1.
Italian Renaissance
–
The term Renaissance is in essence a modern one that came into currency in the 19th century, in the work of historians such as Jules Michelet and Jacob Burckhardt. The French word renaissance means Rebirth, and the era is best known for the renewed interest in the culture of classical antiquity after the period that Renaissance humanists labeled the Dark Ages. Though today perhaps best known for Italian Renaissance art and architecture, the period saw major achievements in literature, music, philosophy, Italy became the recognized European leader in all these areas by the late 15th century, and to varying degrees retained this lead until about 1600. This was despite a turbulent and generally disastrous period in Italian politics, the European Renaissance began in Tuscany, and centred in the city of Florence. It later spread to Venice, where the remains of ancient Greek culture were brought together, the Renaissance later had a significant effect on Rome, which was ornamented with some structures in the new allantico mode, then was largely rebuilt by humanist sixteenth-century popes. The Italian Renaissance peaked in the century as foreign invasions plunged the region into the turmoil of the Italian Wars. However, the ideas and ideals of the Renaissance endured and spread into the rest of Europe, setting off the Northern Renaissance, the Italian Renaissance is best known for its cultural achievements. Accounts of Renaissance literature usually begin with Petrarch and his friend, famous vernacular poets of the 15th century include the renaissance epic authors Luigi Pulci, Matteo Maria Boiardo, and Ludovico Ariosto. 15th century writers such as the poet Poliziano and the Platonist philosopher Marsilio Ficino made extensive translations from both Latin and Greek, the same is true for architecture, as practiced by Brunelleschi, Leon Battista Alberti, Andrea Palladio, and Bramante. Their works include Florence Cathedral, St. Peters Basilica in Rome, yet cultural contributions notwithstanding, some present-day historians also see the era as one of the beginning of economic regression for Italy. By the Late Middle Ages, Latium, the heartland of the Roman Empire. Rome was a city of ancient ruins, and the Papal States were loosely administered, and vulnerable to external interference such as that of France, and later Spain. The Papacy was affronted when the Avignon Papacy was created in southern France as a consequence of pressure from King Philip the Fair of France, in the south, Sicily had for some time been under foreign domination, by the Arabs and then the Normans. Sicily had prospered for 150 years during the Emirate of Sicily, in contrast Northern and Central Italy had become far more prosperous, and it has been calculated that the region was among the richest of Europe. The Crusades had built lasting trade links to the Levant, the main trade routes from the east passed through the Byzantine Empire or the Arab lands and onwards to the ports of Genoa, Pisa, and Venice. Luxury goods bought in the Levant, such as spices, dyes, moreover, the inland city-states profited from the rich agricultural land of the Po valley. From France, Germany, and the Low Countries, through the medium of the Champagne fairs, land and river trade routes brought goods such as wool, wheat, and precious metals into the region. The extensive trade that stretched from Egypt to the Baltic generated substantial surpluses that allowed significant investment in mining, thus, while northern Italy was not richer in resources than many other parts of Europe, the level of development, stimulated by trade, allowed it to prosper
Italian Renaissance
–
Renaissance
Italian Renaissance
–
Pandolfo Malatesta (1417–1468), lord of
Rimini, by
Piero della Francesca. Malatesta was a capable
condottiere, following the tradition of his family. He was hired by the
Venetians to fight against the
Turks (unsuccessfully) in 1465, and was patron of
Leone Battista Alberti, whose
Tempio Malatestiano at Rimini is one of the first entirely classical buildings of the Renaissance.
Italian Renaissance
–
Leonardo da Vinci, Italian
Renaissance Man
Italian Renaissance
–
Giulio Clovio,
Adoration of the Magi and
Solomon Adored by the
Queen of Sheba from the Farnese Hours, 1546.
2.
Painting
–
Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
Painting
–
The
Mona Lisa, by
Leonardo da Vinci, is one of the most recognizable paintings in the world.
Painting
–
Chen Hongshou (1598–1652), Leaf album painting (
Ming Dynasty)
Painting
–
Circus Sideshow (
French: Parade de cirque),
Georges Seurat, 1887–88
Painting
–
Cave painting of aurochs, (
French: Bos primigenius primigenius),
Lascaux,
France,
prehistoric art
3.
Foreshortening
–
Perspective in the graphic arts is an approximate representation, on a flat surface, of an image as it is seen by the eye. If viewed from the spot as the windowpane was painted. Each painted object in the scene is thus a flat, scaled down version of the object on the side of the window. All perspective drawings assume the viewer is a distance away from the drawing. Objects are scaled relative to that viewer, an object is often not scaled evenly, a circle often appears as an ellipse and a square can appear as a trapezoid. This distortion is referred to as foreshortening, Perspective drawings have a horizon line, which is often implied. This line, directly opposite the viewers eye, represents objects infinitely far away and they have shrunk, in the distance, to the infinitesimal thickness of a line. It is analogous to the Earths horizon, any perspective representation of a scene that includes parallel lines has one or more vanishing points in a perspective drawing. A one-point perspective drawing means that the drawing has a vanishing point, usually directly opposite the viewers eye. All lines parallel with the line of sight recede to the horizon towards this vanishing point. This is the standard receding railroad tracks phenomenon, a two-point drawing would have lines parallel to two different angles. Any number of vanishing points are possible in a drawing, one for each set of lines that are at an angle relative to the plane of the drawing. Perspectives consisting of parallel lines are observed most often when drawing architecture. In contrast, natural scenes often do not have any sets of parallel lines, the only method to indicate the relative position of elements in the composition was by overlapping, of which much use is made in works like the Parthenon Marbles. Chinese artists made use of perspective from the first or second century until the 18th century. It is not certain how they came to use the technique, some authorities suggest that the Chinese acquired the technique from India, oblique projection is also seen in Japanese art, such as in the Ukiyo-e paintings of Torii Kiyonaga. This was detailed within Aristotles Poetics as skenographia, using flat panels on a stage to give the illusion of depth, the philosophers Anaxagoras and Democritus worked out geometric theories of perspective for use with skenographia. Alcibiades had paintings in his house designed using skenographia, so this art was not confined merely to the stage, Euclids Optics introduced a mathematical theory of perspective, but there is some debate over the extent to which Euclids perspective coincides with the modern mathematical definition
Foreshortening
–
Staircase in two-point perspective.
Foreshortening
–
15th century illustration from the
Old French translation of
William of Tyre 's Histoire d'Outremer.
Foreshortening
–
Geometrically incorrect attempt at perspective in a 1614 painting of
Old St Paul's Cathedral. (
Society of Antiquaries)
Foreshortening
–
Codex Amiatinus (7th century). Portrait, of Ezra, from folio 5r at the start of
Old Testament
4.
Orvieto Cathedral
–
Orvieto Cathedral is a large 14th-century Roman Catholic cathedral dedicated to the Assumption of the Virgin Mary and situated in the town of Orvieto in Umbria, central Italy. Formerly the episcopal seat of the Diocese of Todi, it has been since 1986 that of the Diocese of Orvieto-Todi, the cloth is now stored in the Chapel of the Corporal inside the cathedral. The cathedral has five bells, dating back to Renaissance, tuned in E flat, the construction of the cathedral lasted almost three centuries with the design and style evolving from Romanesque to Gothic as construction progressed. The flagstone of the cathedral was laid on 13 November 1290 by Pope Nicholas IV, the cathedral was initially designed as a Romanesque basilica with a nave and two side aisles. But when Giovanni di Uguccione succeeded Fra Bevignate, the design was transformed into Italian Gothic forms and he substantially changed the design and construction of the building, increasing the similarity of the building to Siena Cathedral. The architecture of both buildings sometimes is classified as a substyle of Gothic architecture - Siennese Gothic style, Maitani strengthened the external walls with flying buttresses, which proved later to be useless. These buttresses were eventually included in the walls of the newly built transept chapels and he rebuilt the apse into a rectangular shape and added a large stained-glass quadrifore window. Starting in 1310 he created the current façade up to the level of the statues of the symbols of the Evangelists. He also added much of the interior and he died in 1330, shortly before the completion of the duomo, succeeded by his sons. In 1347 Andrea Pisano, the former Master of the Works of the Florence Cathedral, was appointed the new Master of the Works and he was followed in 1359 by Andrea di Cione, better known as Orcagna. The beautiful mosaic decoration and the window are attributed to him. The Sienese architect Antonio Federighi continued the decoration of the façade between 1451 and 1456, adding some Renaissance modules, in 1503 Michele Sanmicheli finished the central gable and added the right spire, which was finished by Antonio da Sangallo junior in 1534. Final touches to the façade were made by Ippolito Scalza by adding the right pinnacle in 1590, All in all, the succeeding architects kept a stylistic unity to the façade. The Gothic façade of the Orvieto Cathedral is one of the masterpieces of the Late Middle Ages. In 1352 Matteo di Ugolino da Bologna added the bronze Lamb of God above the central gable, the bas-reliefs on the piers depict biblical stories from the Old and New Testament. They are considered among the most famous of all 14th-century sculpture, the installation of these marbles on the piers began in 1331. They depict from left to right, stories of the Old Testament and these original pieces have been replaced and redesigned in the centuries since, particularly in 1484,1713 and 1842. Most of these mosaic represent major scenes from the life of the Virgin Mary, one of these glassmakers is recorded as Fra Giovanni Leonardelli
Orvieto Cathedral
–
Façade of the Cathedral.
Orvieto Cathedral
–
Coronation of the Virgin mosaic on the top gable of the cathedral.
Orvieto Cathedral
–
Rose window.
Orvieto Cathedral
–
The interior.
5.
Benedetto Bonfigli
–
Benedetto Bonfigli was an Italian Renaissance painter born in Perugia, and a part of the Umbria school of painters including Raphael and Perugino. He is also known as Buonfiglio, influenced by the style of Domenico Veneziano, Pietro della Francesca, and Fra Angelico, Bonfigli primarily painted frescos for the church and was at one point employed in the Vatican. His best preserved work is the Annunication, but his masterpiece is the decoration of the chapel of the Palazzo dei Priori, Bonfigli specialized in gonfaloni, a Perugian style using banners painted on canvas or linen. He was the most esteemed painter in Perugia before Perugino, who is said to be his pupil, Bonfigli trained in Perugia from 1430-1440, while the late-Gothic style was still dominant. Other works, such as Fra Angelicos Cortona Polyptych commissioned in 1437, the painters first commissioned work is attributed to the Virgin and Child with Two Angels for a chapel near S. Pietro, Perugia on March 7,1445. Bonfigli reached maturity as an artist between 1450 and 1470, during this period, he painted the Annunciation, a smaller piece but among his most well know and preserved, held in the Thyssen-Bornemisza Museum in Madrid. According to Giorgio Vasari, the Perugian artist painted the Adoration of the Magi coupled with a predella of Episodes from the Life of Christ, one gonfalone, or banner, was painted in 1465 for the brotherhood of San Bernardino, and representing the deeds of their patron saint. Another gonfalone was painted for the brotherhood of San Fiorenzo in 1476 and he painted the Virgin of Mercy for the church of the Commenda di Santa Croce. All of these comprised a collection of gonfaloni across Perugia. Chaplain Bartolomeo da Siena commissioned Bonfigli in 1454 to decorate half of the Priori Chapel, the commission was altered later, and the fresco of the Crucifixion on the alter wall was not painted. The other four scenes of St Louis of Toulouse were arranged counter-clockwise from the right of the alter wall and this half of the Priori chapel was finished in 1461, and the artist Filippo Lippi adjudicated the work and priced it at 400 Florentine florins. The second half of the chapel was commissioned to Bonfigli to decorate. The frescoes on the second half depict the scenes from the life of St Herculanus, the original commission was for four frescoes, but Bonfigli only painted three. The comission was supposed to be completed in two years, but the work far longer because of a delay of payment by the Commune for the first commission. The contract was renegotiated in 1469 with a debt owed by one Bartolomeo di Gregorio to Bonfigli, the frescoes were not completed by Bonfiglis death in 1496, but the painter dedicated the outstanding debt to complete the rest of the chapel frescoes. Louis of Toulouse and St. Herculanus Bryan, Michael, dictionary of Painters and Engravers, Biographical and Critical. York St. #4, Covent Garden, London, Original from Fogg Library, Digitized May 18,2007, George Bell and Sons
Benedetto Bonfigli
–
Annunciation (1455-60) 227 x 200 cm Tempera on panel,
Galleria Nazionale dell'Umbria, Perugia
6.
Fiorenzo di Lorenzo
–
Fiorenzo di Lorenzo was an Italian painter, of the Umbrian school. He lived and worked at Perugia, where most of his works are still preserved in the Galleria Nazionale dellUmbria. Of his birth and death and pupilage nothing is known, certain it is that the early works both of Perugino and of Pinturicchio show certain mannerisms which point towards Fiorenzos influence, if not to his direct teaching. Pisanello, Verrocchio, Benozzo Gozzoli, Antonio Pollaiuolo, Benedetto Bonfigli, Andrea Mantegna, Francesco Squarcione, Filippo Lippi, Luca Signorelli, but Fiorenzo has an intensity of feeling and a power of expressing character which are far removed from the somewhat affected grace of Perugino. This article incorporates text from a now in the public domain, Chisholm, Hugh
Fiorenzo di Lorenzo
–
The Adoration of the Magi (c. 1490) Tempera on panel, 151 x 209 cm Galleria Nazionale dell'Umbria, Perugia
7.
Pinturicchio
–
Pintoricchio or Pinturicchio whose formal name was Bernardino di Betto, also known as Benetto di Biagio or Sordicchio, was an Italian painter of the Renaissance. Born in Perugia in 1454 and dying in Siena in 1513, Pintoricchio acquired his nickname, meaning and he also used it to sign some of his 14th and 15th century artworks. Pinturicchio was born the son of Benedetto or Betto di Blagio, in his career, he may have trained under lesser known Perugian painters such as Bonfigli and Fiorenzo di Lorenzo. According to Vasari, Pinturicchio was an assistant of Perugino. The works of the Perugian Renaissance school are very similar, and paintings by Perugino, Pinturicchio, Lo Spagna, the Sistine Chapel was also where it is believed that Pinturicchio was collaborating with Perugino to some extent. Would be, if it had left with all its original decorations. A great deal still remains, but much has been swept away, the earliest of his works is an altarpiece of the Adoration of the Shepherds, in the Della Rovere Chapel, the first chapel on the south, built by Cardinal Domenico della Rovere. The old fresco of the Virgin and the Child by Pinturicchio was detached from the wall, the fragment was re-used as the altarpiece of the Ducal Chapel of the Cathedral of Massa. The third chapel on the south is that of Girolamo Basso della Rovere, nephew of Pope Sixtus IV, and bishop of Recanati. The Basso Della Rovere Chapel contains an altarpiece of the Madonna enthroned between Four Saints, and on the east side a very nobly composed fresco of the Assumption of the Virgin. In the Costa Chapel, Pinturicchio or one of his helpers painted the Four Latin Doctors in the lunettes of the vault, most of these frescoes are considerably injured by moisture and have suffered little from restoration. In the centre is a panel of the Coronation of the Virgin. The spaces between them are filled by reclining figures of the Four Sibyls, on each pendentive is a figure of one of the Four Doctors enthroned under a niched canopy. No finer specimen of the decoration of a quadripartite vault can be seen anywhere. In 1492, Pinturicchio was summoned to Orvieto Cathedral and he was employed by Pope Alexander VI to decorate a recently completed suite of six rooms, the Borgia Apartments in the Apostolic Palace of the Vatican. These rooms now form part of the Vatican Library, and five still retain a series of Pinturicchio frescoes, the Umbrian painter worked in these rooms till around 1494, assisted by his pupils, and not without interruption. It was not until Pope Alexander VI died that Pinturicchio left Rome for Umbria, leaving much of the work in Rome to be completed by Michelangelo, Raphael, and company. His other chief frescoes in Rome, still existing in good condition, are in the Bufalini Chapel in the southwest sector of Santa Maria in Ara Coeli, probably executed around 1484-1486
Pinturicchio
–
Self-portrait in the
Baglioni Chapel.
