1.
Madonna of humility
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Madonna of humility refers to artistic portrayals of the Virgin Mary which depict her as a Madonna sitting on the ground, or sitting upon a low cushion. She may be holding the Child Jesus in her lap, the term Virgin of humility is also used to refer to this style of depiction. The earliest known painting of this dates to 1346 and is at the Museo Nazionale in Palermo. It represents a Madonna seated on a small cushion just above the ground, the Child Jesus that she holds partially looks at the viewer. The painting bears the inscription Nostra Domina de Humiltate, with the low cushion intended to express her humility and this painting in Palermo is, however, of a somewhat mediocre quality and was perhaps based on a work of Simone Martini. A similar painting in the Gemäldegalerie, Berlin, and both paintings were based on a Madonna of humility by Martini. A Virgin of humility fresco by Simone Martini survives in the Palais des Papes in Avignon, an altar was dedicated to the Madonna of humility in the church of Santa Maria Novella in Florence in 1361. This style of painting spread quickly through Italy and by 1375 examples began to appear in Spain, France and it was the most popular among the styles of the early Trecento artistic period. Domenico di Bartolos Madonna of humility, painted in 1433, was described by art historian Andrew Ladis as one of the most innovative devotional images from the early Renaissance. The formal symmetry of the strips below her feet and those hovering above her express the duality of her nature. Despite the low seating position, the star and the gems as well as the halo signify her regal status, in this painting, which is at the Pinoteca Nazionale in Siena, Domenico does not use cast shadows as he does in other works such as the Madonna Enthroned. Filippo Lippis Madonna of humility, painted between 1431 and 1437, is also an important work and illustrates Lippis early style, when he was attentive to Masaccios use of large and round figures. It was painted during a period when Lippi had dropped out of sight, a miracle attributed to the fresco of the Madonna of humility painted in about 1370 gave rise to the construction of the Basilica of Our Lady of Humility in Pistoia, in Tuscany, Italy. The fresco is attributed to Giovanni di Bartolomeo Cristiani, but was perhaps done by a local painter from Pistoia. The basilica, built by architect Ventura Vitoni, is an important example of high Renaissance architecture, giorgio Vasari built the octagonal dome atop the basilica in 1562. The original fresco remains within the basilica, other key examples include Bernardo Daddis central panel in the De Carlo Triptych in which the Madonna is shown sitting in a very low chair, rather than on a cushion. Fra Angelicos representation of about 1430 is notable in that Jesus is approached from above, Giovanni di Paolos depiction of about 1456 represents a transition in the perception of nature, with the visual landscape forming itself around the seated Madonna. Marian art in the Catholic Church Williamson, Beth, Madonna of Humility, Development, Dissemination and Reception, for a larger gallery, please see, Madonna of humility gallery
Madonna of humility
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Madonna of humility by
Domenico di Bartolo, 1433.
Madonna of humility
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Fra Angelico, c. 1430.
Madonna of humility
Madonna of humility
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Lorenzo Monaco, c. 1410
2.
Pinacoteca Nazionale (Siena)
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The Pinacoteca Nazionale is a national museum in Siena, Tuscany, Italy. Inaugurated in 1932, it houses especially late medieval and Renaissance paintings from Italian artists and it is housed in the Brigidi and Buonsignori palaces in the citys center, the former, built in the 14th century, it is traditionally identified as the Pannocchieschi familys residence. The Palazzo Bichi-Buonsignori, although built in the 15th century, has a 19th-century neo-medieval façade based on the citys Palazzo Pubblico, the gallery has one of the largest collections of Sienese paintings with gold backgrounds from the 14th and 15th centuries. Works in the include, Duccio di Buoninsegnas Polyptych N.28. Pinacoteca Nazionale di Siena - Scalarchives. com Pinacoteca Nazionale di Siena - Scolarsresource. com
Pinacoteca Nazionale (Siena)
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The exterior view
Pinacoteca Nazionale (Siena)
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Domenico di Bartolo:
Madonna of Humility, 1433.
Pinacoteca Nazionale (Siena)
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Lorenzo Lotto: Nativity, 1527-1528
3.
Oriental carpets in Renaissance painting
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More depictions of Oriental carpets in Renaissance painting survive than actual carpets produced before the 17th century, though the number of these known has increased in recent decades. Therefore, comparative art-historical research has from its onset in the late 19th century relied on carpets represented in datable European paintings, Western comparative research resulted in an ever more detailed cultural history of the Oriental art of carpet weaving. This has in turn renewed and inspired the scientific interest in their countries of origin, comparative research based on Renaissance paintings and carpets preserved in museums and collections continues to contribute to the expanding body of art historical and cultural knowledge. Visually, the serve to draw attention either to an important person. In parallel with the development of Renaissance painting, initially mainly Christian saints, later on, the carpets were integrated into secular contexts, but always served to represent the idea of opulence, exoticism, luxury, wealth, or status. First, their use was reserved for the most powerful and most wealthy, later on, as more people gained sufficient wealth to afford goods of luxury, Oriental carpets appeared on the portraits of merchants and wealthy burghers. During the late 17th and 18th century, the interest in depicting carpets declined, in parallel, the paintings pay less attention to detail. The richly designed Oriental carpets appealed strongly to Western painters, the rich and various colours may have influenced the great Venetian painters of the Quattrocento. It has been suggested that the representation of carpets is linked to the development of the linear perspective. The depiction of oriental carpets in Renaissance paintings is regarded as an important contribution to a history of art. In turn, European market demands also affected the production in their countries of origin. In 1871, Julius Lessing published his book on oriental carpet design, village or nomadic rugs did not reach Europe during the Renaissance, and were not depicted in paintings. Pile carpets with geometric design are known to have produced from the 13th century among the Seljuks of Rum in eastern Anatolia. Carpets were also produced in Islamic Spain, and one is shown in a fresco of the 1340s in the Palais des Papes, Avignon. The vast majority of carpets in 15th- and 16th-century paintings are either from the Ottoman Empire, or possibly European copies of these types from the Balkans, Spain, or elsewhere. In fact these were not the finest Islamic carpets of the period, even finer than these, Persian carpets do not appear until the end of the 16th century, but become increasingly popular among the very wealthy in the 17th century. The very refined Mamluk carpets from Egypt are occasionally seen, mostly in Venetian paintings, one of the first uses of an oriental carpet in a European painting is Simone Martinis Saint Louis of Toulouse Crowning Robert of Anjou, King of Naples, painted in 1316-1319. Most European depictions of Oriental carpets were extremely faithful to the originals and their larger scale also allows more detailed and accurate depictions than those shown in miniature paintings from Turkey or Persia
Oriental carpets in Renaissance painting
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Left image: A "Bellini type"
Islamic prayer rug, seen from the top, at the feet of the
Virgin Mary, in
Gentile Bellini 's Madonna and Child Enthroned, late 15th century. Right image: Prayer rug,
Anatolia, late 15th to early 16th century, with "re-entrant" keyhole motif.
