1.
National Gallery
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The National Gallery is an art museum in Trafalgar Square in the City of Westminster, in Central London. Founded in 1824, it houses a collection of over 2,300 paintings dating from the century to 1900. The Gallery is a charity, and a non-departmental public body of the Department for Culture, Media. Its collection belongs to the public of the United Kingdom and entry to the collection is free of charge. It is among the most visited art museums in the world, after the Musée du Louvre, the British Museum, unlike comparable museums in continental Europe, the National Gallery was not formed by nationalising an existing royal or princely art collection. It came into being when the British government bought 38 paintings from the heirs of John Julius Angerstein, after that initial purchase the Gallery was shaped mainly by its early directors, notably Sir Charles Lock Eastlake, and by private donations, which comprise two-thirds of the collection. It used to be claimed that this was one of the few national galleries that had all its works on permanent exhibition, the present building, the third to house the National Gallery, was designed by William Wilkins from 1832 to 1838. Only the façade onto Trafalgar Square remains essentially unchanged from this time, wilkinss building was often criticised for the perceived weaknesses of its design and for its lack of space, the latter problem led to the establishment of the Tate Gallery for British art in 1897. The Sainsbury Wing, an extension to the west by Robert Venturi, the current Director of the National Gallery is Gabriele Finaldi. The late 18th century saw the nationalisation of royal or princely art collections across mainland Europe, great Britain, however, did not emulate the continental model, and the British Royal Collection remains in the sovereigns possession today. In 1777 the British government had the opportunity to buy an art collection of international stature, the MP John Wilkes argued for the government to buy this invaluable treasure and suggested that it be housed in a noble gallery. The twenty-five paintings from that now in the Gallery, including NG1, have arrived by a variety of routes. This offer was declined and Bourgeois bequeathed the collection to his old school, Dulwich College, the collection opened in Britains first purpose-built public gallery, the Dulwich Picture Gallery, in 1814. The British Institution, founded in 1805 by a group of aristocratic connoisseurs, the members lent works to exhibitions that changed annually, while an art school was held in the summer months. However, as the paintings that were lent were often mediocre, some resented the Institution. One of the Institutions founding members, Sir George Beaumont, Bt, in 1823 another major art collection came on the market, which had been assembled by the recently deceased John Julius Angerstein. Angerstein was a Russian-born émigré banker based in London, his collection numbered 38 paintings, including works by Raphael, on 1 July 1823 George Agar Ellis, a Whig politician, proposed to the House of Commons that it purchase the collection. The appeal was given added impetus by Beaumonts offer, which came with two conditions, that the government buy Angersteins collection, and that a building was to be found
2.
Piero della Francesca
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Piero della Francesca was an Italian painter of the Early Renaissance. As testified by Giorgio Vasari in his Lives of the Most Excellent Painters, Sculptors, nowadays Piero della Francesca is chiefly appreciated for his art. His painting is characterized by its humanism, its use of geometric forms. His most famous work is the cycle of frescoes The History of the True Cross in the church of San Francesco in the Tuscan town of Arezzo. He was most probably apprenticed to the local painter Antonio di Giovanni dAnghiari, because in documents about payments it is noted that he was working with Antonio in 1432 and May 1438. Besides, he took notice of the work of some of the Sienese artists active in San Sepolcro during his youth. In 1439 Piero received, together with Domenico Veneziano, payments for his work on frescoes for the church of SantEgidio in Florence, in Florence he must have met leading masters like Fra Angelico, Luca della Robbia, Donatello and Brunelleschi. The classicism of Masaccios frescoes and his figures in the Santa Maria del Carmine were for him an important source of inspiration. Dating of Pieros undocumented work is difficult because his style does not seem to have developed over the years, in 1442 he was listed as eligible for the City Council of San Sepolcro. Three years later, he received the commission for the Madonna della Misericordia altarpiece for the church of the Misericordia in Sansepolcro, in 1449 he executed several frescoes in the Castello Estense and the church of SantAndrea of Ferrara, also lost. His influence was strong in the later Ferrarese allegorical works of Cosimo Tura. Two years later he was in Rimini, working for the condottiero Sigismondo Pandolfo Malatesta, in this sojourn he executed in 1451 the famous fresco of St. Sigismund and Sigismondo Pandolfo Malatesta in the Tempio Malatestiano, as well as Sigismondos portrait. Thereafter Piero was active in Ancona, Pesaro and Bologna, in 1454 he signed a contract for the Polyptych of Saint Augustine in the church of SantAgostino in Sansepolcro. The central panel of this polyptic is lost and the four panels of the wings, a few years later, summoned by Pope Nicholas V, he moved to Rome, here he executed frescoes in the Basilica di Santa Maria Maggiore, of which only fragments remain. Two years later he was again in the Papal capital, for frescoes in Vatican Palace which have also been destroyed, the Baptism of Christ, in The National Gallery in London, was executed around 1460 for the high altar of the church of the Priory of S. Other notable works of Piero della Francescas maturity are the frescoes of the Resurrection of Christ in Sansepolcro, in 1452, Piero della Francesca was called to Arezzo to replace Bicci di Lorenzo in painting the frescoes of the basilica of San Francesco. The work was finished before 1466, probably between 1452 and 1456, the cycle of frescoes, depicting the Legend of the True Cross, is generally considered among his masterworks and those of Renaissance painting in general. The story in these frescoes derives from medieval sources as to how timber relics of the True Cross came to be found
3.