Pinturicchio
–
The Crucifixion with Sts. Jerome and Christopher, 1471, oil on wood, 59 × 40 cm,
Galleria Borghese, Rome.
Pinturicchio
–
Fresco at
Siena Cathedral depicting
Pope Pius II.
Pinturicchio
–
Bernard of Clairvaux between
Louis of Toulouse and
Anthony of Padua,
Bufalini Chapel,
Santa Maria in Aracoeli, Rome.
8.
Giorgio Vasari
–
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
Giorgio Vasari
–
Vasari's self-portrait
Giorgio Vasari
–
Giorgio Vasari, Italian humanists, Tuscan Poets: Dante, Petrarch, Guido Cavalcanti, Boccaccio, Cino da Pistoia and Guittone d'Arezzo
Giorgio Vasari
–
Giorgio Vasari, The Garden of Gethsemane
Giorgio Vasari
–
The Uffizi Loggia.
9.
Piero della Francesca
–
Piero della Francesca was an Italian painter of the Early Renaissance. As testified by Giorgio Vasari in his Lives of the Most Excellent Painters, Sculptors, nowadays Piero della Francesca is chiefly appreciated for his art. His painting is characterized by its humanism, its use of geometric forms. His most famous work is the cycle of frescoes The History of the True Cross in the church of San Francesco in the Tuscan town of Arezzo. He was most probably apprenticed to the local painter Antonio di Giovanni dAnghiari, because in documents about payments it is noted that he was working with Antonio in 1432 and May 1438. Besides, he took notice of the work of some of the Sienese artists active in San Sepolcro during his youth. In 1439 Piero received, together with Domenico Veneziano, payments for his work on frescoes for the church of SantEgidio in Florence, in Florence he must have met leading masters like Fra Angelico, Luca della Robbia, Donatello and Brunelleschi. The classicism of Masaccios frescoes and his figures in the Santa Maria del Carmine were for him an important source of inspiration. Dating of Pieros undocumented work is difficult because his style does not seem to have developed over the years, in 1442 he was listed as eligible for the City Council of San Sepolcro. Three years later, he received the commission for the Madonna della Misericordia altarpiece for the church of the Misericordia in Sansepolcro, in 1449 he executed several frescoes in the Castello Estense and the church of SantAndrea of Ferrara, also lost. His influence was strong in the later Ferrarese allegorical works of Cosimo Tura. Two years later he was in Rimini, working for the condottiero Sigismondo Pandolfo Malatesta, in this sojourn he executed in 1451 the famous fresco of St. Sigismund and Sigismondo Pandolfo Malatesta in the Tempio Malatestiano, as well as Sigismondos portrait. Thereafter Piero was active in Ancona, Pesaro and Bologna, in 1454 he signed a contract for the Polyptych of Saint Augustine in the church of SantAgostino in Sansepolcro. The central panel of this polyptic is lost and the four panels of the wings, a few years later, summoned by Pope Nicholas V, he moved to Rome, here he executed frescoes in the Basilica di Santa Maria Maggiore, of which only fragments remain. Two years later he was again in the Papal capital, for frescoes in Vatican Palace which have also been destroyed, the Baptism of Christ, in The National Gallery in London, was executed around 1460 for the high altar of the church of the Priory of S. Other notable works of Piero della Francescas maturity are the frescoes of the Resurrection of Christ in Sansepolcro, in 1452, Piero della Francesca was called to Arezzo to replace Bicci di Lorenzo in painting the frescoes of the basilica of San Francesco. The work was finished before 1466, probably between 1452 and 1456, the cycle of frescoes, depicting the Legend of the True Cross, is generally considered among his masterworks and those of Renaissance painting in general. The story in these frescoes derives from medieval sources as to how timber relics of the True Cross came to be found
Piero della Francesca
–
A self-portrait, detail from
The Resurrection
Piero della Francesca
–
The
Baptism of Christ, (c. 1450) (
National Gallery, London).
Piero della Francesca
–
St. Sigismund and Sigismondo Pandolfo Malatesta (1451)
Piero della Francesca
–
Legend of the True Cross – the
Queen of Sheba meeting with
King Solomon.
10.
Arezzo
–
Arezzo is a city and comune in Italy, capital of the province of the same name, located in Tuscany. Arezzo is about 80 kilometres southeast of Florence, at an elevation of 296 metres above sea level, in 2013 the population was about 99,000. Described by Livy as one of the Capitae Etruriae, Arezzo is believed to have one of the twelve most important Etruscan cities—the so-called Dodecapolis. Etruscan remains establish that the acropolis of San Cornelio, a hill next to that of San Donatus, was occupied and fortified in the Etruscan period. Increasing trade connections with Greece also brought some elite goods to the Etruscan nobles of Arezzo, conquered by the Romans in 311 BC, Arretium became a military station on the via Cassia, the road to expansion by republican Rome into the basin of the Po. Arretium sided with Marius in the Roman Civil War, and the victorious Sulla planted a colony of his veterans in the half-demolished city, as Arretium Fidens. The old Etruscan aristocracy was not extinguished, Gaius Cilnius Maecenas, around 26-261 AD the town council of Arezzo dedicated an inscription to its patron L. Petronius Taurus Volusianus. See that article for discussion of the possible significance of Volusianuss association with the city. The commune of Arezzo threw off the control of its bishop in 1098 and was an independent city-state until 1384, generally Ghibelline in tendency, it opposed Guelph Florence. In 1252 the city founded its university, the Studium, during this period Piero della Francesca worked in the church of San Francesco di Arezzo producing the splendid frescoes, recently restored, which are Arezzos most famous works. Afterwards the city began an economical and cultural decay, which ensured that its medieval centre was preserved. In the 18th century the neighbouring marshes of the Val di Chiana, south of Arezzo, were drained, in 1860 Arezzo became part of the Kingdom of Italy. The Commonwealth War Graves Commissions Arezzo War Cemetery, where 1,266 men are buried, is located to the North West of the city, Pope Benedict XVI visited Arezzo and two other Italian municipalities on Sunday, May 13,2012. Arezzo is set on a hill rising from the floodplain of the River Arno. In the upper part of the town are the cathedral, the town hall, the upper part of the town maintains its medieval appearance despite the addition of later structures. Notable earthquakes are still a rare phenomenon in the province. Under the Köppen climate classification Arezzo is either a humid climate or an oceanic climate. It has uncharacteristically hot summer days for a climate, with the lows moderating the average temps
Arezzo
–
Piazza Grande; from left - S. Maria della Pieve, the old Tribunal Palace and the Lay Fraternity.
Arezzo
–
Roman pottery shred from Arezzo,
Latium, found at
Arikamedu in
India (1st century AD), an evidence of the role of the city in
Roman trade with India through
Persia during the Augustan period.
Musée Guimet.
Arezzo
–
Piazza Grande.
Arezzo
–
Aerial view.
11.
Janet Ross
–
Janet Ann Ross was an English historian, biographer, and Tuscan cookbook author. Janet Duff Gordon was the daughter of Sir Alexander Duff-Gordon and Lucie and her father held a number of government positions, including Commissioner of Inland Revenue and her mother wrote the classic Letters from Egypt. She had a brother, Maurice and a sister, Urania and she was the granddaughter of Sarah Austin, a famous translator, and the influential legal philosopher John Austin. She grew up in a highly cultured atmosphere among Englands leading intellectual and her parents friends and regular visitors to her home included, William Thackeray, Charles Dickens, Thomas Macaulay, Alfred Lord Tennyson, Caroline Norton, Tom Taylor, and Thomas Carlyle. Janets first years were spent at her family home located at No.8 Queen Annes Square, Bloomsbury and her parents subsequently moved to Esher. Her memoirs do not reference formal education aside from mentioning some tutors and she did travel to Paris and Germany for extended periods of time to learn French and German. She makes it clear that she preferred the company of adults and her familys connections certainly augmented her education. For example, Dickens encouraged her early on and gave her one of her first books. She remembers her birthday party, sitting on the knee of Thackeray while he drew a sketch on the frontispiece of her copy of his novel Pendennis. Charles Babbage, the inventor of the engine, a precursor to the modern computer. The French philosopher Jules Barthelemy-Saint-Hilaire tutored her in French and became a lifetime correspondent and she likewise befriended Sir Austen Henry Layard and began an adolescent correspondence with him that continued through her life. She recalls Tennyson telling her that her mother had inspired him to write The Princess, Alexander Kinglake, author of Eothen, would take her riding, and likewise became a correspondent. At the age of thirteen, her knowledge of German was such that Kinglake asked her to translate a German book for him, in 1860 she married a banker, Henry Ross, who was aged 40 to her 18. In 1861, they moved to Alexandria, Egypt, where Henry was a partner in a British bank, Briggs, while in Egypt, she continued cultivating relationships with learned and influential people. Early on she befriended Said Halim Pasha who gave her a present of a Bay horse. Halim was the son of Muhammed Ali of Egypt, who is regarded as the father of modern Egypt and he had inherited his fathers palace at Choubra where he kept a harem of five hundred women. Halim later became Grand Vizier of the Ottoman Empire, Janet also made the acquaintance of Hekekyan Bey, an Armenian civil engineer employed by the Egyptian government to conduct excavations in the Nile valley for archaeological purposes. In 1861 Janet was visited by Sir James Outram and she also befriended Ferdinand de Lesseps who took her on an early tour of the construction of the Suez Canal
Janet Ross
–
Janet Ross
Janet Ross
–
Janet Ross' Childhood Home at No. 8 Queen Anne's Square
Janet Ross
–
View of Poggio Gherardo from Florence
Janet Ross
–
Frontispiece of Leaves From Our Tuscan Kitchen, showing Chef Volpi in the kitchen of Poggio Gherardo.
12.
Pan (god)
–
In Greek religion and mythology, Pan is the god of the wild, shepherds and flocks, nature of mountain wilds and rustic music, and companion of the nymphs. His name originates within the ancient Greek language, from the word paein, meaning to pasture and he has the hindquarters, legs, and horns of a goat, in the same manner as a faun or satyr. With his homeland in rustic Arcadia, he is recognized as the god of fields, groves, and wooded glens, because of this, Pan is connected to fertility. The ancient Greeks also considered Pan to be the god of theatrical criticism, in the 18th and 19th centuries, Pan became a significant figure in the Romantic movement of western Europe and also in the 20th-century Neopagan movement. Many modern scholars consider Pan to be derived from the reconstructed Proto-Indo-European god *Péh2usōn, the Hindu god Pushan is believed to be a cognate of Pan. The connection between Pan and Pushan was first identified in 1924 by the German scholar Hermann Collitz, the name Pan is probably also a cognate with the Greek word πάειν, meaning to pasture, which shares an origin with the modern English word pasture. In his earliest appearance in literature, Pindars Pythian Ode iii,78, Pan is associated with a mother goddess, perhaps Rhea or Cybele, Pindar refers to virgins worshipping Cybele and Pan near the poets house in Boeotia. In some early sources such as Pindar, his father is Apollo via Penelope, Herodotus, Cicero, Apollodorus and Hyginus all make Hermes and Penelope his parents. Pausanias 8.12.5 records the story that Penelope had in fact been unfaithful to her husband, other sources report that Penelope slept with all 108 suitors in Odysseus absence, and gave birth to Pan as a result. This myth reflects the folk etymology that equates Pans name with the Greek word for all, in the mystery cults of the highly syncretic Hellenistic era, Pan is made cognate with Phanes/Protogonos, Zeus, Dionysus and Eros. Accounts of Pans genealogy are so varied that it must lie buried deep in mythic time, like other nature spirits, Pan appears to be older than the Olympians, if it is true that he gave Artemis her hunting dogs and taught the secret of prophecy to Apollo. Pan might be multiplied as the Pans or the Paniskoi, Kerenyi notes from scholia that Aeschylus in Rhesus distinguished between two Pans, one the son of Zeus and twin of Arcas, and one a son of Cronus. In the retinue of Dionysos, or in depictions of landscapes, there appeared not only a great Pan, but also little Pans, Paniskoi. The worship of Pan began in Arcadia which was always the seat of his worship. Arcadia was a district of people, culturally separated from other Greeks. Greek hunters used to scourge the statue of the god if they had been disappointed in the chase. Being a rustic god, Pan was not worshipped in temples or other built edifices and these are often referred to as the Cave of Pan. In the 4th century BC Pan was depicted on the coinage of Pantikapaion, the goat-god Aegipan was nurtured by Amalthea with the infant Zeus in Athens
Pan (god)
–
Pan teaching his
eromenos, the shepherd
Daphnis, to play the pipes, 2nd century AD Roman copy of Greek original c. 100 BC, found in
Pompeii
Pan (god)
–
Representations of Pan on 4th-century BC gold and silver Pantikapaion coins
Pan (god)
–
Pan having sex with a goat, statue from
Villa of the Papyri,
Herculaneum.
13.
Mount Olympus
–
Mount Olympus is the highest mountain in Greece. It is located in the Olympus Range on the border between Thessaly and Macedonia, between the units of Pieria and Larissa, about 80 km southwest from Thessaloniki. Mount Olympus has 52 peaks, deep gorges, and exceptional biodiversity, the highest peak Mytikas, meaning nose, rises to 2,918 metres. It is one of the highest peaks in Europe in terms of topographic prominence, Olympus was notable in Greek mythology as the home of the Greek gods, on the Mytikas peak. Mount Olympus is also noted for its rich flora with several species. It has been a National Park, the first in Greece, since 1938 and it is also a Worlds Biosphere Reserve. Every year thousands of people visit Olympus to admire its fauna and flora, to tour its slopes, organized mountain refuges and various mountaineering and climbing routes are available to visitors who want to explore it. The usual starting point is the town of Litochoro, on the foothills of the mountain,100 km from Thessaloniki, where, in the beginning of every summer. The shape of Olympus was formed by rain and wind, which produced an isolated tower almost 3,000 metres above the sea, Olympus has many peaks and an almost circular shape. The mountain has a circumference of 150 kilometres, a diameter of 26 kilometres. To the northwest lies the Vlach village of Kokkinoplou, the Makryrema stream separates Olympus from the massif of Voulgara. The villages Petra, Vrontou and Dion lie to the northwest, while on the side there is the town of Litochoro. On its southeastern side, the Ziliana gorge divides Mount Olympus from Kato Olympos, while on its foothills, there are the villages Sykaminea. The Aghias Triadas Sparmou Monastery and the village Pythion lie to the west, Olympus dry foothills are known as the Xirokampi, containing chaparral and small animals. Further east, the plain of Dion is fertile and watered by the streams originate on Olympus. Mount Olympus is formed of rock laid down 200 million years ago in a shallow sea. Various geological events that caused the emergence of the whole region. Around one million years ago glaciers covered Olympus and created its plateaus, the complicated geological past of the region is obvious on the morphology of Olympus and its National Park
Mount Olympus
–
Mount Olympus from the west
Mount Olympus
–
Olympus' highest peak, Mytikas
Mount Olympus
–
Satellite photo of Olympus' region
14.
