1.
Geographic coordinate system
–
A geographic coordinate system is a coordinate system used in geography that enables every location on Earth to be specified by a set of numbers, letters or symbols. The coordinates are chosen such that one of the numbers represents a vertical position. A common choice of coordinates is latitude, longitude and elevation, to specify a location on a two-dimensional map requires a map projection. The invention of a coordinate system is generally credited to Eratosthenes of Cyrene. Ptolemy credited him with the adoption of longitude and latitude. Ptolemys 2nd-century Geography used the prime meridian but measured latitude from the equator instead. Mathematical cartography resumed in Europe following Maximus Planudes recovery of Ptolemys text a little before 1300, in 1884, the United States hosted the International Meridian Conference, attended by representatives from twenty-five nations. Twenty-two of them agreed to adopt the longitude of the Royal Observatory in Greenwich, the Dominican Republic voted against the motion, while France and Brazil abstained. France adopted Greenwich Mean Time in place of local determinations by the Paris Observatory in 1911, the latitude of a point on Earths surface is the angle between the equatorial plane and the straight line that passes through that point and through the center of the Earth. Lines joining points of the same latitude trace circles on the surface of Earth called parallels, as they are parallel to the equator, the north pole is 90° N, the south pole is 90° S. The 0° parallel of latitude is designated the equator, the plane of all geographic coordinate systems. The equator divides the globe into Northern and Southern Hemispheres, the longitude of a point on Earths surface is the angle east or west of a reference meridian to another meridian that passes through that point. All meridians are halves of great ellipses, which converge at the north and south poles, the prime meridian determines the proper Eastern and Western Hemispheres, although maps often divide these hemispheres further west in order to keep the Old World on a single side. The antipodal meridian of Greenwich is both 180°W and 180°E, the combination of these two components specifies the position of any location on the surface of Earth, without consideration of altitude or depth. The grid formed by lines of latitude and longitude is known as a graticule, the origin/zero point of this system is located in the Gulf of Guinea about 625 km south of Tema, Ghana. To completely specify a location of a feature on, in, or above Earth. Earth is not a sphere, but a shape approximating a biaxial ellipsoid. It is nearly spherical, but has an equatorial bulge making the radius at the equator about 0. 3% larger than the radius measured through the poles, the shorter axis approximately coincides with the axis of rotation
Geographic coordinate system
–
Longitude lines are perpendicular and latitude lines are parallel to the equator.
2.
Peter Paul Rubens
–
Sir Peter Paul Rubens was a Flemish/Netherlandish draughtsman and painter. He is widely considered as the most notable artist of Flemish Baroque art school, the catalogue of his works by Michael Jaffé lists 1,403 pieces, excluding numerous copies made in his workshop. His commissioned works were mostly history paintings, which included religious and mythological subjects and he painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house and he also oversaw the ephemeral decorations of the royal entry into Antwerp by the Cardinal-Infante Ferdinand in 1635. His drawings are mostly extremely forceful but not overly detailed and he also made great use of oil sketches as preparatory studies. For altarpieces he painted on slate to reduce reflection problems. Rubens was born in the city of Siegen to Jan Rubens and he was named in honour of Saint-Peter and Paul, because he was born on their solemnety. His father, a Calvinist, and mother fled Antwerp for Cologne in 1568, after increased religious turmoil and persecution of Protestants during the rule of the Spanish Netherlands by the Duke of Alba. Jan Rubens became the adviser of Anna of Saxony, the second wife of William I of Orange. Following Jan Rubens imprisonment for the affair, Peter Paul Rubens was born in 1577, the family returned to Cologne the next year. In 1589, two years after his fathers death, Rubens moved with his mother Maria Pypelincks to Antwerp, religion figured prominently in much of his work and Rubens later became one of the leading voices of the Catholic Counter-Reformation style of painting. In Antwerp, Rubens received a Renaissance humanist education, studying Latin, by fourteen he began his artistic apprenticeship with Tobias Verhaeght. Subsequently, he studied under two of the leading painters of the time, the late Mannerist artists Adam van Noort. Much of his earliest training involved copying earlier works, such as woodcuts by Hans Holbein the Younger. Rubens completed his education in 1598, at time he entered the Guild of St. Luke as an independent master. In 1600 Rubens travelled to Italy and he stopped first in Venice, where he saw paintings by Titian, Veronese, and Tintoretto, before settling in Mantua at the court of Duke Vincenzo I Gonzaga. The colouring and compositions of Veronese and Tintoretto had an effect on Rubenss painting. With financial support from the Duke, Rubens travelled to Rome by way of Florence in 1601, there, he studied classical Greek and Roman art and copied works of the Italian masters
Peter Paul Rubens
–
Self-portrait, 1623,
Royal Collection
Peter Paul Rubens
–
Rubens and
Isabella Brant, the
Honeysuckle Bower, c. 1609.
Alte Pinakothek
Peter Paul Rubens
–
The garden Rubens planned at
Rubenshuis, in
Antwerpen
Peter Paul Rubens
–
Portrait of a Young Scholar, from 1597
3.
Antwerp (city)
–
Antwerp is a city in Belgium, the capital of Antwerp province in the region of Flanders. With a population of 510,610, it is the most populous city proper in Belgium and its metropolitan area houses around 1,200,000 people, which is second behind Brussels. Antwerp is on the River Scheldt, linked to the North Sea by the Westerschelde estuary, the Port of Antwerp is one of the biggest in the world, ranking second in Europe and within the top 20 globally. Antwerp has long been an important city in the Low Countries, the inhabitants of Antwerp are nicknamed Sinjoren, after the Spanish honorific señor or French seigneur, lord, referring to the Spanish noblemen who ruled the city in the 17th century. The city hosted the 1920 Summer Olympics, according to folklore, notably celebrated by a statue in front of the town hall, the city got its name from a legend about a giant called Antigoon who lived near the Scheldt river. He exacted a toll from passing boatmen, and for those who refused, he severed one of their hands, eventually the giant was killed by a young hero named Silvius Brabo, who cut off the giants own hand and flung it into the river. Hence the name Antwerpen, from Dutch hand werpen, akin to Old English hand and wearpan, a longstanding theory is that the name originated in the Gallo-Roman period and comes from the Latin antverpia. Antverpia would come from Ante Verpia, indicating land that forms by deposition in the curve of a river. Note that the river Scheldt, before a period between 600 and 750, followed a different track. This must have coincided roughly with the current ringway south of the city, however, many historians think it unlikely that there was a large settlement which would be named Antverpia, but more something like an outpost with a river crossing. However, John Lothrop Motley argues, and so do a lot of Dutch etymologists and historians, aan t werp is also possible. This warp is a hill or a river deposit, high enough to remain dry at high tide. Another word for werp is pol hence polders, historical Antwerp allegedly had its origins in a Gallo-Roman vicus. Excavations carried out in the oldest section near the Scheldt, 1952–1961, produced pottery shards, the earliest mention of Antwerp dates from the 4th century. In the 4th century, Antwerp was first named, having been settled by the Germanic Franks, the name was reputed to have been derived from anda and werpum. The Merovingian Antwerp was evangelized by Saint Amand in the 7th century, at the end of the 10th century, the Scheldt became the boundary of the Holy Roman Empire. Antwerp became a margraviate in 980, by the German emperor Otto I, in the 11th century Godfrey of Bouillon was for some years known as the marquis of Antwerp. In the 12th century, Norbert of Xanten established a community of his Premonstratensian canons at St. Michaels Abbey at Caloes
Antwerp (city)
–
Antwerp Antwerpen
Antwerp (city)
–
Coat of arms
Antwerp (city)
–
The
Onze-Lieve-Vrouwekathedraal (Cathedral of our Lady) and the
Scheldt river.
