bacchus
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The Young Sick Bacchus, also known as the Sick Bacchus or the Self-Portrait as Bacchus, is an early self-portrait by the Baroque artist Michelangelo Merisi da Caravaggio, dated between 1593 and 1594. It now hangs in the Galleria Borghese in Rome, according to Caravaggios first biographer, Giovanni Baglione, it was a cabinet piece painted by the artist using a mirror. The painting dates from Caravaggios first years in Rome following his arrival from his native Milan in mid-1592, cindy Sherman, as part of her History Portrait series, produced a parody on Sick Bacchus, an ironic photographic self-portrait named Untitled #224
31.
Boy with a Basket of Fruit
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Boy with a Basket of Fruit, c.1593, is a painting generally ascribed to Italian Baroque master Michelangelo Merisi da Caravaggio, currently in the Galleria Borghese, Rome. The painting dates from the time when Caravaggio, newly arrived in Rome from his native Milan, was making his way in the competitive Roman art world, the model was his friend and companion, the Sicilian painter Mario Minniti, at about 16 years old. Certainly it cannot predate 1593, the year Minniti arrived in Rome, vittorio Sgarbi notes certain Murillesque portraiture qualities in the painting that could easily point to other painters in the Arpino workshop. Caravaggios fruit The British-Canadian band Velcro Hooks open up their video A Love Song to T. S. Eliot with a live reproduction of Boy with a Basket of Fruit
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The Musicians (Caravaggio)
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The Musicians or Concert of Youths is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio. It is held in the Metropolitan Museum of Art, New York and it underwent extensive restoration in 1983. Caravaggio entered the household of Cardinal Francesco Maria Del Monte sometime in 1595, the picture shows four boys in quasi-Classical costume, three playing various musical instruments or singing, the fourth dressed as Cupid and reaching towards a bunch of grapes. Caravaggio seems to have composed the painting from studies of two figures, the central figure with the lute has been identified with Caravaggios companion Mario Minniti, and the individual next to him and facing the viewer is possibly a self-portrait of the artist. The cupid bears a resemblance to the boy in Boy Peeling Fruit, done a few years before. The violin in the foreground suggests a fifth participant, implicitly including the viewer in the tableau, the painting is in poor condition, and the music in the manuscript has been badly damaged by past restorations, although a tenor and an alto part can be made out. Nevertheless, despite considerable paint loss, the works originality remains undimmed, a Caravaggio Rediscovered, The Lute Player, an exhibition catalog from The Metropolitan Museum of Art, which contains material on this painting
33.
Saint Francis of Assisi in Ecstasy (Caravaggio)
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Saint Francis of Assisi in Ecstasy is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio. It is held in the Wadsworth Atheneum, Hartford, Connecticut, the painting was the first of Caravaggios religious canvasses, and is thought to date from 1595, when he had recently entered the household of Cardinal Francesco Maria Del Monte. It shows Saint Francis of Assisi at the moment of receiving the signs of the Stigmata, the story is told by one of Francis companions, Brother Leo. In 1224 Francis retired to the wilderness with a number of his followers to contemplate God. It was as though the heavens were exploding and splashing forth all their glory in millions of waterfalls of colours and stars and it was a fiery figure with wings, nailed to a cross of fire. Two flaming wings rose straight upward, two others opened out horizontally, and two covered the figure. And the wounds in the hands and feet and heart were blazing rays of blood, the sparkling features of the Being wore an expression of supernatural beauty and grief. It was the face of Jesus, and Jesus spoke, then suddenly streams of fire and blood shot from His wounds and pierced the hands and feet of Francis with nails and his heart with the stab of a lance. As Francis uttered a mighty shout of joy and pain, the image impressed itself into his body, as into a mirrored reflection of itself, with all its love, its beauty. Then, with nails and wounds through his body, and with his soul and spirit aflame, Francis sank down, unconscious, just the gentle-seeming angel, bulking far larger than the unconscious saint, and Francis companions in the middle distance, almost invisible in the darkness. The subject had been a popular one ever since the 13th century, Giotto treated it about 1290, there is very little to indicate the subject beyond the saints Franciscan robe - no sign of the Stigmata, or blood, or the fearsome seraph. Yet the atmosphere remains genuinely spiritual, the two figures lit by an unearthly effulgence in the dark night-time landscape where strange glimmerings flicker on the horizon, the scene is at once real and unreal. Del Monte kept it till the end of his life, and several copies went into circulation and were greatly valued
34.