Echo (mythology)
–
In Greek mythology, Echo was an Oread who resided on Mount Cithaeron. Zeus loved consorting with beautiful nymphs and often visited them on Earth, eventually, Zeuss wife, Hera, became suspicious, and came from Mt. Olympus in an attempt to catch Zeus with the nymphs. Echo, by trying to protect Zeus, endured Heras wrath, so when Echo met Narcissus and fell in love with him, she was unable to tell him how she felt and was forced to watch him as he fell in love with himself. In Metamorphoses, the poet Ovid tells of Juno and the jealousy she felt towards her husband Jupiter for his many affairs, though vigilant, whenever she was about to catch him, Echo distracted her with lengthy conversations. When at last Juno realized the truth, she cursed Echo, from that moment on, the once loquacious nymph could only repeat the most recently spoken words of another person. Sometime after being cursed, Echo spied a young man, Narcissus and she immediately fell in love with him and, infatuated, followed quietly. The more she looked at the man, the more she longed for him. Though she wished with all her heart to call out to Narcissus, during the hunt, Narcissus became separated from his companions and called out, ‘is anyone there’, and heard the nymph repeat his words. Startled Narcissus answered the voice, ‘come here’, only to be told the same, when Narcissus saw that nobody had emerged from the glade he concluded that the owner of the voice must be running away from him and called out again. Finally he shouted, This way, we must come together, taking this to be a reciprocation of her love, Echo concurred ecstatically, We must come together. In her delight, Echo rushed to Narcissus ready to throw her arms around her beloved, Narcissus, however, was appalled and, spurning her, exclaimed, ‘Hands off. May I die before you enjoy my body. ’ All Echo could whisper in reply was, ‘enjoy my body’ and having done so she fled, scorned, humiliated, despite the harshness of her rejection, Echo’s love for Narcissus only grew. When Narcissus died, wasting away before his own reflection, consumed by a love that could not be, when Narcissus, looking one last time into the pool uttered, Oh marvellous boy, I loved you in vain, farewell, Echo too chorused, Farewell. Eventually, Echo, too, began to waste away and her beauty faded, her skin shrivelled, and her bones turned to stone. Today, all remains of Echo is the sound of her voice. The tale of Daphnis and Chloe is a 2nd-century romance by Greek author Longus, at one point in the novel, Daphnis and Chloe are staring out at the boats gliding across the sea. Chloe, having never heard an echo before, is confused on hearing the song repeated in a nearby valley. Daphnis promises to tell her the story of Echo in exchange for ten more kisses, daphnis’ rendition differs radically from Ovid’s account
Echo (mythology)
–
Echo by
Alexandre Cabanel. Painted in 1874 the piece now hangs in the
Metropolitan Museum of Art,
New York.
Echo (mythology)
–
Echo and Narcissus (
John William Waterhouse, 1903,
Walker Art Gallery,
Liverpool)
Echo (mythology)
–
Daphnis recounting the tale of Echo to Chloe. (
François Boucher, 1743,
The Wallace Collection,
London)
Echo (mythology)
–
Echo and Narcissus, a depiction of Echo and Narcissus featuring
Cupid and his arrows. (
Nicolas Poussin, 1630,
Louvre Museum,
Paris)
15.
Sandro Botticelli
–
Alessandro di Mariano di Vanni Filipepi, known as Sandro Botticelli, was an Italian painter of the Early Renaissance. Botticellis posthumous reputation suffered until the late 19th century, since then, among Botticellis best-known works are The Birth of Venus and Primavera. Botticelli was born in the city of Florence in a house in the Via Nuova, BorgOgnissanti, Vasari reported that Botticelli was initially trained as a goldsmith by his brother Antonio. By 1462 he was apprenticed to Fra Filippo Lippi, many of his works have been attributed to the elder master. Influenced also by the monumentality of Masaccios painting, it was from Lippi that Botticelli learned a more intimate, by 1470, Botticelli had his own workshop. The Adoration of the Magi for Santa Maria Novella, contains the portraits of Cosimo de Medici, his sons Piero and Giovanni, the quality of the scene was hailed by Vasari as one of Botticellis pinnacles. In 1481, Pope Sixtus IV summoned Botticelli and other prominent Florentine, the iconological program was the supremacy of the Papacy. Sandros contribution included the Temptations of Christ, the Punishment of the Rebels, thus Vasari characterized the first printed Dante with Botticellis decorations, he could not imagine that the new art of printing might occupy an artist. Recent scholarship suggests otherwise, the Primavera was painted for Lorenzos townhouse in Florence, by 1499, both had been installed at Castello. In these works, the influence of Gothic realism is tempered by Botticellis study of the antique, but if the painterly means may be understood, the subjects themselves remain fascinating for their ambiguity. The complex meanings of these continue to receive widespread scholarly attention, mainly focusing on the poetry. The works do not illustrate particular texts, rather, each relies upon several texts for its significance, of their beauty, characterized by Vasari as exemplifying grace and by John Ruskin as possessing linear rhythm, there can be no doubt. The pictures feature Botticellis linear style emphasized by the soft continual contours, in 1491 he served on a committee to decide upon a façade for the Cathedral of Florence. For this reason, persisting in his attachment to that party, Botticelli biographer Ernst Steinmann searched for the artists psychological development through his Madonnas. In the deepening of insight and expression in the rendering of Marys physiognomy, Botticelli was already little employed in 1502. In 1504 he was a member of the appointed to decide where Michelangelos David would be placed. After his death, his reputation was eclipsed longer and more thoroughly than that of any other major European artist and his paintings remained in the churches and villas for which they had been created and his frescoes in the Sistine Chapel were upstaged by those of Michelangelo. The English collector William Young Ottley, however, had brought Botticellis The Mystical Nativity to London with him in 1799 after buying it in Italy, the Pre-Raphaelite Brotherhood incorporated elements of his work into their own
Sandro Botticelli
–
Probable
self-portrait of Botticelli, in his
Adoration of the Magi (1475)
Sandro Botticelli
–
Primavera (c. 1482), icon of the springtime renewal of the Florentine Renaissance, also at the summer palazzo of Pierfrancesco de' Medici, as a companion piece to the
Birth of Venus and
Pallas and the Centaur. Left to right:
Mercury, the
Three Graces,
Venus,
Flora,
Chloris,
Zephyrus
Sandro Botticelli
–
Madonna of the Book (c.1480-3)
Sandro Botticelli
–
The Mystical Nativity
16.
Lippo Lippi
–
Fra Filippo Lippi, O. Carm. also called Lippo Lippi, was an Italian painter of the Quattrocento. Lippi was born in Florence in1406 to Tommaso, a butcher, when he was still a small child, both his parents died. He was sent to live with his aunt Mona Lapaccia, however because she was too poor to rear him and he was 8 years old when he left for the convent and started his education there. In 1420 he was admitted to the community of Carmelite friars of the Priory of Our Lady of Mount Carmel in Florence, taking vows in the Order the following year. He was ordained as a priest in approximately 1425, and remained in residence of that priory until 1432, georgio Vasari, the first art historian of the renaissance, writes that Lippi was inspired to become a painter by watching Masaccio at work in the Carmine church. Lippis early work, notably the Tarquinia Madonna show that influence from Masaccio, in his Lives of the Artists, Vasari says, Instead of studying, he spent all his time scrawling pictures on his own books and those of others. Due to his interest, the decided to give him the opportunity to learn painting. Lippi then went on to visit to Ancona and Naples, where he was captured by Barbary pirates and his skill in portrait-sketching helped to eventually release him. Louis Gillet, writing for the Catholic Encyclopedia, considers this account assuredly nothing, with his return to Florence in 1432 is paintings had became popular, warranting the support of the Medici family, who commissioned of The Annunciation and the Seven Saints. Cosimo de Medici had to him up in order to compel him to work. His escapades threw him into financial difficulties from which he did not hesitate to extricate himself by forgery and his life included many similar tales of lawsuits, complaints, broken promises and scandal. In 1441 Lippi painted an altarpiece for the nuns of S. Ambrogio which is now a prominent attraction in the Academy of Florence and it represents the coronation of the Virgin among angels and saints, including many Bernardine monks. In 1452 he was appointed chaplain to the nuns at the Monastery of St. Mary Magdalene in Florence, in June 1456 Fra Filippo is recorded as living in Prato to paint frescoes in the choir of the cathedral. Lippi asked that she might be permitted to sit for the figure of the Madonna, under that pretext, Lippi engaged in sexual relations with her, abducted her to his own house, and kept her there despite the nuns efforts to reclaim her. This relationship resulted in their son, Filippino Lippi, who became a famous painter following his father, Vasari accounts for this relationship in his publication of The Lives, which was published soon after. In 1457 he was appointed commendatory Rector of S. Quirico in Legania, despite these profits, Lippi struggled to escape poverty throughout his life. The close of Lippis life was spent at Spoleto, where he had commissioned to paint scenes from the life of the Virgin for the apse of the cathedral. In the semidome of the apse is the Christ Crowning the Madonna, with angels, sibyls and this series, which is not wholly equal to the one at Prato, was completed by one of his assistants, his fellow Carmelite, Fra Diamante, after Lippis death
Lippo Lippi
–
Selfportrait of Fra' Filippo Lippi
Lippo Lippi
–
Devotional image of the Madonna and Child before a golden curtain by the Workshop of Filippo Lippi. The Walters Art Museum.
Lippo Lippi
–
Adoration in the Forest
Lippo Lippi
–
Madonna and Child (1440–1445), tempera on panel.
National Gallery of Art,
Washington, D.C.
17.
Pope Sixtus IV
–
Pope Sixtus IV, born Francesco della Rovere, was Pope from 9 August 1471 to his death in 1484. His accomplishments as pope included building the Sistine Chapel and the creation of the Vatican Archives, a patron of the arts, the group of artists that he brought together introduced the Early Renaissance into Rome with the first masterpieces of the citys new artistic age. Sixtus aided the Spanish Inquisition, though he fought to prevent abuses therein and he was famed for his nepotism and was personally involved in the infamous Pazzi conspiracy. Francesco was born to a family of modest means from Liguria, Italy and he was born in Celle Ligure, a town near Savona. He went on to lecture at Padua and many other Italian universities, in 1464, Della Rovere was elected Minister General of the Franciscan order at the age of 50. In 1467, he was appointed Cardinal by Pope Paul II with the church being the Basilica of San Pietro in Vincoli. Before his papal election, Cardinal della Rovere was renowned for his unworldliness and had even written learned treatises entitled On the Blood of Christ and On the Power of God. His pious reputation was one of the factors that prompted the College of Cardinals to elect him pope upon the unexpected death of Paul II at the age of fifty-four. Upon being elected pope Della Rovere adopted the name Sixtus – a name that had not been used since the 5th century, one of his first acts was to declare a renewed crusade against the Ottoman Turks in Smyrna. However, after the conquest of Smyrna, the fleet disbanded, some fruitless attempts were made towards unification with the Greek Church. For the remainder of his pontificate, Sixtus turned to temporal issues, Sixtus IV sought to strengthen his position by surrounding himself with relatives and friends. His nephew Pietro Riario also benefited from his nepotism, Pietro became one of the richest men in Rome and was entrusted with Pope Sixtus foreign policy. However, Pietro died prematurely in 1474, and his role passed to Giuliano della Rovere, six of the thirty-four cardinals that he created were his nephews. Francesco Salviati, Archbishop of Pisa and an organizer of the plot, was hanged on the walls of the Florentine Palazzo della Signoria. To this, Sixtus IV replied with an interdict and two years of war with Florence, however, Infessura had partisan allegiances to the Colonna and so is not considered to be always reliable or impartial. However, such accusations are easily dismissed as propaganda, but did nevertheless prompt the noted historian of the Catholic Church, Ludwig von Pastor. Sixtus continued a dispute with King Louis XI of France, who upheld the Pragmatic Sanction of Bourges, according to which papal decrees needed royal assent before they could be promulgated in France. This was a cornerstone of the claimed for the Gallican Church
Pope Sixtus IV
–
Pope Sixtus IV appoints Platina as Prefect of the Library, by Melozzo da Forlì, accompanied by his relatives
Pope Sixtus IV
–
Posthumous portrait of Pope Sixtus IV by
Titian
Pope Sixtus IV
–
Ponte Sisto, the first bridge built at Rome since the
Roman Empire
Pope Sixtus IV
–
Tomb of Pope Sixtus IV by Antonio del Pollaiolo
18.
Fresco
–
Fresco is a technique of mural painting executed upon freshly-laid, or wet lime plaster. Water is used as the vehicle for the pigment to merge with the plaster, and with the setting of the plaster, the fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting. Buon fresco pigment mixed with water of temperature on a thin layer of wet, fresh plaster, for which the Italian word for plaster. Because of the makeup of the plaster, a binder is not required, as the pigment mixed solely with the water will sink into the intonaco. The pigment is absorbed by the wet plaster, after a number of hours, many artists sketched their compositions on this underlayer, which would never be seen, in a red pigment called sinopia, a name also used to refer to these under-paintings. Later, new techniques for transferring paper drawings to the wall were developed. The main lines of a drawing made on paper were pricked over with a point, the paper held against the wall, if the painting was to be done over an existing fresco, the surface would be roughened to provide better adhesion. This area is called the giornata, and the different day stages can usually be seen in a large fresco, buon frescoes are difficult to create because of the deadline associated with the drying plaster. Once a giornata is dried, no more buon fresco can be done, if mistakes have been made, it may also be necessary to remove the whole intonaco for that area—or to change them later, a secco. An indispensable component of this process is the carbonatation of the lime, the eyes of the people of the School of Athens are sunken-in using this technique which causes the eyes to seem deeper and more pensive. Michelangelo used this technique as part of his trademark outlining of his central figures within his frescoes, in a wall-sized fresco, there may be ten to twenty or even more giornate, or separate areas of plaster. After five centuries, the giornate, which were nearly invisible, have sometimes become visible, and in many large-scale frescoes. Additionally, the border between giornate was often covered by an a secco painting, which has fallen off. One of the first painters in the period to use this technique was the Isaac Master in the Upper Basilica of Saint Francis in Assisi. A person who creates fresco is called a frescoist, a secco or fresco-secco painting is done on dry plaster. The pigments thus require a medium, such as egg. Blue was a problem, and skies and blue robes were often added a secco, because neither azurite blue nor lapis lazuli. By the end of the century this had largely displaced buon fresco
Fresco
–
Fresco in the church Mariä Verkündigung in Fuchstal,
Bavaria, Germany from Thomas Springer
Fresco
–
Fresco
Sistine Chapel in the
Vatican, Rome, Italy.
Fresco
–
Etruscan fresco of Velia Velcha from the
Tomb of Orcus,
Tarquinia.
Fresco
–
Fresco of "
Sappho " from
Pompeii, c. 50 CE.
19.