Antwerp (city)
–
Grote Markt
4.
Helena Fourment
–
Helena Fourment or Hélène Fourment was the second wife of Baroque painter Peter Paul Rubens. She was the subject of a few portraits by Rubens, and also modeled for other religious, Hélène Fourment was the daughter and youngest child of Daniël Fourment, an Antwerp silk merchant, and Clara Stappaerts. They had four sons and seven daughters, Helena Fourment was buried together with her husband, children and parents in the Saint James church, Antwerp. Most of the daughters married into important families, Clara Stappaerts Daniel II Fourment, Lord of Wijtvliet, marr. Clara Brant, sister of Isabella Brant,23 october 1627 to Nicolas Pycqueri, died 1661, almoner of Antwerp. Who were both painted by Rubens. Hélène Fourment married Rubens on 6 December 1630, when she was 16 years old and his first wife, Isabella Brant, had died in 1626. Hélènes brother Daniël Fourment the younger was married to Clara Brant, 2nd to Hélène Fourment, Clara-Joanna Rubens, baptized 18 January 1632, marr. Philips van Parys, knight François I Rubens, bapt,12 July 1633, alderman of Antwerp in 1659, marr. Isabella-Helena Rubens, baptized 3 May 1635 Peter III Paul Rubens, baptized 1 March 1637, constantia-Albertina Rubens, baptized 3 February 1641, entered La Cambre Abbey in l668. After the death of Rubens, Helena started a relationship with Jan-Baptist de Brouchoven, count of Bergeyck assessor and alderman of Antwerp and they had five further children together. Liedtke, Walter A. Flemish paintings in the Metropolitan Museum of Art. New York, The Metropolitan Museum of Art, media related to Hélène Fourment at Wikimedia Commons
Helena Fourment
–
Helena Fourment, circa 1630, by
Jan Boeckhorst
Helena Fourment
–
Hélène Fourment, ca. 1630, now in the Alte Pinakothek
Helena Fourment
–
Helena Fourment in wedding dress, detalj
Helena Fourment
–
Hélène Fourment with two of her children, ca. 1635, Louvre
5.
Isabella Brant
–
Isabella Brant was a Flemish artists model who was the first wife of painter Peter Paul Rubens. She was the daughter of Jan Brant, an important city official in Antwerp and her aunt Mary was married to Phillipe I Rubens, brother of her future husband. Isabella Brant married the brother of her uncle Peter Paul on 3 October 1609 in St. Michaels Abbey and they had three children, Clara, Nicolaas, Lord of Rameyen and Albert. She was 34 years old when she died of the plague, several paintings of Brant and one important drawing of her by Rubens survive, in addition to a portrait of her by Rubens disciple and assistant, Anthony van Dyck. In 1977, Brant appeared on a stamp of Anguilla. Liedtke, Walter A. Flemish paintings in the Metropolitan Museum of Art, new York, The Metropolitan Museum of Art. Media related to Isabella Brant at Wikimedia Commons
Isabella Brant
–
Portrait of Isabella Brant by Rubens, c. 1620-1625 (
Cleveland Museum of Art)
Isabella Brant
–
The Honeysuckle Bower by Rubens, c. 1609: the painter and Isabella Brant the year of their marriage (
Alte Pinakothek,
Munich)
Isabella Brant
–
Portrait
drawing of Isabella Brant by Rubens, c. 1621 (
British Museum,
London)
Isabella Brant
–
Portrait of Isabella Brant by Anthony van Dyck, c. 1623-1626 (
National Gallery of Art,
Washington, D.C.)
6.
Villa
–
A villa was originally an ancient Roman upper-class country house. Since its origins in the Roman villa, the idea and function of a villa have evolved considerably, after the fall of the Roman Republic, villas became small farming compounds, which were increasingly fortified in Late Antiquity, sometimes transferred to the Church for reuse as a monastery. Then they gradually re-evolved through the Middle Ages into elegant upper-class country homes, in modern parlance, villa can refer to various types and sizes of residences, ranging from the suburban semi-detached double villa to residences in the wildland–urban interface. In ancient Roman architecture a villa was originally a house built for the élite. The Roman villae rusticae at the heart of latifundia were the earliest versions of what later, not included as villae were the domus, a city house for the élite and privileged classes, and insulae, blocks of apartment buildings for the rest of the population. In Satyricon, Petronius described the range of Roman dwellings. Another type of villae is the villa marittima, a seaside villa, a concentration of Imperial villas existed on the Gulf of Naples, on the Isle of Capri, at Monte Circeo and at Antium. Examples include the Villa of the Papyri in Herculaneum, and the Villa of the Mysteries, wealthy Romans also escaped the summer heat in the hills round Rome, especially around Tibur (Tivoand Frascati, such as at Hadrians Villa. Cicero allegedly possessed no fewer than seven villas, the oldest of which was near Arpinum, pliny the Younger had three or four, of which the example near Laurentium is the best known from his descriptions. Roman writers refer with satisfaction to the self-sufficiency of their latifundium villas, archeologists have meticulously examined numerous Roman villas in England. The grand villa at Woodchester preserved its mosaic floors when the Anglo-Saxon parish church was built upon its site, grave-diggers preparing for burials in the churchyard as late as the 18th century had to punch through the intact mosaic floors. The even more palatial villa rustica at Fishbourne near Winchester was built as an open rectangle. Villae rusticae are essential in the Empires economy, two kinds of villa-plan in Roman Britain may be characteristic of Roman villas in general. The more usual plan extended wings of all opening onto a linking portico. The other kind featured a central hall like a basilica. The villa buildings were often independent structures linked by their enclosed courtyards, timber-framed construction, carefully fitted with mortises and tenons and dowelled together, set on stone footings, were the rule, replaced by stone buildings for the important ceremonial rooms. Traces of window glass have been found, as well as ironwork window grilles, with the decline and collapse of the Western Roman Empire in the fourth and fifth centuries, the villas were more and more isolated and came to be protected by walls. In England the villas were abandoned, looted, and burned by Anglo-Saxon invaders in the fifth century, in regions on the Continent, aristocrats and territorial magnates donated large working villas and overgrown abandoned ones to individual monks, these might become the nuclei of monasteries
Villa
–
The
Villa Medici in Fiesole with early terraced hillside
landscape: by
Leon Battista Alberti
Villa
–
The
Getty Villa, an adaptation of the
Villa of the Papyri, in
Pacific Palisades, Los Angeles
Villa
–
Model of
Fishbourne Roman Palace, a governor's villa on the grandest scale
Villa
–
The Villa di Medici by
Giuliano da Sangallo -1470:
Poggio a Caiano,
Tuscany
7.