Oriental carpets in Renaissance painting
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Petrus Christus, Virgin and Child with Saints Jerome and Francis (detail), 1457, with a
realistic depiction of a pile-woven carpet.
Städel Museum, Frankfurt
Oriental carpets in Renaissance painting
Oriental carpets in Renaissance painting
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Left image:
Hans Memling 's Still Life with a Jug with Flowers, late 15th century. Right image:
Mugan carpet,
Karabakh school, late 14th to early 15th century,
Azerbaijan Carpet Museum
4.
Sienese School
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In the 16th century the Mannerists Beccafumi and Il Sodoma worked there. While Baldassare Peruzzi was born and trained in Siena, his major works, Siena remains a remarkably well-preserved Italian late-Medieval town. Pope-Hennessy, John & Kanter, Laurence B, the Robert Lehman Collection I, Italian Paintings. New York, Princeton, The Metropolitan Museum of Art in association with Princeton University Press
Sienese School
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Maestà by Duccio (1308-11) Tempera on wood, 214 x 412 cm Museo dell'Opera del Duomo, Siena
5.
Asciano
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Asciano is a comune and hill town in the province of Siena in the Italian region Tuscany. It is located at the centre of the Crete senesi between the river Ombrone and the torrent Copra, some 30 kilometres southeast of the town of Siena by rail, asciano has origins as Etruscan, Roman and Lombard settlements. A 5th century BC Etruscan necropolis has been excavated nearby and remains of Roman baths, during the medieval period its location made it a site of contest between Siena and Florence, the Battle of Montaperti was fought in the nearby on 4 September 1260. The village was purchased by the Sienese in 1285 and surrounded by walls in 1351, asciano has the 11th century Romanesque basilica of SantAgata which was built of travertine. The church, with its aisleless nave topped by a roof, is adorned with decorative elements of the Lombard type. Outside is its 13th century campanile, the interior houses two 16th-century frescoes, one by Il Sodoma and a Pietà attributed to Bartolomeo Neroni. Adjoining the church is the Museo dArte Sacra where works by painters in the Sienese manner of the 14th and 15th centuries are exhibited, the Museo Archeologico contains finds from the excavation of chamber tombs from the cemetery of Poggio Pinci. 10 kilometers to the south is the large Benedictine monastery of Monte Oliveto Maggiore, mother-house of the Olivetans, the cloister is famous for the series of frescoes illustrating scenes from the legend of St. Benedict begun by Luca Signorelli and completed by il Sodoma in 1505. The latter masters work is perhaps nowhere better represented than here, the church contains fine inlaid choir stalls by Fra Giovanni da Verona. The buildings, which are mostly of red brick, are conspicuous against the grey clayey, the monastery is described by Pope Pius II in his Commentaria
Asciano
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The church of St. Agatha in Asciano.
6.
Vasari
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Vasari was born in Arezzo, Tuscany. Recommended at an age by his cousin Luca Signorelli, he became a pupil of Guglielmo da Marsiglia. He was befriended by Michelangelo whose painting style would influence his own, in 1529, he visited Rome where he studied the works of Raphael and other artists of the Roman High Renaissance. Vasaris own Mannerist paintings were admired in his lifetime than afterwards. In 1547 he completed the hall of the chancery in Palazzo della Cancelleria in Rome with frescoes that received the name Sala dei Cento Giorni and he was consistently employed by members of the Medici family in Florence and Rome, and worked in Naples, Arezzo and other places. He also helped to organize the decoration of the Studiolo, now reassembled in the Palazzo Vecchio, aside from his career as a painter, Vasari was also successful as an architect. In Florence, Vasari also built the long passage, now called Vasari Corridor, the enclosed corridor passes alongside the River Arno on an arcade, crosses the Ponte Vecchio and winds around the exterior of several buildings. He also renovated the medieval churches of Santa Maria Novella and Santa Croce, at both he removed the original rood screen and loft, and remodelled the retro-choirs in the Mannerist taste of his time. In Santa Croce, he was responsible for the painting of The Adoration of the Magi which was commissioned by Pope Pius V in 1566 and it was recently restored, before being put on exhibition in 2011 in Rome and in Naples. Eventually it is planned to return it to the church of Santa Croce in Bosco Marengo, in 1562 Vasari built the octagonal dome on the Basilica of Our Lady of Humility in Pistoia, an important example of high Renaissance architecture. In Rome, Vasari worked with Giacomo Barozzi da Vignola and Bartolomeo Ammanati at Pope Julius IIIs Villa Giulia, the Lives also included a novel treatise on the technical methods employed in the arts. The book was rewritten and enlarged in 1568, with the addition of woodcut portraits of artists. The work has a consistent and notorious bias in favour of Florentines, and tends to attribute to them all the developments in Renaissance art – for example, Venetian art in particular, is systematically ignored in the first edition. Between the first and second editions, Vasari visited Venice and while the edition gave more attention to Venetian art. Vasaris biographies are interspersed with amusing gossip, with a few exceptions, however, Vasaris aesthetic judgement was acute and unbiased. He did not research archives for exact dates, as art historians do, and naturally his biographies are most dependable for the painters of his own generation. Modern criticism – with new materials opened up by research – has corrected many of his traditional dates and attributions. Vasari includes a sketch of his own biography at the end of the Lives, according to the historian Richard Goldthwaite, Vasari was one of the earliest authors to use the term competition in its economic sense
Vasari
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Vasari's self-portrait
Vasari
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Giorgio Vasari, Italian humanists, Tuscan Poets: Dante, Petrarch, Guido Cavalcanti, Boccaccio, Cino da Pistoia and Guittone d'Arezzo
Vasari
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Giorgio Vasari, The Garden of Gethsemane
Vasari
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The Uffizi Loggia.
7.