Bacchus (Caravaggio)
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Bacchus is a painting by Italian Baroque master Michelangelo Merisi da Caravaggio. It is held in the Uffizi Gallery, Florence, the painting shows a youthful Bacchus reclining in classical fashion with grapes and vine leaves in his hair, fingering the drawstring of his loosely draped robe. Bacchus was painted shortly after Caravaggio joined the household of his first important patron, Cardinal Del Monte and it was not in the cardinals collection at his death, and may have been a gift to the Grand Duke in Florence. When it was found in a storeroom of the Uffizi Galleries, in other words, what appears to us as the boys left hand was actually his right. This would accord with the comment by Caravaggios early biographer, the artist Giovanni Baglione, english artist David Hockney made Caravaggios working methods a central feature of his thesis that Renaissance and later artists used some form of camera lucida. The model for Bacchus might have been Caravaggios friend Mario Minniti and it was discovered upon closer investigation that Caravaggio included a miniature self portrait of himself painting the subject in the reflection of the offered glass. Bacchus Analysis & Critical Reception Discussion of Hockneys Secret Knowledge and Caravaggio Iconographic Themes in Art, Bacchus | Dionysos High resolution preview
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Penitent Magdalene (Caravaggio)
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Penitent Magdalene is a 16th-century oil on canvas painting by Italian Baroque painter Caravaggio. The painting portrays a repentant Mary Magdalene, bowed over in penitent sorrow as she leaves behind her dissolute life, at the time of its completion, ca. 1594-1595, the painting was unconventional for its realism and departure from traditional Magdalene iconography. It has invited both criticism and praise, with speculation even into the 21st century as to Caravaggios intentions, the work hangs in the Doria Pamphilj Gallery in Rome. The painting depicts a young brunette, squatting or kneeling on a low chair, by her side is a collection of jewelry and a stoppered bottle of liquid, nearly three-quarters full. Her gaze is averted from the viewer, her head turned downward in a position that has been compared to traditional portrayals of the crucified Jesus Christ, a single tear runs down one cheek to the side of her nose. 1594-1595, during which time Caravaggio was residing with Giuseppe Cesari, the painting was almost certainly commissioned by Pietro Vittrice, guardaroba of Pope Gregory XIII. Caravaggio was known to have used several prostitutes as models for his works, contemporary biographers indicate Bianchini may also have featured in Caravaggios Death of the Virgin, Conversion of the Magdalen and Rest on the Flight into Egypt. It may be the first religious painting ever completed by Caravaggio, but Jesuit poet Giuseppe Silos evidently did not regard the work as feigned spirituality. Certainly Caravaggios colors are so lively as to even her most intimate sentiments. A rare bird is that painter who can so clearly expose in an image that which is hidden in the blind darkness of the conscience. Whatever may have inspired Caravaggios Magdalene, his piece may have inspired Georges de La Tour to produce versions of the subject. De la Tour dramatically changed the angle of his painting, although the Magdalene remains seated, face averted, her hands clasped on her lap, she is strongly backlit by a candle set before a mirror, and cradles a skull on her lap. Garrard, Mary D. Artemisia Gentileschi around 1622, the shaping and reshaping of an artistic identity, irony and Realism in the Iconography of Caravaggios Penitent Magdalene. Mary Magdalene, Iconographic Studies from the Middle Ages to the Baroque, quoted and translated in Hibbard, Howard. Pp.346 et seq. ISBN 978-0-06-430128-2, patton, Kimberley Christine, John Stratton Hawley. Holy tears, weeping in the religious imagination, M, The Man Who Became Caravaggio. From heaven to Arcadia, the sacred and the profane in the Renaissance, the New York Times Book Reviews 2000
36.