Sistine Chapel
–
The Sistine Chapel is a chapel in the Apostolic Palace, the official residence of the Pope, in Vatican City. Originally known as the Cappella Magna, the chapel takes its name from Pope Sixtus IV, since that time, the chapel has served as a place of both religious and functionary papal activity. Today it is the site of the Papal conclave, the process by which a new pope is selected, the fame of the Sistine Chapel lies mainly in the frescos that decorate the interior, and most particularly the Sistine Chapel ceiling and The Last Judgment by Michelangelo. In a different climate after the Sack of Rome, he returned, the fame of Michelangelos paintings has drawn multitudes of visitors to the chapel ever since they were revealed five hundred years ago. At the time of Pope Sixtus IV in the late 15th century, there were 50 occasions during the year on which it was prescribed by the Papal Calendar that the whole Papal Chapel should meet. Of these 50 occasions,35 were masses, of which 8 were held in Basilicas, in general St. Peters and these included the Christmas Day and Easter masses, at which the Pope himself was the celebrant. The other 27 masses could be held in a smaller, less public space, the Cappella Maggiore derived its name, the Greater Chapel, from the fact that there was another chapel also in use by the Pope and his retinue for daily worship. At the time of Pope Sixtus IV, this was the Chapel of Pope Nicholas V, the Cappella Maggiore is recorded as existing in 1368. The proportions of the present chapel appear to follow those of the original. The first mass in the Sistine Chapel was celebrated on 15 August 1483, the Sistine Chapel has maintained its function to the present day, and continues to host the important services of the Papal Calendar, unless the Pope is travelling. There is a permanent choir, the Sistine Chapel Choir, for whom much original music has been written, one of the functions of the Sistine Chapel is as a venue for the election of each successive pope in a conclave of the College of Cardinals. On the occasion of a conclave, a chimney is installed in the roof of the chapel, if white smoke appears, created by burning the ballots of the election, a new Pope has been elected. The conclave also provided for the cardinals a space in which they can hear mass, and in which they can eat, sleep, and pass time attended by servants. From 1455, conclaves have been held in the Vatican, until the Great Schism, canopies for each cardinal-elector were once used during conclaves—a sign of equal dignity. After the new Pope accepts his election, he would give his new name, at this time, until reforms instituted by Saint Pius X, the canopies were of different colours to designate which Cardinals had been appointed by which Pope. Its exterior is unadorned by architectural or decorative details, as is common in many Italian churches of the Medieval, subsidence and cracking of masonry such as must also have affected the Cappella Maggiore has necessitated the building of very large buttresses to brace the exterior walls. The accretion of other buildings has further altered the appearance of the Chapel. The building is divided into three stories of which the lowest is a tall basement level with several utilitarian windows
Sistine Chapel
–
View of the interior of the Sistine Chapel.
Sistine Chapel
–
The Sistine Chapel as it may have appeared in the 15th century (19th-century drawing)
Sistine Chapel
–
Exterior of the Sistine Chapel
Sistine Chapel
–
A reconstruction of the appearance of the chapel in the 1480s, prior to the painting of the ceiling.
20.
Rome
–
Rome is a special comune and the capital of Italy. Rome also serves as the capital of the Lazio region, with 2,873,598 residents in 1,285 km2, it is also the countrys largest and most populated comune and fourth-most populous city in the European Union by population within city limits. It is the center of the Metropolitan City of Rome, which has a population of 4.3 million residents, the city is located in the central-western portion of the Italian Peninsula, within Lazio, along the shores of the Tiber. Romes history spans more than 2,500 years, while Roman mythology dates the founding of Rome at only around 753 BC, the site has been inhabited for much longer, making it one of the oldest continuously occupied sites in Europe. The citys early population originated from a mix of Latins, Etruscans and it was first called The Eternal City by the Roman poet Tibullus in the 1st century BC, and the expression was also taken up by Ovid, Virgil, and Livy. Rome is also called the Caput Mundi, due to that, Rome became first one of the major centres of the Italian Renaissance, and then the birthplace of both the Baroque style and Neoclassicism. Famous artists, painters, sculptors and architects made Rome the centre of their activity, in 1871 Rome became the capital of the Kingdom of Italy, and in 1946 that of the Italian Republic. Rome has the status of a global city, Rome ranked in 2014 as the 14th-most-visited city in the world, 3rd most visited in the European Union, and the most popular tourist attraction in Italy. Its historic centre is listed by UNESCO as a World Heritage Site, monuments and museums such as the Vatican Museums and the Colosseum are among the worlds most visited tourist destinations with both locations receiving millions of tourists a year. Rome hosted the 1960 Summer Olympics and is the seat of United Nations Food, however, it is a possibility that the name Romulus was actually derived from Rome itself. As early as the 4th century, there have been alternate theories proposed on the origin of the name Roma. There is archaeological evidence of occupation of the Rome area from approximately 14,000 years ago. Evidence of stone tools, pottery and stone weapons attest to about 10,000 years of human presence, several excavations support the view that Rome grew from pastoral settlements on the Palatine Hill built above the area of the future Roman Forum. Between the end of the age and the beginning of the Iron age. However, none of them had yet an urban quality, nowadays, there is a wide consensus that the city was gradually born through the aggregation of several villages around the largest one, placed above the Palatine. All these happenings, which according to the excavations took place more or less around the mid of the 8th century BC. Despite recent excavations at the Palatine hill, the view that Rome has been indeed founded with an act of will as the legend suggests in the middle of the 8th century BC remains a fringe hypothesis. Traditional stories handed down by the ancient Romans themselves explain the earliest history of their city in terms of legend and myth
Rome
Rome
Rome
Rome
21.
Testament and Death of Moses
–
The Testament and Death of Moses is a fresco attributed to the Italian Renaissance painters Luca Signorelli and Bartolomeo della Gatta, executed in around 1482 and located in the Sistine Chapel, Rome. The Florentines started to work in the Sistine Chapel as early as the Spring of 1481, along with Pietro Perugino, Signorelli is mentioned in the Sistine Chapel after his master left in 1482, as the author of the Disputation over Moses Body on the entrance wall. It has been supposed that Perugino provided at least the layout of the fresco, while its realization, the theme of the decoration was a parallel between the Stories of Moses and those of Christ, as a sign of continuity between the Old and the New Testament. The fresco portrays the last episode in Moses life, in two sectors, a foreground one including two scenes, and a one, with three further scenes and, on the right, a landscape. Moses is always recognizable through his yellow garments and the green cloak, the artist made an extensive use of gold painting. On the background Moses, on the Mount Nebo, receives by an angel the command baton, below, Moses descends from the mountain with the baton in his hand, similarly to Cosimo Rossellis Descent from Mount Sinai nearby. In the foreground, on the right, is a 120-year-old Moses speaking at the crowd while holding the baton, at his feet is the Ark of the Covenant, opened to show the Twelve Tables and the vase of the Manna. In the center, the procession includes a holding a child on her shoulders, wearing silk, an elegant youth portrayed from behind. The latter two characters are attributed to Luca Signorelli, as well as the man with a stick next the throne of Moses. On the left is the appointment of Joshua as Moses successor, finally, on the left background, is the corpse of Moses on a shroud, surrounded by the dismayed Israelites
Testament and Death of Moses
–
Testament and Death of Moses
Testament and Death of Moses
–
Detail of the fresco.
22.
Bartolomeo della Gatta
–
Bartolomeo della Gatta, born Pietro di Antonio Dei, was an Italian painter, illuminator, and architect. He was the son of a goldsmith and he was a colleague of Fra Bartolommeo. In 1468, Bartolomeo became a monk in the Order of Camaldoli, upon taking holy orders, he changed his name to Bartolomeo. About 1481, he was summoned to Rome where he contributed to the cycle of frescos on the walls of the Sistine Chapel, Bartolomeo eventually became Abbot of San Clemente in Arezzo. He died in 1502 and was buried in the Abbey of San Clemente, martini, Alberto, The Early Work of Bartolomeo della Gatta, The Art Bulletin, Vol.42, No. Vasari, Giorgio, Le Vite delle più eccellenti pittori, scultori, ed architettori, many editions and translations
Bartolomeo della Gatta
–
‘The Annunciation’ by Bartolomeo della Gatta
23.
Moses Leaving to Egypt
–
Moses Leaving to Egypt is a fresco by the Italian Renaissance painter Pietro Perugino and his workshop, executed around 1482 and located in the Sistine Chapel, Rome. The commission of the work originated in 1480, when Perugino was decorating a chapel in the Old St. Peters Basilica in Rome. Pope Sixtus IV was pleased by his work, and decided to commission him also the decoration of the new Chapel he had built in the Vatican Palace. Due to the size of the work, Perugino was later joined by a group of painters from Florence, including Botticelli, Ghirlandaio, Peruginos assistants in the Sistine Chapel included Pinturicchio. Some figures in the fresco were traditionally attributed to him, and they were painted by Andrea dAssisi, Rocco Zoppo or, less likely, Lo Spagna or Bartolomeo della Gatta, other Peruginos collaborators of the time. The fresco depicting the voyage of Moses is the first on the right to the altar. The painting shows Moses leaving for Egypt, after he had exiled from Midian. In the center, an angel asks him to circumcise his son Eliezer, the baptism, depicted on the opposite fresco, was in fact considered by several early Christian writers, including Augustine, as a kind of spiritual circumcision. The ceremony is on the right, held at the presence of Moses wife, in the right background Moses and Zipporah are greeting Jethro before leaving. Natural elements include the landscape in the background, characterized by thin trees. On the left background is a group of shepherds, the dames with flying dresses were a common element of Florentine early Renaissance painting, used also by Ghirlandaio and Botticelli
Moses Leaving to Egypt
–
Moses Leaving to Egypt
Moses Leaving to Egypt
–
Detail.
24.
Pietro Perugino
–
Pietro Perugino, born Pietro Vannucci, was an Italian Renaissance painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance. Raphael was his most famous pupil, Pietro Perugino was born Pietro Vannucci in Città della Pieve, Umbria, the son of Cristoforo Marie Vannucci. Pietros nickname characterizes him as from Perugia, the city of Umbria. Scholars continue to dispute the status of the Vannucci family. While certain academics maintain that Vannucci worked his way out of poverty and his exact date of birth is not known, although, based on his age at the death mentioned by Vasari and Giovanni Santi, he is suspected to be born between 1446 and 1452. Pietro most likely began studying painting in local workshops in Perugia such as those of Bartolomeo Caporali or Fiorenzo di Lorenzo, the date of this first Florentine sojourn is unknown, some make it as early as 1466/1470, others push the date to 1479. According to Vasari, he apprenticed in the workshop of Andrea del Verrocchio alongside Leonardo da Vinci, Domenico Ghirlandaio, Lorenzo di Credi, Filippino Lippi, piero della Francesca is thought to have taught him perspective form. In 1472 he must have completed his apprenticeship, for he was enrolled as a master in the Confraternity of St Luke, Pietro, although very talented was not extremely enthusiastic about his work. Perugino was one of the earliest Italian practitioners of oil painting, a good specimen of his early style in tempera is the tondo in the Musée du Louvre of the Virgin and Child Enthroned between Saints. Perugino returned from Florence to Perugia, where his Florentine training showed in the Adoration of the Magi for the church of Santa Maria dei Servi of Perugia, in about 1480, he was called to Rome by Sixtus IV to paint fresco panels for the Sistine Chapel walls. The frescoes he executed there included Moses and Zipporah, the Baptism of Christ, pinturicchio accompanied Perugino to Rome, and was made his partner, receiving a third of the profits. He may have some of the Zipporah subject. The Sistine frescoes were the major high Renaissance commission in Rome, the altar wall was also painted with the Assumption, the Nativity, and Moses in the Bulrushes. He had a studio in Florence, and received a great number of commissions. His Pietà in the Uffizi is an uncharacteristically stark work that avoids Peruginos sometimes too easy sentimental piety, in 1499 the guild of the cambio of Perugia asked him to decorate their audience-hall, the Sala delle Udienze del Collegio del Cambio. The humanist Francesco Maturanzio acted as his consultant, on the mid-pilaster of the hall Perugino placed his own portrait in bust-form. It is probable that Raphael, who in boyhood, towards 1496, had been placed by his uncles under the tuition of Perugino, Perugino was made one of the priors of Perugia in 1501. On one occasion Michelangelo told Perugino to his face that he was a bungler in art, Vannucci brought an action for defamation of character, unsuccessfully
Pietro Perugino
–
Self-portrait, 1497–1500
Pietro Perugino
–
The Delivery of the Keys fresco, 1481–1482,
Sistine Chapel, Rome.
Pietro Perugino
–
God the Father and angels by Pietro Perugino on the ceiling of
Stanza dell'Incendio del Borgo
Pietro Perugino
–
Pietà, c. 1490.
25.
Monte Oliveto Maggiore
–
The Abbey of Monte Oliveto Maggiore is a large Benedictine monastery in the Italian region of Tuscany,10 km south of Asciano. Its buildings, which are mostly of red brick, are conspicuous against the grey clayey and it is a territorial abbey whose abbot functions as the bishop of the land within the abbeys possession, even though he is not consecrated as a bishop. It is the mother-house of the Olivetans and the later took the name of Monte Oliveto Maggiore to distinguish it from successive foundations at Florence, San Gimignano, Naples. It was founded in 1313 by Bernardo Tolomei, a jurist from a prominent aristocratic family of Siena, in 1319 or 1320 it was approved by Bishop Guido Tarlati as Monte Oliveto, with reference to the Mount of Olives and in honour of Christ’s Passion. The monastery was begun in 1320, the new congregation being approved by Pope Clement VI in 1344, the abbey was for centuries one of the main land possessors in the Siena region. On January 18,1765, the monastery was made the seat of the Territorial Abbacy of Monte Oliveto Maggiore, Territorial Abbots of Monte Oliveto Maggiore Abbot Diego Gualtiero Rosa O. S. B Abbot Michelangelo Riccardo M. Tiribilli, O. S. B. Abbot Maurizio Benvenuto Maria Contorni, O. S. B, Abbot Divo Angelo Maria Sabatini, O. S. B. Abbot Pietro Romualdo M. Zilianti, O. S. B, the monastery is accessed through a drawbridge which leads to a medieval palace in red brickwork, surmounted by a massive quadrangular tower with barbicans and merlons. This edifice was begun in 1393 as the gate of the complex, it was completed in 1526. Over the entrance arch is a terracotta depicting Madonna with Child and Two Angels attributed to the Della Robbia family, after the entrance structure is a long alley with cypresses, sided by the botanical garden of the old pharmacy a cistern from 1533. At the alleys end is the tower, in Romanesque-Gothic style, and the apse of the church. The Chiostro Grande has a plan and was realized between 1426 and 1443. On the oldest side it has a loggia and a pit. The frescoes of the Life of St. Benedict painted by Luca Signorelli and il Sodoma, the frescoes disposition follows St. Gregorys account of Benedicts life. Signorellis paintings were executed in 1497-98, while Sodomas were completed after 1505, the churchs atrium is on the site of a previous church, showing on the walls frescoes with Father Hermits in the Desert and St Benedicts miracle, both by an unknown Sienese artists. In a niche is the Madonna with Child Enthroned by Fra Giovanni da Verona, the church takes the form of Latin cross. It was renovated in the Baroque style in 1772 by Giovanni Antinori, the main attraction is the wooden inlaid choir by Giovanni da Verona, executed in 1503-1505. It is one of the most outstanding examples of tarsia in Europe, the church houses also a canvas by Jacopo Ligozzi, behind the high altar, and a 14th-century polychrome wooden Crucifix, in the Sacrament Chapel
Monte Oliveto Maggiore
–
Cathedral
Monte Oliveto Maggiore
–
View of the abbey.
Monte Oliveto Maggiore
–
Signorelli's fresco.
Monte Oliveto Maggiore
–
Il Sodoma's fresco.
26.