Taddeo di Bartolo
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Taddeo di Bartolo, also known as Taddeo Bartoli, was an Italian painter of the Sienese School during the early Renaissance. He is among the artists profiled in Vasaris biographies of artists or Vite, vasari claims he is the uncle of Domenico di Bartolo. Taddeo di Bartolo was born in Siena, the exact year of Taddeo di Bartolos birth is unknown, but it’s been suspected to be between 1363-65. Around 1389 he entered the Sienese Guild of artists, where he mastered the art of painting among his Sienese colleagues, in 1389 Taddeo traveled to Collegarli, the San Miniato al Tedesco hills, and Pisa. The painting of The Virgin and Child Enthroned, signed and dated in 1390, in 1393, Taddeo traveled to San Gimignano, where he executed the altarpiece of the Virgin and Child and Saints for the Sardi and Campigli Chapel in San Francesco. The Virgin and Child With Saints showcases Taddeo’s earlier style, the thin, elegant figures, and flowing lines of the drapery patterns reflect influence from his Sienese predecessors, such as Simone Martini and Ambrogio Lorenzetti. From 1400-01, Taddeo worked at the Palazzo Pubblico in Siena where he created twelve small panels, of only nine exist today. These panels give reverence to Taddeo’s craftsmanship in smaller scale work, around 1401, Taddeo painted the celebrated altarpiece, Assumption of the Virgin and scenes from the Passion, in Montepulciano. The intention of this piece was for religious and devotional functions, Taddeo worked to accommodate the established conventions of altarpiece painting, while simultaneously stylizing the pieces to fit their respective site. In 1403, Taddeo was working in Perugia producing two works, now on display in their public gallery, the Virgin and Child with two Angels and St Bernard and Descent of the Holy Ghost. These two works showcase Taddeo’s superior talents, exhibiting delicate coloring and vast human expression, though, in 1406, Taddeo was commissioned to destroy all the paintings in the chapel of the Palazzo Pubblico, and repaint the inside. Many of these represent the Life of the Madonna, including the Death of the Virgin in which Jesus descends, takes her hand. In 1422 Taddeo di Bartolo died in Siena, much of his early work was in Pisa, where he was responsible for the frescoes of Paradise and Hell in the Cathedral there, and for paintings in the Palazzo Pubblico and the church of San Francesco. At the Collegiata di San Gimignano, Taddeo painted a fresco depicting The Last Judgment, the Museo Civico of San Gimignano, displays a painting by Taddeo depicting Saint Gimignano holding the town in his lap. A triptych of the Virgin and Child with St John the Baptist and St Andrew, a massive triptych, Assumption of the Virgin, painted in 1401, is displayed in the 16th-century Duomo of Santa Maria dellAssunta at Montepulciano. Taddeos Madonna with Child, Four Angels and Saint John the Baptist and Saint Andrew may be seen in the Oratory of the Company of Saint Catherine of the Night at Santa Maria della Scala, Siena. He also painted allegories and figures from Roman history, and the Funeral of the Virgin at the Palazzo Pubblico in Siena and his St Elizabeth of Hungry is on display in the Perkins Collection of the Basilica of St Francis in Assisi. A Madonna and Child, painted with tempera and oil on a panel, is located in the Wadsworth Atheneum
Taddeo di Bartolo
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Taddeo Di Bartolo, Self Portrait, Detail of Assumption of the Virgin, Located at Duomo of Santa Maria dell'Assunta at Montepulciano.
Taddeo di Bartolo
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The Assumption of the Virgin Located at Duomo of Santa Maria dell'Assunta at Montepulciano.
8.
Vecchietta
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Francesco di Giorgio e di Lorenzo, known as Vecchietta or Lorenzo di Pietro, was an Italian Sienese School painter, sculptor, goldsmith and architect of the Renaissance. He is among the artists profiled in Vasaris Le Vite delle più eccellenti pittori, scultori and it is believed Vecchietta was a pupil of Sassetta, Taddeo di Bartolo and Jacopo della Quercia. Later in his life he was the master of Francesco di Giorgio and Neroccio de’ Landi, Vecchietta was born in Castiglione dOrcia, and lived in Siena. Much of his work may be there, particularly at the Hospital of Santa Maria della Scala, lending him yet another name. Later, around 1444, he created the Cappella del Sacro Chiodo, also known as the Old Sacristy, the frescoes included Annunciation, Nativity, and Last Judgment scenes, and an Allegory of the Ladder depicting children climbing to heaven. For the high altar of the Church of the Santissima Annunziata, within the Hospital complex, he created a figure of the Risen Christ. An enormous bronze ciborium, created by Vecchietta for the Hospital of Santa Maria della Scala, was moved to the Cathedral of Siena in 1506. Between 1447 and 1450, a series of frescoes were completed for the Baptistry of San Giovanni at Siena Cathedral, executed by Vecchietta and they include depictions of the Evangelists, Prophets and Sibyls, the Four Articles of the Creed, and the Assumption. The frescoes were repainted at the end of the 19th century. Vecchietta also painted two scenes on the wall of the apse, Flagellation and Road to Calvary, at the Palazzo Saracini, he created a sculpture of St. Martin. A bronze tomb statue of Marianus Soccinus the Elder for the church of San Domenico is now shown at the Uffizi in Florence. For the Loggia della Mercanzia, Vecchietta sculpted life-size figures of St. Peter and St. Paul, Vecchietta also crafted a silver statue of St. Catherine of Siena at the time of the saints canonization in 1461. This work disappeared after the siege of Siena in 1555, outside Siena, Vecchiettas chief work is a painting of the Assumption at the church in Pienza, created for the Piccolimino Pope Pius II. The Uffizi in Florence, in addition to the statue of Marianus brought from Siena, has a panel depicting the Madonna created by Vecchietta. Sienese Painting The Art of a City-Republic, Vecchiettas Risen Christ, Santa Maria della Scala Hospital, Siena Vecchiettas Founding of the Spedale, Santa Maria della Scala Hospital, Siena Website of Santa Maria della Scala, Siena
Vecchietta
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Self-portrait. Detail of a fresco in Collegata di Castiglione Olona
Vecchietta
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Altar of the
Cathedral of Siena with bronze
ciborium by Vecchietta.
Vecchietta
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Frescoes of the Baptistry of the
Cathedral of Siena, substantially repainted in the 19th century.
9.
Ospedale di Santa Maria della Scala
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Santa Maria della Scala is located in Siena, Italy. Now a museum, it was once an important civic hospital dedicated to caring for abandoned children, the poor, the sick, revenues were earned partially from bequests and donations from the citizens of Siena, particularly the wealthy. The head of the hospital was the rector who managed the lay brothers responsible for its operation, Santa Maria della Scala was one of Europes first hospitals and is one of the oldest hospitals still surviving in the world. It played a major role and is considered one of Sienas 3 main artistic hubs. The Hospital partially gets its name from its position, located across the Piazza del Duomo from Siena Cathedral, Santa Maria della Scala refers to its position across from the steps that lead into the Cathedral. The Hospital is made up of a complex of buildings, around the 13th and 14th centuries, the Hospital organized its land into large agricultural estates. This is said to have represented the largest concentration of land of the Sienese state and this agricultural land helped to financially support the Hospitals works. The Pellegrinaio is the hall where pilgrims were lodged. It also served as a location for public festivities and this hall, along with another specifically to house women was built around 1325. The church of the Santissima Annuziata, built during the 13th century, was enlarged during the part of the 15th century. Santa Maria della Scala was dedicated to its services, from at least as far back as 1193 up to the 18th century, the Hospital took on many philanthropic endeavors, Cast-off babies often found their way to the Hospital. Meticulous records were kept of the details relating to each child, the procedure for the childrens care was implemented according to age, As infants, they were given to wet nurses then later weaned and educated. At age 8, they were taught a trade and any profits made were kept for them. When they reached 18, the children had the option of leaving and those that chose to leave were given all their saved earnings, plus 100 soldi, a set of clothing, and furnishings for a house. Girls were given an additional 50 lire as a dowry, meals were served for the poor three times a week. The sick were also given free meals and treatment, the Hospitals treatment of the sick was unusual for the time, their policy was to have one bed for each sick patient, and the sheets were kept clean. Also, in what has been suggested as one of the earliest examples of such a therapeutic objective, the Hospital employed one normal doctor and one surgeon. In the 16th century, it added an additional surgeon, as the Hospital became a training ground for doctors, there was, for the 17th and 18th centuries, a unique emphasis on using a more hands-on learning approach
Ospedale di Santa Maria della Scala
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The entrance of the Hospital.
