1.
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
2.
Engraver
–
Engraving is the practice of incising a design onto a hard, usually flat surface by cutting grooves into it. Wood engraving is a form of printing and is not covered in this article. Engraving was an important method of producing images on paper in artistic printmaking, in mapmaking. Other terms often used for printed engravings are copper engraving, copper-plate engraving or line engraving, hand engraving is a term sometimes used for engraving objects other than printing plates, to inscribe or decorate jewellery, firearms, trophies, knives and other fine metal goods. Traditional engravings in printmaking are also engraved, using just the same techniques to make the lines in the plate. Each graver is different and has its own use, engravers use a hardened steel tool called a burin, or graver, to cut the design into the surface, most traditionally a copper plate. Modern professional engravers can engrave with a resolution of up to 40 lines per mm in high grade work creating game scenes, dies used in mass production of molded parts are sometimes hand engraved to add special touches or certain information such as part numbers. In addition to engraving, there are engraving machines that require less human finesse and are not directly controlled by hand. They are usually used for lettering, using a pantographic system, there are versions for the insides of rings and also the outsides of larger pieces. Such machines are used for inscriptions on rings, lockets. Gravers come in a variety of shapes and sizes that yield different line types, the burin produces a unique and recognizable quality of line that is characterized by its steady, deliberate appearance and clean edges. The angle tint tool has a curved tip that is commonly used in printmaking. Florentine liners are flat-bottomed tools with multiple lines incised into them, ring gravers are made with particular shapes that are used by jewelry engravers in order to cut inscriptions inside rings. Flat gravers are used for work on letters, as well as wriggle cuts on most musical instrument engraving work, remove background. Knife gravers are for line engraving and very deep cuts, round gravers, and flat gravers with a radius, are commonly used on silver to create bright cuts, as well as other hard-to-cut metals such as nickel and steel. Square or V-point gravers are typically square or elongated diamond-shaped and used for cutting straight lines, V-point can be anywhere from 60 to 130 degrees, depending on purpose and effect. These gravers have very small cutting points, other tools such as mezzotint rockers, roulets and burnishers are used for texturing effects. Burnishing tools can also be used for stone setting techniques
Engraver
–
St. Jerome in His Study (1514), an engraving by Northern Renaissance master
Albrecht Dürer
Engraver
–
Artist and engraver
Chaim Goldberg at work
Engraver
–
An assortment of hand engraving tools
Engraver
–
At an engravers workshop: Miniature engraving on a
Louis George watch movement: Smallest engraving of the royal
Prussian eagle on a watch movement. It takes about 100 passes to create the figure.
3.
Printmaker
–
Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints that have an element of originality, except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print produced is not considered a copy but rather is considered an original, a print may be known as an impression. Printmaking is not chosen only for its ability to multiple impressions. Prints are created by transferring ink from a matrix or through a screen to a sheet of paper or other material. Screens made of silk or synthetic fabrics are used for the screenprinting process, other types of matrix substrates and related processes are discussed below. Multiple impressions printed from the matrix form an edition. Prints may also be printed in book form, such as illustrated books or artists books, Printmaking techniques are generally divided into the following basic categories, Relief, where ink is applied to the original surface of the matrix. Relief techniques include woodcut or woodblock as the Asian forms are known, wood engraving. Intaglio, where ink is applied beneath the surface of the matrix. Intaglio techniques include engraving, etching, mezzotint, aquatint, planographic, where the matrix retains its original surface, but is specially prepared and/or inked to allow for the transfer of the image. Planographic techniques include lithography, monotyping, and digital techniques, stencil, where ink or paint is pressed through a prepared screen, including screenprinting and pochoir. Other types of printmaking techniques outside these groups include collagraphy and viscosity printing, collagraphy is a printmaking technique in which textured material is adhered to the printing matrix. This texture is transferred to the paper during the printing process, Contemporary printmaking may include digital printing, photographic mediums, or a combination of digital, photographic, and traditional processes. Many of these techniques can also be combined, especially within the same family, for example, Rembrandts prints are usually referred to as etchings for convenience, but very often include work in engraving and drypoint as well, and sometimes have no etching at all. Woodcut, a type of print, is the earliest printmaking technique. It was probably first developed as a means of printing patterns on cloth, woodcuts of images on paper developed around 1400 in Japan, and slightly later in Europe. These are the two areas where woodcut has been most extensively used purely as a process for making images without text, the artist draws a design on a plank of wood, or on paper which is transferred to the wood
Printmaker
–
Rembrandt,
Self-portrait,
etching, c.1630.
Printmaker
–
Mount Fuji, from the
Thirty-six Views of Mount Fuji, color
woodcut by
Katsushika Hokusai
Printmaker
–
Francisco Goya, There is No One To Help Them,
Disasters of War series,
aquatint c.1810.
Printmaker
–
External video
4.
Old master print
–
An old master print is a work of art produced by a printing process within the Western tradition. Fifteenth-century prints are rare that they are classed as old master prints even if they are of crude or merely workmanlike artistic quality. A date of about 1830 is usually taken as marking the end of the period whose prints are covered by this term, the main techniques used, in order of their introduction, are woodcut, engraving, etching, mezzotint and aquatint, although there are others. Different techniques are combined in a single print. With rare exceptions printed on textiles, such as silk, or on vellum, many great European artists, such as Albrecht Dürer, Rembrandt, and Francisco Goya, were dedicated printmakers. In their own day, their international reputations largely came from their prints, influences between artists were also mainly transmitted beyond a single city by prints, for the same reason. Prints therefore are frequently brought up in detailed analyses of individual paintings in art history, today, thanks to colour photo reproductions, and public galleries, their paintings are much better known, whilst their prints are only rarely exhibited, for conservation reasons. But some museum print rooms allow visitors to see their collection, the oldest technique is woodcut, or woodblock printing, which was invented as a method for printing on cloth in China, and perhaps separately in Egypt in the Byzantine period. This had reached Europe via the Byzantine or Islamic worlds before 1300, religious images and playing cards are documented as being produced on paper, probably printed, by a German in Bologna in 1395. However, the most impressive printed European images to survive from before 1400 are printed on cloth, for use as hangings on walls or furniture, including altars, some were used as a pattern to embroider over. Some religious images were used as bandages, to speed healing, the earliest print images are mostly of a high artistic standard, and were clearly designed by artists with a background in painting. Whether these artists cut the blocks themselves, or only inked the design on the block for another to carve, is not known, the great majority of surviving 15th-century prints are religious, although these were probably the ones more likely to survive. Their makers were sometimes called Jesus maker or saint-maker in documents, as with manuscript books, monastic institutions sometimes produced, and often sold, prints. No artists can be identified with specific woodcuts until towards the end of the century, the little evidence we have suggests that woodcut prints became relatively common and cheap during the fifteenth century, and were affordable by skilled workers in towns. For example, what may be the earliest surviving Italian print, the school caught fire, and the crowd who gathered to watch saw the print carried up into the air by the fire, before falling down into the crowd. This was regarded as an escape and the print was carried to Forlì Cathedral. Like the majority of prints before approximately 1460, only a single impression of this print has survived, Woodcut blocks are printed with light pressure, and are capable of printing several thousand impressions, and even at this period some prints may well have been produced in that quantity. Many prints were hand-coloured, mostly in watercolour, in fact the hand-colouring of prints continued for many centuries, Italy, Germany, France and the Netherlands were the main areas of production, England does not seem to have produced any prints until about 1480
Old master print
–
The Three Crosses,
etching by
Rembrandt, 1653,
State III of IV
Old master print
–
Melencolia I, 1514, engraving by
Albrecht Dürer
Old master print
–
This
donor portrait of about 1455 shows a large coloured print attached to the wall with
sealing wax.
Petrus Christus,
NGA, Washington. Another example is seen
here.
Old master print
–
Anonymous German 15th century woodcut, about 1480, with hand-colouring, including (unusually) spots of gold. 5.2 x 3.9 cm, i.e. this is similar to the original size on most screens
5.
Engraving
–
Engraving is the practice of incising a design onto a hard, usually flat surface by cutting grooves into it. Wood engraving is a form of printing and is not covered in this article. Engraving was an important method of producing images on paper in artistic printmaking, in mapmaking. Other terms often used for printed engravings are copper engraving, copper-plate engraving or line engraving, hand engraving is a term sometimes used for engraving objects other than printing plates, to inscribe or decorate jewellery, firearms, trophies, knives and other fine metal goods. Traditional engravings in printmaking are also engraved, using just the same techniques to make the lines in the plate. Each graver is different and has its own use, engravers use a hardened steel tool called a burin, or graver, to cut the design into the surface, most traditionally a copper plate. Modern professional engravers can engrave with a resolution of up to 40 lines per mm in high grade work creating game scenes, dies used in mass production of molded parts are sometimes hand engraved to add special touches or certain information such as part numbers. In addition to engraving, there are engraving machines that require less human finesse and are not directly controlled by hand. They are usually used for lettering, using a pantographic system, there are versions for the insides of rings and also the outsides of larger pieces. Such machines are used for inscriptions on rings, lockets. Gravers come in a variety of shapes and sizes that yield different line types, the burin produces a unique and recognizable quality of line that is characterized by its steady, deliberate appearance and clean edges. The angle tint tool has a curved tip that is commonly used in printmaking. Florentine liners are flat-bottomed tools with multiple lines incised into them, ring gravers are made with particular shapes that are used by jewelry engravers in order to cut inscriptions inside rings. Flat gravers are used for work on letters, as well as wriggle cuts on most musical instrument engraving work, remove background. Knife gravers are for line engraving and very deep cuts, round gravers, and flat gravers with a radius, are commonly used on silver to create bright cuts, as well as other hard-to-cut metals such as nickel and steel. Square or V-point gravers are typically square or elongated diamond-shaped and used for cutting straight lines, V-point can be anywhere from 60 to 130 degrees, depending on purpose and effect. These gravers have very small cutting points, other tools such as mezzotint rockers, roulets and burnishers are used for texturing effects. Burnishing tools can also be used for stone setting techniques
Engraving
–
St. Jerome in His Study (1514), an engraving by Northern Renaissance master
Albrecht Dürer
Engraving
–
Artist and engraver
Chaim Goldberg at work
Engraving
–
An assortment of hand engraving tools
Engraving
–
At an engravers workshop: Miniature engraving on a
Louis George watch movement: Smallest engraving of the royal
Prussian eagle on a watch movement. It takes about 100 passes to create the figure.
6.
High Renaissance
–
In art history, High Renaissance is the period denoting the apogee of the visual arts in the Italian Renaissance. This term was first used in German in the nineteenth century. High Renaissance style in architecture conventionally begins with Donato Bramante, whose Tempietto at S. Pietro in Montorio at Rome was begun in 1510, the Tempietto, signifies a full-scale revival of ancient Roman commemorative architecture. David Watkin writes that the Tempietto, like Raphaels works in the Vatican, is an attempt at reconciling Christian, the High Renaissance was traditionally viewed as a great explosion of creative genius, following a model of art history first proposed by the Florentine Giorgio Vasari. Even relatively minor painters of the period, such as Fra Bartolomeo and Mariotto Albertinelli, produced works that are still lauded for the harmony of their design, the serene mood and luminous colours of paintings by Giorgione and early Titian exemplify High Renaissance style as practiced in Venice. Other recognizable pieces of this period include Leonardo da Vincis Mona Lisa, Raphaels fresco, set beneath an arch, is a virtuoso work of perspective, composition and disegno. High Renaissance sculpture, as exemplified by Michelangelos Pietà and the iconic David, is characterized by a balance between stillness and movement. High Renaissance sculpture was commissioned by the public and the state. Sculpture was often used to decorate or embellish architecture, normally within courtyards where others were able to study, wealthy individuals like cardinals, rulers and bankers were the more likely private patrons along with very wealthy families, Pope Julius II also patronized many artists. During the High Renaissance there was the development of small scale statuettes for private patrons, the subject matter related to sculpture was mostly religious but also with a significant strand of classical individuals in the form of tomb sculpture and paintings as well as ceilings of cathedrals. Toward The High Renaissance at Smarthistory
High Renaissance
–
Giorgione 's
Tempest, c. 1507-8.
High Renaissance
–
Bramante's
Tempietto, designed 1502, San Pietro in Montorio, Rome.
High Renaissance
–
Michelangelo 's
Pietà, 1498–99.
7.
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
Vasari
–
Vasari's self-portrait
Vasari
–
Giorgio Vasari, Italian humanists, Tuscan Poets: Dante, Petrarch, Guido Cavalcanti, Boccaccio, Cino da Pistoia and Guittone d'Arezzo
Vasari
–
Giorgio Vasari, The Garden of Gethsemane
Vasari
–
The Uffizi Loggia.
8.