Benedict of Nursia
–
Benedict of Nursia is a Christian saint, who is venerated in the Eastern Orthodox Churches, the Catholic Church, the Oriental Orthodox Churches, the Anglican Communion and Old Catholic Churches. He is a saint of Europe. Benedict founded twelve communities for monks at Subiaco, Lazio in Italy, the Order of Saint Benedict is of later origin and, moreover, not an order as commonly understood but merely a confederation of autonomous congregations. Benedicts main achievement is his Rule of Saint Benedict, containing precepts for his monks and it is heavily influenced by the writings of John Cassian, and shows strong affinity with the Rule of the Master. But it also has a spirit of balance, moderation and reasonableness. As a result, his Rule became one of the most influential religious rules in Western Christendom, for this reason, Benedict is often called the founder of western monasticism. The authenticity of this work has been disputed, especially by Dr Francis Clarke in his two volume work The Pseudo-Gregorian Dialogues. Book Two consists of a prologue and thirty-eight succinct chapters, gregory’s account of this saint’s life is not, however, a biography in the modern sense of the word. It provides instead a spiritual portrait of the gentle, disciplined abbot, in a letter to Bishop Maximilian of Syracuse, Gregory states his intention for his Dialogues, saying they are a kind of floretum of the most striking miracles of Italian holy men. Gregory did not set out to write a chronological, historically anchored story of Saint Benedict, but he did base his anecdotes on direct testimony. These followers, he says, are Constantinus, who succeeded Benedict as Abbot of Monte Cassino, Valentinianus, Simplicius, and Honoratus, who was abbot of Subiaco when St Gregory wrote his Dialogues. Gregory’s Dialogues Book Two, then, a medieval hagiography cast as a conversation between the Pope and his deacon Peter, is designed to teach spiritual lessons. He was the son of a Roman noble of Nursia, the modern Norcia, a tradition which Bede accepts makes him a twin with his sister Scholastica. If 480 is accepted as the year of his birth, the year of his abandonment of his studies, Saint Gregorys narrative makes it impossible to suppose him younger than 19 or 20 at the time. He was at the beginning of life, and he had at his disposal the means to a career as a Roman noble, clearly he was not a child. Benedict does not seem to have left Rome for the purpose of becoming a hermit and he took his old nurse with him as a servant and they settled down to live in Enfide. Enfide, which the tradition of Subiaco identifies with the modern Affile, is in the Simbruini mountains, about forty miles from Rome, a short distance from Enfide is the entrance to a narrow, gloomy valley, penetrating the mountains and leading directly to Subiaco. The cave has a large triangular-shaped opening and is ten feet deep
Benedict of Nursia
–
Saint Benedict Detail from a fresco by
Fra Angelico
Benedict of Nursia
–
St Benedict orders
Saint Maurus to the rescue of
Saint Placidus, by
Fra Filippo Lippi, 1445 A.D.
Benedict of Nursia
–
Totila and
St. Benedict. Painted by
Spinello Aretino
Benedict of Nursia
–
Image of Saint Benedict with a cross and a scroll stating
Vade Retro Satana which is abbreviated on the
Saint Benedict Medal
27.
Pandolfo Petrucci
–
Pandolfo Petrucci was a ruler of the Italian Republic of Siena during the Renaissance. When the Noveschi returned to prominence, Petrucci became their chief and he later became captain of the city guard in 1495. When his brother Giacoppo died in 1497, Petrucci assumed all of his offices and his power and wealth increased even further with his marriage to Aurelia Borghese, daughter of the powerful Niccolò Borghese. With his father-in-laws backing, Petrucci assumed a number of public offices and he subsequently used this power to sell public offices or to give them to his lackeys, a strategy which allowed him to become the most powerful man in Siena. However, Petruccis power and his organization of followers in Sienas government gained him many enemies, Niccolò and other influential citizens of Siena conspired to assassinate Petrucci, but Petrucci uncovered the plot and had Niccolò murdered in 1500. With his enemies out of the way, Petrucci ruled as absolute tyrant over Siena, Petrucci subsequently stopped selling public offices in order to consolidate his own power. Although a brutal authoritarian and absolutist, Petrucci was careful to pacify the people of Siena by improving the citys economy and encouraging the advancement of art. He also managed to avoid a war with Florence, which had been at odds with Siena for over a century due to a dispute over Sienas control of Montepulciano, when France and Spain invaded the Italian Peninsula, Petrucci became involved in a number of political intrigues. During this time period, Petrucci tried to gain the powerful Cesare Borgias trust by diplomatically procuring French-controlled Piombino for Borgia, however, he secretly plotted against Borgia in the hopes of increasing his own power. Petrucci suspected his life was in danger and avoided the meeting, with the assistance of his ally King Louis XII of France, however, Petrucci was returned to power two months later. With Borgias death in 1507, Petrucci became one of the most powerful men in Italy, in his final years, Petrucci supported Pisa militarily in its war against Florence. However, Pope Julius II and Spain obliged Petrucci to make peace with Florence, in return, the pope made Petruccis nephew a cardinal. Later that year, Petrucci handed control of Siena over to his son, Borghese, before his death, Petrucci was known to have plotted in secret with Spain and Pope Julius II against his old allies, the French. He was also rumoured to have had Pope Pius III poisoned in 1503, following Pandolfos death, the Petrucci family ruled Siena until 1524
Pandolfo Petrucci
–
Pandolfo Petrucci.
28.
Siena
–
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
–
View of downtown Piazza del Campo (Campo Square), with the Mangia Tower (Torre del Mangia) and Santa Maria Church
Siena
–
Piazza del Campo.
Siena
–
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
–
Siena Cathedral
29.
Orvieto
–
Orvieto is a city and comune in the Province of Terni, southwestern Umbria, Italy situated on the flat summit of a large butte of volcanic tuff. The site of the city is among the most dramatic in Europe, the ancient city, populated since Etruscan times, has usually been associated with Etruscan Velzna, but some modern scholars differ. Orvieto was certainly a centre of Etruscan civilization, the archaeological museum houses some of the Etruscan artifacts that have been recovered in the immediate neighbourhood. Orvieto was annexed by Rome in the third century BC, because of its site on a high, steep bluff of tufa, a volcanic rock, the city was virtually impregnable. It was last conquered by Julius Caesar, by the thirteenth century, three papal palaces had been built. In the 13th century bitter feuds divided the city, which was at the apogée of its wealth but found itself often at odds with the papacy, Pope Urban IV stayed at Orvieto from 1262-64. The city became one of the cultural centers of its time when Thomas Aquinas taught at the studium there. A small university, had its origins in a studium generale that was granted to the city by Pope Gregory IX in 1236. The territory of Orvieto was under papal control long before it was added to the Papal States, it remained a papal possession until 1860. The design has often attributed to Arnolfo di Cambio. The church is striped in white travertine and greenish-black basalt in narrow bands, similar in ways to the cathedral of Siena. In the following decade, cathedral authorities called Sienese architect and sculptor Lorenzo Maitani to stabilize the building and he enlarged the choir and planned a transept with two chapels, spaces that were not finished until long after his death. The Cathedral has five bells, tuned in E flat, which date back to the renaissance, the façade is particularly striking and includes some remarkable sculpture by Lorenzo Maitani. Inside the cathedral, the Chapel of San Brizio is frescoed by Fra Angelico and with Luca Signorellis masterpiece, from the 11th century onward, the popes maintained an aggressive political presence in the papal territory which occupied central Italy. Together with his court, the pope moved from palace to palace in the manner of his European secular counterparts, several central Italian cities hosted the pope and his retinue during the years of wandering, housing them in the bishops palace. Outside Rome, only Orvieto and Viterbo had papal palaces, Pope Adrian IV was the first pope to spend significant time in Orvieto. His successor, Pope Innocent III, was a militant opponent of the Cathar heresy, which had infiltrated the city, in 1227, Pope Gregory IX confirmed the Dominican studium generale in Orvieto, a school of theology, and one of the first in Europe. Pope Urban IV, a Frenchman who was crowned in the Dominican church in Viterbo, in 1263, he began a papal palace, perhaps the first outside Rome, and consecrated the new Dominican church in Orvieto
Orvieto
–
Piazza della Repubblica.
Orvieto
–
Facade of the Orvieto Cathedral.
Orvieto
–
The
Pozzo di S. Patrizio, a well built for the Popes.
Orvieto
–
The monumental
Cathedral of Orvieto.
30.
Duomo di Orvieto
–
Orvieto Cathedral is a large 14th-century Roman Catholic cathedral dedicated to the Assumption of the Virgin Mary and situated in the town of Orvieto in Umbria, central Italy. Formerly the episcopal seat of the Diocese of Todi, it has been since 1986 that of the Diocese of Orvieto-Todi, the cloth is now stored in the Chapel of the Corporal inside the cathedral. The cathedral has five bells, dating back to Renaissance, tuned in E flat, the construction of the cathedral lasted almost three centuries with the design and style evolving from Romanesque to Gothic as construction progressed. The flagstone of the cathedral was laid on 13 November 1290 by Pope Nicholas IV, the cathedral was initially designed as a Romanesque basilica with a nave and two side aisles. But when Giovanni di Uguccione succeeded Fra Bevignate, the design was transformed into Italian Gothic forms and he substantially changed the design and construction of the building, increasing the similarity of the building to Siena Cathedral. The architecture of both buildings sometimes is classified as a substyle of Gothic architecture - Siennese Gothic style, Maitani strengthened the external walls with flying buttresses, which proved later to be useless. These buttresses were eventually included in the walls of the newly built transept chapels and he rebuilt the apse into a rectangular shape and added a large stained-glass quadrifore window. Starting in 1310 he created the current façade up to the level of the statues of the symbols of the Evangelists. He also added much of the interior and he died in 1330, shortly before the completion of the duomo, succeeded by his sons. In 1347 Andrea Pisano, the former Master of the Works of the Florence Cathedral, was appointed the new Master of the Works and he was followed in 1359 by Andrea di Cione, better known as Orcagna. The beautiful mosaic decoration and the window are attributed to him. The Sienese architect Antonio Federighi continued the decoration of the façade between 1451 and 1456, adding some Renaissance modules, in 1503 Michele Sanmicheli finished the central gable and added the right spire, which was finished by Antonio da Sangallo junior in 1534. Final touches to the façade were made by Ippolito Scalza by adding the right pinnacle in 1590, All in all, the succeeding architects kept a stylistic unity to the façade. The Gothic façade of the Orvieto Cathedral is one of the masterpieces of the Late Middle Ages. In 1352 Matteo di Ugolino da Bologna added the bronze Lamb of God above the central gable, the bas-reliefs on the piers depict biblical stories from the Old and New Testament. They are considered among the most famous of all 14th-century sculpture, the installation of these marbles on the piers began in 1331. They depict from left to right, stories of the Old Testament and these original pieces have been replaced and redesigned in the centuries since, particularly in 1484,1713 and 1842. Most of these mosaic represent major scenes from the life of the Virgin Mary, one of these glassmakers is recorded as Fra Giovanni Leonardelli
Duomo di Orvieto
–
Façade of the Cathedral.
Duomo di Orvieto
–
Coronation of the Virgin mosaic on the top gable of the cathedral.
Duomo di Orvieto
–
Rose window.
Duomo di Orvieto
–
The interior.
31.
Fra Angelico
–
Fra Angelico was an Early Italian Renaissance painter described by Vasari in his Lives of the Artists as having a rare and perfect talent. He was known to contemporaries as Fra Giovanni da Fiesole and Fra Giovanni Angelico, in modern Italian he is called il Beato Angelico, the common English name Fra Angelico means the Angelic friar. In 1982 Pope John Paul II proclaimed his beatification in recognition of the holiness of his life and he is listed in the Roman Martyrology as Beatus Ioannes Faesulanus, cognomento Angelicus—Blessed Giovanni of Fiesole, surnamed the Angelic. Fra Angelico was born Guido di Pietro at Rupecanina in the Tuscan area of Mugello near Fiesole towards the end of the 14th century, nothing is known of his parents. He was baptized Guido or Guidolino, the earliest recorded document concerning Fra Angelico dates from October 17,1417 when he joined a religious confraternity or guild at the Carmine Church, still under the name of Guido di Pietro. The first record of Angelico as a friar dates from 1423, Fra, a contraction of frater, is a conventional title for a mendicant friar. According to Vasari, Fra Angelico initially received training as an illuminator, possibly working with his older brother Benedetto who was also a Dominican and an illuminator. The former Dominican convent of San Marco in Florence, now a state museum, the painter Lorenzo Monaco may have contributed to his art training, and the influence of the Sienese school is discernible in his work. He had several important charges in the convents he lived in, but this did not limit his art, according to Vasari, the first paintings of this artist were an altarpiece and a painted screen for the Charterhouse of Florence, none such exist there now. Between 1418 and 1436 he was at the convent of Fiesole, where he executed a number of frescoes for the church and the Altarpiece. A predella of the Altarpiece remains intact and is conserved in the National Gallery, London and it shows Christ in Glory surrounded by more than 250 figures, including beatified Dominicans. In 1436, Fra Angelico was one of a number of the friars from Fiesole who moved to the newly built convent or friary of San Marco in Florence, in 1439 Fra Angelico completed one of his most famous works, the San Marco Altarpiece at Florence. The result was unusual for its time, but in this instance, the saints stand squarely within the space, grouped in a natural way as if they were able to converse about the shared experience of witnessing the Virgin in glory. Paintings such as this, known as Sacred Conversations, were to become the major commissions of Giovanni Bellini, Perugino and Raphael. In 1445 Pope Eugene IV summoned him to Rome to paint the frescoes of the Chapel of the Holy Sacrament at St Peters, later demolished by Pope Paul III. Vasari claims that at this time Fra Angelico was offered the Archbishopric of Florence by Pope Nicholas V, the story seems possible and even likely. However, if Vasaris date is correct, then the pope must have been Eugene IV and not Nicholas, moreover, the Archbishop in 1446–1459 was the Dominican Antoninus of Florence, canonized by Pope Adrian VI in 1523. In 1447 Fra Angelico was in Orvieto with his pupil, Benozzo Gozzoli, among his other pupils were Zanobi Strozzi
Fra Angelico
–
Detail from Deeds of the Antichrist by
Luca Signorelli (c. 1501) in
Orvieto Cathedral,
Italy
Fra Angelico
–
The Virgin of the Annunciation
Fra Angelico
–
San Marco Altarpiece.
Fra Angelico
–
The Crucified Christ
32.
Lunette
–
In architecture, a lunette is a half-moon shaped space, either filled with recessed masonry or void. A lunette is formed when a horizontal cornice transects a round-headed arch at the level of the imposts, if a door is set within a round-headed arch, the space within the arch above the door, masonry or glass, is a lunette. If the door is an access, and the lunette above is massive and deeply set. The term is employed to describe the section of interior wall between the curves of a vault and its springing line. A system of intersecting vaults produces lunettes on the surfaces above a cornice. The lunettes in the structure of the Sistine Chapel inspired Michelangelo to come up with compositions for the spaces. In neoclassical architecture of Robert Adam and his French contemporaries, like Ange-Jacques Gabriel, the lunettes above lent themselves to radiating motifs, a sunburst of bellflower husks, radiating fluting, a low vase of flowers, etc. A lunette may also be segmental, and the arch may be an arc taken from an oval, a lunette is commonly called a half-moon window, when the space is used as a window. Fanlight Media related to Lunettes at Wikimedia Commons
Lunette
–
Charles Sprague Pearce, Rest (1896). Mural in a lunette in the Library of Congress
Thomas Jefferson Building, Washington, D.C.
Lunette
–
Segmental-arched flattened lunette over door
33.