Ospedale di Santa Maria della Scala
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Frescoes in the Pilgrim's Hall by Domenico di Bartolo
10.
Siena
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Siena is a city in Tuscany, Italy. It is the capital of the province of Siena, the historic centre of Siena has been declared by UNESCO a World Heritage Site. It is one of the nations most visited tourist attractions, with over 163,000 international arrivals in 2008, Siena is famous for its cuisine, art, museums, medieval cityscape and the Palio, a horse race held twice a year. Siena, like other Tuscan hill towns, was first settled in the time of the Etruscans when it was inhabited by a called the Saina. A Roman town called Saena Julia was founded at the site in the time of the Emperor Augustus, the first document mentioning it dates from AD70. Some archaeologists assert that Siena was controlled for a period by a Gaulish tribe called the Senones, according to local legend, Siena was founded by Senius and Aschius, two sons of Remus and thus nephews of Romulus, after whom Rome was named. Supposedly after their fathers murder by Romulus, they fled Rome, taking them the statue of the she-wolf suckling the infants. Additionally they rode white and black horses, giving rise to the Balzana, some claim the name Siena derives from Senius. Other etymologies derive the name from the Etruscan family name Saina, Siena did not prosper under Roman rule. It was not sited near any major roads and lacked opportunities for trade and its insular status meant that Christianity did not penetrate until the 4th century AD, and it was not until the Lombards invaded Siena and the surrounding territory that it knew prosperity. Siena prospered as a trading post, and the constant streams of pilgrims passing to, the oldest aristocratic families in Siena date their line to the Lombards surrender in 774 to Charlemagne. This ultimately resulted in the creation of the Republic of Siena, the Republic existed for over four hundred years, from the late 11th century until the year 1555. During the golden age of Siena before the Black Death in 1348, in the Italian War of 1551–59, the republic was defeated by the rival Duchy of Florence in alliance with the Spanish crown. After 18 months of resistance, Siena surrendered to Spain on 17 April 1555, the new Spanish King Felipe II, owing huge sums to the Medici, ceded it to the Grand Duchy of Tuscany, to which it belonged until the unification of Italy in the 19th century. A Republican government of 700 Sienese families in Montalcino resisted until 1559, the picturesque city remains an important cultural centre, especially for humanist disciplines. The city lies at 322 m above sea level, the Siena Cathedral, begun in the 12th century, is a masterpiece of Italian Romanesque-Gothic architecture. Its main façade was completed in 1380, the original plan called for an ambitiously massive basilica, the largest then in the world, with, as was customary, an east-west nave. However, the scarcity of funds, in due to war and plague, truncated the project
Siena
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View of downtown Piazza del Campo (Campo Square), with the Mangia Tower (Torre del Mangia) and Santa Maria Church
Siena
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Piazza del Campo.
Siena
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Capitoline Wolf at
Siena Duomo. According to a legend Siena was founded by
Senius and Aschius, two sons of Remus. When they fled
Rome, they took the statue of She-wolf to Siena, which became a symbol of the town.
Siena
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Siena Cathedral
11.
Siena Cathedral
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Siena Cathedral is a medieval church in Siena, Italy, dedicated from its earliest days as a Roman Catholic Marian church, and now dedicated to the Assumption of Mary. Previously the episcopal seat of the Diocese of Siena, from the 15th century the Archdiocese of Siena, the cathedral itself was originally designed and completed between 1215 and 1263 on the site of an earlier structure. It has the form of a Latin cross with a slightly projecting transept, a dome, the dome rises from a hexagonal base with supporting columns. The lantern atop the dome was added by Gian Lorenzo Bernini, the nave is separated from the two aisles by semicircular arches. The exterior and interior are constructed of white and greenish-black marble in alternating stripes, Black and white are the symbolic colors of Siena, etiologically linked to black and white horses of the legendary citys founders, Senius and Aschius. The origins of the first structure are obscure and shrouded in legend, there was a 9th-century church with bishops palace at the present location. In December 1058 a synod was held in this resulting in the election of pope Nicholas II. In 1196 the cathedral masons’ guild, the Opera di Santa Maria, was put in charge of the construction of a new cathedral. Works were started with the north - south transept and it was planned to add the main, larger body of the cathedral later, by 1215 there were already daily masses said in the new church. There are records from 1226 onwards of the transport of black and white marble, probably for the construction of the façade, the vaults and the transept were constructed in 1259-1260. In 1259 Manuello di Ranieri and his son Parri carved some wooden choir stalls, in 1264, Rosso Padellaio was paid for the copper sphere on top of the dome. A second massive addition of the body of the cathedral was planned in 1339. It would have more than doubled the size of the structure by means of a new nave. The construction was begun under the direction of Giovanni di Agostino, construction was halted by the Black Death in 1348. Basic errors in the construction were already evident by then, however, the outer walls, remains of this extension, can now be seen to the south of the Duomo. The floor of the nave now serves as a parking lot and museum, and, though unfinished, the remains are testament to Sienese power, ambition. Underneath the choir of the Duomo, a narthex containing important late 13th-century frescoes was found, the frescoes depict scenes from the Old Testament and the life of Christ. This was part of the entrance of an earlier church, but when the baptistry was built, this under-church was filled with rubble
Siena Cathedral
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Siena Cathedral
Siena Cathedral
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Upper façade mosaic - Coronation of the Virgin.
Siena Cathedral
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Gargoyles and Saints on façade.
Siena Cathedral
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Siena Cathedral façade
12.