Italian Renaissance
–
The term Renaissance is in essence a modern one that came into currency in the 19th century, in the work of historians such as Jules Michelet and Jacob Burckhardt. The French word renaissance means Rebirth, and the era is best known for the renewed interest in the culture of classical antiquity after the period that Renaissance humanists labeled the Dark Ages. Though today perhaps best known for Italian Renaissance art and architecture, the period saw major achievements in literature, music, philosophy, Italy became the recognized European leader in all these areas by the late 15th century, and to varying degrees retained this lead until about 1600. This was despite a turbulent and generally disastrous period in Italian politics, the European Renaissance began in Tuscany, and centred in the city of Florence. It later spread to Venice, where the remains of ancient Greek culture were brought together, the Renaissance later had a significant effect on Rome, which was ornamented with some structures in the new allantico mode, then was largely rebuilt by humanist sixteenth-century popes. The Italian Renaissance peaked in the century as foreign invasions plunged the region into the turmoil of the Italian Wars. However, the ideas and ideals of the Renaissance endured and spread into the rest of Europe, setting off the Northern Renaissance, the Italian Renaissance is best known for its cultural achievements. Accounts of Renaissance literature usually begin with Petrarch and his friend, famous vernacular poets of the 15th century include the renaissance epic authors Luigi Pulci, Matteo Maria Boiardo, and Ludovico Ariosto. 15th century writers such as the poet Poliziano and the Platonist philosopher Marsilio Ficino made extensive translations from both Latin and Greek, the same is true for architecture, as practiced by Brunelleschi, Leon Battista Alberti, Andrea Palladio, and Bramante. Their works include Florence Cathedral, St. Peters Basilica in Rome, yet cultural contributions notwithstanding, some present-day historians also see the era as one of the beginning of economic regression for Italy. By the Late Middle Ages, Latium, the heartland of the Roman Empire. Rome was a city of ancient ruins, and the Papal States were loosely administered, and vulnerable to external interference such as that of France, and later Spain. The Papacy was affronted when the Avignon Papacy was created in southern France as a consequence of pressure from King Philip the Fair of France, in the south, Sicily had for some time been under foreign domination, by the Arabs and then the Normans. Sicily had prospered for 150 years during the Emirate of Sicily, in contrast Northern and Central Italy had become far more prosperous, and it has been calculated that the region was among the richest of Europe. The Crusades had built lasting trade links to the Levant, the main trade routes from the east passed through the Byzantine Empire or the Arab lands and onwards to the ports of Genoa, Pisa, and Venice. Luxury goods bought in the Levant, such as spices, dyes, moreover, the inland city-states profited from the rich agricultural land of the Po valley. From France, Germany, and the Low Countries, through the medium of the Champagne fairs, land and river trade routes brought goods such as wool, wheat, and precious metals into the region. The extensive trade that stretched from Egypt to the Baltic generated substantial surpluses that allowed significant investment in mining, thus, while northern Italy was not richer in resources than many other parts of Europe, the level of development, stimulated by trade, allowed it to prosper
Italian Renaissance
–
Renaissance
Italian Renaissance
–
Pandolfo Malatesta (1417–1468), lord of
Rimini, by
Piero della Francesca. Malatesta was a capable
condottiere, following the tradition of his family. He was hired by the
Venetians to fight against the
Turks (unsuccessfully) in 1465, and was patron of
Leone Battista Alberti, whose
Tempio Malatestiano at Rimini is one of the first entirely classical buildings of the Renaissance.
Italian Renaissance
–
Leonardo da Vinci, Italian
Renaissance Man
Italian Renaissance
–
Giulio Clovio,
Adoration of the Magi and
Solomon Adored by the
Queen of Sheba from the Farnese Hours, 1546.
8.
Palace
–
A palace is a grand residence, especially a royal residence, or the home of a head of state or some other high-ranking dignitary, such as a bishop or archbishop. The word is derived from the Latin name Palātium, for Palatine Hill in Rome which housed the Imperial residences, in many parts of Europe, the term is also applied to ambitious private mansions of the aristocracy. Many historic palaces are now put to uses such as parliaments, museums, hotels. The word is sometimes used to describe a lavishly ornate building used for public entertainment or exhibitions. The word palace comes from Old French palais, from Latin Palātium, the original palaces on the Palatine Hill were the seat of the imperial power while the capitol on the Capitoline Hill was the religious nucleus of Rome. Long after the city grew to the seven hills the Palatine remained a residential area. Emperor Caesar Augustus lived there in a purposely modest house only set apart from his neighbours by the two trees planted to flank the front door as a sign of triumph granted by the Senate. His descendants, especially Nero, with his Golden House, enlarged the house, the word Palātium came to mean the residence of the emperor rather than the neighbourhood on top of the hill. Palace meaning government can be recognized in a remark of Paul the Deacon, AD790 and describing events of the 660s, When Grimuald set out for Beneventum, he entrusted his palace to Lupus. At the same time, Charlemagne was consciously reviving the Roman expression in his palace at Aachen, in the 9th century, the palace indicated the housing of the government too, and the constantly travelling Charlemagne built fourteen. In the Holy Roman Empire the powerful independent Electors came to be housed in palaces and this has been used as evidence that power was widely distributed in the Empire, as in more centralized monarchies, only the monarchs residence would be a palace. In modern times, the term has been applied by archaeologists and historians to large structures that housed combined ruler, court, in informal usage, a palace can be extended to a grand residence of any kind. The earliest known palaces were the residences of the Egyptian Pharaohs at Thebes, featuring an outer wall enclosing labyrinthine buildings. Other ancient palaces include the Assyrian palaces at Nimrud and Nineveh, the Minoan palace at Knossos, the Brazilian new capital, Brasília, hosts modern palaces, most designed by the citys architect Oscar Niemeyer. The Alvorada Palace is the residence of the Brazils president. The Planalto Palace is the official workplace, the Jaburu Palace is the official residence of Brazils vice-president. In Canada, Government House is a given to the official residences of the Canadian monarchy. The use of the term Government House is a custom from the British Empire
Palace
–
Schwerin Palace in
Germany, historical
ducal residence of
Mecklenburg since 1348.