Camaldolese
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The Camaldolese monks and nuns are two different, but related, monastic communities who trace their lineage to the monastic movement begun by Saint Romuald. Their name is derived from the Holy Hermitage of Camaldoli, high in the mountains of central Italy, the Camaldolese were established through the efforts of the Italian monk Saint Romuald. His reform sought to renew and integrate the eremetical tradition of life with that of the cenobium. In his youth Romuald became acquainted with the three schools of western monastic tradition. The monastery where he entered the Order, Sant Apollinare in Classe was a traditional Benedictine community under the influence of the Cluniac reforms. Romuald chose to be under a master, Marinus, who followed a much harsher ascetic. Some years later, Marinus and Romuald settled near the Abbey of Sant Miguel de Cuxa, around 1012 Romuald founded the Sacred Hermitage of Camaldoli in the Tuscan hills. There monks lived in cells, but also observed the common life, worshiping daily in the church. Here the distinctive habit first appears, at Camaldoli are first found in combination the two cenobite and hermit branches that are afterwards so marked a feature of the order. The order was approved by Pope Alexander II, in 1072, there are Camaldolese hermitages and monasteries throughout Italy. There are two Camaldolese congregations, The Benedictine Camaldolese are headquartered at Camaldoli, known as the Holy Hermitage, the first community founded by the congregation was the Monastery of St. Mary of the Angels in Florence. By the 13th century, its scriptorium was known as a source of high quality parchments throughout Europe. It was in this monastery that the artist Lorenzo Monaco explored his vocation as a monk, the other congregation, known as the Camaldolese Hermits of Monte Corona, was established by the Renaissance reformer, Paolo Giustiniani. This group lives solely in hermitages, usually with a small number of monks comprising the community. There are three houses in Italy, two in Poland, and one each in Spain, the United States, and Colombia, unlike the other congregation, it is not a member of the larger Benedictine Confederation. Eremo Di San Girolamo, founded in 1521, does not have the separate, annunziata Di Monte Rua was founded in 1537. In the past, it was the center of various Coronese Hermitages in the Republic of Venice, sacro Eremo Tuscolano was founded in 1607 at Frascati in the Alban Hills. It is the residence of the father major and the novitiate house for Italy
4.
Monastery
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A monastery is a building or complex of buildings comprising the domestic quarters and workplaces of monastics, monks or nuns, whether living in communities or alone. A monastery generally includes a place reserved for prayer which may be a chapel, church or temple, a monastery complex typically comprises a number of buildings which include a church, dormitory, cloister, refectory, library, balneary and infirmary. These may include a hospice, a school and a range of agricultural and manufacturing such as a barn. In English usage, the monastery is generally used to denote the buildings of a community of monks. In modern usage, convent tends to be applied only to institutions of female monastics, historically, a convent denoted a house of friars, now more commonly called a friary. Various religions may apply these terms in specific ways. The earliest extant use of the term monastērion is by the 1st century AD Jewish philosopher Philo in On The Contemplative Life, in England the word monastery was also applied to the habitation of a bishop and the cathedral clergy who lived apart from the lay community. Most cathedrals were not monasteries, and were served by canons secular, however, some were run by monasteries orders, such as York Minster. Westminster Abbey was for a time a cathedral, and was a Benedictine monastery until the Reformation. They are also to be distinguished from collegiate churches, such as St Georges Chapel, in most of this article, the term monastery is used generically to refer to any of a number of types of religious community. In the Roman Catholic religion and to some extent in certain branches of Buddhism, there is a more specific definition of the term. Buddhist monasteries are generally called vihara, viharas may be occupied by males or females, and in keeping with common English usage, a vihara populated by females may often be called a nunnery or a convent. However, vihara can also refer to a temple, in Tibetan Buddhism, monasteries are often called gompa. In Thailand, Laos and Cambodia, a monastery is called a wat, in Burma, a monastery is called a kyaung. A Christian monastery may be an abbey, or a priory and it may be a community of men or of women. A charterhouse is any monastery belonging to the Carthusian order, in Eastern Christianity, a very small monastic community can be called a skete, and a very large or important monastery can be given the dignity of a lavra. The great communal life of a Christian monastery is called cenobitic, as opposed to the life of an anchorite. In Hinduism monasteries are called matha, mandir, koil, or most commonly an ashram, jains use the Buddhist term vihara
5.