Antichrist
–
In Christianity, the Antichrist or False Messiah is generally regarded as a figure of evil that will falsely claim to be the Christ. The term Antichrist is found in the New Testament five times in 1 John and 2 John, once in plural form and four times in the singular. Jesus, whom Christians believe to be the Jewish Messiah, will appear in his Second Coming to Earth to face the Antichrist, who will be regarded as the greatest false messiah in Christianity. Just as Christ is the savior and the model for humanity, his opponent will be a single figure of concentrated evil. In Islamic eschatology, Masih ad-Dajjal is a figure, who will appear to deceive humanity before the second coming of Isa. The word antichrist combines two roots, αντί + Χριστός, Αντί can mean not only against and opposite of, but also in place of. Χριστός, translated Christ, is Greek for the Hebrew Messiah, both Christ and Messiah literally mean Anointed One, and refer to Jesus of Nazareth in Christian, Islamic and Messianic Jewish theology. Whether the New Testament contains an individual Antichrist is disputed, the Greek term antikhristos originates in 1 John. The similar term pseudokhristos is also first found in the New Testament, the concept of an antikhristos is not found in Jewish writings in the period 500 BC–50 AD. The five uses of the term antichrist or antichrists in the Epistles of John do not clearly present a single latter-day individual Antichrist, the articles the deceiver or the antichrist are usually seen as marking out a certain category of persons, rather than an individual. Little children, it is the last time, and as ye have heard that antichrist shall come, even now are there many antichrists, whereby we know that it is the last time. Many deceivers have gone out into the world, those who do not confess that Jesus Christ has come in the flesh, any person is the deceiver. Who is the liar but the one who denies that Jesus is the Christ and this is the antichrist, the one who denies the Father and the Son. By this you know the Spirit of God, every spirit that confesses that Jesus Christ has come in the flesh is from God, and every spirit that does not confess Jesus is not from God. And this is the spirit of the antichrist, of which you have heard that it is coming, consequently, attention for an individual Antichrist figure focuses on the second chapter of 2 Thessalonians. Let no one deceive you in any way, for that day will not come unless the rebellion comes first and the one is revealed. He opposes and exalts himself above every so-called god or object of worship, so that he takes his seat in the temple of God, for the mystery of lawlessness is already at work, but only until the one who now restrains it is removed. And then the one will be revealed, whom the Lord Jesus will destroy with the breath of his mouth
Antichrist
–
Antichrist and the
Devil. Detail from the
Deeds of the Antichrist fresco by
Luca Signorelli, c. 1501
Antichrist
–
Antichrist – detail from a fresco at
Osogovo Monastery in the
Republic of Macedonia. The inscription reads "All kings and nations bow before the Antichrist."
Antichrist
–
Woodcut showing the Antichrist, 1498
Antichrist
–
Jesus
34.
Last Judgment
–
In Christian belief, it is the final and eternal judgment by God of the people in every nation resulting in the glorification of some and the punishment of others. The concept is found in all the Canonical gospels, particularly the Gospel of Matthew, Christian Futurists believe it will take place after the Resurrection of the Dead and the Second Coming of Christ while Full Preterists believe it has already occurred. The Last Judgment has inspired numerous artistic depictions, beware of false prophets, which come to you in sheeps clothing, but inwardly they are ravening wolves. Ye shall know them by their fruits, do men gather grapes of thorns, or figs of thistles. Even so, every good tree bringeth forth good fruit, but a corrupt tree bringeth forth evil fruit, a good tree cannot bring forth evil fruit, neither can a corrupt tree bring forth good fruit. Every tree that bringeth not forth good fruit is hewn down, therefore, by their fruits ye shall know them. Not every one that saith unto me, Lord, Lord, shall enter into the Kingdom of Heaven, many will say to me in that day, Lord, Lord, have we not prophesied in thy name. And in thy name have cast out devils. and in thy name done many wonderful works, and then will I profess unto them, I never knew you, depart from me, ye that work iniquity. Then said one unto him, Lord, are few that be saved. And he said them, Strive to enter in at the strait gate, for many, I say unto you, will seek to enter in. But he shall say, I tell you, I know you not whence ye are, depart from me, all ye workers of iniquity. There shall be weeping and gnashing of teeth, when ye shall see Abraham, and Isaac, and Jacob, and all the prophets, in the kingdom of God, and you yourselves thrust out. The doctrine is supported by passages in the Books of Daniel, Isaiah. From his presence earth and sky fled away, and no place was found for them, and I saw the dead, great and small, standing before the throne, and books were opened. Then another book was opened, which is the book of life, and the dead were judged by what was written in the books, according to what they had done. Even now the axe is lying at the root of the trees, I baptize you with water for repentance, but one who is more powerful than I is coming after me, I am not worthy to carry his sandals. He will baptize you with the Holy Spirit and fire and his winnowing fork is in his hand, and he will clear his threshing-floor and will gather his wheat into the granary, but the chaff he will burn with unquenchable fire. Just as the weeds are collected and burned up with fire, Then the righteous will shine like the sun in the kingdom of their Father
Last Judgment
–
Stefan Lochner, Last Judgement, c. 1435.
Wallraf-Richartz Museum, Cologne
Last Judgment
–
Memling's Day of Judgement, 1467–1471.
Last Judgment
–
The Last Judgment by
John Martin (1854)
Last Judgment
–
The last Judgment 17th-century
icon from Lipie (Historic Museum in
Sanok,
Poland)
35.
Michelangelo
–
Michelangelo di Lodovico Buonarroti Simoni was an Italian sculptor, painter, architect, and poet of the High Renaissance who exerted an unparalleled influence on the development of Western art. Considered to be the greatest living artist during his lifetime, he has since described as one of the greatest artists of all time. A number of Michelangelos works of painting, sculpture, and architecture rank among the most famous in existence and he sculpted two of his best-known works, the Pietà and David, before the age of thirty. As an architect, Michelangelo pioneered the Mannerist style at the Laurentian Library, at the age of 74, he succeeded Antonio da Sangallo the Younger as the architect of St. Peters Basilica. Michelangelo transformed the plan so that the end was finished to his design, as was the dome, with some modification. Michelangelo was unique as the first Western artist whose biography was published while he was alive, in his lifetime he was often called Il Divino. One of the qualities most admired by his contemporaries was his terribilità, the attempts by subsequent artists to imitate Michelangelos impassioned and highly personal style resulted in Mannerism, the next major movement in Western art after the High Renaissance. Michelangelo was born on 6 March 1475 in Caprese near Arezzo, at the time of Michelangelos birth, his father was the Judicial administrator of the small town of Caprese and local administrator of Chiusi. Michelangelos mother was Francesca di Neri del Miniato di Siena, the Buonarrotis claimed to descend from the Countess Mathilde of Canossa, this claim remains unproven, but Michelangelo himself believed it. Several months after Michelangelos birth, the returned to Florence. There Michelangelo gained his love for marble, as Giorgio Vasari quotes him, If there is good in me. Along with the milk of my nurse I received the knack of handling chisel and hammer, as a young boy, Michelangelo was sent to Florence to study grammar under the Humanist Francesco da Urbino. The young artist, however, showed no interest in his schooling, preferring to copy paintings from churches, the city of Florence was at that time the greatest centre of the arts and learning in Italy. Art was sponsored by the Signoria, by the merchant guilds and by patrons such as the Medici. The Renaissance, a renewal of Classical scholarship and the arts, had its first flowering in Florence, the sculptor Lorenzo Ghiberti had laboured for fifty years to create the bronze doors of the Baptistry, which Michelangelo was to describe as The Gates of Paradise. The exterior niches of the Church of Orsanmichele contained a gallery of works by the most acclaimed sculptors of Florence – Donatello, Ghiberti, Andrea del Verrocchio, and Nanni di Banco. The interiors of the churches were covered with frescos, begun by Giotto. During Michelangelos childhood, a team of painters had been called from Florence to the Vatican, among them was Domenico Ghirlandaio, a master in fresco painting, perspective, figure drawing, and portraiture who had the largest workshop in Florence at that period
Michelangelo
–
Portrait of Michelangelo by
Daniele da Volterra
Michelangelo
–
The
Madonna of the Stairs (1490–92), Michelangelo's earliest known work
Michelangelo
–
Michelangelo's
Pietà, St Peter's Basilica (1498–99)
Michelangelo
–
The
Statue of David, completed by Michelangelo in 1504, is one of the most renowned works of the Renaissance.
36.
Dante Alighieri
–
Durante degli Alighieri, simply called Dante, was a major Italian poet of the Late Middle Ages. In the late Middle Ages, the majority of poetry was written in Latin. In De vulgari eloquentia, however, Dante defended use of the vernacular in literature, as a result, Dante played an instrumental role in establishing the national language of Italy. In addition, the first use of the interlocking three-line rhyme scheme, Dante has been called the Father of the Italian language and one of the greatest poets of world literature. In Italy, Dante is often referred to as il Sommo Poeta and il Poeta, he, Petrarch, Dante was born in Florence, Republic of Florence, present-day Italy. The exact date of his birth is unknown, although it is believed to be around 1265. This can be deduced from autobiographic allusions in the Divine Comedy, in 1265, the sun was in Gemini between approximately May 11 and June 11. Dante claimed that his family descended from the ancient Romans, but the earliest relative he could mention by name was Cacciaguida degli Elisei, born no earlier than about 1100. Dantes father, Alaghiero or Alighiero di Bellincione, was a White Guelph who suffered no reprisals after the Ghibellines won the Battle of Montaperti in the middle of the 13th century. Dantes family had loyalties to the Guelphs, an alliance that supported the Papacy and which was involved in complex opposition to the Ghibellines. The poets mother was Bella, likely a member of the Abati family and she died when Dante was not yet ten years old, and Alighiero soon married again, to Lapa di Chiarissimo Cialuffi. When Dante was 12, he was promised in marriage to Gemma di Manetto Donati, daughter of Manetto Donati, contracting marriages at this early age was quite common and involved a formal ceremony, including contracts signed before a notary. But by this time Dante had fallen in love with another, Beatrice Portinari, years after his marriage to Gemma he claims to have met Beatrice again, he wrote several sonnets to Beatrice but never mentioned Gemma in any of his poems. The exact date of his marriage is not known, the certain information is that, before his exile in 1301. Dante fought with the Guelph cavalry at the Battle of Campaldino and this victory brought about a reformation of the Florentine constitution. To take any part in life, one had to enroll in one of the citys many commercial or artisan guilds, so Dante entered the Physicians. In the following years, his name is recorded as speaking or voting in the various councils of the republic. A substantial portion of minutes from meetings in the years 1298–1300 was lost, however
Dante Alighieri
–
Profile portrait of Dante, by
Sandro Botticelli
Dante Alighieri
–
Portrait of Dante, from a fresco in the Palazzo dei Giudici, Florence
Dante Alighieri
–
Dante in Verona, by Antonio Cotti
Dante Alighieri
–
Statue of Dante at the
Uffizi, Florence
37.
Arcevia
–
Arcevia is a comune in the Province of Ancona of the region of Marche, Italy. According to tradition, Arcevia originates from a Gallic settlement anterior to the Roman conquest of Italy, following that, it became overshadowed by more important nearby cities, such as Suasa. Under the name of Rocca Contrada, the town was fortified by Pippin the Younger, King of the Franks, and was then donated by Charlemagne to the Papal States. In the following centuries, Arcevia played a key role in the balance of power, located as it was at the border of the Marca di Ancona, Umbria. In 1201, Rocca Contrada proclaimed itself an independent from Rome, and was indeed recognised as civitas by pope Clement IV in 1266. The latter vanquished the assailants and reconquered the castles around Arcevia they had occupied, later on, the troops of Francesco Sforza overtook Rocca Contrada, which, after several vicissitudes, ended up under the rule of the guelph Malatesta family. In 1817, pope Pius VII renamed Rocca Contrada with the current official name of Arcevia, the town passed to the Kingdom of Italy after the unification of the country under the Savoy monarchy. Townspeople fought in the two wars, and paid for their resistance to Nazi occupation with the slaughter of seventy people on Monte SantAngelo in May 1944. Arcevia is about 535 metres above sea level, on a hill overlooking the valley of the Misa river and the Nevola river, about 50 kilometres south-west from its provincial and regional capital, Ancona. Arcevia borders the municipalities, Barbara, Castelleone di Suasa, Genga, Mergo, Montecarotto, Pergola, Rosora, San Lorenzo in Campo, Sassoferrato, Serra de Conti. Marisa Abbondanzieri -politician Ribnica, Slovenia www. arceviaweb. it - Official website of the comune di Arcevia
Arcevia
–
Arcevia
38.
Marche
–
Marche, or The Marches /ˈmɑːrtʃᵻz/, is one of the twenty regions of Italy. The name of the region derives from the name of marca, originally referring to the medieval March of Ancona and nearby marches of Camerino. Marche is well known for its tradition, with the finest and most luxurious Italian footwear being manufactured in this region. Except for river valleys and the very narrow coastal strip. A railway from Bologna to Brindisi, built in the 19th century, inland, the mountainous nature of the region, even today, allows relatively little travel north and south, except by twisting roads over the passes. Most of the region is mountainous or hilly, the features being the Apennine chain along the internal boundary. With the sole exception of Monte Vettore,2,476 metres high, the hilly area covers two-thirds of the region and is interrupted by wide gullies with numerous – albeit short – rivers and by alluvial plains perpendicular to the principal chain. The parallel mountain chains contain deep river gorges, the best known being those of the Furlo, the Rossa and the Frasassi. The coastal area is 173 kilometres long and is relatively flat, inland, in the mountainous areas, is more continental with cold and often snowy winters, by the sea is more mediterranean. Precipitation varies from 1000-1500 mm. per year inland and 600-800 mm. per year on the Adriatic coast, Marche was known in ancient times as the Picenum territory. The Picens or Picentes were the Italic tribe who lived in Picenum during the Iron Age, in the fourth century BC the northern area was occupied by the Senones, a tribe of Gauls. In Marche was fought the Battle of Sentinum in 295 BC, after it, the Romans founded numerous colonies in the areas, connecting them to Rome by the Via Flaminia, Ascoli was a seat of Italic resistance during the Social War. After the fall of the Western Roman Empire, the region was invaded by the Goths, after the Gothic War, it was part of the Byzantine Exarchate of Ravenna. After the fall of the Exarchate it was briefly in the possession of the Lombards, in the ninth to eleventh centuries the marches of Camerino, Fermo and Ancona were created, hence the modern name. Marche was nominally part of the Papal States, but most of the territory was under local lords, in the twelfth century, the commune of Ancona resisted both the imperial authority of Frederick Barbarossa and the Republic of Venice, and was a maritime republic on its own. An attempt to restore Papal suzerainty by Gil de Albornoz in the century was short-lived. During the Renaissance, the region was fought over by rival aristocratic families, such as the Malatesta of Rimini, Pesaro, Fano and the house of Montefeltro of Urbino. The last independent entity, the Duchy of Urbino, was dissolved in 1631, after Napoleons defeat, Marche returned to Papal rule until 4 November 1860, when it was annexed to the unified Kingdom of Italy by a plebiscite
Marche
–
View of Marche countryside
Marche
–
Marche
Marche
–
A view of
Monte Conero
Marche
–
The Renaissance town of
Urbino
39.