Palace
–
Palace of Versailles, the center of
French absolutism from 1682 on.
Palace
–
Ambavilas Palace, famous as
Mysore Palace, the official residence of
Maharajas of Mysore since 1400.
Palace
–
The
Planalto Palace, in
Brasília,
Brazil
9.
Palazzi di Genova
–
Palazzi di Genova is a 1622 book written and illustrated by Peter Paul Rubens, depicting and describing the palaces of Genoa, Italy in 72 plates. A second volume with 67 further plates was added the same year, the illustrations of the second part are usually considered not to be by Rubens though. It is the only book Rubens published himself, the first volume contained plans, facades and additional views of 12 of the palaces of Genoa, the second book contained a further 19 palaces and 4 churches. Included are many of the Palazzi dei Rolli and they were seen by Rubens during his trips to Italy. Rubens was an admirer of the architecture of Italy, as evidenced in his own house, the Genoese style, developed by architects like Galeazzo Alessi, became very popular, and their distribution in Northern Europe was at least partially due to the book by Rubens. Examples of this include the Hôtel de Ville, Lyon, rubenss Palazzi di Genova during the 17th Century in Europe, Questions and Problems. The 1924 German edition from archive. org
Palazzi di Genova
–
Plate 57 of the first volume of Palazzi di Genova, 1622
Palazzi di Genova
–
Paintings and drawings
10.
Portico
–
A portico is a porch leading to the entrance of a building, or extended as a colonnade, with a roof structure over a walkway, supported by columns or enclosed by walls. This idea was used in Ancient Greece and has influenced many cultures. Some noteworthy examples of porticos are the East Portico of the United States Capitol, the portico adorning the Pantheon in Rome, porticos are sometimes topped with pediments. Bologna, Italy, is famous for its porticos, in total, there are over 45 km of arcades, some 38 in the city center. The longest portico in the world, about 3.5 km, in Bologna, Italy, porticos stretch for 18 km. Palladio was a pioneer of using temple-fronts for secular buildings, in the UK, the temple-front applied to The Vyne, Hampshire was the first portico applied to an English country house. A pronaos is the area of the portico of a Greek or Roman temple. Roman temples commonly had an open pronaos, usually with only columns and no walls, the word pronaos is Greek for before a temple. In Latin, a pronaos is also referred to as an anticum or prodomus, the different variants of porticos are named by the number of columns they have. The style suffix comes from the Greek στῦλος, column, the tetrastyle has four columns, it was commonly employed by the Greeks and the Etruscans for small structures such as public buildings and amphiprostyles. Roman provincial capitals also manifested tetrastyle construction, such as the Capitoline Temple in Volubilis, the North Portico of the White House is perhaps the most notable four-columned portico in the United States. Hexastyle buildings had six columns and were the standard façade in canonical Greek Doric architecture between the archaic period 600–550 BC up to the Age of Pericles 450–430 BC. With the colonization by the Greeks of Southern Italy, hexastyle was adopted by the Etruscans, Roman taste favoured narrow pseudoperipteral and amphiprostyle buildings with tall columns, raised on podiums for the added pomp and grandeur conferred by considerable height. The Maison Carrée at Nîmes, France, is the best-preserved Roman hexastyle temple surviving from antiquity, octastyle buildings had eight columns, they were considerably rarer than the hexastyle ones in the classical Greek architectural canon. The best-known octastyle buildings surviving from antiquity are the Parthenon in Athens, built during the Age of Pericles, and the Pantheon in Rome. The destroyed Temple of Divus Augustus in Rome, the centre of the Augustan cult, is shown on Roman coins of the 2nd century AD as having built in octastyle. The decastyle has ten columns, as in the temple of Apollo Didymaeus at Miletus, the temple of Venus and Rome, built by Hadrian in Rome about 130 A. D. was decastyle, the only known example in Roman architecture. Classical architecture List of classical architecture terms Hypostyle Loggia Stoa Greek architecture, Encyclopædia Britannica,1968 Stierlin, Greece, From Mycenae to the Parthenon, TASCHEN,2004, Editor-in-chief Angelika Taschen, Cologne, ISBN 3-8228-1225-0 Stierlin, Henri
Portico
–
Under the portico of the Pantheon
Portico
–
Portico close to piazza Santo Stefano,
Bologna
Portico
–
Temple of Portunus, with its tetrastyle portico of four
Ionic columns
Portico
–
The hexastyle Temple of Concord at
Agrigentum (c. 430 B.C.)
11.
Courtyard
–
A courtyard or court is an enclosed area, often surrounded by a building or complex, that is open to the sky. Such spaces in inns and public buildings were often the meeting places for some purposes. Both of the court and yard derive from the same root. See yard and garden for the relation of this set of words, courtyards—private open spaces surrounded by walls or buildings—have been in use in residential architecture for almost as long as people have lived in constructed dwellings. The courtyard house makes its first appearance ca, Courtyards have historically been used for many purposes including cooking, sleeping, working, playing, gardening, and even places to keep animals. Before courtyards, open fires were burning in a central place within a home. Over time, these openings were enlarged and eventually led to the development of the centralized open courtyard we know today. Courtyard homes have been designed and built throughout the world many variations. Courtyard homes are prevalent in temperate climates, as an open central court can be an important aid to cooling house in warm weather. However, courtyard houses have been found in harsher climates as well for centuries, the comforts offered by a courtyard—air, light, privacy, security, and tranquility—are properties nearly universally desired in human housing. Ur,2000 BC — two-storey houses constructed around a square were built of fired brick. Kitchen, working, and public spaces were located on the ground floor, the central uncovered area in a Roman domus was referred to as an atrium. Today, we use the term courtyard to refer to such an area. Roman atrium houses were built side by side along the street and they were one-storey homes without windows that took in light from the entrance and from the central atrium. The hearth, which used to inhabit the centre of the home, was relocated, and these homes frequently incorporated a second open-air area, the garden, which would be surrounded by Greek-style colonnades, forming a peristyle. This created a colonnaded walkway around the perimeter of the courtyard, Courtyard houses in the Middle East reflect the nomadic influences of the region. Often the flat rooftops of these structures were used for sleeping in warm weather, in some Islamic cultures, private courtyards provided the only outdoor space for women to relax unobserved. The traditional Chinese courtyard house, e. g. siheyuan, is an arrangement of individual houses around a square
Courtyard
–
The huge courtyard surrounded by arched porticoes in the
Great Mosque of Kairouan in
Tunisia.