Lives of the Artists
–
The title is often abridged to just the Vite or the Lives. As the first Italian art historian, Vasari initiated the genre of an encyclopedia of artistic biographies that continues today, Vasaris work was first published in 1550 by Lorenzo Torrentino in Florence, and dedicated to Cosimo I de Medici, Grand Duke of Tuscany. It included a treatise on the technical methods employed in the arts. It was partly rewritten and enlarged in 1568 and provided with portraits of artists. The work has a consistent and notorious favour of Florentines and tends to attribute to them all the new developments in Renaissance art—for example, Venetian art in particular, let alone other parts of Europe, is systematically ignored. Between his first and second editions, Vasari visited Venice and the edition gave more attention to Venetian art without achieving a neutral point of view. Vasaris biographies are interspersed with amusing gossip, many of his anecdotes have the ring of truth, although likely inventions. 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 all the new materials opened up by research—has corrected many of his traditional dates, the work is widely considered a classic even today, though it is widely agreed that it must be supplemented by modern critical research. Vasari includes a sketch of his own biography at the end of his Vite. Vasaris Vite has been described as by far the most influential text for the history of Renaissance art. The Vite has been translated wholly or partially into many languages, including English, Dutch, German, Spanish, French, the Vite formed a model for encyclopedias of artist biographies. Different 17th century translators became artist biographers in their own country of origin and were called the Vasari of their country. In England, Aglionbys Painting Illustrated from 1685 was largely based on Vasari as well, the Vite is also important as the basis for discussions about the development of style. Finally, it has also been for centuries the most important source of information on Early Renaissance Italian painters and the attribution of their paintings. The Vite contains the biographies of many important Italian artists, and is adopted as a sort of classical reference guide for their names. The following list respects the order of the book, as divided into its three parts, the book starts with a dedication to Cosimo I de Medici and a preface, and then starts with technical and background texts about architecture, sculpture, and painting. A second preface follows, introducing the actual Vite in parts 2 to 5, what follows is the complete list from the second edition
Lives of the Artists
–
Title page of the 1568 edition of the Vite
9.
I Modi
–
While the original edition was apparently completely destroyed by the Catholic Church, fragments of a later edition survived. The second edition was accompanied by written by Pietro Aretino. The original illustrations were probably copied by Agostino Caracci, whose version survives, Raimondi had worked extensively with Romanos master Raphael, who had died in 1520, producing prints to his design. The engravings were published by Raimondi in 1524, and led to his imprisonment by Pope Clement VII, Romano did not become aware of the engravings until the poet Pietro Aretino came to see the original paintings while Romano was still working on them. Romano was not prosecuted since—unlike Raimondi—his images were not intended for public consumption, Aretino then composed sixteen explicit sonnets to accompany the paintings/engravings, and secured Raimondi’s release from prison. Raimondi escaped prison on this occasion, but the suppression on both occasions was comprehensive, no original copies of this edition have survived, with the exception of a few fragments in the British Museum, and two copies of posture 1. Certainly, unless the engraver of the Caracci edition had access to the British Museum’s fragments, and reconstructed his compositions from them, the Dean, Dr. John Fell, impounded the copper plates and threatened those involved with expulsion. The text of Aretino’s sonnets, however, survives, a new series of graphic and explicit engravings of sexual positions was produced by Camillo Procaccini or more likely by Agostino Carracci for a later reprint of Aretinos poems. Their production was in spite of their artist’s working in an environment that encouraged religious art and restricted secular. This famous artist was Jacques Joseph Coiny, agostino’s brother Annibale Carracci also completed the elaborate fresco of Loves of the Gods for the Palazzo Farnese in Rome. These images were drawn from Ovid’s Metamorphoses and include nudes, but are not explicit, the wide adultery of Julia Messalinas participation in prostitution, as criticised in Juvenals Satire VI. Jupiters full beard the frontispiece image is entitled Venus Genetrix, the bodies of those depicted show clear influences from classical statuary known at the time, such as, the over-muscled torsos and backs of the men. The womens clearly defined though small breasts the elaborate hairstyles of some of the women, such as his Venus, portraying the action in a classical stage set such as an ancient Greek sanctuary or temple. The title Polyenus and Chryseis pairs the fictional Polyenus with the mythological character Chryseis. All the women and goddesses in this work have a hairless groin, the modern furniture, e. g. Note, These prints are late 18th century re-creations of the originals. Media related to I Modi at Wikimedia Commons Selection of images in various versions
I Modi
–
Surviving fragments of Raimondi's second edition of I Modi in the
British Museum.
I Modi
–
Annibale’s Loves of the Gods
10.
Sack of Rome (1527)
–
The Sack of Rome on 6 May 1527 was a military event carried out by the mutinous troops of Charles V, Holy Roman Emperor, in Rome, then part of the Papal States. It marked a crucial victory in the conflict between Charles and the League of Cognac —the alliance of France, Milan, Venice, Florence. The army of the Holy Roman Emperor defeated the French army in Italy, the 34,000 Imperial troops mutinied and forced their commander, Charles III, Duke of Bourbon and Constable of France, to lead them towards Rome. Numerous bandits, along with the Leagues deserters, joined the army during its march, the Duke left Arezzo on 20 April 1527, taking advantage of the chaos among the Venetians and their allies after a revolt which had broken out in Florence against the Medici. In this way, the undisciplined troops sacked Acquapendente and San Lorenzo alle Grotte. The troops defending Rome were not at all numerous, consisting of 5,000 militiamen led by Renzo da Ceri and 189 Papal Swiss Guard, the citys fortifications included the massive walls, and it possessed a good artillery force, which the Imperial army lacked. Duke Charles needed to conquer the city swiftly, to avoid the risk of being trapped between the city and the Leagues army. On 6 May, the Imperial army attacked the walls at the Gianicolo, Duke Charles was fatally wounded in the assault, allegedly shot by Benvenuto Cellini. The Duke was wearing his famous white cloak to him out to his troops. The death of the last respected command authority among the Imperial army caused any restraint in the soldiers to disappear, Philibert of Châlon took command of the armies, but he was not as popular or feared, leaving him with little authority. One of the Swiss Guards most notable hours occurred at this time, almost the entire guard was massacred by Imperial troops on the steps of St Peters Basilica. After the brutal execution of some 1,000 defenders of the Papal capital and shrines, churches and monasteries, as well as the palaces of prelates and cardinals, were looted and destroyed. Even pro-Imperial cardinals had to pay to save their properties from the rampaging soldiers, on 8 May, Cardinal Pompeo Colonna, a personal enemy of Clement VII, entered the city. He was followed by peasants from his fiefs, who had come to avenge the sacks they had suffered by Papal armies, however, Colonna was touched by the pitiful conditions of the city and hosted in his palace a number of Roman citizens. The Vatican Library was saved because Philibert had set up his headquarters there, after three days of ravages, Philibert ordered the sack to cease, but few obeyed. In the meantime, Clement remained a prisoner in Castel SantAngelo, francesco Maria della Rovere and Michele Antonio of Saluzzo arrived with troops on 1 June in Monterosi, north of the city. Their cautious behaviour prevented them from obtaining a victory against the now totally undisciplined Imperial troops. At the same time Venice took advantage of this situation to capture Cervia and Ravenna, Emperor Charles V was greatly embarrassed by the fact that he had been powerless to stop his troops striking against Pope Clement VII and imprisoning him
Sack of Rome (1527)
–
The sack of Rome in 1527, by
Johannes Lingelbach, 17th century (private collection).
Sack of Rome (1527)
–
Sack of Rome. 6 May 1527. By
Martin van Heemskerck (1527).
Sack of Rome (1527)
–
Sack of Rome, by Francisco Javier Amérigo Aparicio, 1884
11.
Molinella
–
Molinella is a comune part of Metropolitan City of Bologna in the Italian region Emilia-Romagna, located about 30 kilometres northeast of Bologna. As of 31 August 2008, it had a population of 15,542, the municipality of Molinella contains the frazioni Marmorta, San Martino in Argine, San Pietro Capofiume, and Selva Malvezzi. Molinella borders the municipalities, Argenta, Baricella, Budrio. Molinella is situated in an area on the old San Donato Road. The municipality is crossed on the side by the Reno River and it is surrounded by several marshes. The town has a station on the Bologna-Portomaggiore Railway. The name Molinella comes from the Italian word for mill, molino, the village was created before the 14th century on a hillock between the marshes of Marmorta and Marrara and just south of the Po di Primaro river. The village was a Customs place on the border between Bologna Territory and Ferrara Territory until the 18th century and it was also one of the few accesses to the ferries which crossed the Po di Primaro. It remained for long one of the most isolated village in the province of Bologna. The construction of the railway in the 19th century was the first step for the development of the village, which is nowadays a little town with high standards of living. On 12 January 1985, the weather station of San Pietro Capofiume recorded the absolute low temperature of Italy for a lowland place
Molinella
–
Molinella
12.
Bologna
–
Bologna is the largest city of the Emilia-Romagna Region in Northern Italy. It is the seventh most populous city in Italy, located in the heart of an area of about one million. The first settlements back to at least 1000 BC. The city has been a centre, first under the Etruscans. Home to the oldest university in the world, University of Bologna, founded in 1088, Bologna is also an important transportation crossroad for the roads and trains of Northern Italy, where many important mechanical, electronic and nutritional industries have their headquarters. According to the most recent data gathered by the European Regional Economic Growth Index of 2009, Bologna is the first Italian city, Bologna is home to numerous prestigious cultural, economic and political institutions as well as one of the most impressive trade fair districts in Europe. In 2000 it was declared European capital of culture and in 2006, the city of Bologna was selected to participate in the Universal Exposition of Shanghai 2010 together with 45 other cities from around the world. Bologna is also one of the wealthiest cities in Italy, often ranking as one of the top cities in terms of quality of life in the country, after a long decline, Bologna was reborn in the 5th century under Bishop Petronius. According to legend, St. Petronius built the church of S. Stefano. After the fall of Rome, Bologna was a stronghold of the Exarchate of Ravenna in the Po plain. In 728, the city was captured by the Lombard king Liutprand, the Germanic conquerors formed a district called addizione longobarda near the complex of S. Stefano. Charlemagne stayed in this district in 786, traditionally said to be founded in 1088, the University of Bologna is widely considered to be the first university. The university originated as a centre of study of medieval Roman law under major glossators. It numbered Dante, Boccaccio and Petrarca among its students, the medical school is especially famous. In the 12th century, the families engaged in continual internecine fighting. Troops of Pope Julius II besieged Bologna and sacked the artistic treasures of his palace, in 1530, in front of Saint Petronio Church, Charles V was crowned Holy Roman Emperor by Pope Clement VII. Then a plague at the end of the 16th century reduced the population from 72,000 to 59,000, the population later recovered to a stable 60, 000–65,000. However, there was also great progress during this era, in 1564, the Piazza del Nettuno and the Palazzo dei Banchi were built, along with the Archiginnasio, the centre of the University
Bologna
–
A collage of the city, showing
Fountain of Neptune,
Piazza Maggiore,
Basilica of San Petronio,
Two towers (Due Torri),
Tagliatelle al
ragù bolognese (dish of Bologna origin), and endless city arcades typical for Bologna
Bologna
–
Porta Maggiore, one of the twelve medieval city gates of Bologna.
Bologna
–
Depiction of a 14th-century fight between the militias of the Guelf and Ghibelline factions in Bologna, from the Croniche of Giovanni Sercambi of Lucca.
Bologna
–
Bologna in 1640.
13.