Rest on the Flight into Egypt (Caravaggio)
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Rest on the Flight into Egypt is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio, in the Doria Pamphilj Gallery, Rome. The Rest on the Flight into Egypt, like the Flight into Egypt, was a subject in art. This basic story acquired many extra details during the centuries, Caravaggio shows Mary asleep with the infant Jesus, while Joseph holds a manuscript for an angel who is playing a hymn to Mary on the viol. The date of the painting is disputed and this probably happened in January 1594. However, there are problems with accepting Mancinis statement, to begin, none of these three works were listed in Petragnanis inventory of 1600, although it is possible that they could have been painted for another patron. The sophisticated treatment is appropriate for the cardinals intellectual tastes and interests and this was the first large-scale work done by Caravaggio, and is compositionally more ambitious and more successful than The Musicians, of about 1595. The painting was sold to the Pamphilj by the early 17th century. Caravaggios Lombard and Venetian heritage are evident in the treatment of the landscape, like most depictions of the flight to Egypt this is a peaceful moment, one in which the scenery is to be enjoyed, more gardenscape than landscape. The luminous figure of the adolescent angel, at once serene and sensuous, the mother and child grouping, one of many that Caravaggio would paint, is comparable in its delicacy and realism to the best that the thousands in the canon can offer. One of the pastimes of Caravaggio scholars is identifying his models. Much progress has made, but the following should be regarded as tentative only. Mary appears to be the girl who appears as Mary Magdalen in the Penitent Magdalene of about 1597. The aged Joseph appears similar to the saints in The Inspiration of Saint Matthew of 1602 and, less clearly. Some critics have identified the boy-angel with the victim of cheats on the left of Cardsharps. Media related to Rest on the Flight into Egypt by Caravaggio at Wikimedia Commons
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Medusa (Caravaggio)
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Caravaggio painted two versions of Medusa, the first in 1596 and the other presumably in 1597. The first version is known as Murtula, by the name of the poet who wrote about it, Gaspare Murtola, Flee, for if your eyes are petrified in amazement. It measures 48 by 55 cm and is signed Michel A F, Michel Angelo made, the second version, shown here, is slightly bigger and is not signed, it is held in the Uffizi Gallery in Florence. Caterina Caneva, La Medusa del Caravaggio restaurata, Retablo, Roma,2002 Medusa at Web Gallery of Art
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Portrait of a Courtesan (Caravaggio)
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Portrait of a Courtesan was a painting by the Baroque master Michelangelo Merisi da Caravaggio. Painted between 1597 and 1599, it was destroyed in Berlin in 1945 and is only from photographs. It has been suggested that the portrait represents the goddess Flora, Caravaggio scholar John Gash, however, identifies the flowers as definitely jasmine, symbol of erotic love, and therefore more suitable to a courtesan than to a respectable married woman. Fillide figured prominently in Caravaggios work in the years of the 1590s, appearing as Saint Catherine, as Mary in Martha and Mary Magdalene. She may have appeared more frequently - a considerable number of Caravaggios works are now lost -. If sophisticated patrons such as Giustiniani represented one pole of Caravaggios life and she was one of Romes most successful prostitutes, much sought after by the Roman elite, but she had her true existence in the streets. Tomassoni would also again, but not in paintings, in 1606 Caravaggio killed Tomassoni in an attempt to castrate him
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Jupiter, Neptune and Pluto
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Jupiter, Neptune and Pluto is a painting by Italian Baroque master Michelangelo Merisi da Caravaggio. It is located in the Villa Aurora, the hunting lodge of the erstwhile Villa Ludovisi. It is unusually painted in oils on plaster, and hence it is not a fresco, although it is sometimes referred to as such. Oil painting is normally on canvas or, less frequently, on wood, according to an early biographer, one of Caravaggios aims was to discredit critics who claimed that he had no grasp of perspective. The three figures demonstrate the most dramatic foreshortening imaginable and they contradict claims that Caravaggio always painted from live models. The artist seems to have used his own face for all three gods, the cardinal had a keen interest alchemy. Caravaggio has painted an allegory of the triad of Paracelsus, Jupiter stands for sulphur and air, Neptune for mercury and water. Each figure is identified by his beast, Jupiter by the eagle, Neptune by the hippocamp, Jupiter is reaching out to move the celestial sphere in which the Sun revolves around the Earth. Galileo was a friend of Del Monte but had yet to make his mark on cosmology, the Villa Aurora is private property in the hands of the Ludovisi family and can be visited upon request. Rome Artlover, Casino di Villa Lodovisi presso Porta Pinciana Minor Sights, Villa Aurora- Romes best kept secret
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Saint Catherine (Caravaggio)
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Saint Catherine of Alexandria is an oil painting by the Italian Baroque master Caravaggio. It is part of the Thyssen-Bornemisza Collection of Madrid, saint Catherine of Alexandria was a popular figure in Catholic iconography. She was of noble origins, and dedicated herself as a Christian after having a vision, at the age of 18 she confronted the Roman Emperor Maximus, debated his pagan philosophers, and succeeded in converting many of them to Christianity. Imprisoned by the emperor, she converted his empress and the leader of his armies, Maximus executed her converts and ordered that Catherine herself be put to death on a spiked wheel. The wheel reportedly shattered the moment Catherine touched it and she became patron saint of libraries and librarians, as well as teachers, archivists, and all those associated with wisdom and teaching, and all those whose livelihoods depended upon wheels. The year of her martyrdom was traditionally held to have been 305 and her qualities are supposed to be those of beauty, fearlessness, virginity, and intelligence. Saint Catherine of Alexandria St Catherine from Catholic Encyclopedia
41.