Courtyard
–
Courtyard in the
Munich Residenz,
Bavaria.
Courtyard
–
Courtyard in a
cloister
Courtyard
–
Entrance to the main courtyard of
Uriarte Talavera, in Puebla, Mexico (first half of 20th century
12.
Baroque
–
The style began around 1600 in Rome and Italy, and spread to most of Europe. The aristocracy viewed the dramatic style of Baroque art and architecture as a means of impressing visitors by projecting triumph, power, Baroque palaces are built around an entrance of courts, grand staircases, and reception rooms of sequentially increasing opulence. However, baroque has a resonance and application that extend beyond a reduction to either a style or period. It is also yields the Italian barocco and modern Spanish barroco, German Barock, Dutch Barok, others derive it from the mnemonic term Baroco, a supposedly laboured form of syllogism in logical Scholastica. The Latin root can be found in bis-roca, in informal usage, the word baroque can simply mean that something is elaborate, with many details, without reference to the Baroque styles of the 17th and 18th centuries. The word Baroque, like most periodic or stylistic designations, was invented by later critics rather than practitioners of the arts in the 17th, the term Baroque was initially used in a derogatory sense, to underline the excesses of its emphasis. In particular, the term was used to describe its eccentric redundancy and noisy abundance of details, although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music. Another hypothesis says that the word comes from precursors of the style, Giacomo Barozzi da Vignola and he did not make the distinctions between Mannerism and Baroque that modern writers do, and he ignored the later phase, the academic Baroque that lasted into the 18th century. Long despised, Baroque art and architecture became fashionable between the two World Wars, and has remained in critical favour. In painting the gradual rise in popular esteem of Caravaggio has been the best barometer of modern taste, William Watson describes a late phase of Shang-dynasty Chinese ritual bronzes of the 11th century BC as baroque. The term Baroque may still be used, usually pejoratively, describing works of art, craft, the appeal of Baroque style turned consciously from the witty, intellectual qualities of 16th-century Mannerist art to a visceral appeal aimed at the senses. It employed an iconography that was direct, simple, obvious, germinal ideas of the Baroque can also be found in the work of Michelangelo. Even more generalised parallels perceived by some experts in philosophy, prose style, see the Neapolitan palace of Caserta, a Baroque palace whose construction began in 1752. In paintings Baroque gestures are broader than Mannerist gestures, less ambiguous, less arcane and mysterious, more like the stage gestures of opera, Baroque poses depend on contrapposto, the tension within the figures that move the planes of shoulders and hips in counterdirections. Baroque is a style of unity imposed upon rich, heavy detail, Baroque style featured exaggerated lighting, intense emotions, release from restraint, and even a kind of artistic sensationalism. There were highly diverse strands of Italian baroque painting, from Caravaggio to Cortona, the most prominent Spanish painter of the Baroque was Diego Velázquez. The later Baroque style gradually gave way to a more decorative Rococo, while the Baroque nature of Rembrandts art is clear, the label is less often used for Vermeer and many other Dutch artists. Flemish Baroque painting shared a part in this trend, while continuing to produce the traditional categories
Baroque
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The Triumph of the Immaculate by
Paolo de Matteis
Baroque
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The Church of
Sant'Andrea al Quirinale, designed by
Gian Lorenzo Bernini
Baroque
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Brooch of an African,
Walters Art Museum
Baroque
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Aeneas Flees Burning Troy,
Federico Barocci, 1598
13.
Bavaria
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Bavaria is a free state and one of 16 federal states of Germany. Located in the German southeast with an area of 70,548 square kilometres and its territory comprises roughly a fifth of the total land area of Germany, and, with 12.9 million inhabitants, it is Germanys second most populous state. Munich, Bavarias capital and largest city, is the third largest city in Germany, the Duchy of Bavaria dates back to the year 555. In the 17th century CE, the Duke of Bavaria became a Prince-elector of the Holy Roman Empire, the Kingdom of Bavaria existed from 1806 to 1918, when Bavaria became a republic. In 1946, the Free State of Bavaria re-organised itself on democratic lines after the Second World War, Bavaria has a unique culture, largely because of the states Catholic majority and conservative traditions. Bavarians have traditionally been proud of their culture, which includes such as Oktoberfest. The state also has the second largest economy among the German states by GDP figures, modern Bavaria also includes parts of the historical regions of Franconia, Upper Palatinate and Swabia. The Bavarians emerged in a north of the Alps, previously inhabited by Celts. The Bavarians spoke Old High German but, unlike other Germanic groups, rather, they seem to have coalesced out of other groups left behind by Roman withdrawal late in the 5th century. These peoples may have included the Celtic Boii, some remaining Romans, Marcomanni, Allemanni, Quadi, Thuringians, Goths, Scirians, Rugians, the name Bavarian means Men of Baia which may indicate Bohemia, the homeland of the Celtic Boii and later of the Marcomanni. They first appear in written sources circa 520, a 17th century Jewish chronicler David Solomon Ganz, citing Cyriacus Spangenberg, claimed that the diocese was named after an ancient Bohemian king, Boiia, in the 14th century BCE. From about 554 to 788, the house of Agilolfing ruled the Duchy of Bavaria and their daughter, Theodelinde, became Queen of the Lombards in northern Italy and Garibald was forced to flee to her when he fell out with his Frankish overlords. Garibalds successor, Tassilo I, tried unsuccessfully to hold the frontier against the expansion of Slavs. Tassilos son Garibald II seems to have achieved a balance of power between 610 and 616, after Garibald II little is known of the Bavarians until Duke Theodo I, whose reign may have begun as early as 680. From 696 onwards he invited churchmen from the west to organize churches and his son, Theudebert, led a decisive Bavarian campaign to intervene in a succession dispute in the Lombard Kingdom in 714, and married his sister Guntrud to the Lombard King Liutprand. At Theodos death the duchy was divided among his sons, at Hugberts death the duchy passed to a distant relative named Odilo, from neighbouring Alemannia. He was defeated near Augsburg in 743 but continued to rule until his death in 748, saint Boniface completed the peoples conversion to Christianity in the early 8th century. Bavaria was in ways affected by the Protestant Reformation in the 16th century
Bavaria
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Prehistoric Heunischenburg, in the vicinity of
Kronach
Bavaria
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Flag
Bavaria
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Kingdom of Bavaria 900
Bavaria
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Bavarian stamps during the German empire period
14.