Pope Julius II
–
Pope Julius II, nicknamed The Fearsome Pope and The Warrior Pope, born Giuliano della Rovere, was Pope from 1 November 1503 to his death in 1513. In addition to a military policy, he personally led troops into battle on at least two occasions. There is disagreement about Juliuss year of birth, for some sources put it as late as 1453, Giuliano della Rovere was the son of Rafaello della Rovere. Francesco della Rovere was his uncle and he was educated among the Franciscans by his uncle, who took him under his special charge and later sent him to a Franciscan friary in Perugia with the purpose of obtaining knowledge of the sciences. After his uncle was elected Pope Sixtus IV, della Rovere was promoted to be cardinal, taking the title as that formerly held by his uncle. With his uncle he obtained great influence, and in addition to the archbishopric of Avignon he held no fewer than eight bishoprics, including Lausanne from 1472. In June 1474, della Rovere led an army to Todi and Spoleto, around this time, in 1483, an illegitimate daughter was born, Felice della Rovere. Della Rovere, jealous and angry, accused Borgia of being elected over him, in 1494 he joined Charles VIII of France who was undertaking a military expedition into Italy. This was, in Andrew Greeleys view, almost certainly by means of bribery with money, but also, per Ott, Ullman, and Hughes, with promises. Giuliano Della Rovere thenceforth took the name of his fourth century predecessor, Julius I, indeed, on the day of his election, he declared I will not live in the same rooms as the Borgias lived. He desecrated the Holy Church as none before and he usurped the papal power by the devils aid, and I forbid under the pain of excommunication anyone to speak or think of Borgia again. His name and memory must be forgotten and it must be crossed out of every document and memorial. All paintings made of the Borgias or for them must be covered over with black crepe, all the tombs of the Borgias must be opened and their bodies sent back to where they belong—to Spain. The Borgias apartments remained sealed until the 19th Century, the combination was, however, at first little more than nominal, and was not immediately effective in compelling the Venetians to deliver up more than a few unimportant places in the Romagna. With a campaign in 1506, he led an army to Perugia and Bologna. The refusal of Pope Clement VII to grant the annulment led to the English Reformation, the same year, he founded the Swiss Guard to provide a constant corps of soldiers to protect the Pope. On Palm Sunday,1507, Julius II entered Rome, both as a second Julius Caesar, heir to the majesty of Romes imperial glory, and in the likeness of Christ, whose vicar the pope was, and who in that capacity governed the universal Roman Church. Julius, who modelled himself after his namesake Caesar, would lead his army across the Italian peninsula under the imperial war-cry
Pope Julius II
–
Portrait of Pope Julius II by
Raphael
Pope Julius II
–
Giuliano della Rovere (left, future Julius II), and Julius II's future
cardinal-nephew,
Clemente della Rovere (right), who safeguarded Giuliano's affairs while he fled to France following a dispute with Alexander VI.
Pope Julius II
–
Giulliano della Rovere, as cardinal (left), with uncle and patron Francesco della Rovere, Pope Sixtus IV (right).
Pope Julius II
–
Leonardo Grosso della Rovere, the fourth
cardinal-nephew of Julius II accompanied him on his military campaigns in
Bologna and
Perugia, and served as his ambassador to France
40.
Il Sodoma
–
Il Sodoma was the name given to the Italian Renaissance painter Giovanni Antonio Bazzi. Giovanni Bazzi was of the family de Bazis, and born at Vercelli in Piedmont in 1477 and his first master was the archaic Martino Spanzotti, he also appears to have been a student of the painter Giovenone. Along with Pinturicchio, Sodoma was one of the first to practice in Siena the style of the High Renaissance, gaining fluency in the prevailing popular style of Pinturicchio, Sodoma completed the set in 1502 and included a self-portrait with badgers. Sodoma was invited to Rome in 1508 by the celebrated Sienese merchant Agostino Chigi and was employed there by Pope Julius II in the Stanza della Segnatura in the Vatican. Vasaris rhetorical story that Sodomas larger works did not satisfy the pope, who engaged Raphael to substitute a program of Justice, Poetry, and Theology is not borne out by the documents. Before October 1510 he was in Siena, where he painted the exterior of Palazzo Chigi in monochrome chiaroscuro with scenes from the Bible and from Antiquity and his painting at this time began to show distinct Florentine influences, especially of Fra Bartolommeo. When Leo X became pope, Sodoma presented him with a picture of the Death of Lucretia, Leo gave him a large sum of money as a reward and created him a cavaliere. Sodoma returned to Siena and, at a date, sought work in Pisa, Volterra. From Lucca he returned to Siena not long before his death on 14 February 1549 and he had supposedly squandered his property and is said, without documentary support, to have died in penury in the great hospital of Siena. One of his pupils was Giomo del Sodoma, in his youth, Sodoma had married, but he and his wife soon separated. A daughter married Bartolomeo Neroni, called also Riccio Sanese or Maestro Riccio, instead, he was considered by contemporaries to have been homosexual, and was known from 1512 on as Il Sodoma. Giorgio Vasari, in particular, stressed this aspect, perhaps it was a nickname that resulted from a joke, but Bazzi seems to have used the name with pride. Some critics see in Sodomas Madonna in the Pinacoteca di Brera the direct influence of this master, in the Oratory of San Bernardino, are scenes from the history of the Virgin, painted in conjunction with Pacchia and Beccafumi. These frescoes depict the Visitation and the Assumption, in San Francesco are the Deposition from the Cross and Christ Scourged. Many critics regard one or the other of these paintings as Sodomas masterpiece, in the choir of the Pisa Cathedral is the Sacrifice of Abraham, and in the Uffizi Gallery of Florence a St. Sebastian. Some of his works, including the Holy Family now in the Pinacoteca and his easel pictures are rare, there are two in the National Gallery, London. C. Rape of the Sabine Women - Galleria Nazionale dArte Antica, Rome St, according to Vasari, the name by which Bazzi was known was Il Mattaccio, this epithet having been bestowed upon him by the monks of Monte Oliveto. He dressed gaudily, like a mountebank, and his house was a Noahs ark and he was a cracker of jokes, fond of music, and he sang poems composed by himself on indecorous subjects
Il Sodoma
–
Self-portrait with
badgers in a fresco at Monte Olivetto
Il Sodoma
–
Detail from Roxanne Receiving Her Husband's Crown
Il Sodoma
–
Holy Family with young Saint John
Il Sodoma
–
St. Sebastian (1525).
Galleria degli Uffizi, Florence
41.
Vatican Palace
–
The Apostolic Palace is the official residence of the Pope, which is located in Vatican City. It is also known as the Papal Palace, Palace of the Vatican and Vatican Palace, the Vatican itself refers to the building as the Palace of Sixtus V in honor of Pope Sixtus V. The modern tourist can see these last and other parts of the palace, the Scala Regia can be seen into from one end but not entered. In the fifth century, Pope Symmachus built a palace close to the Old St. Peters Basilica which served an alternative residence to the Lateran Palace. The construction of a fortified palace was sponsored by Pope Eugene III. The Vatican Palace had fallen into disrepair from lack of upkeep, in 1447, Pope Nicholas V razed the ancient fortified palace of Eugene III to erect a new building, the current Apostolic Palace. In the 15th century, the Palace was placed under the authority of a prefect and this position of Apostolic Prefect lasted from the 15th century till the 1800s, when the Papal States fell into economic difficulties. In 1884, when this post was reviewed in light of saving money, the major additions and decorations of the palace are the work of the following popes for 150 years. In the 20th century, Pope Pius XI built an art gallery. Construction of the Papal Palace at the Vatican in Vatican City, covering 162, 000m squared, it contains the Papal Apartments, offices of the Roman Catholic Church and Holy See, chapels, Vatican Library, museums and art galleries. The Apostolic Palace is run by the Prefecture of the Pontifical Household, the palace is more accurately a series of self-contained buildings within the well-recognized outer structure which is arranged around the Courtyard of Sixtus V. It is located northeast of St Peters Basilica and adjacent to the Bastion of Nicholas V, the Apostolic Palace houses both residential and support offices of various functions as well as administrative offices not focused on the life and functions of the Pope himself. Perhaps the best known of the Palace chapels is the Sistine Chapel named in honor of Sixtus IV and it is famous for its decoration that was frescoed throughout by Renaissance artists including Michelangelo, Sandro Botticelli, Pietro Perugino, Pinturicchio, Domenico Ghirlandaio, and others. One of the functions of the chapel is as a venue for the election of each successive Pope in a conclave of the College of Cardinals. In this closed-door election, the cardinals choose a successor to the first pope, St. Peter and this suite of rooms is famous for its frescos by a large team of artists working under Raphael. They were originally intended as a suite of apartments for Pope Julius II and he commissioned Raphael, then a relatively young artist from Urbino, and his studio in 1508 or 1509 to redecorate the existing interiors of the rooms entirely. It was possibly Julius intent to outshine the apartments of his predecessor Pope Alexander VI and they are on the third floor, overlooking the south side of the Belvedere Courtyard. After the death of Julius in 1513, with two rooms frescoed, Pope Leo X continued the program, following Raphaels death in 1520, his assistants Gianfrancesco Penni, Giulio Romano and Raffaellino del Colle finished the project with the frescoes in the Sala di Costantino
Vatican Palace
–
A view of the
Papal Apartments from
Saint Peter's Square
Vatican Palace
–
The Portone di Bronzo at the Vatican Apostolic Palace entrance.
Vatican Palace
–
A model of the palace in the
Vatican Museums. The buildings are arranged around a central courtyard.
Vatican Palace
–
Under the patronage of
Julius II, Michelangelo painted the
chapel ceiling between 1508 and 1512.
42.
Raphael
–
Raffaello Sanzio da Urbino, known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running a large workshop and, despite his death at 37. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, the best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings and he was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region and his poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Under them, the court continued as a centre for literary culture, growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a humanistic education however, it is unclear how easily he read Latin. His mother Màgia died in 1491 when Raphael was eight, followed on August 1,1494 by his father, Raphael was thus orphaned at eleven, his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master and he had already shown talent, according to Vasari, who says that Raphael had been a great help to his father. A self-portrait drawing from his teenage years shows his precocity and his fathers workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter, and Luca Signorelli, according to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice despite the tears of his mother. The evidence of an apprenticeship comes only from Vasari and another source, an alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters, the Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a master, that is to say fully trained and his first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was named in the commission
Raphael
–
Presumed Portrait of Raphael
Raphael
–
Self-portrait with a friend (1518 circa),
Louvre,
Paris
Raphael
–
Giovanni Santi, Raphael's father; Christ supported by two angels, c.1490
Raphael
–
The
Mond Crucifixion, 1502–3, very much in the style of
Perugino
43.
Foiano
–
Fiano is a white Italian wine grape variety that is grown primarily in the Campania region of southern Italy and on the island of Sicily. In Campania, this fairly strong flavored white wine grape is noted around Avellino where the Denominazione di origine controllata e Garantita wine of Fiano di Avellino is produced. The grape has a history in the Campanian region and is believed to have been the grape behind the ancient Roman wine Apianum. Even today, the name Apianum is permitted to appear on labels of the DOCG wine Fiano di Avellino. Outside of Italy, several Australian wine producers have begun to use the grape, production seems to be increasing, although the number of vineyards growing it is still small. One place of production is in the McLaren Vale wine region of South Australia, more recently, some winemakers in Argentina are producing Fiano in the La Rioja district, north of Mendoza. Beyond its strong flavors and intense aroma notes, the Fiano grapevine is noted viticulturally for the low yields it produces. Wine writer Jancis Robinson notes that some speculate that Fiano may have been the grape behind the Roman wine Apianum that was produced in the hills above Avellino. The wine was produced by a known to the Romans as vitis apiana. Even today bees are attracted to sugary pulp of Fiano grapes and are a prevalent sight in the vineyards around Avellino. The small, thick-skinned berries of Fiano usually produce very little juice and, given the natural propensity for low yields. The Fiano grape is most closely associated with the Campanian DOCG wine of Fiano di Avellino, nearing extinction in the later half of the 20th century, interest in the variety, spearheaded by producers such as Mastroberardino, saw a renaissance of planting around Avellino. In 2003, the area around Avellino received DOCG status for the Fiano-based wine produced, for the Fiano di Avellino DOCG, at least 85% of the wine must be made from Fiano with Greco, Coda di Volpe and Trebbiano permitted to round out the remainder of the blend. Grapes destined for this DOCG wine must be limited to a maximum harvest yield of 10 tonnes/hectare, Italian wine laws allow for producers to use the name Apianum along with the Fiano di Avellino DOCG designation to show the modern wines connection with the historical Roman wine. The wines of which Fiano must account for a majority of the blend are in bold, aversa DOC-Primarily Asprinio, with up to 15% permitted to be Fiano and/or other local white grape varieties. Campi Flegrei DOC - Primarily Falanghina, Biancolella and Coda di Volpe with up to 30% permitted to be Fiano and/or other local grape varieties. Costa dAmalfi DOC - Primarily Falanghina and Biancolella with up to 40% permitted to be Fiano and/or other local grape varieties. Galluccio DOC - Primarily Falanghina with up to 30% permitted to be Fiano and/or other local grape varieties
Foiano
–
Fiano in Viala & Vermorel
Foiano
–
Fiano grapes pre-veraison
Foiano
–
The Roman wine Apianum was produced by a grape known as vitis apiana, whose name is related to the Latin word for "bees" (apis;
pl: apes), which were strongly attracted to the sugary pulp of the grapes. Today, wine historians believe that the grape behind Apianum may have been Fiano.
Foiano
–
A Fiano IGT wine from the Salento peninsula of Apulia.
44.
Louvre
–
The Louvre or the Louvre Museum is the worlds largest museum and a historic monument in Paris, France. A central landmark of the city, it is located on the Right Bank of the Seine in the citys 1st arrondissement, approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square metres. The Louvre is the second most visited museum after the Palace Museum in China. The museum is housed in the Louvre Palace, originally built as a fortress in the late 12th century under Philip II, remnants of the fortress are visible in the basement of the museum. Due to the expansion of the city, the fortress eventually lost its defensive function and. The building was extended many times to form the present Louvre Palace, in 1692, the building was occupied by the Académie des Inscriptions et Belles Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years, during the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nations masterpieces. The museum opened on 10 August 1793 with an exhibition of 537 paintings, because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum renamed Musée Napoléon, the collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic, whether this was the first building on that spot is not known, it is possible that Philip modified an existing tower. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den, in the 7th century, St. Fare, an abbess in Meaux, left part of her Villa called Luvra situated in the region of Paris to a monastery. This territory probably did not correspond exactly to the modern site, the Louvre Palace was altered frequently throughout the Middle Ages. In the 14th century, Charles V converted the building into a residence and in 1546, Francis acquired what would become the nucleus of the Louvres holdings, his acquisitions including Leonardo da Vincis Mona Lisa. After Louis XIV chose Versailles as his residence in 1682, constructions slowed, however, on 14 October 1750, Louis XV agreed and sanctioned a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. Under Louis XVI, the museum idea became policy. The comte dAngiviller broadened the collection and in 1776 proposed conversion of the Grande Galerie of the Louvre – which contained maps – into the French Museum, many proposals were offered for the Louvres renovation into a museum, however, none was agreed on. Hence the museum remained incomplete until the French Revolution, during the French Revolution the Louvre was transformed into a public museum. In May 1791, the Assembly declared that the Louvre would be a place for bringing together monuments of all the sciences, on 10 August 1792, Louis XVI was imprisoned and the royal collection in the Louvre became national property
Louvre
–
the Richelieu wing (2005)
Louvre
–
The only portion of the medieval Louvre still visible
Louvre
–
Antonio Canova 's
Psyche Revived by Cupid's Kiss was commissioned in 1787, donated in 1824.
Louvre
–
The
Venus de Milo was added to the Louvre's collection during the reign of
Louis XVIII.
45.