Sansepolcro
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Sansepolcro, formerly Borgo Santo Sepolcro, is a town and comune in Tuscany, Italy, in the province of Arezzo. Situated on the reaches of the Tiber river, the town is the birthplace of the painters Piero della Francesca, Raffaellino del Colle, Santi di Tito. It was also the birthplace of the Italian mathematician Luca Pacioli, and of Matteo Cioni, today, the economy is based on agriculture, industrial manufacturing, food processing and pharmaceuticals. It is the home of Buitoni pasta, founded by Giulia Buitoni in 1827, according to tradition, the town was founded around 1000 AD by two pilgrims, Arcanus and Aegidius, who brought a stone from the Church of the Holy Sepulchre with them from the Holy Land. They founded an oratory dedicated to Saint Leonard, on the site of the current Cathedral, the first historical mentions of Sansepolcro are slightly later, referring to the Benedictine Abbey, the Badia, around which the walled commune clustered. During the conflicts between Guelfs and Ghibellines, the factions were headed by prominent local families, including the Pichi, Bercordati, Graziani. The main church is the Cathedral, built in Gothic-Romanesque style in 1012–49, other churches of note are San Francesco and San Lorenzo. The latter church has a Deposition by Rosso Fiorentino, the English writer Aldous Huxley described the Resurrection by Piero della Francesca, which is in the Museo Civico, as the greatest painting in the world. The museum collection includes three works by Piero della Francesca and many other treasures including paintings by Santi di Tito, Raffaellino del Colle. Diocese of Sansepolcro Eduino Francini St. Quentin Teatro Dante Sansepolcro is twinned with, Neuchâtel, Switzerland Neuves-Maisons, France Sinj, Croatia
6.
Tuscany
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Tuscany is a region in central Italy with an area of about 23,000 square kilometres and a population of about 3.8 million inhabitants. Tuscany is known for its landscapes, traditions, history, artistic legacy, Tuscany produces wines, including Chianti, Vino Nobile di Montepulciano, Morellino di Scansano and Brunello di Montalcino. Having a strong linguistic and cultural identity, it is considered a nation within a nation. Tuscany is traditionally a popular destination in Italy, and the main tourist destinations by number of tourist arrivals are Florence, Pisa, Montecatini Terme, Castiglione della Pescaia and Grosseto. The village of Castiglione della Pescaia is also the most visited destination in the region. Additionally, Siena, Lucca, the Chianti region, Versilia and Val dOrcia are also internationally renowned, Tuscany has over 120 protected nature reserves, making Tuscany and its capital Florence popular tourist destinations that attract millions of tourists every year. In 2012, the city of Florence was the worlds 89th most visited city, roughly triangular in shape, Tuscany borders the regions of Liguria to the northwest, Emilia-Romagna to the north and east, Umbria to the east and Lazio to the southeast. The comune of Badia Tedalda, in the Tuscan Province of Arezzo, has an exclave named Ca Raffaello within Emilia-Romagna, Tuscany has a western coastline on the Tyrrhenian Sea, containing the Tuscan Archipelago, of which the largest island is Elba. Tuscany has an area of approximately 22,993 square kilometres, surrounded and crossed by major mountain chains, and with few plains, the region has a relief that is dominated by hilly country used for agriculture. Hills make up nearly two-thirds of the total area, covering 15,292 square kilometres, and mountains. Plains occupy 8. 4% of the total area—1,930 square kilometres —mostly around the valley of the River Arno, many of Tuscanys largest cities lie on the banks of the Arno, including the capital Florence, Empoli and Pisa. The pre-Etruscan history of the area in the late Bronze and Iron Ages parallels that of the early Greeks, following this, the Villanovan culture saw Tuscany, and the rest of Etruria, taken over by chiefdoms. City-states developed in the late Villanovan before Orientalization occurred and the Etruscan civilization rose, the Etruscans created the first major civilization in this region, large enough to establish a transport infrastructure, to implement agriculture and mining and to produce vibrant art. The Etruscans lived in Etruria well into prehistory, throughout their existence, they lost territory to Magna Graecia, Carthage and Celts. Despite being seen as distinct in its manners and customs by contemporary Greeks, the cultures of Greece, one reason for its eventual demise was this increasing absorption by surrounding cultures, including the adoption of the Etruscan upper class by the Romans. Soon after absorbing Etruria, Rome established the cities of Lucca, Pisa, Siena, and Florence, endowed the area with new technologies and development, and ensured peace. These developments included extensions of existing roads, introduction of aqueducts and sewers, however, many of these structures have been destroyed by erosion due to weather. The Roman civilization in the West collapsed in the 5th century AD, in the years following 572, the Longobards arrived and designated Lucca the capital of their Duchy of Tuscia
7.