Italy
–
Italy, officially the Italian Republic, is a unitary parliamentary republic in Europe. Located in the heart of the Mediterranean Sea, Italy shares open land borders with France, Switzerland, Austria, Slovenia, San Marino, Italy covers an area of 301,338 km2 and has a largely temperate seasonal and Mediterranean climate. Due to its shape, it is referred to in Italy as lo Stivale. With 61 million inhabitants, it is the fourth most populous EU member state, the Italic tribe known as the Latins formed the Roman Kingdom, which eventually became a republic that conquered and assimilated other nearby civilisations. The legacy of the Roman Empire is widespread and can be observed in the distribution of civilian law, republican governments, Christianity. The Renaissance began in Italy and spread to the rest of Europe, bringing a renewed interest in humanism, science, exploration, Italian culture flourished at this time, producing famous scholars, artists and polymaths such as Leonardo da Vinci, Galileo, Michelangelo and Machiavelli. The weakened sovereigns soon fell victim to conquest by European powers such as France, Spain and Austria. Despite being one of the victors in World War I, Italy entered a period of economic crisis and social turmoil. The subsequent participation in World War II on the Axis side ended in defeat, economic destruction. Today, Italy has the third largest economy in the Eurozone and it has a very high level of human development and is ranked sixth in the world for life expectancy. The country plays a prominent role in regional and global economic, military, cultural and diplomatic affairs, as a reflection of its cultural wealth, Italy is home to 51 World Heritage Sites, the most in the world, and is the fifth most visited country. The assumptions on the etymology of the name Italia are very numerous, according to one of the more common explanations, the term Italia, from Latin, Italia, was borrowed through Greek from the Oscan Víteliú, meaning land of young cattle. The bull was a symbol of the southern Italic tribes and was often depicted goring the Roman wolf as a defiant symbol of free Italy during the Social War. Greek historian Dionysius of Halicarnassus states this account together with the legend that Italy was named after Italus, mentioned also by Aristotle and Thucydides. The name Italia originally applied only to a part of what is now Southern Italy – according to Antiochus of Syracuse, but by his time Oenotria and Italy had become synonymous, and the name also applied to most of Lucania as well. The Greeks gradually came to apply the name Italia to a larger region, excavations throughout Italy revealed a Neanderthal presence dating back to the Palaeolithic period, some 200,000 years ago, modern Humans arrived about 40,000 years ago. Other ancient Italian peoples of undetermined language families but of possible origins include the Rhaetian people and Cammuni. Also the Phoenicians established colonies on the coasts of Sardinia and Sicily, the Roman legacy has deeply influenced the Western civilisation, shaping most of the modern world
Italy
–
The
Colosseum in Rome, built c. 70 – 80 AD, is considered one of the greatest works of
architecture and
engineering of ancient history.
Italy
–
Flag
Italy
–
The
Iron Crown of Lombardy, for centuries symbol of the
Kings of Italy.
Italy
–
Castel del Monte, built by German Emperor
Frederick II,
UNESCO World Heritage site
14.
Goldsmith
–
A goldsmith is a metalworker who specializes in working with gold and other precious metals. Goldsmiths must be skilled in forming metal through filing, soldering, sawing, forging, casting, the trade has very often included jewellery-making skills, as well as the very similar skills of the silversmith. Many universities and junior colleges also offer goldsmithing, silversmithing, compared to other metals, gold is malleable, ductile, rare, and it is the only solid metallic element with a yellow color. It may easily be melted, fused, and cast without the problems of oxides and gas that are problematic with other such as bronzes. It is fairly easy to weld, wherein similarly to clay two small pieces may be pounded together to make one larger piece. Gold is classified as a noble metal—because it does not react with most elements and it usually is found in its native form, lasting indefinitely without oxidization and tarnishing. Gold has been worked by humans in all cultures where the metal is available, either indigenously or imported, and the history of these activities is extensive. Superbly made objects from the ancient cultures of Africa, Asia, Europe, India, North America, Mesoamerica, some pieces date back thousands of years and were made using many techniques that still are used by modern goldsmiths. Techniques developed by some of those goldsmiths achieved a level that was lost and remained beyond the skills of those who followed. In medieval Europe goldsmiths were organized into guilds and usually were one of the most important, the guild kept records of members and the marks they used on their products. These records, when they survive, are useful to historians. Goldsmiths often acted as bankers, since they dealt in gold and had sufficient security for the storage of valuable items. The Sunar caste is one of the oldest communities in goldsmithing in India, in India, Vishwakarma are the goldsmith caste. The printmaking technique of engraving developed among goldsmiths in Germany around 1430, the notable engravers of the fifteenth century were either goldsmiths, such as Master E. S. or the sons of goldsmiths, such as Martin Schongauer and Albrecht Dürer. A goldsmith might have an array of skills and knowledge at their disposal. Gold, being the most malleable metal of all, offers opportunities for the worker. In todays world a variety of other metals, especially platinum alloys. 24 Carat is pure gold and historically, was known as fine gold, because it is so soft, however,24 Carat gold is rarely used
Goldsmith
–
Fifteenth-century
engraving of the goldsmith and
patron saint of goldsmiths
Saint Eligius in his workshop
Goldsmith
–
The Baqdadi goldsmith by
Kamal-ol-molk
Goldsmith
–
A
Karo people (Indonesia) goldsmith in Sumatra (circa 1918)
Goldsmith
–
Karo goldsmith and his tools
15.
Francesco Francia
–
Francesco Francia, whose real name was Francesco Raibolini, was an Italian painter, goldsmith, and medallist from Bologna, who was also director of the city mint. He may have trained with Marco Zoppo and was first mentioned as a painter in 1486 and his earliest known work is the Felicini Madonna, which is signed and dated 1494. He himself trained Marcantonio Raimondi and several artists, he produced niellos, in which Raimondi first learnt to engrave, soon excelling his master. Raphaels Santa Cecilia is supposed to have produced such a feeling of inferiority in Francia that it caused him to die of depression, however, as his friendship with Raphael is now well-known, this story has been discredited. His sons Giacomo Francia and Giulio Francia were also artists, among his works is a Baptism of Christ in Lisbon. Giorgio Vasari, Le vite dei più eccellenti architetti, pittori et scultori italiani, williamson, Francesco Raibolini, called Francia, London 1901 Giuseppe Piazzi, Le Opere di Francesco Raibolini, detto il Francia, orefice e pittore. Azzoguidi, Bologna 1925 Emilio Negro, Nicosetta Roio, Francesco Francia e la sua scuola, artioli Editore, Modena 1998, ISBN8877920572 Sally Hickson, Giovanni Francesco Zaninello of Ferrara and the portrait of Isabella dEste by Francesco Francia, Renaissance Studies Vol.23 No. 3, S. 288–310 Pope-Hennessy, John & Kanter, Laurence B, the Robert Lehman Collection I, Italian Paintings. New York, Princeton, The Metropolitan Museum of Art in association with Princeton University Press, cS1 maint, Multiple names, authors list Media related to Francesco Francia at Wikimedia Commons Catholic Encyclopedia entry
Francesco Francia
–
The Adoration of the Child by Francesco Raibolini (1500), at the
Alte Pinakothek,
Munich.
16.
Niello
–
Niello is a black mixture of copper, silver, and lead sulphides, used as an inlay on engraved or etched metal. The resulting design, called a niello, was of much higher contrast, during the 10th to 13th century AD, Kievan Rus craftsmen possessed a high degree of skill in jewelry making. John Tsetses, a 12th-century Byzantine writer, praised the work of Kievan Rus artisans and likened their work to the creations of Daedalus, the Kievan Rus technique for niello application was first shaping silver or gold by repoussé work, embossing, and casting. The heat of the furnace would blacken the niello and make the other stand out more vividly. During the Mongol invasion from 1237 to 1240 AD, nearly all of Kievan Rus was overrun, settlements and workshops were burned and razed and most of the craftsmen and artisans were killed. Afterwards, skill in niello and cloisonné enamel diminished greatly, the Ukrainian Museum of Historic Treasures, located in Kiev, has a large collection of nielloed items mostly recovered from tombs found throughout Ukraine. Nielloware jewelry and related items from Thailand were popular gifts from American soldiers taking R&R in Thailand to their girlfriends/wives back home from the 1930s to the 1970s, most of it was completely handmade jewelry. The technique is as follows, The artisan would carve a particular character or pattern into the silver and he would then use the niello inlay to fill in the background. After being baked in a fire, the alloy would harden. It would then be sanded smooth and buffed, finally, a silver artisan would add minute details by hand. Filigree was often used for additional ornamentation, Nielloware is classified as only being black and silver colored. Other colored jewelry originating during this time uses a different technique and is not considered niello, many of the characters shown in nielloware are characters originally found in the Hindu legend Ramayana. The Thai version is called Ramakien, important Thai cultural symbols were also frequently used. Collecting Thai jewelry is a hobby with many jewelry enthusiasts. The Kiev museum of historic treasures, overview of Siam Sterling Nielloware, Tampa, FL Dittell, C. Survey of Siam Sterling Nielloware, Bookbaby Publishers Maryon, Herbert, untracht, Oppi Metal techniques For Craftsmen, New York 1968. The Siam Sterling Nielloware Site Nielloware in Thailand Niello information site
Niello
–
7th century
Anglo-Saxon gold belt buckle with discreet niello accents, from
Sutton Hoo.
Niello
–
Diptych with Nativity and Adoration, silver and niello, engraved and gilded, copper alloy frame, Paris, c. 1500,
The Cloisters
Niello
–
"
Minden Cross" in niello technique, appr. AD 1070 or 1120
17.
Pyramus and Thisbe
–
Pyramus and Thisbē are a pair of ill-fated lovers whose story forms part of Ovids Metamorphoses. The story has since been retold by many authors, in Ovids Metamorphoses, Pyramus and Thisbe are two lovers in the city of Babylon who occupy connected houses/walls, forbidden by their parents to be wed, because of their parents rivalry. Through a crack in one of the walls, they whisper their love for each other and they arrange to meet near Ninus tomb under a mulberry tree and state their feelings for each other. Thisbe arrives first, but upon seeing a lioness with a mouth bloody from a recent kill, she flees, when Pyramus arrives he is horrified at the sight of Thisbes veil, assuming that a wild beast has killed her. Pyramus kills himself, falling on his sword in proper Babylonian fashion, Pyramus blood stains the white mulberry fruits, turning them dark. Thisbe returns, eager to tell Pyramus what had happened to her, Thisbe, after a brief period of mourning, stabs herself with the same sword. In the end, the gods listen to Thisbes lament, Ovids is the oldest surviving version of the story, published in 8 AD, but he adapted an existing etiological myth. The metamorphosis in the story involves Pyramus changing into this river. A 2nd-century mosaic unearthed near Nea Paphos on Cyprus depicts this older version of the myth, in the 1380s, Geoffrey Chaucer, in his The Legend of Good Women, and John Gower, in his Confessio Amantis, were the first to tell the story in English. Gower altered the story somewhat into a cautionary tale, John Methams Amoryus and Cleopes is another early English adaptation. The tragedy of Romeo and Juliet ultimately sprang from Ovids story, here the star-crossed lovers cannot be together because Juliet has been engaged by her parents to another man and the two families hold an ancient grudge. As in Pyramus and Thisbe, the belief in one lovers death leads to consecutive suicides. The earliest version of Romeo and Juliet was published in 1476 by Masuccio Salernitano, Salernitano and Da Porto both are thought to have been inspired by Ovid and Boccaccios writing. Shakespeares most famous 1590s adaptation is a dramatization of Arthur Brookes 1562 poem The Tragical History of Romeus and Juliet, in Shakespeares A Midsummer Nights Dream, written in the 1590s, a group of mechanicals enact the story of Pyramus and Thisbe. Their production is crude and, for the most part, badly done until the final monologues of Nick Bottom, as Pyramus and Francis Flute, as Thisbe. Spanish poet Luis de Góngora wrote a Fábula de Píramo y Tisbe in 1618, while French poet Théophile de Viau wrote Les amours tragiques de Pyrame et Thisbée, in 1718 Giuseppe Antonio Brescianello wrote his only opera La Tisbe for Württemberg court. The story was adapted by John Frederick Lampe as a Mock Opera in 1745, in 1768 in Vienna, Johann Adolph Hasse composed a serious opera on the tale, titled Piramo e Tisbe. In Geoffrey Chaucers The Merchants Tale from The Canterbury Tales, the two illicit lovers Damian and May are likened to Pyramus and Thisbe for their forbidden love
Pyramus and Thisbe
–
Thisbe, by
John William Waterhouse, 1909.
Pyramus and Thisbe
–
Pyramus and Thisbe by Gregorio Pagani.
Uffizi Gallery.
18.
Paganism
–
Paganism is a term that derives from Latin word pagan, which means nonparticipant, one excluded from a more distinguished, professional group. The term was used in the 4th century, by early Christian community, the term competed with polytheism already in use in Judaism, by Philo in the 1st century. Pagans and paganism was a pejorative for the same polytheistic group, Paganism has broadly connoted religion of the peasantry, and for much of its history a derogatory term. Alternate terms in Christian texts for the group was hellene. In and after the Middle Ages, paganism was a pejorative that was applied to any non-Abrahamic or unfamiliar religion, there has been much scholarly debate as to the origin of the term paganism, especially since no one before the 20th century self-identified as a pagan. In the 19th century, paganism was re-adopted as a self-descriptor by members of various artistic groups inspired by the ancient world. Forms of these religions, influenced by various historical pagan beliefs of pre-modern Europe, exist today and are known as contemporary or modern paganism, while most pagan religions express a worldview that is pantheistic, polytheistic, or animistic, there are some monotheistic pagans. It is crucial to stress right from the start that until the 20th century people did not call themselves pagans to describe the religion they practised, the notion of paganism, as it is generally understood today, was created by the early Christian Church. It was a label that Christians applied to others, one of the antitheses that were central to the process of Christian self-definition, as such, throughout history it was generally used in a derogatory sense. The term pagan is from Late Latin paganus, revived during the Renaissance and it is related to pangere and ultimately comes from Proto-Indo-European *pag-. The evolution occurred only in the Latin west, and in connection with the Latin church, elsewhere, Hellene or gentile remained the word for pagan, and paganos continued as a purely secular term, with overtones of the inferior and the commonplace. However, this idea has multiple problems, first, the words usage as a reference to non-Christians pre-dates that period in history. Second, paganism within the Roman Empire centered on cities, the concept of an urban Christianity as opposed to a rural paganism would not have occurred to Romans during Early Christianity. Third, unlike words such as rusticitas, paganus had not yet acquired the meanings used to explain why it would have been applied to pagans. Paganus more likely acquired its meaning in Christian nomenclature via Roman military jargon, Early Christians adopted military motifs and saw themselves as Milites Christi. As early as the 5th century, paganos was metaphorically used to persons outside the bounds of the Christian community. In response, Augustine of Hippo wrote De Civitate Dei Contra Paganos, in it, he contrasted the fallen city of Man to the city of God of which all Christians were ultimately citizens. Hence, the invaders were not of the city or rural
Paganism
–
The
Venus of Arles, depicting the goddess
Venus holding the apple of
Hesperides.