Sacrifice of Isaac (Caravaggio)
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The Sacrifice of Isaac is the title of two paintings from c.1598 -1603 depicting the sacrifice of Isaac. The Sacrifice of Isaac in the Piasecka-Johnson Collection in Princeton, New Jersey, is a work that was painted circa 1603. The model for Isaac bears a resemblance to the model used for the John the Baptist now in the museum of Toledo cathedral. The painting shows the moment when Abraham, about to sacrifice his son Isaac in obedience to Gods command, is stayed by an angel who offers him a ram in Isaacs place. The three figures and the ram are shown without background or context, with nothing to distract from the psychological drama as Gods promise is delivered. The second Sacrifice of Isaac is housed in the Uffizi Gallery, Caravaggio had previously painted a Portrait of Maffeo Barberini, which presumably pleased the cardinal enough for him to commission this second painting. Isaac has been identified as Cecco Boneri, who appeared as Caravaggios model in other pictures. Recent X-ray analysis showed that Caravaggio used Cecco also for the angel, and later modified the profile and the hair to hide the resemblance
42.
John the Baptist (Caravaggio)
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John the Baptist was the subject of at least eight paintings by the Italian Baroque artist Michelangelo Merisi da Caravaggio. The story of John the Baptist is told in the Gospels, John was the cousin of Jesus, and his calling was to prepare the way for the coming of the Messiah. He lived in the wilderness of Judea between Jerusalem and the Dead Sea, his raiment of camels hair, and a girdle about his loins. He baptised Jesus in the Jordan, and was killed by Herod Antipas when he called upon the king to reform his evil ways. John was frequently shown in Christian art, identifiable by his bowl, reed cross, camels skin, John alone in the desert was less popular, but not unknown. For the young Caravaggio, John was invariably a boy or youth alone in the wilderness. This image was based on the statement in the Gospel of Luke that the child grew and was strengthened in spirit and these works allowed a religious treatment of the partly clothed youths he liked to paint at this period. The ascription of this painting to Caravaggio is disputed - the alternative candidate is Bartolomeo Cavarozzi, according to Mancini the prior afterwards took them with him to his homeland, unfortunately, one version of Mancinis manuscript says the priors homeland was Seville, while another says Sicily. There was a Spanish prior of the hospital in 1593, Gash cites scholar A. E. is much more characteristic of Caravaggio. If this and other paintings by Caravaggio were indeed in Seville at a date they may have influenced Velázquez in his early works. However, the arguments in favour of Cavarozzi are strong, Peter Robb, taking the painting to be by Caravaggio, dates it to about 1598, when the artist was a member of the household of his first patron, Cardinal Francesco Maria Del Monte. Robb points out that the Baptist is evidently the same boy who modelled for Isaac in the Sacrifice of Isaac, unfortunately this Sacrifice of Isaac is also disputed, and so the problem of authorship is not solved. John is shown against a background of green grape vines and thorny vine stems, seated on a red cloak, holding a reed cross. The red cloak would become a staple of Caravaggios works, one with many precedents in previous art, John the Baptist carries over many of the concerns which animated Caravaggios other work from this period. The grape leaves stand for the grapes from which the wine of the Last Supper was pressed, while the call to mind the Crown of Thorns. Nevertheless, it was not totally without precedent, the model for Amor Vincit was a boy named Cecco, Caravaggios servant and possibly his pupil as well. He has been identified with an artist active in Rome about 1610-1625. The most striking feature of Amor was the young models evident glee in posing for the painting, the same sense of the real-life model overwhelming the supposed subject was transferred to Matteis John the Baptist
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Martha and Mary Magdalene (Caravaggio)