William Cavendish, 1st Duke of Newcastle
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William Cavendish, 1st Duke of Newcastle upon Tyne KG KB PC was an English polymath and aristocrat, having been a poet, equestrian, playwright, swordsman, politician, architect, diplomat and soldier. At first a courtier of James I of England, Cavendish would later strike up friendships with Charles I of England and he was created Marquess of Newcastle-upon-Tyne and entrusted with the education of the royal couples son, the future Charles II of England. In 1645 he married the English poet, dramatist, philosopher, after the defeat at Marston Moor, Cavendish went into self-imposed exile, only returning with the English Restoration when he was created a duke. A descendant of the Cavendish family, William Cavendish was born at Handsworth Manor in the West Riding of Yorkshire to Sir Charles Cavendish, on the paternal side of his family, the grandparents of William were Bess of Hardwick and courtier William Cavendish. Shortly after the birth of William, his brother Charles was born, the brothers would maintain a close relationship throughout their lives. The family lived at Welbeck Abbey and he was the eldest surviving son of Sir Charles Cavendish and his wife Catherine, and the grandson of Sir William Cavendish and Bess of Hardwick. He was educated at St Johns College, Cambridge and he possessed an immense fortune, and several times he entertained King James I and King Charles I with great magnificence at Welbeck and Bolsover. The Duke died at Welbeck Abbey on Christmas Day 1676, and was buried in Westminster Abbey. The 1st Dukes daughters included Lady Elizabeth Cavendish, who married John Egerton, 2nd Earl of Bridgewater and had issue, and Lady Frances Cavendish, on 3 November 1620 Cavendish became Viscount Mansfield and on 7 March 1628 Earl of Newcastle-upon-Tyne. In 1629 he inherited his mothers barony of Ogle, together with an estate of £3,000 per annum, in 1638 he became governor of Charles, Prince of Wales, and in 1639 a Privy Counsellor. When the Scottish war broke out he assisted King Charles I with a loan of £10,000, in 1641 Newcastle became implicated in the Army Plot, and in consequence withdrew for a time from the court. On 11 January 1642 King Charles sent him to seize Hull, when the king declared open war, Newcastle received the command of the four northern counties, and had the power conferred on him of making knights. He maintained troops at his own expense, and having occupied Newcastle kept open communications with Queen consort Henrietta Maria of France, in November 1642 he advanced into Yorkshire, raised the siege of York, and compelled Lord Fairfax of Cameron to retire after attacking him at Tadcaster. Subsequently his plans were checked by Fairfaxs re-capture of Leeds in January 1643, in June he advanced again, defeated the Fairfaxes at Adwalton Moor on 30 June, and obtained possession of all Yorkshire except Hull and Wressle Castle. On 27 October 1643, he was created Marquess of Newcastle-upon-Tyne, the next year Newcastles position was further threatened by the advance of the Scots. Against larger numbers he could do little but harass and cut off supplies and he retreated to York, where the three armies of the Scots, as well as those of Lord Fairfax of Cameron and Lord Manchester, surrounded him. On 1 July 1644 Prince Rupert of the Rhine raised the siege, after this disaster, against the wishes of the king and of Rupert, Newcastle immediately announced his intention of abandoning the cause and of leaving England. There he met and married his second wife Margaret, daughter of Sir Thomas Lucas of St Johns, Colchester, the new Marchioness was a dramatist and romancer, and had been maid of honour to Queen Henrietta Maria
William Cavendish, 1st Duke of Newcastle
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The Duke of Newcastle
William Cavendish, 1st Duke of Newcastle
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Welbeck Abbey in the 17th century
William Cavendish, 1st Duke of Newcastle
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Le Parc de Welbeck, after
Abraham van Diepenbeeck
15.
Margaret Cavendish, Duchess of Newcastle-upon-Tyne
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Margaret Lucas Cavendish, Duchess of Newcastle-upon-Tyne was an English aristocrat, philosopher, poet, scientist, fiction-writer, and playwright during the 17th century. Born Margaret Lucas, she was the youngest sister of prominent royalists Sir John Lucas and Sir Charles Lucas and she became an attendant of Queen Henrietta Maria and traveled with her into exile in France, living for a time at the court of the young King Louis XIV. She became the wife of William Cavendish, 1st Duke of Newcastle-upon-Tyne in 1645. Cavendish was a poet, philosopher, writer of romances, essayist. Her writing addressed a number of topics, including gender, power, manners, scientific method and her utopian romance, The Blazing World, is one of the earliest examples of science fiction. She is singular in having published extensively in natural philosophy and early modern science and she published over a dozen original works, inclusion of her revised works brings her total number of publications to twenty-one. Cavendish has been championed and criticized as a unique and groundbreaking woman writer and she rejected the Aristotelianism and mechanical philosophy of the seventeenth century, preferring a vitalist model instead. She was the first woman to attend a meeting at Royal Society of London in 1667 and she criticized and engaged members and philosophers Thomas Hobbes, René Descartes. She has been claimed as an advocate for animals and as an opponent of animal testing. Cavendish published her autobiographical memoir A True Relation of my Birth, Breeding, the memoir related Cavendish’s lineage, social status, fortune, upbringing, education, and marriage. Cavendish also shared her views on gender, politics and class, in addition, Cavendish addressed the economic and personal hardships she and her family faced as a result of war and political allegiance, such as the loss of estates and bereavements. Cavendishs father, Thomas Lucas, was exiled after a duel resulted in the death of one Mr. Brooks, he was pardoned by King James. As the youngest of eight children, Cavendish recorded that she spent a deal of time with her siblings. At an early age, Cavendish was already putting her ideas and she kept her intellectual endeavours within the privacy of her home. When Queen Henrietta Maria was in Oxford, Cavendish successfully appealed to her mother for permission to one of her Maids of Honour. Cavendish accompanied the Queen upon her exile and moved to France and this took Cavendish away from her family for the first time. She notes that while she was confident in the company of her siblings. Cavendish explains that she was afraid she might speak or act inappropriately without her siblings guidance and she spoke only when absolutely necessary and, consequently, she came to be regarded as a fool
Margaret Cavendish, Duchess of Newcastle-upon-Tyne
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Segment from Frontispiece for several of her books in the 1650s and 1660s.