Paganism
–
Reconstruction of the
Parthenon, on the
Acropolis of Athens,
Greece.
Paganism
–
Some
megaliths are believed to have religious significance.
Paganism
–
Children standing with The Lady of Cornwall in a neopagan ceremony in England.
19.
Mythology
–
Mythology refers variously to the collected myths of a group of people or to the study of such myths. Myths are the people tell to explain nature, history. Myth is a feature of every culture, mythologizing continues, as shown in contemporary mythopoeia such as urban legends and the expansive fictional mythoi created by fantasy novels and comics. A cultures collective mythology helps convey belonging, shared and religious experiences, behavioral models, the study of myth began in ancient history. Rival classes of the Greek myths by Euhemerus, Plato and Sallustius were developed by the Neoplatonists, the nineteenth-century comparative mythology reinterpreted myth as a primitive and failed counterpart of science, a disease of language, or a misinterpretation of magical ritual. Recent approaches often view myths as manifestations of psychological, cultural, or societal truths, the term mythology predates the word myth by centuries. It first appeared in the fifteenth-century, borrowed from the Middle French term mythologie, the word mythology, comes from Middle French mythologie, from Late Latin mythologia, from Greek μυθολογία mythología from μῦθος mythos and -λογία -logia. The word mythología appears in Plato, but was used as a term for fiction or story-telling of any kind, combining mỹthos. From Lydgate until the seventeenth or eighteenth-century, mythology was similarly used to mean a moral, fable, from its earliest use in reference to a collection of traditional stories or beliefs, mythology implied the falsehood of the stories being described. It came to be applied by analogy with similar bodies of traditional stories among other cultures around the world. The Greek loanword mythos and Latinate mythus both appeared in English before the first example of myth in 1830, in present use, mythology usually refers to the collected myths of a group of people, but may also mean the study of such myths. For example, Greek mythology, Roman mythology and Hittite mythology all describe the body of myths retold among those cultures, dundes defined myth as a sacred narrative that explains how the world and humanity evolved into their present form. Lincoln defined myth as ideology in narrative form, scholars in other fields use the term myth in varied ways. In a broad sense, the word can refer to any traditional story, due to this pejorative sense, some scholars opted for the term mythos. Its use was similarly pejorative and now commonly refers to its Aristotelian sense as a plot point or to a collective mythology. The term is distinguished from didactic literature such as fables. Main characters in myths are usually gods, demigods or supernatural humans, however, many exceptions or combinations exist, as in the Iliad, Odyssey and Aeneid. Myths are often endorsed by rulers and priests and are linked to religion or spirituality
Mythology
–
Prometheus (1868) by
Gustave Moreau. In the mythos of
Hesiodus and possibly
Aeschylus (the
Greek trilogy
Prometheus Bound,
Prometheus Unbound and
Prometheus Pyrphoros), Prometheus is bound and tortured for giving fire to humanity at its creation.
Mythology
–
1929
Belgian banknote, depicting
Ceres,
Neptune and
caduceus.
Mythology
–
Fu Xi and
Nüwa represented as half-snake, half-human creatures
20.
Giulio Campagnola
–
He was the adoptive father of the artist Domenico Campagnola. His early years are better documented than his adult life and he was born in Padua, then subject to the republic of Venice, and home to one of the three major European universities of the fifteenth century, the University of Padua. According to Giorgio Vasari, Girolamo was also an artist a Paduan painter and disciple of Squarcione, a number of sources, including Vasari, say that Campagnola was extremely accomplished in a number of artistic areas as a teenager. This letter was sent to the court at Mantua in an attempt to find him a position there and it is not clear if he ever went to Mantua, although his work shows the influence of Mantegna. One engraving is based on a drawing by Mantegna or his workshop. In 1499 he appears in the accounts of the court at Ferrara, there is then no documentation until 1507, when another Paduan recorded lending him a painting and three copper engraving plates. This was in Venice, where most writers assume he was living by then, at the period he also became a friend of the humanist and alchemical poet Giovanni Aurelio Augurello. Depicting his experiments with artificial blue pigments in his Chrysopoeia Augurello refers to Giulio as the one person who at least is somehow profiting from the vain quest for gold. After this there is no record, but an engraving plate that he had left half-finished was completed by his adopted son c. 1517, so he is assumed to have died by then at the latest and he had adopted Domenico Campagnola, apparently an orphan of German parentage, in about 1512. Another source claimed that he took orders, but this is now discounted. Most writers see Campagnola as a professional artist, who received some sort of training in Mantua and it is still possible to see Campagnola, as W. R. Rearick did, as a dilettante who probably mostly lived in Padua, probably with another career altogether. This, however, remains a minority view, the dating of his work is based very largely on the stylistic arrangement of his work around the Astrologer, dated 1509, and his presumed death around 1515. Whilst the chronological sequence of his engravings set out by Arthur M. Hind has been generally accepted, the dating of them remains a subject for discussion. His early work is influenced by Albrecht Dürer, and includes one direct copy of a Dürer engraving. The next group of engravings, which include the Astrologer, very successfully interpret the mood of Venetian painting of the first decade of the century in the medium of engraving and it is this group that he is most famous for, and that also introduce his stipple technique. Stippling means engraving with dots or little flicks of the burin, Campagnola is able to convey varying tone by different intensities of dots, rather than by techniques of hatching and cross-hatching usually necessary. These engravings are in a combination of line and stipple work, the plates were later reworked in stipple work, in at least one case after a considerable number of impressions of the first state had been taken
Giulio Campagnola
–
Landscape with Two Men Sitting near a Coppice, pen and wash (
Louvre Museum). Later begun as an engraving by Giulio, but finished by his son Domenico. Some ascribe the drawing to
Giorgione.
Giulio Campagnola
–
Two Naked Women, an early print, 11.9 × 18.1 cm
21.
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.
22.
Woodcut
–
Woodcut is a relief printing technique in printmaking. An artist carves an image into the surface of a block of wood—typically with gouges—leaving the printing parts level with the surface while removing the non-printing parts. Areas that the artist cuts away carry no ink, while characters or images at surface level carry the ink to produce the print, the block is cut along the wood grain. The surface is covered with ink by rolling over the surface with a roller, leaving ink upon the flat surface. Multiple colors can be printed by keying the paper to a frame around the woodblocks, single-leaf woodcut is a term for a woodcut presented as a single image or print, as opposed to a book illustration. Among these the best known are the 16th century Hieronymus Andreae, Hans Lützelburger and Jost de Negker, all of whom ran workshops, the formschneider in turn handed the block on to specialist printers. There were further specialists who made the blank blocks and this is why woodcuts are sometimes described by museums or books as designed by rather than by an artist, but most authorities do not use this distinction. The division of labour had the advantage that a trained artist could adapt to the medium relatively easily, there were various methods of transferring the artists drawn design onto the block for the cutter to follow. Either the drawing would be made directly onto the block, or a drawing on paper was glued to the block, either way, the artists drawing was destroyed during the cutting process. Other methods were used, including tracing, in both Europe and the Far East in the early 20th century, some artists began to do the whole process themselves. In Japan, this movement was called sōsaku-hanga, as opposed to shin-hanga, in the West, many artists used the easier technique of linocut instead. Compared to intaglio techniques like etching and engraving, only low pressure is required to print, as a relief method, it is only necessary to ink the block and bring it into firm and even contact with the paper or cloth to achieve an acceptable print. In Europe a variety of woods including boxwood and several nut and fruit woods like pear or cherry were commonly used, in Japan, there are three methods of printing to consider, Stamping, Used for many fabrics and most early European woodcuts. Used for European woodcuts and block-books later in the fifteenth century, also used for many Western woodcuts from about 1910 to the present. The block goes face up on a table, with the paper or fabric on top, the back is rubbed with a hard pad, a flat piece of wood, a burnisher, or a leather frotton. A traditional Japanese tool used for this is called a baren, later in Japan, complex wooden mechanisms were used to help hold the woodblock perfectly still and to apply proper pressure in the printing process. This was especially helpful once multiple colors were introduced and had to be applied with precision atop previous ink layers, printing in a press, presses only seem to have been used in Asia in relatively recent times. Printing-presses were used from about 1480 for European prints and block-books, simple weighted presses may have been used in Europe before the print-press, but firm evidence is lacking
Woodcut
–
Four horsemen of the Apocalypse by
Albrecht Dürer
Woodcut
–
Using a handheld gouge to cut a woodcut design into Japanese plywood. The design has been sketched in chalk on a painted face of the plywood.
Woodcut
–
Woodcuts of Stanislaw Raczynski (1903-1982)
Woodcut
–
Block Cutter at Work woodcut by
Jost Amman, 1568
23.
Life of the Virgin
–
In both cases the number of scenes shown varies greatly with the space available. The Finding in the Temple, the last episode in the childhood of Christ, when the Chora cycle resumes, it has become part of the Life of Christ beginning with his Incarnation, as has Giottos and many Western examples. The Giotto cycle is very full at 26 scenes, but in a small ivory only two scenes may be shown. The commonest pair in such a case is the Annunciation and the Nativity of Jesus, the Tornabuoni Chapel cycle has nine scenes. In this case, as often, other scenes, such as the Visitation. A Life of Christ has many scenes that overlap with the Life of Mary. Albrecht Dürer produced a popular and influential series of 19 scenes in woodcut. Seventeen of these scenes preceded the Birth of the Virgin and these apocryphal scenes became much more restricted in the later Middle Ages. Certain events from the Life were celebrated as feasts by the Church, and others were not, this greatly affected the frequency with which they were depicted. Other Marian devotional practices affected the length and composition of cycles, theological developments also influenced selection, especially those concerning the Death of the Virgin and the Assumption, with the latter gradually replacing the former in the West. The Nativity is always represented, but this may be done by the Nativity itself, ghirlandajo has large rectangular spaces to fill, and avoids scenes with only a few participants, except for the Annunciation. Christ taking leave of his Mother was a new in the 14th century. Early cycles tend to more scenes and details from the apocryphal Gospels, including the story of Marys parents, Saint Anne and Joachim. The influence of these stories never disappeared entirely, partly because the canonical Gospels give few details of Marys life before, in the West the Pseudo-Matthew was the dominant apocryphal source, slightly different versions, all equally deriving from the Protoevangelium of James, were preferred in the East. Cycles of the Life of Mary were less frequent in the West than the East until the Gothic period, the cycle of the Nativity in the tympanum of the right portal of Chartres Cathedral is the earliest Western monumental cycle to appear under a large enthroned Virgin and Child. Such cycles continued to appear in prominent positions, gradually becoming less common than scenes of the Passion of Christ, with the arrival of the old master print, series of the Life were popular, and were often among the most ambitious works of printmaking artists. Martin Schongauers Death of the Virgin was one of his most influential works, adapted into painting by a host of artists in Germany, schongauer apparently planned a large series, but only four scenes were produced. Israhel van Meckenems series of 12 scenes, and Francesco Rossellis series, Dürer largely eclipsed these at the beginning of the 16th century with his cycle, his Death of the Virgin essentially following Schongauers composition
Life of the Virgin
–
The
Marriage of the Virgin by
Giotto (
Scrovegni Chapel).
Life of the Virgin
–
Crucifixion,
Descent from the Cross,
Lamentation of Christ,
Betrayal of Christ, Pilate washing his hands, Christ bearing the Cross,
Presentation of Christ in the Temple,
Finding in the Temple, from a 15th-century
Book of Hours
Life of the Virgin
–
Hans Memling 's so-called
Seven Joys of the Virgin —in fact this is a later title for a Life of the Virgin cycle on a single panel. Altogether 25 scenes, not all involving the Virgin, are depicted. 1480,
Alte Pinakothek, Munich
Life of the Virgin
–
Death of the Virgin,
Hugo van der Goes, ca. 1480
24.