National Gallery of Art
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The National Gallery of Art, and its attached Sculpture Garden, is a national art museum in Washington, D. C. located on the National Mall, between 3rd and 9th Streets, at Constitution Avenue NW. Open to the public and free of charge, the museum was established in 1937 for the American people by a joint resolution of the United States Congress. Andrew W. Mellon donated an art collection and funds for construction. The Gallery often presents temporary special exhibitions spanning the world and the history of art and it is one of the largest museums in North America. In 1930 Mellon formed the A. W. Mellon Educational and Charitable Trust, when quizzed by Abbot, he explained that the project was in the hands of the Trust and that its decisions were partly dependent on the attitude of the Government towards the gift. Designed by architect John Russell Pope, the new structure was completed and accepted by President Franklin D. Roosevelt on behalf of the American people on March 17,1941. Neither Mellon nor Pope lived to see the completed, both died in late August 1937, only two months after excavation had begun. At the time of its inception it was the largest marble structure in the world, as anticipated by Mellon, the creation of the National Gallery encouraged the donation of other substantial art collections by a number of private donors. The Gallerys East Building was constructed in the 1970s on much of the land left over from the original congressional joint resolution. It was funded by Mellons children Paul Mellon and Ailsa Mellon Bruce, designed by famed architect I. M. Pei, the contemporary structure was completed in 1978 and was opened on June 1 of that year by President Jimmy Carter. The new building was built to house the Museums collection of paintings, drawings, sculptures. The design received a National Honor Award from the American Institute of Architects in 1981, the final addition to the complex is the National Gallery of Art Sculpture Garden. Completed and opened to the public on May 23,1999, the National Gallery of Art is supported through a private-public partnership. The United States federal government provides funds, through annual appropriations, to support the museums operations, all artwork, as well as special programs, are provided through private donations and funds. The museum is not part of the Smithsonian Institution, noted directors of the National Gallery have included David E. Finley, Jr. John Walker, and J. Carter Brown. Rusty Powell III is the current director, entry to both buildings of the National Gallery of Art is free of charge. From Monday through Saturday, the museum is open from 10 a. m. –5 p. m. it is open from 11 –6 p. m. on Sundays and it is closed on December 25 and January 1. The museum comprises two buildings, the West Building and the East Building linked by an underground passage
National Gallery of Art
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National Gallery of Art
National Gallery of Art
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The East Building
National Gallery of Art
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Exhibitions in the West Building
National Gallery of Art
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Exhibitions in the East Building
13.
Washington, D.C.
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Washington, D. C. formally the District of Columbia and commonly referred to as Washington, the District, or simply D. C. is the capital of the United States. The signing of the Residence Act on July 16,1790, Constitution provided for a federal district under the exclusive jurisdiction of the Congress and the District is therefore not a part of any state. The states of Maryland and Virginia each donated land to form the federal district, named in honor of President George Washington, the City of Washington was founded in 1791 to serve as the new national capital. In 1846, Congress returned the land ceded by Virginia, in 1871. Washington had an population of 681,170 as of July 2016. Commuters from the surrounding Maryland and Virginia suburbs raise the population to more than one million during the workweek. The Washington metropolitan area, of which the District is a part, has a population of over 6 million, the centers of all three branches of the federal government of the United States are in the District, including the Congress, President, and Supreme Court. Washington is home to national monuments and museums, which are primarily situated on or around the National Mall. The city hosts 176 foreign embassies as well as the headquarters of international organizations, trade unions, non-profit organizations, lobbying groups. A locally elected mayor and a 13‑member council have governed the District since 1973, However, the Congress maintains supreme authority over the city and may overturn local laws. D. C. residents elect a non-voting, at-large congressional delegate to the House of Representatives, the District receives three electoral votes in presidential elections as permitted by the Twenty-third Amendment to the United States Constitution, ratified in 1961. Various tribes of the Algonquian-speaking Piscataway people inhabited the lands around the Potomac River when Europeans first visited the area in the early 17th century, One group known as the Nacotchtank maintained settlements around the Anacostia River within the present-day District of Columbia. Conflicts with European colonists and neighboring tribes forced the relocation of the Piscataway people, some of whom established a new settlement in 1699 near Point of Rocks, Maryland. 43, published January 23,1788, James Madison argued that the new government would need authority over a national capital to provide for its own maintenance. Five years earlier, a band of unpaid soldiers besieged Congress while its members were meeting in Philadelphia, known as the Pennsylvania Mutiny of 1783, the event emphasized the need for the national government not to rely on any state for its own security. However, the Constitution does not specify a location for the capital, on July 9,1790, Congress passed the Residence Act, which approved the creation of a national capital on the Potomac River. The exact location was to be selected by President George Washington, formed from land donated by the states of Maryland and Virginia, the initial shape of the federal district was a square measuring 10 miles on each side, totaling 100 square miles. Two pre-existing settlements were included in the territory, the port of Georgetown, Maryland, founded in 1751, many of the stones are still standing
Washington, D.C.
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Clockwise from top left:
Smithsonian Institution Building,
Rock Creek Park,
National Mall (including the
Lincoln Memorial in the foreground),
Howard Theatre and the
Frederick Douglass National Historic Site
Washington, D.C.
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Map of the District of Columbia in 1835, prior to the
retrocession
Washington, D.C.
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Ford's Theatre in the 19th century, site of the 1865
assassination of
President Lincoln
Washington, D.C.
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Crowds surrounding the
Reflecting Pool during the 1963
March on Washington
14.
Madonna of the Humility
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Madonna of humility refers to artistic portrayals of the Virgin Mary which depict her as a Madonna sitting on the ground, or sitting upon a low cushion. She may be holding the Child Jesus in her lap, the term Virgin of humility is also used to refer to this style of depiction. The earliest known painting of this dates to 1346 and is at the Museo Nazionale in Palermo. It represents a Madonna seated on a small cushion just above the ground, the Child Jesus that she holds partially looks at the viewer. The painting bears the inscription Nostra Domina de Humiltate, with the low cushion intended to express her humility and this painting in Palermo is, however, of a somewhat mediocre quality and was perhaps based on a work of Simone Martini. A similar painting in the Gemäldegalerie, Berlin, and both paintings were based on a Madonna of humility by Martini. A Virgin of humility fresco by Simone Martini survives in the Palais des Papes in Avignon, an altar was dedicated to the Madonna of humility in the church of Santa Maria Novella in Florence in 1361. This style of painting spread quickly through Italy and by 1375 examples began to appear in Spain, France and it was the most popular among the styles of the early Trecento artistic period. Domenico di Bartolos Madonna of humility, painted in 1433, was described by art historian Andrew Ladis as one of the most innovative devotional images from the early Renaissance. The formal symmetry of the strips below her feet and those hovering above her express the duality of her nature. Despite the low seating position, the star and the gems as well as the halo signify her regal status, in this painting, which is at the Pinoteca Nazionale in Siena, Domenico does not use cast shadows as he does in other works such as the Madonna Enthroned. Filippo Lippis Madonna of humility, painted between 1431 and 1437, is also an important work and illustrates Lippis early style, when he was attentive to Masaccios use of large and round figures. It was painted during a period when Lippi had dropped out of sight, a miracle attributed to the fresco of the Madonna of humility painted in about 1370 gave rise to the construction of the Basilica of Our Lady of Humility in Pistoia, in Tuscany, Italy. The fresco is attributed to Giovanni di Bartolomeo Cristiani, but was perhaps done by a local painter from Pistoia. The basilica, built by architect Ventura Vitoni, is an important example of high Renaissance architecture, giorgio Vasari built the octagonal dome atop the basilica in 1562. The original fresco remains within the basilica, other key examples include Bernardo Daddis central panel in the De Carlo Triptych in which the Madonna is shown sitting in a very low chair, rather than on a cushion. Fra Angelicos representation of about 1430 is notable in that Jesus is approached from above, Giovanni di Paolos depiction of about 1456 represents a transition in the perception of nature, with the visual landscape forming itself around the seated Madonna. Marian art in the Catholic Church Williamson, Beth, Madonna of Humility, Development, Dissemination and Reception, for a larger gallery, please see, Madonna of humility gallery
Madonna of the Humility
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Madonna of humility by
Domenico di Bartolo, 1433.