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Martha and Mary Magdalene is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio. It is in the Detroit Institute of Arts, alternate titles include Martha Reproving Mary, The Conversion of the Magdalene and the Alzaga Caravaggio. Caravaggios Martha and Mary is dated to 1598–99, when he was in the entourage of Cardinal Francesco Maria Del Monte, little is known of its history between those years and 25 June 1971, when its owners attempted to sell it at Christies in London. It remained unsold at 130,000 guineas, despite the confidence of the restorer Juan Corradini of Buenos Aires, later converts were Benedict Nicolson and Mina Gregori. Today it is considered an autograph work. It was acquired by the Detroit Institute of Art in 1973 and it is thought that the painting was originally in the collection of Caravaggios patron Ottavio Costa. Since the Saint Francis later appears in the inventory of Tritinio, it has assumed that the Martha and Mary passed to Herrera. Giovanni Enriquez de Herrera died on 1 March 1610, without a will and this family has not been traced. Since its rediscovery, its influence has become apparent, most notably in the number of copies, a now lost work by Carlo Saraceni, the painting shows the sisters Martha and Mary from the New Testament. Martha is in the act of converting Mary from her life of pleasure to the life of virtue in Christ. Martha, her face shadowed, leans forward, passionately arguing with Mary, the power of the image lies in Marys face, caught at the moment when conversion begins. Martha and Mary was painted while Caravaggio was living in the palazzo of his patron, among the religious paintings was a group of four works featuring the same two female models, together or singly. The models were two well-known courtesans who frequented the palazzi of Del Monte and other wealthy and powerful art patrons, Anna Bianchini appeared first as a solitary Mary Magdalene in the Penitent Magdalene of about 1597. Fillide Melandroni appeared in a secular Portrait of a Courtesan done the year for Del Montes friend and fellow art-lover. In 1598 Caravaggio painted Fillide again as Saint Catherine, capturing a beauty full of intelligence, in Martha and Mary the two are shown together, Fillide perfectly fitted to the role of Mary, Anna to the mousier but insistent presence as Martha. A finely grained cream-brown table running in front of the sisters displays three objects, of which a Venetian mirror is the most obvious and it reflects the Magdalens hand and a rectangular window, to which reflection her middle finger points. The other two objects are an ivory comb and a dish with a sponge, the type of dish was called a sponzarol by the Venetians and, in this case, is made of alabaster. The writings of the Church Fathers established Martha and Mary as representative of the active versus the contemplative aspects of Christian faith and this distinction was exemplified in art like Bernardino Luinis Martha and Mary, once in the Barberini Collection in Rome, and attributed to Leonardo da Vinci
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Basket of Fruit (Caravaggio)
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Basket of Fruit is a still life painting by the Italian Baroque master Michelangelo Merisi da Caravaggio, which hangs in the Biblioteca Ambrosiana, Milan. It shows a wicker basket perched on the edge of a ledge, the basket contains a selection of summer fruit. A good-sized, light-red peach attached to a stem with wormholes in the leaf resembling damage by oriental fruit moth. There are four clusters of grapes, black, red, golden, and white, there are two grape leaves, one severely desiccated and shriveled while the other contains spots and evidence of an egg mass. In the right part of the basket are two green figs and a black one is nestled in the rear on the left. Much has been made of the worm-eaten, insect-predated, and generally less than perfect condition of the fruit, in line with the culture of the age, the general theme appears to revolve about the fading beauty, and the natural decaying of all things. Scholars also describe the basket of fruit as a metaphor of the Church, scholars have had more than their usual level of disagreement in assigning a date to the painting, John T. Spike places it in 1596, Catherine Puglisi believes that 1601 is more probable, puglisis reasoning seem solid, but no consensus has emerged. In 1607 it was part of Cardinal Federico Borromeo’s collection, a provenance which raises the plausibility of a reference to the Book of Amos. Borromeo, who was archbishop of Milan, was in Rome approximately 1597-1602, like its doppelganger in Supper at Emmaus, the basket seems to teeter on the edge of the picture-space, in danger of falling out of the painting and into the viewers space instead. Basket of Fruit can be compared with the same artists Still Life with Fruit, Caravaggio, chronology of works Web Gallery of Art Baroque attitudes to still-life Puglisi, Catherine. ISBN 1-876631-79-1 Spike, John T.2001
45.