Triptych
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A triptych is a work of art that is divided into three sections, or three carved panels that are hinged together and can be folded shut or displayed open. It is therefore a type of polyptych, the term for all multi-panel works, the middle panel is typically the largest and it is flanked by two smaller related works, although there are triptychs of equal-sized panels. The form can also be used for pendant jewelry, despite its connection to an art format, the term is sometimes used more generally to connote anything with three parts, particularly if they are integrated into a single unit. The triptych form arises from early Christian art, and was a standard format for altar paintings from the Middle Ages onwards. Its geographical range was from the eastern Byzantine churches to the Celtic churches in the west, renaissance painters such as Hans Memling and Hieronymus Bosch used the form. Triptych forms also allow ease of transport, from the Gothic period onward, both in Europe and elsewhere, altarpieces in churches and cathedrals were often in triptych form. One such cathedral with an altarpiece triptych is Llandaff Cathedral, the Cathedral of Our Lady in Antwerp, Belgium, contains two examples by Rubens, and Notre Dame de Paris is another example of the use of triptych in architecture. One can also see the form echoed by the structure of many stained glass windows. Although strongly identified as a form, triptychs outside that context have been created, some of the best-known examples being works by Hieronymus Bosch, Max Beckmann. The then highest price paid for an artwork at auction was $142.4 million for a 1969 triptych, Three Studies of Lucian Freud. The record was broken in May 2015 by $179.4 million for Pablo Picassos 1955 painting Les Femmes d’Alger, the format has migrated and been used in other religions, including Islam and Buddhism. Likewise, Tibetan Buddhists have used it in traditional altars, a photographic triptych is a common style used in modern commercial artwork. The photographs are arranged with a plain border between them. The work may consist of images that are variants on a theme
8.
Domenico Veneziano
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Domenico Veneziano was an Italian painter of the early Renaissance, active mostly in Perugia and Tuscany. Little is known of his birth, though he is thought to have born in Venice, hence his last name. He then moved to Florence in 1422–23 as a boy, to become a pupil of Gentile da Fabriano and he is said to have worked with Pisanello in Rome around 1423–1430. His work was influenced by the style of Benozzo Gozzoli and he was a contemporary with Fra Angelico and Fra Filippo Lippi, since those two artists and himself are known to have valued the frescoes of Buonfigli at Perugia. Between 1439 and 1441 he painted a masterpiece of the Adoration of the Magi, another masterpiece is considered to be the Santa Lucia de Magnoli Altarpiece, originally in Santa Lucia dei Magnoli, Florence and now in the Uffizi. Painted in tempera on panel, the altarpiece displays such a palette for this period that Vasari wrote that it had been painted in oil. Domenico is also known for a panel of the Adoration of the Magi which was probably commissioned for the palace of the wealthy Medici family. Other important works are the Madonna del Roseto in the National Museum of Art of Romania, Vasari alleged that Domenico was murdered by Andrea del Castagno. He worked at the decorations of the Portinari chapel in the hospital of Santa Maria Nuova in Florence from 1439–1445, and had as his assistants Piero della Francesca and Bicci di Lorenzo. It is certain that whilst employed there he used linseed oil as his medium and his latter days were spent in Florence, where he died on 15 May 1461. Walter Armstrong & Robert Edmund Graves, ed, dictionary of Painters and Engravers, Biographical and Critical. York St. #4, Covent Garden, London, Original from Fogg Library, Digitized May 18,2007, George Bell, media related to Domenico Veneziano at Wikimedia Commons
9.