Chiaroscuro
–
Chiaroscuro is an oil painting technique, developed during the Renaissance, that uses strong tonal contrasts between light and dark to model three-dimensional forms, often to dramatic effect. The underlying principle is that solidity of form is best achieved by the light falling against it, artists known for developing the technique include Leonardo da Vinci, Caravaggio, and Rembrandt. It is a mainstay of black and white photography and these in turn drew on traditions in illuminated manuscripts going back to late Roman Imperial manuscripts on purple-dyed vellum. Such works used to be called chiaroscuro drawings, but are often described in modern museum terminology by such formulae as pen on prepared paper. Chiaroscuro woodcuts began as imitations of this technique, when discussing Italian art, the term sometimes is used to mean painted images in monochrome or two colours, more generally known in English by the French equivalent, grisaille. The term broadened in meaning early on to cover all strong contrasts in illumination between light and dark areas in art, which is now the primary meaning. The invention of these effects in the West, skiagraphia or shadow-painting to the Ancient Greeks, traditionally was ascribed to the famous Athenian painter of the fifth century BC, Apollodoros. Chose her place to sit for that purpose in the alley of a goodly garden. In drawings and prints, modelling chiaroscuro often is achieved by the use of hatching, washes, stipple or dotting effects, and surface tone in printmaking are other techniques. Chiaroscuro woodcuts are old master prints in woodcut using two or more blocks printed in different colours, they do not necessarily feature strong contrasts of light and they were first produced to achieve similar effects to chiaroscuro drawings. Other printmakers to use the technique include Hans Wechtlin, Hans Baldung Grien, in Germany the technique achieved its greatest popularity around 1520, but it was used in Italy throughout the sixteenth century. Later artists such as Goltzius sometimes made use of it, in most German two-block prints, the keyblock was printed in black and the tone block or blocks had flat areas of colour. In Italy, chiaroscuro woodcuts were produced without keyblocks to achieve a different effect. Manuscript illumination was, as in areas, especially experimental in attempting ambitious lighting effects since the results were not for public display. The development of compositional chiaroscuro received an impetus in northern Europe from the vision of the Nativity of Jesus of Saint Bridget of Sweden. Hugo van der Goes and his followers painted many scenes lit only by candle or the light from the infant Christ. As with some later painters, in their hands the effect was of stillness, strong chiaroscuro became a popular effect during the sixteenth century in Mannerism and Baroque art. Divine light continued to illuminate, often rather inadequately, the compositions of Tintoretto, Veronese, tenebrism was especially practiced in Spain and the Spanish-ruled Kingdom of Naples, by Jusepe de Ribera and his followers
Chiaroscuro
–
Giovanni Baglione. Sacred and Profane Love. 1602–1603, showing dramatic compositional chiaroscuro
Chiaroscuro
–
Detail of "
La Fornarina " by
Raphael, shows delicate modelling chiaroscuro in the body of the model, for example in the shoulder, breast, and arm on the right
Chiaroscuro
–
Chiaroscuro woodcut of the Virgin and Child by
Bartolommeo Coriolano, created between 1630 and 1655 (digitally restored)
Chiaroscuro
–
Nativity at Night by
Geertgen tot Sint Jans, c. 1490, after a composition by
Hugo van der Goes of c. 1470; sources of light are the infant Jesus, the shepherds' fire on the hill behind, and the angel who appears to them
46.
National Gallery, London
–
The National Gallery is an art museum in Trafalgar Square in the City of Westminster, in Central London. Founded in 1824, it houses a collection of over 2,300 paintings dating from the century to 1900. The Gallery is a charity, and a non-departmental public body of the Department for Culture, Media. Its collection belongs to the public of the United Kingdom and entry to the collection is free of charge. It is among the most visited art museums in the world, after the Musée du Louvre, the British Museum, unlike comparable museums in continental Europe, the National Gallery was not formed by nationalising an existing royal or princely art collection. It came into being when the British government bought 38 paintings from the heirs of John Julius Angerstein, after that initial purchase the Gallery was shaped mainly by its early directors, notably Sir Charles Lock Eastlake, and by private donations, which comprise two-thirds of the collection. It used to be claimed that this was one of the few national galleries that had all its works on permanent exhibition, the present building, the third to house the National Gallery, was designed by William Wilkins from 1832 to 1838. Only the façade onto Trafalgar Square remains essentially unchanged from this time, wilkinss building was often criticised for the perceived weaknesses of its design and for its lack of space, the latter problem led to the establishment of the Tate Gallery for British art in 1897. The Sainsbury Wing, an extension to the west by Robert Venturi, the current Director of the National Gallery is Gabriele Finaldi. The late 18th century saw the nationalisation of royal or princely art collections across mainland Europe, great Britain, however, did not emulate the continental model, and the British Royal Collection remains in the sovereigns possession today. In 1777 the British government had the opportunity to buy an art collection of international stature, the MP John Wilkes argued for the government to buy this invaluable treasure and suggested that it be housed in a noble gallery. The twenty-five paintings from that now in the Gallery, including NG1, have arrived by a variety of routes. This offer was declined and Bourgeois bequeathed the collection to his old school, Dulwich College, the collection opened in Britains first purpose-built public gallery, the Dulwich Picture Gallery, in 1814. The British Institution, founded in 1805 by a group of aristocratic connoisseurs, the members lent works to exhibitions that changed annually, while an art school was held in the summer months. However, as the paintings that were lent were often mediocre, some resented the Institution. One of the Institutions founding members, Sir George Beaumont, Bt, in 1823 another major art collection came on the market, which had been assembled by the recently deceased John Julius Angerstein. Angerstein was a Russian-born émigré banker based in London, his collection numbered 38 paintings, including works by Raphael, on 1 July 1823 George Agar Ellis, a Whig politician, proposed to the House of Commons that it purchase the collection. The appeal was given added impetus by Beaumonts offer, which came with two conditions, that the government buy Angersteins collection, and that a building was to be found
National Gallery, London
National Gallery, London
–
Location within Central London
National Gallery, London
–
The Raising of Lazarus by
Sebastiano del Piombo, from the collection of
John Julius Angerstein. This became the founding collection of the National Gallery in 1824. The painting has the
accession number NG1, making it officially the first painting to enter the Gallery.
National Gallery, London
–
100
Pall Mall, the home of the National Gallery from 1824 to 1834.
47.
Circumcision of Jesus
–
The circumcision of Jesus is an event from the life of Jesus according to the Gospel of Luke, which states in verse 2,21 that Jesus was circumcised eight days after his birth. This is in keeping with the Jewish law which holds that males should be circumcised eight days after birth during a Brit milah ceremony, at which they are also given their name. The circumcision of Christ became a common subject in Christian art from the 10th century onwards. It was initially only as a scene in larger cycles. The event is celebrated as the Feast of the Circumcision in the Eastern Orthodox Church on January 1 in whichever calendar is used, a number of relics claiming to be the Holy Prepuce, the foreskin of Jesus, have surfaced. However, this account is extremely short, particularly compared to Paul the Apostles much fuller description of his own circumcision in the chapter of his Epistle to the Philippians. In addition to the account in the Gospel of Luke. And the old Hebrew woman took the foreskin, and preserved it in an alabaster-box of old oil of spikenard. And she had a son who was a druggist, to whom she said, Take heed thou sell not this alabaster box of spikenard-ointment, although thou shouldst be offered three hundred pence for it. Now this is that alabaster-box which Mary the sinner procured, and poured forth the ointment out of it upon the head and feet of our Lord Jesus Christ, and wiped it off with the hairs of her head. The circumcision controversy in early Christianity was resolved in the 1st century, Saint Paul, the leading proponent of this position, discouraged circumcision as a qualification for conversion to Christianity. Circumcision soon became rare in most of the Christian world, except the Coptic Church of Egypt, one of the earliest depictions to survive is a miniature in an important Byzantine illuminated manuscript of 979-984, the Menologion of Basil II in the Vatican Library. This has a scene which shows Mary and Joseph holding the baby Jesus outside a building, probably the Temple of Jerusalem and this is typical of the early depictions, which avoid showing the operation itself. Like most later depictions these are taking place in a large building, probably representing the Temple. Medieval pilgrims to the Holy Land were told Jesus had been circumcised in the church at Bethlehem, the scene gradually became increasingly common in the art of the Western church, and increasingly rare in Orthodox art. Various themes in theological exegesis of the event influenced the treatment in art. As the first drawing of Christs blood, it was seen as a forerunner of, or even the first scene of, the Passion of Christ. Other interpretations developed based on it as the naming ceremony equivalent to Christian baptism, such an arrangement is seen in a miniature from a German Pentateuch in Hebrew from about 1300, showing the Circumcision of Isaac
Circumcision of Jesus
–
Depiction in the
Menologion of Basil II (c. 980)
Circumcision of Jesus
–
A detail from The Circumcision of Christ by
Friedrich Herlin
Circumcision of Jesus
–
Depiction of the Circumcision of Jesus by
Fra Angelico (c. 1450)
Circumcision of Jesus
–
Luca Signorelli 's c. 1491
Circumcision of Christ, commissioned by the Confraternity of the Holy Name of Jesus in
Volterra, with
Simeon at the rear
48.
Annunciation
–
Gabriel told Mary to name her son Yehoshua, meaning YHWH is salvation. According to Luke 1,26, the Annunciation occurred in the month of Elizabeths pregnancy with John the Baptist. Many Christians observe this event with the Feast of the Annunciation on 25 March, an approximation of the vernal equinox nine full months before Christmas. In England, this came to be known as Lady Day and it marked the new year until 1752. The 2nd-century writer Irenaeus of Lyon regarded the conception of Jesus as 25 March coinciding with the Passion, the Annunciation has been a key topic in Christian art in general, as well as in Marian art in the Catholic Church, particularly during the Middle Ages and Renaissance. A work of art depicting the Annunciation is sometimes called an Annunciation. 28 And the angel came in unto her, and said, Hail, thou that art highly favoured,29 And when she saw him, she was troubled at his saying, and cast in her mind what manner of salutation this should be. 30 And the angel said unto her, Fear not, Mary,31 And, behold, thou shalt conceive in thy womb, and bring forth a son, and shalt call his name JESUS. 34 Then said Mary unto the angel, How shall this be,36 And, behold, thy cousin Elisabeth, she hath also conceived a son in her old age, and this is the sixth month with her, who was called barren. 37 For with God nothing shall be impossible,38 And Mary said, Behold the handmaid of the Lord, be it unto me according to thy word. And the angel departed from her,19 Then Joseph her husband, being a just man, and not willing to make her a publick example, was minded to put her away privily. 21 And she shall bring forth a son, and thou shalt call his name JESUS,35 In answer the angel said to her, Holy spirit will come upon you, and power of the Most High will overshadow you. And for that reason the one who is born will be called holy, manuscript 4Q246 of the Dead Sea Scrolls reads, shall be great upon the earth. O king, all people shall make peace, and all shall serve him and he shall be called the son of the Great God, and by his name shall he be hailed as the Son of God, and they shall call him Son of the Most High. It has been suggested that the similarity in content is such that Lukes version may in some way be dependent on the Qumran text, the Annunciation is described in the Quran, in Sura 003,045 verses 45–51,45 Behold. Muslim tradition holds that the Annunciation took place during the month of Ramadan, in Greek, the Annunciation is known as the Good Tidings or Evangelism. In the Orthodox Churches that use a new style Calendar, the feast is celebrated on March 25, in churches using the old style Julian calendar, the feast day is April 7. The traditional hymn for the feast of the Annunciation goes back to St Athanasius, indeed, the Divine Liturgy is celebrated on Great and Holy Friday only when the latter coincides with the feast of the Annunciation
Annunciation
–
Annunciation by
Paolo de Matteis, 1712. The
white lily in the angel's hand is symbolic of Mary's purity in
Marian art.
Annunciation
–
Annunciation by
El Greco
Annunciation
–
Annunciation, work by unknown artist
Annunciation
–
The Annunciation - Johann Christian Schröder
49.
Pinacoteca di Brera
–
The Pinacoteca di Brera is the main public gallery for paintings in Milan, Italy. It contains one of the foremost collections of Italian paintings, an outgrowth of the program of the Brera Academy. The Palazzo Brera owes its name to the Germanic braida, indicating a grassy opening in the city structure, compare the Bra of Verona, the convent on the site passed to the Jesuits, then underwent a radical rebuilding by Francesco Maria Richini. When the Jesuits were disbanded in 1773, the remained the seat of the astronomical Observatory. In 1774 were added the herbarium of the new botanical garden, the buildings were extended to designs by Giuseppe Piermarini, who was appointed professor in the Academy when it was formally founded in 1776, with Giuseppe Parini as dean. Piermarini taught at the Academy for 20 years, while he was controller of the citys urbanistic projects, like the public gardens, the Academys artistic committee, the Commissione di Ornato exercised a controlling influence on public monuments, a precursor of todays Sopraintendenze delle Belle Arti. Thus in 1882 the Paintings Gallery was separated from the Academy, from 1891 the exhibitions were reduced to triennial events, and architectural projects developed their autonomous course. The Brera Observatory hosted the astronomer Giovanni Schiaparelli for four decades, collections of Pinacoteca di Brera Aldo Carpi Brera Gallery official website Accademia di Brera official website
Pinacoteca di Brera
–
Pinacoteca di Brera
Pinacoteca di Brera
–
Madonna della Candeletta,
Carlo Crivelli. c. 1490
Pinacoteca di Brera
–
Madonna of the Cherubim by
Andrea Mantegna c. 1485
Pinacoteca di Brera
–
Lamentation of Christ (Mantegna) by
Andrea Mantegna. c. 1480
50.
Milan
–
Milan is a city in Italy, capital of the Lombardy region, and the most populous metropolitan area and the second most populous comune in Italy. The population of the city proper is 1,351,000, Milan has a population of about 8,500,000 people. It is the industrial and financial centre of Italy and one of global significance. In terms of GDP, it has the largest economy among European non-capital cities, Milan is considered part of the Blue Banana and lies at the heart of one of the Four Motors for Europe. Milan is an Alpha leading global city, with strengths in the arts, commerce, design, education, entertainment, fashion, finance, healthcare, media, services, research, and tourism. Its business district hosts Italys Stock Exchange and the headquarters of the largest national and international banks, the city is a major world fashion and design capital, well known for several international events and fairs, including Milan Fashion Week and the Milan Furniture Fair. The city hosts numerous cultural institutions, academies and universities, with 11% of the national total enrolled students, Milans museums, theatres and landmarks attract over 9 million visitors annually. Milan – after Naples – is the second Italian city with the highest number of accredited stars from the Michelin Guide, the city hosted the Universal Exposition in 1906 and 2015. Milan is home to two of Europes major football teams, A. C. Milan and F. C. Internazionale, the etymology of Milan is uncertain. One theory holds that the Latin name Mediolanum comes from the Latin words medio, however, some scholars believe lanum comes from the Celtic root lan, meaning an enclosure or demarcated territory in which Celtic communities used to build shrines. Hence, Mediolanum could signify the central town or sanctuary of a Celtic tribe, indeed, the name Mediolanum is borne by about sixty Gallo-Roman sites in France, e. g. Saintes and Évreux. Alciato credits Ambrose for his account, around 400 BC, the Celtic Insubres settled Milan and the surrounding region. In 222 BC, the Romans conquered the settlement, renaming it Mediolanum, Milan was eventually declared the capital of the Western Roman Empire by Emperor Diocletian in 286 AD. Diocletian chose to stay in the Eastern Roman Empire and his colleague Maximianus ruled the Western one, immediately Maximian built several monuments, such as a large circus 470 m ×85 m, the Thermae Herculeae, a large complex of imperial palaces and several other buildings. With the Edict of Milan of 313, Emperor Constantine I guaranteed freedom of religion for Christians, after the city was besieged by the Visigoths in 402, the imperial residence was moved to Ravenna. In 452, the Huns overran the city, in 539, the Ostrogoths conquered and destroyed Milan during the Gothic War against Byzantine Emperor Justinian I. In the summer of 569, a Teutonic tribe, the Lombards, conquered Milan, some Roman structures remained in use in Milan under Lombard rule. Milan surrendered to the Franks in 774 when Charlemagne took the title of King of the Lombards, the Iron Crown of Lombardy dates from this period
Milan
–
Milan Cathedral,
La Scala opera house and
Porta Nuova business district
Milan
Milan
Milan
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Signorelli, Luca". Encyclopædia Britannica. 25 (11th ed.). Cambridge University Press. pp. 81–82.