Monogram
–
A monogram is a motif made by overlapping or combining two or more letters or other graphemes to form one symbol. Monograms are often made by combining the initials of an individual or a company, a series of uncombined initials is properly referred to as a cypher and is not a monogram. Monograms first appeared on coins, as early as 350BC, the earliest known examples are of the names of Greek cities who issued the coins, often the first two letters of the citys name. For example, the monogram of Achaea consisted of the letters alpha, a famous example of a monogram serving as an artists signature is the AD used by Albrecht Dürer. Over the centuries, monograms of the name of Jesus Christ have been used as Christian symbols, the IX monogram consists of the initial Greek letters of the name Jesus Christ, I for Ιησούς, and X for Χριστος. The IHS Christogram, denoting the first three letters of the Greek name of Jesus, is written as a cypher. Perhaps the most significant Christogram is the Chi Rho, formed from the first two letters of Χριστος, monograms of the names of monarchs are used as part of the insignia of public organizations in kingdoms, such as on police badges. This indicates a connection to the ruler, however, the royal cypher, so familiar on pillar boxes, is not technically a monogram, since the letters are not combined. Royal monograms often appear on coins, frequently surmounted by a crown, countries that have employed this device in the past include Bulgaria, Great Britain, Russia, Sweden and many German states. Today, several Danish coins carry the monogram of Margrethe II, the only countries using the Euro to have a royal monogram as their national identifying mark are Belgium and Monaco. In Thailand royal monograms appear on the flag for each major royal family member. An individuals monogram is often a very fancy piece of art used for stationery, for adorning luggage, for embroidery on clothing and these monograms may have two or three letters. Married or engaged couples may use two-letter monograms of their entwined initials, married couples may also create three-letter monograms incorporating the initial of their shared surname. For example, the monogram MJA might be used for Michael, however, monogramming etiquette for the married couple varies according to the item being monogrammed. Linens, for example, typically list the womans given initial first, followed by the shared surname initial. Monograms can often be found on dress shirts where they can be located in a number of different positions. Some companies and organizations adopt a monogram for a logo, usually with the letters of their acronym, for example, as well as having an official seal, and the Texas Longhorns logo, the University of Texas at Austin uses a UT monogram. The New York Yankees baseball team uses a monogram on their ball cap insignia
Monogram
–
Monogram of the
Dutch East India Company (Vereenigde Oost-Indische Compagnie), formerly above the entrance to the
Castle of Good Hope in
South Africa.
Monogram
–
The
Chi-Rho, a monogram of the first two letters of the Greek word for
Christ.
Monogram
–
Speciedaler of
Denmark, bearing the double C7 monogram of
Christian VII.
Monogram
–
Logo on cover of 1896 edition of
The American Claimant by
Mark Twain
25.
Intellectual property
–
Intellectual property refers to creations of the intellect for which a monopoly is assigned to designated owners by law. Intellectual property rights are the protections granted to the creators of IP, and include trademarks, copyright, patents, industrial design rights, and in some jurisdictions trade secrets. Artistic works including music and literature, as well as discoveries, inventions, words, phrases, symbols, the Statute of Monopolies and the British Statute of Anne are seen as the origins of patent law and copyright respectively, firmly establishing the concept of intellectual property. The first known use of the intellectual property dates to 1769. The first clear example of modern usage goes back as early as 1808, the German equivalent was used with the founding of the North German Confederation whose constitution granted legislative power over the protection of intellectual property to the confederation. According to Lemley, it was only at point that the term really began to be used in the United States. The history of patents does not begin with inventions, but rather with royal grants by Queen Elizabeth I for monopoly privileges, the evolution of patents from royal prerogative to common-law doctrine. The term can be used in an October 1845 Massachusetts Circuit Court ruling in the patent case Davoll et al. v. Brown. The statement that discoveries are. property goes back earlier, in Europe, French author A. Nion mentioned propriété intellectuelle in his Droits civils des auteurs, artistes et inventeurs, published in 1846. Until recently, the purpose of property law was to give as little protection as possible in order to encourage innovation. Historically, therefore, they were granted only when they were necessary to encourage invention, limited in time, the concepts origins can potentially be traced back further. In 500 BCE, the government of the Greek state of Sybaris offered one years patent to all who should discover any new refinement in luxury. Intellectual property rights include patents, copyright, industrial design rights, trademarks, plant variety rights, trade dress, geographical indications, a copyright gives the creator of an original work exclusive rights to it, usually for a limited time. Copyright may apply to a range of creative, intellectual, or artistic forms. Copyright does not cover ideas and information themselves, only the form or manner in which they are expressed, an industrial design right protects the visual design of objects that are not purely utilitarian. An industrial design consists of the creation of a shape, configuration or composition of pattern or color, or combination of pattern, an industrial design can be a two- or three-dimensional pattern used to produce a product, industrial commodity or handicraft. Plant breeders rights or plant variety rights are the rights to use a new variety of a plant. The variety must amongst others be novel and distinct and for registration the evaluation of propagating material of the variety is examined, a trademark is a recognizable sign, design or expression which distinguishes products or services of a particular trader from the similar products or services of other traders
Intellectual property
–
The
Statute of Anne came into force in 1710
Intellectual property
–
Demonstration in
Sweden in support of
file sharing, 2006.
Intellectual property
–
"Copying is not theft!" badge with a character resembling
Mickey Mouse in reference to the in popular culture rationale behind the
Sonny Bono Copyright Term Extension Act of 1998
Intellectual property
–
RIAA representative
Hilary Rosen testifies before the Senate Judiciary Committee on the future of digital music (July 11, 2000)
26.
Saint Lawrence
–
The martyrs St Orencio and St Paciencia are traditionally held to have been his parents. He encountered the future Pope St Sixtus II, who was of Greek origin and one of the most famous and highly esteemed teachers, eventually, both left Spain for Rome. When Sixtus became the Pope in 257, he ordained St Lawrence as a deacon and he is therefore called archdeacon of Rome, a position of great trust that included the care of the treasury and riches of the Church and the distribution of alms to the indigent. At the beginning of August 258, the Emperor Valerian issued an edict that all bishops, priests, Pope St Sixtus II was captured on 6 August 258, at the cemetery of St Callixtus while celebrating the liturgy and executed forthwith. After the death of Sixtus, the prefect of Rome demanded that St Lawrence turn over the riches of the Church, St Ambrose is the earliest source for the narrative that St Lawrence asked for three days to gather the wealth. He worked swiftly to distribute as much Church property to the indigent as possible, one account records him declaring to the prefect, The Church is truly rich, far richer than your emperor. This act of defiance led directly to his martyrdom and can be compared to the parallel Roman tale of the jewels of Cornelia, on 10 August, St Lawrence, the last of the seven deacons, and therefore, the ranking Church official, suffered a martyrs death. The Almanac of Philocalus for AD354 states that he was buried in the Catacomb of Cyriaca on the Via Tiburtina by Hippolytus and Justin the Confessor, one of the early sources for his martyrdom was the description of Aurelius Prudentius Clemens in his Peristephanon, Hymn 2. A famous legend has persisted from ancient times, as deacon in Rome, St Lawrence was responsible for the material goods of the Church and the distribution of alms to the poor. St Ambrose of Milan relates that when the treasures of the Church were demanded of St Lawrence by the Prefect of Rome, he brought forward the poor, to whom he had distributed the treasure as alms. Behold in these poor persons the treasures which I promised to show you, to which I will add pearls and precious stones, those widows and consecrated virgins, which are the Churchs crown. The Prefect was so angry that he had a great gridiron prepared with hot coals beneath it, after the martyr had suffered pain for a long time, the legend concludes, he cheerfully declared, Im well done. From this derives his patronage of cooks, chefs, and comedians, Emperor Constantine I is traditionally held to have erected a small oratory in honour of St Lawrence, which was a station on the itineraries of the graves of the Roman martyrs by the seventh century. Pope Damasus I rebuilt or repaired the church, now the Basilica di San Lorenzo fuori le Mura, the gridiron of the martyrdom was placed by Pope Paschal II in the Minor Basilica of San Lorenzo in Lucina. Lawrence in Palatio ad Sancta Sanctorum, Pontifical Sanctuary of the Holy Stairs, the life and miracles of St Lawrence were collected in The Acts of St Lawrence but those writings have been lost. The earliest existing documentation of miracles associated with him is in the writings of St Gregory of Tours, sanctulus was rebuilding a church of St Lawrence, which had been attacked and burnt, and hired many workmen to accomplish the job. At one point during the construction, he himself with nothing to feed them. He prayed to St Lawrence for help, and looking in his basket he found a fresh and it seemed to him too small to feed the workmen, but in faith he began to serve it to the men
Saint Lawrence
–
Lawrence before Valerianus, detail from a fresco by
Fra Angelico, c. 1447-1450,
Pinacoteca Vaticana
Saint Lawrence
–
The Martyrdom of St Lawrence,
Tintoretto, oil on canvas, (
Christ Church, Oxford)
Saint Lawrence
–
The stone on which St Lawrence's body was laid after death, in
San Lorenzo fuori le mura
Saint Lawrence
–
Lawrence statue in St Lawrence Deacon & Martyr Parish Church,
Balagtas, Bulacan,
Philippines [1].
27.
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
28.
Battle of Cascina (Michelangelo)
–
The Battle of Cascina is an influential lost artwork by Michelangelo. The painting was commissioned from Michelangelo by Piero Soderini, statesman of the Democratic of Florence and it was intended to wall of the Salone dei Cinquecento in Palazzo Vecchio. The opposite wall was to be decorated by Leonardo da Vinci, the two battles were notable medieval Florentine victories. The Battle of Cascina was fought on 28 July 1364 between the troops of Florence and Pisa, resulting in victory of the former, a thousand Pisans were killed and two hundred more were captured. Michelangelo never completed the painting, but did produce a cartoon of the composition. The cartoon was copied by artists, the most notable extant copy being by Michelangelos pupil Sangallo. Some of Michelangelos preparatory drawings survive, along with prints of part of the scene by Marcantonio Raimondi. According to Michelangelos biographer Giorgio Vasari the original cartoon was deliberately destroyed by Michelangelos rival Bartolommeo Bandinelli because of his jealousy of its fame, Michelangelo depicted a scene at the beginning of the battle when the Florentine army was initially taken by surprise when the Pisans attacked. He depicts Florentine soldiers bathing naked in the river Arno responding to a trumpet which warns them of the sudden Pisan attack, as the soldiers emerge from the river and buckle on their armour, they are threatened by shots from the Pisans. Several soldiers look or point towards the Pisan position to the left, one soldier has apparently been hit and fallen back into the river, while others leap energetically into action. The chosen episode allowed Michelangelo to depict his favoured topic, the male figure in varieties of contrapposto. The Battle of Anghiari by Leonardo da Vinci, the pendant to this painting Studies to the Battle of Cascina
Battle of Cascina (Michelangelo)
–
Copy of the Battle by Michelangelo's pupil
Aristotele da Sangallo
Battle of Cascina (Michelangelo)
–
Michelangelo's study of Battle of Cascina
29.
The Luncheon on the Grass
–
Le Déjeuner sur lherbe – originally titled Le Bain – is a large oil on canvas painting by Édouard Manet created in 1862 and 1863. It depicts a nude and a scantily dressed female bather on a picnic with two fully dressed men in a rural setting. Rejected by the Salon jury of 1863, Manet seized the opportunity to exhibit this, the piece is now in the Musée dOrsay in Paris. A smaller, earlier version can be seen at the Courtauld Gallery, the painting features a nude woman casually lunching with two fully dressed men. Her body is lit and she stares directly at the viewer. The two men, dressed as young dandies, seem to be engaged in conversation, ignoring the woman, in front of them, the womans clothes, a basket of fruit, and a round loaf of bread are displayed, as in a still life. In the background, a lightly clad woman bathes in a stream, too large in comparison with the figures in the foreground, she seems to float above them. The roughly painted background lacks depth – giving the viewer the impression that the scene is not taking place outdoors and this impression is reinforced by the use of broad studio light, which casts almost no shadows. The man on the right wears a hat with a tassel. Despite the mundane subject, Manet deliberately chose a large size, measuring 208 x 264.5 cm, normally reserved for historical, religious. The style of the painting breaks with the traditions of the time. He did not try to hide the brush strokes, the painting even looks unfinished in parts of the scene. The nude is also different from the smooth, flawless figures of Cabanel or Ingres. There is much that we still do not know about the painting, such as when he began painting it, exactly how he got the idea. The figures of this painting are a testament to how deeply connected Manet was to Le Déjeuner sur l’herbe, some assume that the landscape of the painting is meant to be l’île Saint-Ouen, which was just up the Seine from his family property in Gennevilliers. Manet often used models and people he knew as reference during his creation process. The female nude is clearly thought to be Victorine Meurent, the woman who became his favorite and frequently portrayed model, the male figure on the right was based on a combination of his two brothers, Eugène and Gustave Manet. The other man is based on his brother-in-law and Dutch sculptor named Ferdinand Leenhoff, nancy Locke referred to this scene as Manet’s family portrait
The Luncheon on the Grass
–
The Luncheon on the Grass
The Luncheon on the Grass
–
Judgement of Paris
Engraving ca. 1515 by Raimondi to a design by
Raphael.