Margaret Cavendish, Duchess of Newcastle-upon-Tyne
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The Blazing World
Margaret Cavendish, Duchess of Newcastle-upon-Tyne
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Portrait
Margaret Cavendish, Duchess of Newcastle-upon-Tyne
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Mary Lucas, older sister of Margaret Cavendish
16.
Adam and Eve
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Adam and Eve, according to the creation myth of the Abrahamic religions, were the first man and woman and the ancestors of all humans. It provides the basis for the belief that humanity is in essence a single family, with everyone descended from a single pair of original ancestors. It also provides much of the basis for the doctrines of the fall of man and original sin that are important beliefs in Christianity. In the Book of Genesis of the Hebrew Bible, chapters one through five, in the first, Adam and Eve are not mentioned. Instead, God created humankind in Gods image and instructed them to multiply, in the second narrative, God fashions Adam from dust and places him in the Garden of Eden. Adam is told that he can till the ground and eat freely of all the trees in the garden, except for a tree of the knowledge of good, subsequently, Eve is created from one of Adams ribs to be Adams companion. They are innocent and unashamed about their nakedness, however, a serpent deceives Eve into eating fruit from the forbidden tree, and she gives some of the fruit to Adam. These acts give them additional knowledge, but it gives them the ability to conjure negative and destructive concepts such as shame, God later curses the serpent and the ground. God prophetically tells the woman and the man what will be the consequences of their sin of disobeying God, then he banishes them from the Garden of Eden. The story underwent extensive elaboration in later Abrahamic traditions, and it has been analyzed by modern biblical scholars. The story of Adam and Eve is often depicted in art, the story of the fall of Adam is often understood to be an allegory. There is no evidence that Adam and Eve ever literally existed. In the Book of Genesis, the Genesis creation narrative tells of the creation of the first humans, humankind, in Genesis 1, scholars recognize two separate accounts of the creation in the Old Testament. In the Priestly narrative, God creates the world in six days, culminating in the creation of humanity, here, in the Priestly narrative, the emphasis is on the entirety of the universe and its creation. Here, in the Jahwist narrative, the emphasis is on the Earth within the universe, and humankinds residence on the Earth. Contrast, for example, the order of terms in Genesis 1,1 where it says that God made the heavens and the Earth with Genesis 2,4 where it says God made the Earth and the heavens. In the Jahwist version of the story, God places the man in a garden in Eden where he is permitted to till the land and tend the garden and animals, Genesis 2, 8–15. But none of the animals are found to be a companion for the man, so God causes the man to sleep
Adam and Eve
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Adam and Eve a painting by
Peter Paul Rubens.
Adam and Eve
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The Creation of Adam depicted in the
Sistine Chapel by
Michelangelo
Adam and Eve
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William Blake 's color printing of God Judging Adam (1795). This print is currently held by the
Tate Collection. In the Biblical story, God's judgement is expulsion from the Garden of Eden.
Adam and Eve
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The fall of Adam and Eve as depicted in the
Sistine Chapel by
Michelangelo
17.
Self portrait
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A self-portrait is a representation of an artist that is drawn, painted, photographed, or sculpted by that artist. With better and cheaper mirrors, and the advent of the panel portrait, Portrait of a Man in a Turban by Jan van Eyck of 1433 may well be the earliest known panel self-portrait. He painted a portrait of his wife, and he belonged to the social group that had begun to commission portraits. The genre is venerable, but not until the Renaissance, with increased wealth and interest in the individual as a subject, a self-portrait may be a portrait of the artist, or a portrait included in a larger work, including a group portrait. Many painters are said to have included depictions of specific individuals, including themselves, in these works, the artist usually appears as a face in the crowd or group, often towards the edges or corner of the work and behind the main participants. Rubenss The Four Philosophers is a good example and this culminated in the 17th century with the work of Jan de Bray. Many artistic media have used, apart from paintings, drawings. In the famous Arnolfini Portrait, Jan van Eyck is probably one of two figures glimpsed in a mirror – a surprisingly modern conceit. The Van Eyck painting may have inspired Diego Velázquez to depict himself in view as the painter creating Las Meninas, as the Van Eyck hung in the palace in Madrid where he worked. This was another modern flourish, given that he appears as the painter, in what may be one of the earliest childhood self-portraits now surviving, Albrecht Dürer depicts himself as in naturalistic style as a 13-year-old boy in 1484. In later years he appears variously as a merchant in the background of Biblical scenes, leonardo da Vinci may have drawn a picture of himself at the age of 60, in around 1512. The picture is often reproduced as Da Vincis appearance, although this is not certain. In the 17th century, Rembrandt painted a range of self-portraits, family and professional group paintings, including the artists depiction, became increasingly common from the 17th century on. From the later 20th century on, video plays a part in self-portraiture. Vigée-Lebrun painted a total of 37 self-portraits, many of which were copies of earlier ones, Women artists have historically embodied a number of roles within their self-portraiture. Most common is the artist at work, showing themselves in the act of painting, or at least holding a brush and palette. Often, the viewer if the clothes worn were those they normally painted in. Images of artists at work are encountered in Ancient Egyptian painting, one of the first self-portraits was made by the Pharaoh Akhenatens chief sculptor Bak in 1365 BC
Self portrait
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Raphael, c. 1517–1518,
Uffizi Gallery
Self portrait
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Pieter Claesz, Vanitas with Violin and Glass Ball, the artist is visible in the reflection, 1625.
Self portrait
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Sandro Botticelli 's painting of the
Adoration of the Magi has an "inserted self-portrait". The position in the (right) corner, and the gaze out to the viewer, are very typical of such self-portraits.
Self portrait
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Masaccio inserted self-portrait from the
Brancacci Chapel frescoes (as is the Filippino Lippi), 1424-6.
18.