Madonna of the Humility
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Fra Angelico, c. 1430.
Madonna of the Humility
Madonna of the Humility
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Lorenzo Monaco, c. 1410
15.
Perugia
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Perugia is the capital city of both the region of Umbria in central Italy, crossed by the river Tiber, and of the province of Perugia. The city is located about 164 kilometres north of Rome and 148 km south-east of Florence and it covers a high hilltop and part of the valleys around the area. The region of Umbria is bordered by Tuscany, Lazio, the history of Perugia goes back to the Etruscan period, Perugia was one of the main Etruscan cities. Perugia is also a cultural and artistic centre of Italy. The famous painter Pietro Vannucci, nicknamed Perugino, was a native of Città della Pieve and he decorated the local Sala del Cambio with a beautiful series of frescoes, eight of his pictures can also be admired in the National Gallery of Umbria. Perugino was the teacher of Raphael, the great Renaissance artist who produced five paintings in Perugia, another famous painter, Pinturicchio, lived in Perugia. Galeazzo Alessi is the most famous architect from Perugia, the citys symbol is the griffin, which can be seen in the form of plaques and statues on buildings around the city. Perugia was an Umbrian settlement but first appears in history as Perusia, one of the 12 confederate cities of Etruria. Fabius Pictors account, utilized by Livy, of the carried out against the Etruscan League by Fabius Maximus Rullianus in 310 or 309 BC. At that time a thirty-year indutiae was agreed upon, however, in 295 Perusia took part in the Third Samnite War and was reduced, with Volsinii and Arretium, a number of lead bullets used by slingers have been found in and around the city. Negotiations with the besieging forces fell to the bishop, Herculanus. Totila is said to have ordered the bishop to be flayed and beheaded, st. Herculanus later became the citys patron saint. In the Lombard period Perugia is spoken of as one of the cities of Tuscia. Peter, acknowledged the validity of the statement and recognised the established civic practices as having the force of law. However this dominant tendency was rather an anti-Germanic and Italian political strategy, midway through the 14th century Bartholus of Sassoferrato, who was a renowned jurist, asserted that Perugia was dependent upon neither imperial nor papal support. Civic peace was constantly disturbed in the 14th century by struggles between the party representing the people and the nobles. A citadel known as the Rocca Paolina, after the name of Pope Paul III, was built, in 1797, the city was conquered by French troops. On 4 February 1798, the Tiberina Republic was formed, with Perugia as capital, in 1799, the Tiberina Republic merged to the Roman Republic
Perugia
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Piazza IV Novembre
Perugia
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View from Perugia, over a valley below.
Perugia
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View of other hills around Perugia.
16.
Philadelphia Museum of Art
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The Philadelphia Museum of Art is an art museum originally chartered in 1876 for the Centennial Exposition in Philadelphia. The main museum building was completed in 1928 on Fairmount, a located at the northwest end of the Benjamin Franklin Parkway at Eakins Oval. The museum administers collections containing over 240,000 objects including major holdings of European, American and Asian origin, the various classes of artwork include sculpture, paintings, prints, drawings, photographs, armor and decorative arts. The attendance figure for the museum was 751,797 in 2015, the museum is also one of the largest art museums in the world based on gallery space. The museum also administers the historic houses of Mount Pleasant and Cedar Grove. The museum and its annexes are owned by the City of Philadelphia, as of 2017, the standard adult admission price is $20 which allows entrance to the main building and all annexes for two consecutive days. The museum is closed on Mondays except on some holidays, several special exhibitions are held in the museum every year, including touring exhibitions arranged with other museums in the United States and abroad. Special exhibitions may have a charge for entrance. Philadelphia celebrated the 100th anniversary of the Declaration of Independence with the 1876 Centennial Exposition and its art building, Memorial Hall, was intended to outlast the Exhibition and house a permanent museum. The Pennsylvania Museum and School of Industrial Art opened on May 10,1877 and its permanent collection began with objects from the Exhibition and gifts from the public impressed with the Exhibitions ideals of good design and craftsmanship. European and Japanese fine and decorative art objects and books for the Museums library were among the first donations, the location outside of Center City, however, was fairly distant from many of the citys inhabitants. Admission was charged until 1881, then was dropped until 1962, starting in 1882, Clara Jessup Moore donated a remarkable collection of antique furniture, enamels, carved ivory, jewelry, metalwork, glass, ceramics, books, textiles and paintings. The Countess de Brazzas lace collection was acquired in 1894 forming the nucleus of the lace collection, in 1893 Anna H. Wilstach bequeathed a large painting collection, including many American paintings, and an endowment of half a million dollars for additional purchases. Works by James Abbott McNeill Whistler and George Inness were purchased within a few years, in the early 1900s, the Museum started an education program for the general public, as well as a membership program. Fiske Kimball was the director during the rapid growth of the 1920s. After World War II the collections grew with gifts, such as the John D. McIlhenny, early modern art dominated the growth of the collections in the 1950s, with acquisitions of the Louise and Walter Arensberg and the A. E. Gallatin collections. The gift of Philadelphian Grace Kellys wedding dress is perhaps the best known gift of the 1950s, extensive renovation of the building lasted from the 1960s through 1976. Major acquisitions included the Carroll S. Tyson, Jr. and Samuel S. White III and Vera White collections,71 objects from designer Elsa Schiaparelli, in 1976 there were celebrations and special exhibitions for the centennial of the Museum and the bicentennial of the nation
Philadelphia Museum of Art
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East entrance
Philadelphia Museum of Art
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"Plan for the Fairmount Parkway" (1917), by
Jacques Gréber.
Philadelphia Museum of Art
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The western pediment features polychrome sculpture by Jennewein
Philadelphia Museum of Art
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Henry Ossawa Tanner 's Annunciation, acquired in 1899
17.