The Luncheon on the Grass
–
Giorgione,
The Tempest (c. 1508). Gallerie dell'Accademia, Venice, Italy.
The Luncheon on the Grass
–
The Pastoral Concert ca. 1510, by
Giorgione or
Titian, has been cited as an inspiration for Manet's painting.
30.
Marco Dente
–
Marco Dente was an Italian engraver of the Renaissance. He was also called Marco da Ravenna and he was a pupil of Marcantonio Raimondi. His best works are copies after Baccio Bandinelli, Giulio Romano, Raphael, un incisore ravennate nel segno di Raffaello. Le stampe delle Raccolte Piancastelli, Ravenna, Longo,2008, 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
Marco Dente
–
Marco Dente, Laocoon, engraving, 1523
31.
Marco da Ravenna
–
Marco Dente was an Italian engraver of the Renaissance. He was also called Marco da Ravenna and he was a pupil of Marcantonio Raimondi. His best works are copies after Baccio Bandinelli, Giulio Romano, Raphael, un incisore ravennate nel segno di Raffaello. Le stampe delle Raccolte Piancastelli, Ravenna, Longo,2008, 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
Marco da Ravenna
–
Marco Dente, Laocoon, engraving, 1523
32.
Giovanni Jacopo Caraglio
–
Jacopo Caraglio, Giovanni Jacopo Caraglio or Gian Giacomo Caraglio known also as Jacobus Parmensis and Jacobus Veronensis was an Italian engraver, goldsmith and medallist, born at Verona or Parma. His skill in engraving was available to developing the early style of full-blown Mannerism. Caraglio was probably trained as a goldsmith before learning advanced engraving techniques from Marcantonio Raimondi, Bartsch records 65 prints, though missing perhaps another five. His style is summarized by Françoise Jestaz, Numbered with Agostino dei Musi and Marco Dente in the Roman school of engravers in the circle of Raimondi, Caraglio showed a greater freedom of line. He worked closely with Rosso and Parmigianino, and a number of their drawings for his prints survive, usually at the same size and in the reverse sense of the prints. His Loves of the Gods were, with I Modi, one of the two series of Renaissance erotic prints, and altogether one of the most successful Renaissance print series. Unlike I Modi they successfully avoided censorship by avoiding depicting genitals and actual penetration in favour of slung leg positions and this was despite one showing two males, Apollo and Hyacinthus, together, if not actually making love. Both sets were much copied, with five different copies of Caraglios set, and in 1550 a dealer bought 250 sets of French copies, a very large number for the time. The first two designs were by Rosso, but the pair fell out, and Pierino did most of the rest. Caraglios prints were often used as sources to be expanded into designs for maiolica. Caraglio fled to Venice on the Sack of Rome in 1527, in which his colleague Marco Dente was killed, and he seems to have remained there until at least 1537, working with Titian and others. In 1539 he is recorded at the Polish court of Sigismund I, in Poland he mostly worked for the court on medals, gems and goldsmithing rather than printmaking. Some copies of the former survive, but none of Bonas medal, Caraglio was appointed royal goldsmith to Sigismund I in 1545, with a salary of 60 zloties, and continued serving under Sigismund II Augustus from 1548, when Sigismund I died. Having taken citizenship in Krakow, he was knighted, with a patent of nobility, in April 1552 and it was presumably on this visit that the portrait now in the Wawel Castle in Krakow by Paris Bordone was made to celebrate his knighthood. Caraglio married a Polish woman and acquired property, and died in Krakow, vasari apparently did not know this, but probably knew that he was buying land near Parma in anticipation of a retirement that never arrived. He was also known as Cahalius or Jacobus Veronensis or Parmensis, the latter presumably after his estate near Parma, Caraglio has never been the subject of a monograph. He also produced relief plaquettes in bronze, about 70 prints by Caraglio are known, from 1526 to 1551. They include, Set of 15 Loves of the Gods,1527,12 after Perino del Vaga,2 after Rosso,1530 - now mostly thought not to be by Caraglio
Giovanni Jacopo Caraglio
–
Caraglio receives a medallion (probably made by himself) from the Polish Royal Eagle,
Paris Bordone, 1552
Giovanni Jacopo Caraglio
–
Battle between Hercules and Centaurs, engraving from the The Labours of Hercules after
Rosso Fiorentino
Giovanni Jacopo Caraglio
–
Mercury,
Aglaurus and
Herse from the Loves of the Gods (a poor copy or reproduction)
Giovanni Jacopo Caraglio
–
Sardonyx and gold cameo of Queen
Barbara Radziwiłł of Poland, c. 1550
33.
Agostino de Musi
–
Agostino Veneziano, whose real name was Agostino de Musi, was an important and prolific Italian engraver of the Renaissance. Veneziano was born in Venice, where he trained as an artist and he initially copied prints by Albrecht Dürer and Giulio Campagnola from about 1512-14, and then producing his own works, somewhat in the style of the latter. He spent some time in Florence around 1515-16, unlike many produced by the workshop, most of Agostinos plates avoided being confiscated and melted down by Charles Vs soldiers, and continued to be printed in later years. Agostino returned to Venice after the sack, and later visited Mantua and Florence before returning to Rome in 1531 and it is assumed he died there, though there is no documentation. He was the major figure whose career spanned the whole period which saw the birth of the reproductive print. The Academy of Baccio Bandinelli of 1531 is also an important work and his print known as The Climbers records a part of a cartoon drawing by Michelangelo for a large painting of the Battle of Cascina for the Palazzo Vecchio in Florence, never completed. He made a series of prints of the story of Psyche to designs by Michael Coxcie. In his final Roman period he produced a series of prints of antique vases, passavant attributed 188 prints to him, though a new total would probably increase this number,141 prints have his monogram, and probably all are by him. Christopher Witcombe in Grove Art Online
Agostino de Musi
–
Engraving by Veneziano of
Alcibiades
34.
Agostino Veneziano
–
Agostino Veneziano, whose real name was Agostino de Musi, was an important and prolific Italian engraver of the Renaissance. Veneziano was born in Venice, where he trained as an artist and he initially copied prints by Albrecht Dürer and Giulio Campagnola from about 1512-14, and then producing his own works, somewhat in the style of the latter. He spent some time in Florence around 1515-16, unlike many produced by the workshop, most of Agostinos plates avoided being confiscated and melted down by Charles Vs soldiers, and continued to be printed in later years. Agostino returned to Venice after the sack, and later visited Mantua and Florence before returning to Rome in 1531 and it is assumed he died there, though there is no documentation. He was the major figure whose career spanned the whole period which saw the birth of the reproductive print. The Academy of Baccio Bandinelli of 1531 is also an important work and his print known as The Climbers records a part of a cartoon drawing by Michelangelo for a large painting of the Battle of Cascina for the Palazzo Vecchio in Florence, never completed. He made a series of prints of the story of Psyche to designs by Michael Coxcie. In his final Roman period he produced a series of prints of antique vases, passavant attributed 188 prints to him, though a new total would probably increase this number,141 prints have his monogram, and probably all are by him. Christopher Witcombe in Grove Art Online
Agostino Veneziano
–
Engraving by Veneziano of
Alcibiades
35.
Pope Clement VII
–
Pope Clement VII, born Giulio di Giuliano de Medici, was Pope from 19 November 1523 to his death in 1534. The Sack of Rome and English Reformation occurred during his papacy, Giulio de Medici was born in Florence one month after the assassination of his father, Giuliano de Medici, following the Pazzi Conspiracy. Although his parents had not had a marriage, they had been formally betrothed per sponsalia de presenti. Despite this accommodation for an important and powerful family, Giulio was considered illegitimate by his contemporaries and he was the nephew of Lorenzo the Magnificent, who educated him in his youth. Giulios mother, Fioretta Gorini, also died leaving him an orphan, Giulio was enrolled in the Knights Hospitaller and made Grand Prior of Capua. On the death of Archbishop Cosimo de Pazzi, Giulio was named Archbishop of Florence on 9 May 1513, a post he held until his own election as pope on 19 November 1523. On 23 September 1513, he was created a cardinal by Leo X, and on 29 September was appointed Cardinal Deacon of Santa Maria in Domnica, which had been vacated by the election of his cousin the Pope. On 26 June 1517 he was created Cardinal Priest of S. Clemente and he was ordained a priest on 19 December 1517, and consecrated bishop two days later. Cardinal de Medici soon became a figure in Rome. Upon his cousins accession to the papacy, Giulio became his principal minister and confidant, in 1517 he conducted his first diocesan Synod in Florence. On 14 February 1515, Cardinal de Medici was named Archbishop of Narbonne and he ruled the diocese through a Vicar General. He bestowed upon the Cathedral of Saint Just a picture of Saint Lazare and he decided to keep the original, however, and an alternative version was made for Narbonne by Sebastiano del Piombo. At the same time as he was named Archbishop, Cardinal Giulio was granted the Abbey of Cîteaux and he held these offices until he was elected pope. But he is returning to Florence to govern the city and he had the credit of being the main director of papal policy during the whole of Leo Xs pontificate, especially as cardinal protector of England. Between 7 June 1521 and 26 September 1522 he was Apostolic Administrator of the Diocese of Worcester, on that date the Pope appointed Hieronymus Ghinucci, who was expelled from the See in 1535 as a foreigner by the legislation of Henry VIII. At Leo Xs death in 1521, Cardinal Medici was considered papabile in the protracted conclave. Following Adrian VIs death on 14 September 1523, Medici overcame the opposition of the French king, Pope Leo brought to the papal throne a high reputation for political ability and possessed in fact all the accomplishments of a wily diplomat. However, he was considered by his contemporaries as worldly and indifferent to the dangers of the Protestant Reformation by the people of the papacy
Pope Clement VII
–
Portrait by
Sebastiano del Piombo, c. 1531
Pope Clement VII
–
Pope Leo X with his
cardinal-cousin Giulio de' Medici (left, future Pope Clement VII) – painted by
Raphael, 1519
Pope Clement VII
–
Castel Sant'Angelo.
Pope Clement VII
–
Charles V, enthroned over his defeated enemies (from left):
Suleiman the Magnificent, Pope Clement VII,
Francis I, the
Duke of Cleves, the
Duke of Saxony, and the
Landgrave of Hesse.
Giulio Clovio, mid-16th century
36.
I modi
–
While the original edition was apparently completely destroyed by the Catholic Church, fragments of a later edition survived. The second edition was accompanied by written by Pietro Aretino. The original illustrations were probably copied by Agostino Caracci, whose version survives, Raimondi had worked extensively with Romanos master Raphael, who had died in 1520, producing prints to his design. The engravings were published by Raimondi in 1524, and led to his imprisonment by Pope Clement VII, Romano did not become aware of the engravings until the poet Pietro Aretino came to see the original paintings while Romano was still working on them. Romano was not prosecuted since—unlike Raimondi—his images were not intended for public consumption, Aretino then composed sixteen explicit sonnets to accompany the paintings/engravings, and secured Raimondi’s release from prison. Raimondi escaped prison on this occasion, but the suppression on both occasions was comprehensive, no original copies of this edition have survived, with the exception of a few fragments in the British Museum, and two copies of posture 1. Certainly, unless the engraver of the Caracci edition had access to the British Museum’s fragments, and reconstructed his compositions from them, the Dean, Dr. John Fell, impounded the copper plates and threatened those involved with expulsion. The text of Aretino’s sonnets, however, survives, a new series of graphic and explicit engravings of sexual positions was produced by Camillo Procaccini or more likely by Agostino Carracci for a later reprint of Aretinos poems. Their production was in spite of their artist’s working in an environment that encouraged religious art and restricted secular. This famous artist was Jacques Joseph Coiny, agostino’s brother Annibale Carracci also completed the elaborate fresco of Loves of the Gods for the Palazzo Farnese in Rome. These images were drawn from Ovid’s Metamorphoses and include nudes, but are not explicit, the wide adultery of Julia Messalinas participation in prostitution, as criticised in Juvenals Satire VI. Jupiters full beard the frontispiece image is entitled Venus Genetrix, the bodies of those depicted show clear influences from classical statuary known at the time, such as, the over-muscled torsos and backs of the men. The womens clearly defined though small breasts the elaborate hairstyles of some of the women, such as his Venus, portraying the action in a classical stage set such as an ancient Greek sanctuary or temple. The title Polyenus and Chryseis pairs the fictional Polyenus with the mythological character Chryseis. All the women and goddesses in this work have a hairless groin, the modern furniture, e. g. Note, These prints are late 18th century re-creations of the originals. Media related to I Modi at Wikimedia Commons Selection of images in various versions
I modi
–
Surviving fragments of Raimondi's second edition of I Modi in the
British Museum.