Judith Beheading Holofernes (Caravaggio)
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Judith Beheading Holofernes is a painting of Judith beheading Holofernes by Caravaggio, painted in 1599–1602. The widow Judith first charms the Assyrian general Holofernes, then decapitates him in his tent, the painting was rediscovered in 1950 and is part of the collection of the Galleria Nazionale dArte Antica in Rome. The deutero-canonical Book of Judith tells how Judith served her people by seducing and pleasuring Holofernes, Judith gets Holofernes drunk, then seizes her sword and slays him, Approaching to his bed, she took hold of the hair of his head. Caravaggios approach was, typically, to choose the moment of greatest dramatic impact, the figures are set out in a shallow stage, theatrically lit from the side, isolated against the inky, black background. Judith and her maid Abra stand to the right, partially over Holofernes, x-rays have revealed that Caravaggio adjusted the placement of Holofernes head as he proceeded, separating it slightly from the torso and moving it slightly to the right. The faces of the three characters demonstrate his mastery of emotion, Judith in particular showing in her face a mix of determination and repulsion, a painting believed by some to be Caravaggios second version of Judith Beheading Holofernes was discovered in Toulouse in 2014. An export ban was placed on the painting by the French government while tests were carried out to establish its authenticity
46.
David and Goliath (Caravaggio)
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David and Goliath is a painting by the Italian Baroque master Caravaggio. It was painted in about 1599, and is held in the Museo del Prado, two later versions of the same theme are currently to be seen in Kunsthistorisches Museum, Vienna, and in Romes Galleria Borghese. The David and Goliath in the Prado was painted in the part of the artists career. It shows the Biblical David as a young boy fastening the head of the champion of the Philistines, the giant Goliath, by the hair. The light catches on Davids leg, arm and flank, on the shoulders from which Goliaths head has been severed, and on the head itself. Even Davids face is almost invisible in the shadows, a wound on Goliaths forehead shows where he has been felled by the stone from Davids sling. The overwhelming impression is of some action intensely personal and private - no triumph, no armies, Caravaggio originally showed Goliaths face fixed in wild-eyed open-mouthed terror, tongue rolling, eyeballs swivelled to the edges of the sockets
47.
Narcissus (Caravaggio)
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Narcissus is a painting by the Italian Baroque master Caravaggio, painted circa 1597–1599. It is housed in the Galleria Nazionale dArte Antica in Rome, the painting was originally attributed to Caravaggio by Roberto Longhi in 1916. This is one of two known Caravaggios on a theme from Classical mythology, although this reflects the accidents of survival rather than the historical reality. The story of Narcissus, told by the poet Ovid in his Metamorphoses, is of a youth who falls in love with his own reflection. Unable to tear away, he dies of his passion. Ovids Narcissus was a frequent topic in literature, by example taken up by Dante, the story was well known in the circles of collectors, such as Cardinal Francesco Maria del Monte and the banker Vincenzo Giustiniani, in which Caravaggio was moving at this period. Caravaggios friend, the poet Giambattista Marino, wrote a description of the topic, the story of Narcissus was particularly appealing to artists, for reasons explained by the Renaissance theorist Leon Battista Alberti, the inventor of painting. What is painting but the act of embracing by means of art the surface of the pool, Caravaggio painted an adolescent page wearing an elegant brocade doublet, leaning with both hands over the water, as he gazes at this own distorted reflection. The 16th century literary critic Tommaso Stigliani explained the thinking that the myth of Narcissus clearly demonstrates the unhappy end of those who love their things too much
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The Calling of St Matthew (Caravaggio)
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The Calling of Saint Matthew is a masterpiece by Michelangelo Merisi da Caravaggio, depicting the moment at which Jesus Christ inspires Matthew to follow him. It was completed in 1599–1600 for the Contarelli Chapel in the church of the French congregation, San Luigi dei Francesi in Rome and it hangs alongside two other paintings of Matthew by Caravaggio, The Martyrdom of Saint Matthew and The Inspiration of Saint Matthew. Over a decade before, Cardinal Matthieu Cointerel had left in his will funds and specific instructions for the decoration of a chapel based on themes related to his namesake, St Matthew. The dome of the chapel was decorated with frescoes by the late Mannerist artist Cavalier DArpino, Caravaggios former employer, the Calling hangs opposite The Martyrdom of