Princeton University Art Museum
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The Princeton University Art Museum is the Princeton Universitys gallery of art, located in Princeton, New Jersey. Founded in 1882, it now houses over 92,000 works of art that range from antiquity to the contemporary period and its collections concentrate on the Mediterranean region, Western Europe, China, the United States, and Latin America. The Museum has a collection of Greek and Roman antiquities, including ceramics, marbles, bronzes. Medieval Europe is represented by sculpture, metalwork, and stained glass, the collection of Western European paintings includes examples from the early Renaissance through the nineteenth century, and there is a growing collection of twentieth-century and contemporary art. Photographic holdings are a strength, numbering over 27,000 works from the invention of daguerreotype in 1839 to the present. The Museum is also noted for its Asian art gallery, which includes a collection of Chinese calligraphy, painting, ancient bronze works, jade carvings. In addition to its collections, the Museum mounts regular temporary exhibitions featuring works from its own holdings as well as made from public. Admission is free and the Museum is open Tuesday, Wednesday, Friday, and Saturday,10,00 am to 5,00 pm, Thursday,10,00 am to 10,00 pm, and Sunday 1,00 to 5,00 pm. The portrait was a donation from Belcher himself, given shortly before the College moved in 1756 to the newly built Nassau Hall and it was joined by a portrait of King George II, who had issued the letters patent establishing the College. The two portraits hung in the prayer hall, and were displayed alongside various antiquities and objects of natural history. The creation of the Art Museum in a formal sense took place under the leadership of James McCosh. The Scottish McCosh brought with him from Europe new progressive academic disciplines, by 1882, McCosh charged William Cowper Prime, a Princeton alumnus and founding trustee of the Metropolitan Museum of Art, and George B. McClellan, the Civil War general and then Governor of New Jersey and they argued, The foundation of any system of education in Historic Art must obviously be in object study. A museum of art objects is so necessary to the system that without it we are of opinion it would be of utility to introduce the proposed department. ”The intention was to go beyond the fields of art and classics to include, “many other branches of the collegiate course. ”They anticipated, “large future growth, ” as the College could “look with confidence to her sons, in all parts of the world. The collections of the Museum were initially held in Nassau Hall, along with the natural history collection of professor Arnold Henry Guyot. A new purpose-built fireproof Romanesque Revival Museum was designed by A, page Brown and completed in 1890 on the site of the current museum. On completion of the building the Museum received the Trumball-Prime collection of pottery and porcelain from William Prime, early additions included the purchase of a large collection of Cypriot pottery from the Metropolitan Museum in 1890, and purchases of Etruscan, Roman, and South Italian pottery. Marquand established an endowment from his own resources to further purchases
Princeton University Art Museum
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Princeton University Art Museum
Princeton University Art Museum
Princeton University Art Museum
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Hieronymus Bosch or a member of his circle, Christ Before Pilate, ca. 1520, gift of Allan Marquand
Princeton University Art Museum
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Paul Cézanne, The Bathers, 1898, gift of Frank Jewett Mather Jr.,
Color lithograph
18.
Andrea di Bartolo
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Andrea di Bartolo or Andrea di Bartolo Cini was an Italian painter, stained glass designer and illuminator of the Sienese School mainly known for his religious subjects. He was active between 1389–1428 in the area in and around Siena, Andrea di Bartolo was the son and pupil of Bartolo di Fredi, a very prominent painter in Siena. His youth was spent working in his fathers workshop which received many prestigious orders and he collaborated with his father and Luca di Tommè on an altarpiece for the altar of the shoemakers guild in the cathedral of Siena in 1389. This is his first documented work, however, it is believed that his hand can be discerned in works of his father painted between 1380 and 1389, such as in the Massacre of the Innocents. Andrea likely set up his own workshop around 1390 and he was extremely successful in Siena and obtained numerous commissions even from as far as Veneto. His patrons were drawn from the same circles as his father such as the Franciscans of Montalcino. From his studio he produced a number of works, some of which have survived and are found in various museums around the world. Like Simone Martini he travelled far to work for patrons, including the Marches, Veneto. It is possible Andrea was the father of the painter Giorgio di Andrea di Bartolo, most of Bartolos works are religious works of art. Throughout his career Andrea imitated his fathers paintings, while he worked on projects jointly with his father, he developed an independent style. Other collaborations were with Luca di Tommè, Andrea di Bartolos creativity is a continuation of the work of his father, who in turn drew on the tradition of Siena, begun by Duccio and Simone Martini. Still Andreas own style can also be recognised early on, Andrea had a more summary drawing style and a softer modeling technique than his father and paid less attention to naturalistic detail and expressionism. Generally speaking Andreas style remained solidly rooted in the Sienese traditions, however, if required he could absorb foreign influences, in particular in his commissions from the Venetian region. For instance, his Coronation of the Virgin shows in its iconography and his later work shows the influence of Taddeo di Bartolo, Martino di Bartolomeo and Spinello Aretino. This is also evident in his manuscript illuminations, in which he showed himself more independent from the style of his father, media related to Andrea di Bartolo at Wikimedia Commons
Andrea di Bartolo
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Christ on the Road to Calvary 1415-20. Tempera on wood, 55 x 49 cm. Fundación Colección Thyssen-Bornemisza, Pedralbes
Andrea di Bartolo
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Coronation of the Virgin by Andrea di Bartolo
Andrea di Bartolo
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Madonna of humility by Andrea di Bartolo
19.
Princeton University
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Princeton University is a private Ivy League research university in Princeton, New Jersey, United States. The institution moved to Newark in 1747, then to the current site nine years later, Princeton provides undergraduate and graduate instruction in the humanities, social sciences, natural sciences, and engineering. The university has ties with the Institute for Advanced Study, Princeton Theological Seminary, Princeton has the largest endowment per student in the United States. The university has graduated many notable alumni, two U. S. Presidents,12 U. S. Supreme Court Justices, and numerous living billionaires and foreign heads of state are all counted among Princetons alumni body. New Light Presbyterians founded the College of New Jersey in 1746 in order to train ministers, the college was the educational and religious capital of Scots-Irish America. In 1754, trustees of the College of New Jersey suggested that, in recognition of Governors interest, gov. Jonathan Belcher replied, What a name that would be. In 1756, the moved to Princeton, New Jersey. Its home in Princeton was Nassau Hall, named for the royal House of Orange-Nassau of William III of England, following the untimely deaths of Princetons first five presidents, John Witherspoon became president in 1768 and remained in that office until his death in 1794. During his presidency, Witherspoon shifted the focus from training ministers to preparing a new generation for leadership in the new American nation. To this end, he tightened academic standards and solicited investment in the college, in 1812, the eighth president the College of New Jersey, Ashbel Green, helped establish the Princeton Theological Seminary next door. The plan to extend the theological curriculum met with approval on the part of the authorities at the College of New Jersey. Today, Princeton University and Princeton Theological Seminary maintain separate institutions with ties that include such as cross-registration. Before the construction of Stanhope Hall in 1803, Nassau Hall was the sole building. The cornerstone of the building was laid on September 17,1754, during the summer of 1783, the Continental Congress met in Nassau Hall, making Princeton the countrys capital for four months. The class of 1879 donated twin lion sculptures that flanked the entrance until 1911, Nassau Halls bell rang after the halls construction, however, the fire of 1802 melted it. The bell was then recast and melted again in the fire of 1855, James McCosh took office as the colleges president in 1868 and lifted the institution out of a low period that had been brought about by the American Civil War. McCosh Hall is named in his honor, in 1879, the first thesis for a Doctor of Philosophy Ph. D. was submitted by James F. Williamson, Class of 1877. In 1896, the officially changed its name from the College of New Jersey to Princeton University to honor the town in which it resides
Princeton University
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A commemorative 3-cent stamp from 1953 celebrating the bicentennial of
Nassau Hall
Princeton University
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Seal of Princeton University
Princeton University
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John Witherspoon, President of the College (1768-94), signer of the
Declaration of Independence
Princeton University
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A Birds-eye view of campus in 1906
20.