I modi
–
Annibale’s Loves of the Gods
37.
Giulio Romano
–
Giulio Romano, also known as Giulio Pippi, was an Italian painter and architect. A pupil of Raphael, his stylistic deviations from high Renaissance classicism help define the 16th-century style known as Mannerism, Giulio Romano was born in Rome, the Romano refers to this. He also collaborated on the decoration of the ceiling of the Villa Farnesina, increasingly he became the masters right-hand man, despite his relative youth. After the death of Raphael in 1520, he helped complete the Vatican frescoes of the life of Constantine as well as Raphaels Coronation of the Virgin, in Rome, Giulio decorated the Villa Madama for Cardinal Giuliano de Medici, afterwards Clement VII. The crowded Giulio Romano frescoes lack the stately and serene simplicity of his master, from 1522 he was courted by Federico Gonzaga, ruler of Mantua, who wanted him as court artist, apparently especially attracted by his skill as an architect. In late 1524 Giulio agreed to move to Mantua, where he remained for the rest of his life and he thus avoided the disaster of the Sack of Rome in 1527, which hugely disrupted artistic patronage in Rome and dispersed the remains of Raphaels workshop. Vasari tells how Baldassare Castiglione was delegated by Federico Gonzaga to procure Giulio to execute paintings and architectural and his masterpiece of architecture and fresco painting in that city is the suburban Palazzo Te, with its famous illusionistic frescos. He also helped rebuild the palace in Mantua, reconstructed the cathedral. Sections of Mantua that had been flood-prone were refurbished under Giulios direction, and his studio became a popular school of art. In Renaissance tradition, many works of Giulios were only temporary and he traveled to France in the first half of the 16th century and brought concepts of the Italian style to the French court of Francis I. It is rumored that he contributed to the drawings upon which the album I Modi was engraved by Marcantonio Raimondi and he died in Mantua in 1546. According to Giorgio Vasari, his best pupils were Giovanni dal Lione, Raffaellino dal Colle, Benedetto Pagni, Figurino da Faenza, Giovanni Battista Bertani and his brother Rinaldo, Giulio Romano has the distinction of being the only Renaissance artist to be mentioned by William Shakespeare. In Act V, Scene II of The Winters Tale Queen Hermiones statue is by that rare Italian master, Julio Romano, Giulio was on the whole more influential as an architect than as a painter, and his works had an enormous impact on Italian Mannerist architecture. Planned on a scale, it was incomplete by the Sack of Rome. The Villa Lante al Gianicolo was a suburban villa in Rome. Romano made the building suggest lightness and elegance to exploit the ridge-top position. The orders are delicate, with Tuscan or Doric columns and pilasters in pairs on the main floor, alternate loggia openings are heightened by arches above the entablature. Romanos willingness to play with the conventions of the orders is already in evidence
Giulio Romano
–
Titian's Portrait of Giulio Romano (ca. 1536), oil on canvas, 101 x 86 cm
Giulio Romano
–
The fall of the Giants, fresco in Sala dei Giganti,
Palazzo del Te,
Mantua
Giulio Romano
–
In the
Palazzo Te, Mantua.
Giulio Romano
–
Giulio Romano, selfportrait
38.
Pietro Aretino
–
Pietro Aretino was an Italian author, playwright, poet, satirist and blackmailer who wielded immense influence on contemporary art and politics and invented modern literate pornography. Born out of wedlock in Arezzo, very educated and then banished from his native city, Aretino spent a formative decade in Perugia, before being sent, highly recommended. There Agostino Chigi, the banker and patron of Raphael. When Hanno the elephant, pet of Pope Leo X, died in 1516, Aretino penned a pamphlet entitled The Last Will. The fictitious will cleverly mocked the leading political and religious figures of Rome at the time, the pamphlet was such a success that it started Aretinos career and established him as a famous satirist, ultimately known as the Scourge of Princes. After Leos death in 1521, his patron was Cardinal Giulio de Medici, the installation of the Dutch pope Adrian VI instead encouraged Aretino to seek new patrons away from Rome, mainly with Federico II Gonzaga in Mantua, and with the condottiero Giovanni de Medici. He was a lover of men, having declared himself a sodomite since birth, in his comedy Il marescalco, the lead man is overjoyed to discover that the woman he has been forced to marry is really a page boy in disguise. While at court in Mantua he developed a crush on a man called Bianchino. Safe in Venice, Aretino became a blackmailer, extorting money from men who had sought his guidance in vice and he kept all that was famous in Italy in a kind of state of siege, in Jakob Burckhardts estimation. Francis I of France and Charles V pensioned him at the same time, the rest of his relations with the great is mere beggary and vulgar extortion, according to Burckhardt. Addison states that he laid half Europe under contribution, —Jacob Burckhardt, The Civilization of the Renaissance in Italy,1855. The first English translations of some of Aretinos racier material have been coming onto the market recently, La cortigiana is a brilliant parody of Castigliones Il Cortegiano, and features the adventures of a Sienese gentleman, Messer Maco, who travels to Rome to become a cardinal. He would also like to win himself a mistress, but when he falls in love with a girl he sees in a window, Aretino was a close friend of Titian, who painted his portrait at least three times. The early portrait is a study of alarming modernity. Clement VII made Aretino a Knight of Rhodes, and Julius III named him a Knight of St. Peter, in his strictly-for-publication letters to patrons Aretino would often add a verbal portrait to Titians painted one. The English traveller Sir John Reresby visited the obscene profane poet Aretinos grave in San Luca, Venice in the mid-1650s. He relates that the epitaph had been removed by the inquisitors, Qui jace Aretin, poeta Tusco, qui dice mal dogni uno fuora di Dio, scusandosi dicendo. This he translates as Here Aretin, the Tuscan poet, lies, who all the world abused but God, in 2007, the composer Michael Nyman set Aretinos Sonetti lussuriosi to music under the title 8 Lust Songs
Pietro Aretino
–
Pietro Aretino, in
Titian 's first portrait of him
Pietro Aretino
–
Portrait of Pietro Aretino from the very rare
line engraving of
Marcantonio Raimondi
Pietro Aretino
–
St Bartholomew (Aretino was the model) displaying his flayed skin, in The Last Judgment by
Michelangelo.
Pietro Aretino
–
Der Tod des Dichters Pietro Aretino by
Anselm Feuerbach.
39.
Baccio Bandinelli
–
Bartolommeo Bandinelli, actually Bartolommeo Brandini, was a Renaissance Italian sculptor, draughtsman and painter. Bandinelli was the son of a prominent Florentine goldsmith, and first apprenticed in his shop, as a boy, he was apprenticed under Giovanni Francesco Rustici, a sculptor friend of Leonardo da Vinci. Among his earliest works was a Saint Jerome in wax, made for Giuliano de Medici, having counterfeited the key of the chamber. 1512, Piero Soderini was deposed and the, in the tumult, therefore, Baccio, being by himself, secretly cut the cartoon into several pieces. The loss anyhow to the city was no one. Bandinellis lifelong obsession with Michelangelo is a theme in assessments of his career. A brilliant draughtsman and excellent small-scale sculptor, he had a fascination for colossi which he was ill-equipped to execute. His failure as a sculptor on a scale was accentuated by his desire to imitate Michelangelo. Hercules and Cacus was commissioned by the Medici pope Clement VII, the supplied block of Carrara marble was not big enough to execute Bandinellis wax model. He had to make new wax models, one of which was chosen by the pope as the final draft, Bandinelli had already carved the sculpture as far as the abdomen of Hercules, when during the 1527 Sack of Rome, the pope was taken prisoner. Meanwhile, in Florence, republican enemies of the Medici took advantage of the chaos to exile Ippolito de Medici, Bandinelli, a supporter of the Medici, was also exiled. In 1530 Emperor Charles V retook Florence after a long siege, Pope Clement VII subsequently installed his illegitimate son Alessandro de Medici as duke of Tuscany. Bandinelli then returned to Florence and continue work on the statue completed in 1534. But from the moment it was unveiled, it faced ridicule, afterwards, the Bandinelli tried to sabotage Cellinis career. The statue was restored between February and April 1994, Bandinellis drawings, which have in the past masqueraded as Michelangelos in connoisseurs collections, have come into their own in the later twentieth century. Among Bandinellis pupils were Vasari and Francesco de Rossi and his sons Clemente, a collaborator in his studio, and Michelangelo Bandinelli were also sculptors. Baccio Bandinellis works include, copy of Laocoon, at the time in the Cortile del Belvedere, tombs of the Medici popes Leo X and Clement VII in Santa Maria sopra Minerva. Bust of Cosimo I de Medici This had been locked away in a vault in a Swiss bank until a tip led the curator Olga Raggio to its rediscovery
Baccio Bandinelli
–
Self-portrait of Bartolommeo Bandinelli, c. 1530
Baccio Bandinelli
–
Baccio Bandinelli - Drawing of monument for pope Leo X and Clemens VII.
Baccio Bandinelli
–
The cartoon of the Battle of Cascina by
Michelangelo.
Baccio Bandinelli
–
Hercules and Cacus.
40.
Equestrian Statue of Marcus Aurelius
–
The Equestrian Statue of Marcus Aurelius is an ancient Roman statue in the Campidoglio, Rome, Italy. It is made of bronze and stands 4.24 m tall, although the emperor is mounted, it exhibits many similarities to standing statues of Augustus. The overall theme is one of power and divine grandeur — the emperor is over life-size and is holding out his hand in a gesture much like that in the Augustus portraits. In this case the gesture may also signify clemency as some historians assert that an enemy may have been sculpted begging for mercy under the horses raised hoof. Such an image was meant to portray the Emperor as victorious, however, shown without weapons or armour, Marcus Aurelius seems to be a bringer of peace rather than a military hero, for this is how he saw himself and his reign. He is riding without the use of stirrups, which had not yet introduced to the West. While the horse has been studied in order to be recreated for other artists works. The statue was erected ca.175 CE and its original location is debated, the Roman Forum and Piazza Colonna have been proposed. Statues were also destroyed because medieval Christians thought that they were pagan idols, the statue of Marcus Aurelius was not melted down because in the Middle Ages it was incorrectly thought to portray the first Christian Emperor, Constantine. Indeed, it is the only surviving bronze statue of a pre-Christian Roman emperor. In the medieval era it was one of the few Roman statues to remain on public view and it was moved to the Piazza del Campidoglio during Michelangelos redesign of the Hill. Though he disagreed with its positioning, he designed a special pedestal for it. The original is on display in the Palazzo dei Conservatori of the Musei Capitolini, on the night of November 29,1849, at the inception of the revolutionary Roman Republic, a mass procession set up the Red-White-Green tricolore in the hands of the mounted Marcus Aurelius. The statue is depicted on the reverse of the Italian €0.50 euro coin, a replica of the statue has been located on the campus of Brown University in the United States since 1908. The statue was formerly clad in gold, an old local myth says that the statue will turn gold again on the Judgement Day. The Monument to Prince Józef Poniatowski in Warsaw, from 1829, was based on this statue
Equestrian Statue of Marcus Aurelius
–
The Statue of Marcus Aurelius (detail) in the
Capitoline Museums in Rome.
Equestrian Statue of Marcus Aurelius
–
The replica of the statue in the
Campidoglio.
Equestrian Statue of Marcus Aurelius
–
The inscription on the plinth of the statue, commissioned by
Pope Paul III.
Equestrian Statue of Marcus Aurelius
41.