Leda and the Swan (Peter Paul Rubens)
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Peter Paul Rubens was a well known artist during the Baroque era. He completed hundreds of works in various mediums—many were famous at the time, but there are also many works of art that people don’t know much about. One of these works is his painting Leda and the Swan and he painted two versions of this subject. The first was completed in 1601 and the second was completed in 1602, Rubens was heavily influenced by Michelangelo. He was introduced to his work on his journey to Italy, Rubens decided to go to Rome to make copies of paintings and further his studies of Italian art from the leading Italian artists of the previous century, later termed the Renaissance. In Rome, he encountered Michelangelo’s version of Leda and the Swan, even though Michelangelo’s version does not exist today, copies of it do. A copy of Michelangelo’s original work was done by Rubens, Rubens would have been familiar with Michelangelo’s Leda. His version is considered a prototype for Rubens’s two works, Rubens’s 1601 Leda, was modeled after Michelangelo’s Leda. The placement of the body is similar as is its twisting posture. Even the positioning of the fingers is mirrored, the swan is caressing the female in exactly the same way. The actual figure of the female varies drastically between Rubens’s style and Michelangelo’s style, Michelangelo typically depicted women in a masculine way. Muscles are more defined and the bodies look hard. Michelangelo’s body proportions are a little skewed, Rubens’s women, on the other hand, are extremely curvaceous and are much softer. The hair is loose and not as styled. The body proportions seem more realistic in Rubens’s two works, though Rubens’s two works are very similar, they do differ. In his first depiction, the brushstrokes are looser, it is not as detailed, there is less landscape, no elaborate headpiece, the colors are muted, and the drapes are green. The 1601 painting was supposed to be in a painted ellipse that cut off the left elbow. Today it is in a rectangular format along with the 1602 painting, a common Renaissance and Baroque theme is females that are abducted or seduced by divinities
Leda and the Swan (Peter Paul Rubens)
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Leda and the Swan by Peter Paul Rubens
19.
Heraclitus and Democritus (Rubens)
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Heraclitus and Democritus is a 1603 painting by the Flemish artist Peter Paul Rubens. It is now held in the National Sculpture Museum in Valladolid and it shows the ancient Greek philosophers Heraclitus and Democritus. Rubens produced the work as a commission for Francisco Gómez de Sandoval Rojas y Borja and it passed through several collections, ending up in that of the Syrian oil magnate Akram Ojjeh. After Ojjehs death, it was sold to the Spanish Ministry of Culture for 175,000,000 pesetas in December 1999 via Christies of London
Heraclitus and Democritus (Rubens)
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The painting
Heraclitus and Democritus (Rubens)
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Paintings and drawings
20.
Virgin and Child (Rubens)
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The Virgin and Child is a painting by Rubens, commissioned in 1604 and completed between 1608 and 1621. It was seized by France in 1803 and is now in the Musée des Beaux-Arts Tours and it was commissioned by Anne Antheunis, widow of Alexander I Goubau, grand almoner of Antwerp, shortly after her husbands death. She intended is as an ex voto for their joint funeral monument, then in Italy, Rubens only began the work on his return to Flanders in 1608, including a posthumous portrait of Alexandre-Jean and one of Anne from life. It was complete by 1621, the date of Annes death
Virgin and Child (Rubens)
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External links [edit]
Virgin and Child (Rubens)
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Paintings and drawings
21.
The Fall of Phaeton (Rubens)
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The Fall of Phaeton is a painting by the Flemish master Peter Paul Rubens, featuring the ancient Greek myth of Phaeton, a recurring theme in visual arts. Rubens chose to depict the myth at the height of its action, the thunderbolts provide the light contrast to facilitate the display of horror on the faces of Phaeton, the horses and other figures while preserving the darkness of the event. The butterfly winged female figures represent the hours and seasons, who react in terror as the night, the great astrological circle that arches the heavens is also disrupted. The assemblage of bodies form an oval in the center, separating dark. The bodies are arranged so as to assist the viewer’s travel continually around that oval, Rubens painted The Fall of Phaeton in Rome and the painting was probably reworked later around 1606/1608. It has been housed in the National Gallery of Art since 5 January 1990, Rubens also painted other Greek mythological subjects, such as The Fall of Icarus, Perseus Freeing Andromeda, and The Judgement of Paris
The Fall of Phaeton (Rubens)
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The Fall of Phaeton
The Fall of Phaeton (Rubens)
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Oil on panel, 28.1×27.5 cm,
Royal Museums of Fine Arts of Belgium
The Fall of Phaeton (Rubens)
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Paintings and drawings
22.
The Circumcision (Rubens)
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The Circumcision is an oil on canvas painting of the Circumcision of Jesus by Peter Paul Rubens, produced in 1605 during his stay in Rome. It is now in the Chiesa del Gesù e dei Santi Ambrogio e Andrea church in Genoa and it was commissioned by Marcello Pallavicino, vestryman of the Casa Professa of Jesuits in Genoa. It is mainly influenced by Mantuan paintings from the court of Vincenzo Gonzaga, G. Bertelli, G. Briganti, A. Giuliano, Storia dellArte Italiana, vol. 3, p.299, Roma 2009, Edizioni Scolastiche Bruno Mondadori
The Circumcision (Rubens)
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The Circumcision
The Circumcision (Rubens)
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Paintings and drawings
23.
Portrait of Marchesa Brigida Spinola-Doria
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The Portrait of Marchesa Brigida Spinola-Doria is an oil painting by Peter Paul Rubens, dating to 1606. It is now in the National Gallery of Art in Washington and it was commissioned by Marquess Giacomo Massimiliano Doria, of Genoa, and shows his wife shortly after their wedding in 1605, she came from the equally prominent Spinola family. He died in 1613 and she remarried another Doria and it has been cut several times on each side, removing the garden shown in the background and the lower part of the figure. The overall dimensions of the painting are now 152 by 98 centimetres after the original was reduced in size during the 19th century. Rubens completed a pen and brown ink study for the painting, details removed include the bottom of the Marchesas floor-length wedding gown as the painting has been cut just below her knees and the architecture that formed the backdrop. Writing in The Burlington Magazine in 1951, Christopher Norris indicated the sketch portrayed an older than the 22-year-old Marchesa. In the painting the Marchesa is placed in an opulent setting to convey luxury, adorned with jewels, she wears a satin and lace dress with a broad ruff round her neck. Light is used to emphasise the draping of her wedding gown. It subsequently became the property of Marchessa Brigida Spinola-Dorias second husband, probably in 1625 and it remained in the family until given to relatives of Rati Opizzone. By 1848 it was held in Paris by Simon Horsín-Déon, four years later, in 1854, the portrait was in London and sold several times before being purchased by the Samuel H. Kress foundation in 1957 who donated it to the National Gallery of Art in 1961. First exhibited in 1952 at the Minneapolis Institute of Art when it was likely in the ownership of the Duveen Brothers, since 1961 it has regularly been featured in exhibitions
Portrait of Marchesa Brigida Spinola-Doria
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Description [edit]
Portrait of Marchesa Brigida Spinola-Doria
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Paintings and drawings