University of California
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The University of California is a public university system in the U. S. state of California. The University of California was founded in 1868 and operated temporarily in Oakland until opening its first campus in Berkeley in 1873 and its tenth and newest campus in Merced opened in fall 2005. Nine campuses enroll both undergraduate and graduate students, one campus, UC San Francisco, enrolls only graduate and professional students in the medical and health sciences. In addition, the UC Hastings College of Law, located in San Francisco, is affiliated with UC. The University of Californias campuses have large numbers of distinguished faculty in almost every academic discipline, as of 2016, UC faculty and researchers have won 62 Nobel Prizes. UC campuses are perennially ranked highly by various publications, internationally, UC Berkeley, UCLA, and UC San Diego are respectively ranked 3rd, 12th, and 14th worldwide by Academic Ranking of World Universities. In 1849, the state of California ratified its first constitution, taking advantage of the Morrill Land-Grant Acts, the California Legislature established an Agricultural, Mining, and Mechanical Arts College in 1866. However, it existed only on paper, as a placeholder to secure federal land-grant funds, meanwhile, Congregational minister Henry Durant, an alumnus of Yale, had established the private Contra Costa Academy, on June 20,1853, in Oakland, California. The initial site was bounded by Twelfth and Fourteenth Streets and Harrison, the Colleges trustees, educators, and supporters believed in the importance of a liberal arts education, but ran into a lack of interest in liberal arts colleges on the American frontier. In November 1857, the Colleges trustees began to acquire parcels of land facing the Golden Gate in what is now Berkeley for a future planned campus outside of Oakland. But first, they needed to secure the Colleges water rights by buying a farm to the east. In 1864, they organized the College Homestead Association, which borrowed $35,000 to purchase the land, the Association subdivided the latter parcel and started selling lots with the hope it could raise enough money to repay its lenders and also create a new college town. But sales of new homesteads fell short, at the College of Californias 1867 commencement exercises, where Low was present, Benjamin Silliman, Jr. criticized Californians for creating a state polytechnic school instead of a real university. That same day, Low reportedly first suggested a merger of the already-functional College of California with the state college. The University of Californias second president, Daniel Coit Gilman, opened its new campus in Berkeley in September 1873, earlier that year, Toland Medical College in San Francisco had agreed to become the Universitys Medical Department, it later evolved into UCSF. In 1878, the University established Hastings College of the Law in San Francisco as its first law school, the California Constitution was amended to designate Hastings as the Law Department of the University of California in consideration of a $100,000 gift from Serranus Clinton Hastings. Hastings is the only UC campus not governed by the Regents of the University of California, in August 1882, the California State Normal School opened a second school in Los Angeles to train teachers for the growing population of Southern California. In 1927, it became the University of California at Los Angeles, during the 20th century, UC acquired additional satellite locations which, like Los Angeles, were all subordinate to administrators at the Berkeley campus
University of California
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Berkeley (1868)
University of California
–
University of California
University of California
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San Francisco (1873)
University of California
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Los Angeles (1919)
21.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
International Standard Book Number
–
A 13-digit ISBN, 978-3-16-148410-0, as represented by an
EAN-13 bar code
22.
Virtual International Authority File
–
The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
Virtual International Authority File
–
Screenshot 2012
23.
Integrated Authority File
–
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
Integrated Authority File
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GND screenshot
24.
Union List of Artist Names
–
The Union List of Artist Names is an online database using a controlled vocabulary currently containing around 293,000 names and other information about artists. Names in ULAN may include names, pseudonyms, variant spellings, names in multiple languages. Among these names, one is flagged as the preferred name, the focus of each ULAN record is an artist. Currently there are around 120,000 artists in the ULAN, in the database, each artist record is identified by a unique numeric ID. Linked to each artist record are names, related artists, sources for the data, the temporal coverage of the ULAN ranges from Antiquity to the present and the scope is global. The ULAN includes proper names and associated information about artists, artists may be either individuals or groups of individuals working together. Artists in the ULAN generally represent creators involved in the conception or production of visual arts, repositories and some donors are included as well. Work on the ULAN began in 1984, when the Getty decided to merge, in 1987 the Getty created a department dedicated to compiling and distributing terminology. The ULAN grows and changes via contributions from the user community, although originally intended only for use by Getty projects, the broader art information community outside the Getty expressed a need to use ULAN for cataloging and retrieval. Its scope was broadened to include corporate bodies such as firms and repositories of art. The ULAN was founded under the management of Eleanor Fink, the ULAN has been constructed over the years by numerous members of the user community and an army of dedicated editors, under the supervision of several managers. The ULAN was published in 1994 in hardcopy and machine-readable files, given the growing size and frequency of changes and additions to the ULAN, by 1997 it had become evident that hard-copy publication was impractical. It is now published in automated formats only, in both a searchable online Web interface and in data files available for licensing, final editorial control of the ULAN is maintained by the Getty Vocabulary Program, using well-established editorial rules. The current managers of the ULAN are Patricia Harpring, Managing Editor, entities in the Person facet typically have no children. Entities in the Corporate Body facet may branch into trees, there may be multiple broader contexts, making the ULAN structure polyhierarchical. In addition to the relationships, the ULAN also has equivalent. Contributors to the Getty Vocabularies and implementers of the licensed vocabulary data may consult these guidelines as well
Union List of Artist Names
–
Contents
25.
Netherlands Institute for Art History
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The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation, archives, and books on Western art from the late Middle Ages until modern times, all of this is open to the public, and much of it has been digitized and is available on their website. The main goal of the bureau is to collect, categorize, via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries. The library owns approximately 450,000 titles, of which ca.150,000 are auction catalogs, there are ca.3,000 magazines, of which 600 are currently running subscriptions. Though most of the text is in Dutch, the record format includes a link to library entries and images of known works. The RKD also manages the Dutch version of the Art and Architecture Thesaurus, the original version is an initiative of the Getty Research Institute in Los Angeles, California. Their bequest formed the basis for both the art collection and the library, which is now housed in the Koninklijke Bibliotheek. Though not all of the holdings have been digitised, much of its metadata is accessible online. The website itself is available in both a Dutch and an English user interface, in the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record, usually of the form, https, for example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number, to reference an artwork page directly, use the code listed at the bottom of the record, usually of the form, https, //rkd. nl/en/explore/images/ followed by the artworks record number. For example, the record number for The Night Watch is 3063. The Art and Architecture Thesaurus also assigns a record for each term, rather, they are used in the databases and the databases can be searched for terms. For example, the painting called The Night Watch is a militia painting, the thesaurus is a set of general terms, but the RKD also contains a database for an alternate form of describing artworks, that today is mostly filled with biblical references. To see all images that depict Miriams dance, the associated iconclass code 71E1232 can be used as a search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
Netherlands Institute for Art History
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As the logos on the window show, the RKD shares the same building located at
Den Haag Centraal with the National Archives, the Nederlands Letterkundig Museum (nl) (LM), the
Huygens ING, the
Netherlands Music Institute (NMI) and the
Koninklijke Bibliotheek.