David and Goliath
–
Post-Classical Jewish traditions stressed Goliaths status as the representative of paganism, in contrast to David, the champion of the God of Israel. Saul and the Israelites are facing the Philistines in the Valley of Elah, David, bringing food for his elder brothers, hears that Goliath had defied the armies of God and of the reward from Saul to the one that defeats him, and accepts the challenge. Saul reluctantly agrees and offers his armor, which David declines, taking only his staff, sling, David and Goliath confront each other, Goliath with his armor and javelin, David with his staff and sling. David hurls a stone from his sling with all his might and hits Goliath in the center of his forehead, Goliath falls on his face to the ground, the Philistines flee and are pursued by the Israelites as far as Gath and the gates of Ekron. David puts the armor of Goliath in his own tent and takes the head to Jerusalem, the king asks whose son he is, and David answers, I am the son of your servant Jesse the Bethlehemite. The first edition of the history was written at the court of Judahs King Josiah. These signs indicate that the Goliath story is made up of base-narrative with numerous additions made probably after the exile, the biblical account describes Goliath as falling on his face after he is struck by a stone that sank into his forehead. British rabbi Jonathan Magonet has discussed some of the difficulties this raises. In the first place, he notes that archaeological information suggests that Philistine helmets generally had a forehead covering, why should David aim at such an impenetrable spot. And why should Goliath fall forward when struck by something heavy enough to stop him, an answer to both questions, Magonet suggests, lies in the Hebrew word meitzach, normally translated forehead. A word almost identical with it appears earlier in the passage—the word mitzchat, then David removed the head of Goliath to show all that the giant was killed. A Goliath makes another appearance in 2 Samuel 21,19, which tells how Goliath the Gittite was killed by Elhanan the son of Jaare-oregim, the Bethlehemite. The King James Bible translators adopted this into their translation of 2 Samuel 21, 18–19, most likely, storytellers displaced the deed from the otherwise obscure Elhanan onto the more famous character, David. Tell es-Safi, the biblical Gath and traditional home of Goliath, has been the subject of excavations by Israels Bar-Ilan University. The archaeologists have established that this was one of the largest of the Philistine cities until destroyed in the ninth century BC, a potsherd discovered at the site, and reliably dated to the tenth to mid-ninth centuries BC, is inscribed with the two names alwt and wlt. The name Goliath itself is non-Semitic and has linked with the Lydian king Alyattes. The underlying purpose of the story of Goliath is to show that Saul is not fit to be king. Saul was chosen to lead the Israelites against their enemies, but when faced with Goliath he refuses to do so, Goliath is a giant, and Saul is a very tall man
David and Goliath
–
David and Goliath, a colour lithograph by Osmar Schindler (c. 1888)
David and Goliath
–
David hoists the severed head of Goliath as illustrated by
Gustave Doré (1866).
David and Goliath
–
Goliath laughs at David, 1915, by
Ilya Repin
David and Goliath
–
David with the Head of Goliath, circa 1635, by
Andrea Vaccaro
42.
Joseph
–
Joseph is a masculine given name originating from Hebrew, recorded in the Hebrew Bible, as יוֹסֵף, Standard Hebrew Yossef, Tiberian Hebrew and Aramaic Yôsēp̄. The name can be translated from Hebrew יוסף יהוה yosef YHWH as signifying Yahweh will/shall increase/add, the name appears already in the book of Genesis, Joseph is Jacobs eleventh son and Rachels first son, and known in the Jewish Bible as Yossef ben-Yaakov. The form Joseph is used mostly in English, French and German-speaking countries, in Arabic, including in the Quran, the name is spelled يوسف or Yūsuf. It is especially common in contemporary Israel, as either Yossi or Yossef, and in Italy, diminutives of Joseph include Joe and Joey. The feminine form of the name, Josephine, is abbreviated to Jo. Joseph Dempsie, British actor Joseph Dennie, American writer Josef Dobrovský, Czech philologist and historian Joe DiMaggio, New York Yankees hall of famer Joe Dolan, Irish Showband singer Joseph W. DJ Run, of rap group Run-DMC Joseph Smith, founder of the Latter Day Saint movement Joseph Smith, III, son of Joseph Smith and an American Mormon. Saint Joseph Josef Jozef József Yosef, a variation of the name in Hebrew, and the Dutch eye dialect of the name Yusuf, as rendered in Islam/Arabic Joe
Joseph
–
Joseph, son of Jacob
43.
Grove Art Online
–
A new edition was published in 2003 by Oxford University Press. Written by 6,700 experts from around the world, its 32, 600-pages cover over 45,000 topics about art, artists, art critics, art collectors, or anything else connected to the world of art. According to The New York Times Book Review it is the most ambitious art-publishing venture of the late 20th century, almost half the content covers non-Western subjects, and contributors hail from 120 countries. Topics range from Julia Margaret Cameron to Shoji Hamada, Korea to Timbuktu, the Enlightenment to Marxism, entries include bibliographies and a vast number of images. The dictionary is available in a standard hardcover edition, though the leather-bound version appears to be out of print. The Grove Dictionary of Art is published by Oxford University Press, the online version, which is updated three times a year, is available by subscription and includes some extra content. In the UK, many libraries offer it free to their online users using their library membership number. The Grove Dictionary of Art was first offered online through the Grove Art Online web site in 1998. The site was expanded and renamed as Oxford Art Online, including works, The Oxford Companion to Western Art, Encyclopedia of Aesthetics. In 2011, the Benezit Dictionary of Artists was added to the database, the New Grove Dictionary of Music and Musicians References Sources Jane Turner
Grove Art Online
–
The Dictionary of Art
44.
International Standard Book Number
–
The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
International Standard Book Number
–
A 13-digit ISBN, 978-3-16-148410-0, as represented by an
EAN-13 bar code
45.
Public domain
–
The term public domain has two senses of meaning. Anything published is out in the domain in the sense that it is available to the public. Once published, news and information in books is in the public domain, in the sense of intellectual property, works in the public domain are those whose exclusive intellectual property rights have expired, have been forfeited, or are inapplicable. Examples for works not covered by copyright which are therefore in the domain, are the formulae of Newtonian physics, cooking recipes. Examples for works actively dedicated into public domain by their authors are reference implementations of algorithms, NIHs ImageJ. The term is not normally applied to situations where the creator of a work retains residual rights, as rights are country-based and vary, a work may be subject to rights in one country and be in the public domain in another. Some rights depend on registrations on a basis, and the absence of registration in a particular country, if required. Although the term public domain did not come into use until the mid-18th century, the Romans had a large proprietary rights system where they defined many things that cannot be privately owned as res nullius, res communes, res publicae and res universitatis. The term res nullius was defined as not yet appropriated. The term res communes was defined as things that could be enjoyed by mankind, such as air, sunlight. The term res publicae referred to things that were shared by all citizens, when the first early copyright law was first established in Britain with the Statute of Anne in 1710, public domain did not appear. However, similar concepts were developed by British and French jurists in the eighteenth century, instead of public domain they used terms such as publici juris or propriété publique to describe works that were not covered by copyright law. The phrase fall in the domain can be traced to mid-nineteenth century France to describe the end of copyright term. In this historical context Paul Torremans describes copyright as a coral reef of private right jutting up from the ocean of the public domain. Because copyright law is different from country to country, Pamela Samuelson has described the public domain as being different sizes at different times in different countries. According to James Boyle this definition underlines common usage of the public domain and equates the public domain to public property. However, the usage of the public domain can be more granular. Such a definition regards work in copyright as private property subject to fair use rights, the materials that compose our cultural heritage must be free for all living to use no less than matter necessary for biological survival
Public domain
–
Newton's own copy of his
Principia, with hand-written corrections for the second edition
Public domain
–
L.H.O.O.Q. (1919). Derivative work by the
Dadaist Marcel Duchamp based on the
Mona Lisa.
46.
Virtual International Authority File
–
The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
Virtual International Authority File
–
Screenshot 2012
47.
Integrated Authority File
–
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
Integrated Authority File
–
GND screenshot
48.
Union List of Artist Names
–
The Union List of Artist Names is an online database using a controlled vocabulary currently containing around 293,000 names and other information about artists. Names in ULAN may include names, pseudonyms, variant spellings, names in multiple languages. Among these names, one is flagged as the preferred name, the focus of each ULAN record is an artist. Currently there are around 120,000 artists in the ULAN, in the database, each artist record is identified by a unique numeric ID. Linked to each artist record are names, related artists, sources for the data, the temporal coverage of the ULAN ranges from Antiquity to the present and the scope is global. The ULAN includes proper names and associated information about artists, artists may be either individuals or groups of individuals working together. Artists in the ULAN generally represent creators involved in the conception or production of visual arts, repositories and some donors are included as well. Work on the ULAN began in 1984, when the Getty decided to merge, in 1987 the Getty created a department dedicated to compiling and distributing terminology. The ULAN grows and changes via contributions from the user community, although originally intended only for use by Getty projects, the broader art information community outside the Getty expressed a need to use ULAN for cataloging and retrieval. Its scope was broadened to include corporate bodies such as firms and repositories of art. The ULAN was founded under the management of Eleanor Fink, the ULAN has been constructed over the years by numerous members of the user community and an army of dedicated editors, under the supervision of several managers. The ULAN was published in 1994 in hardcopy and machine-readable files, given the growing size and frequency of changes and additions to the ULAN, by 1997 it had become evident that hard-copy publication was impractical. It is now published in automated formats only, in both a searchable online Web interface and in data files available for licensing, final editorial control of the ULAN is maintained by the Getty Vocabulary Program, using well-established editorial rules. The current managers of the ULAN are Patricia Harpring, Managing Editor, entities in the Person facet typically have no children. Entities in the Corporate Body facet may branch into trees, there may be multiple broader contexts, making the ULAN structure polyhierarchical. In addition to the relationships, the ULAN also has equivalent. Contributors to the Getty Vocabularies and implementers of the licensed vocabulary data may consult these guidelines as well
Union List of Artist Names
–
Contents
49.
National Library of the Czech Republic
–
The National Library of the Czech Republic is the central library of the Czech Republic. It is directed by the Ministry of Culture, the librarys main building is located in the historical Clementinum building in Prague, where approximately half of its books are kept. The other half of the collection is stored in the district of Hostivař, the National Library is the biggest library in the Czech Republic, in its funds there are around 6 million documents. The library has around 60,000 registered readers, as well as Czech texts, the library also stores older material from Turkey, Iran and India. The library also houses books for Charles University in Prague, the library won international recognition in 2005 as it received the inaugural Jikji Prize from UNESCO via the Memory of the World Programme for its efforts in digitising old texts. The project, which commenced in 1992, involved the digitisation of 1,700 documents in its first 13 years, the most precious medieval manuscripts preserved in the National Library are the Codex Vyssegradensis and the Passional of Abbes Kunigunde. In 2006 the Czech parliament approved funding for the construction of a new building on Letna plain. In March 2007, following a request for tender, Czech architect Jan Kaplický was selected by a jury to undertake the project, later in 2007 the project was delayed following objections regarding its proposed location from government officials including Prague Mayor Pavel Bém and President Václav Klaus. Later in 2008, Minister of Culture Václav Jehlička announced the end of the project, the library was affected by the 2002 European floods, with some documents moved to upper levels to avoid the excess water. Over 4,000 books were removed from the library in July 2011 following flooding in parts of the main building, there was a fire at the library in December 2012, but nobody was injured in the event. List of national and state libraries Official website
National Library of the Czech Republic
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Baroque library hall in the National Library of the Czech Republic
National Library of the Czech Republic
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General reading room (former
refectory of the Jesuit residence in
Clementinum)
50.
Netherlands Institute for Art History
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The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation, archives, and books on Western art from the late Middle Ages until modern times, all of this is open to the public, and much of it has been digitized and is available on their website. The main goal of the bureau is to collect, categorize, via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries. The library owns approximately 450,000 titles, of which ca.150,000 are auction catalogs, there are ca.3,000 magazines, of which 600 are currently running subscriptions. Though most of the text is in Dutch, the record format includes a link to library entries and images of known works. The RKD also manages the Dutch version of the Art and Architecture Thesaurus, the original version is an initiative of the Getty Research Institute in Los Angeles, California. Their bequest formed the basis for both the art collection and the library, which is now housed in the Koninklijke Bibliotheek. Though not all of the holdings have been digitised, much of its metadata is accessible online. The website itself is available in both a Dutch and an English user interface, in the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record, usually of the form, https, for example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number, to reference an artwork page directly, use the code listed at the bottom of the record, usually of the form, https, //rkd. nl/en/explore/images/ followed by the artworks record number. For example, the record number for The Night Watch is 3063. The Art and Architecture Thesaurus also assigns a record for each term, rather, they are used in the databases and the databases can be searched for terms. For example, the painting called The Night Watch is a militia painting, the thesaurus is a set of general terms, but the RKD also contains a database for an alternate form of describing artworks, that today is mostly filled with biblical references. To see all images that depict Miriams dance, the associated iconclass code 71E1232 can be used as a search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
Netherlands Institute for Art History
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As the logos on the window show, the RKD shares the same building located at
Den Haag Centraal with the National Archives, the Nederlands Letterkundig Museum (nl) (LM), the
Huygens ING, the
Netherlands Music Institute (NMI) and the
Koninklijke Bibliotheek.
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Marcantonio". Encyclopædia Britannica. 17 (11th ed.). Cambridge University Press. pp. 682–683.