Saint Matthew. While the Martyrdom was probably the first to be started, the Calling was, by report, the commission for these two lateral paintings — the Calling and the Martyrdom — is dated July 1599, and final payment was made in July 1600. Between the two, at the altar, is The Inspiration of Saint Matthew. The painting depicts the story from the Gospel of Matthew, Jesus saw a man named Matthew at his seat in the house, and said to him, Follow me. Caravaggio depicts Matthew the tax collector sitting at a table with four other men, Jesus Christ and Saint Peter have entered the room, and Jesus is pointing at Matthew. A beam of light illuminates the faces of the men at the table who are looking at Jesus Christ, there is some debate over which man in the picture is Saint Matthew, as the surprised gesture of the bearded man at the table can be read in two ways. Most writers on the Calling assume Saint Matthew to be the bearded man and this theory is strengthened when one takes into consideration the other two works in this series, The Inspiration of Saint Matthew, and the The Martyrdom of Saint Matthew. The bearded man who models as Saint Matthew appears in all three works, with him playing the role of Saint Matthew in both the Inspiration and the Martyrdom. A more recent interpretation proposes that the man is in fact pointing at the young man at the end of the table. In this reading, the man is asking Him. in response to Christs summons. Other writers describe the painting as deliberately ambiguous, in this painting, the gloom and the canvassed window appears to situate the table indoors. Christ brings the light to the dark space of the sitting tax-collectors. This painting records the collision of two worlds — the ineluctable power of the faith, and the mundane, foppish. Jesus spears him with a beam of light, with an apparent effortless hand gesture he exerts an inescapable sublime gravity, Jesus bare feet are classical simplicity in contrast with the dandified accountants, being barefoot may also symbolize holiness, as if one is on holy ground. Similarly to his treatment of Paul in the Conversion on the Way to Damascus, around the man to become Matthew are either the unperceptive or unperturbed bystanders
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The Martyrdom of Saint Matthew (Caravaggio)
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The Martyrdom of Saint Matthew is a painting by the Italian master Michelangelo Merisi da Caravaggio. It was the first of the three to be installed in the chapel, in July 1600, the painting shows the martyrdom of Saint Matthew the Evangelist, author of the Gospel of Matthew. According to tradition, the saint was killed on the orders of the king of Ethiopia while celebrating Mass at the altar, the king lusted after his own niece, and had been rebuked by Matthew, for the girl was a nun, and therefore the bride of Christ. The commission, caused Caravaggio considerable difficulty, as he had never painted so large a canvas, nor one with so many figures. The first version revealed by the x-rays is in the Mannerist style of the most admired artist in Rome at the time, Giuseppe Cesari and it must have seemed static and distanced. The second version turned to Raphael for a model, adding a crowd of onlookers displaying fear and pity, at this point Caravaggio left off the Martydom and turned his attention to the companion piece, the Calling. This drew on his own earlier genre-pieces, Cardsharps and The Fortune Teller, apparently re-inspired, or perhaps with renewed self-confidence, Caravaggio turned back to the Martydom, but this time working in his own idiom. This painting marks the moment when the Mannerist orthodoxy of the late 16th century – rational, intellectual, federico Zuccari, one of the most eminent painters in Rome and a champion of Mannerism, came to see, and sniffed that it was nothing. But the younger artists were totally won over, and Caravaggio became suddenly the most famous artist in Rome and it takes concentration to understand that the confused melee is a victory of sainthood. Saint Matthew appears to recoil as he falls before the naked fury of his executioner, burning in the glare of light, who readies his sword to strike. Around the saint are persons showing varied emotions, as required by Contarelli, terror, awe, confusion about the image can be alleviated by understanding that Matthew is not quailing in fear at the executioners strike, instead he reaches for the angels gift. The executioners grasp and the reach are two parallel paths. Only Matthew is privy to the angelic visitation, viewed as such, this is a painting not about a moment of general terror, but the death of a saint as the personal handshake of the divine. Italian Baroque painting and sculpture of the time commonly depicted martyrdoms not as moments of fear and they were, and are, dark and narrow. The figure in the background, about left-centre and behind the assassin, is a self-portrait by Caravaggio, conversion on the Way to Damascus
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