Baptism of Jesus
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The baptism of Jesus marks the beginning of his public ministry. This event is described in the gospels of Matthew, Mark, Johns gospel does not directly describe Jesus baptism. Most modern theologians view the baptism of Jesus by John the Baptist as an event to which a high degree of certainty can be assigned. The baptism is one of the five major milestones in the narrative of the life of Jesus, the others being the Transfiguration, Crucifixion, Resurrection. Most Christian denominations view the baptism of Jesus as an important event, in Eastern Christianity, Jesus baptism is commemorated on 6 January, the feast of Epiphany. In Roman Catholicism, the baptism of Jesus is one of the Luminous Mysteries sometimes added to the Rosary and it is a Trinitarian feast in the Eastern Orthodox Churches. Mark, Matthew, and Luke depict the baptism in parallel passages, after the baptism, the Synoptic gospels describe the temptation of Jesus, where Jesus withdrew to the Judean desert to fast for forty days and nights. Matthew In Matthew 3,14, upon meeting Jesus, John said, I have need to be baptized of thee, however, Jesus convinces John to baptize him nonetheless. Matthew uniquely records that the voice from heaven addresses the crowd, rather than addressing Jesus himself as in Mark, Luke Luke uniquely depicts John as a family relative of Jesus, with Johns birth also announced by angel. Luke uniquely depicts John as showing kindness to tax collectors. Luke records that Jesus was praying when Heaven was opened and the Holy Spirit descended on him, Luke clarifies that the spirit descended in the bodily form of a dove, as opposed to merely descending like a dove. In Acts 10, 37–38, the ministry of Jesus is described as following the baptism which John preached, in John 1, 29–33 rather than a direct narrative, John the Baptist bears witness to the spirit descending like a dove. John 1, 35–37 narrates an encounter, between Jesus and two of his disciples, who were then disciples of John the Baptist. The episode in John 1, 35–37 forms the start of the relationship between Jesus and his future disciples, when John the Baptist called Jesus the Lamb of God, the two disciples heard him speak, and they followed Jesus. One of the disciples is named Andrew, but the other remains unnamed, and Raymond E. Brown raises the question of his being the author of the Gospel of John himself. In the Gospel of John, the disciples follow Jesus thereafter, and bring other disciples to him, and Acts 18, 24–19,6 portrays the disciples of John as eventually merging with the followers of Jesus. According to the non-canonical Gospel of the Nazarenes, the idea of being baptized by John came from the mother and brothers of Jesus, plus, the story came from the community that included the family of Jesus, who would have guaranteed the authenticity of the narrative. The Gospel of John refers to Enon near Salim as one place where John the Baptist baptized people, separately, John 1,28 states that John the Baptist was baptizing in Bethany beyond the Jordan
10.
John the Baptist
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John the Baptist, also known as John the Baptizer, was a Jewish itinerant preacher in the early first century AD. John is revered as a religious figure in Christianity, Islam, the Baháí Faith. He is called a prophet by all of these traditions, and is honoured as a saint in many Christian traditions, John used baptism as the central symbol or sacrament of his messianic movement. Most scholars agree that John baptized Jesus, scholars generally believe Jesus was a follower or disciple of John and several New Testament accounts report that some of Jesus early followers had previously been followers of John. John the Baptist is also mentioned by the Jewish historian Josephus, according to the New Testament, John anticipated a messianic figure greater than himself. Christians commonly refer to John as the precursor or forerunner of Jesus, John is also identified with the prophet Elijah. John the Baptist is mentioned in all four canonical Gospels and the non-canonical Gospel of the Nazarenes, the Synoptic Gospels describe John baptising Jesus, in the Gospel of John it is implied in John 1, 32-34. The Gospel of Mark introduces John as a fulfilment of a prophecy from the Book of Isaiah about a messenger being sent ahead, John is described as wearing clothes of camels hair, living on locusts and wild honey. John proclaims baptism of repentance for the forgiveness of sin, and says another will come after him who will not baptize with water, Jesus comes to John, and is baptized by him in the river Jordan. The account describes how, as he emerges from the water, the heavens open, a voice from heaven then says, You are my Son, the Beloved, with you I am well pleased. Later in the gospel there is an account of Johns death and it is introduced by an incident where the Tetrarch Herod Antipas, hearing stories about Jesus, imagines that this is John the Baptist raised from the dead. It then explains that John had rebuked Herod for marrying Herodias, Herodias demands his execution, but Herod, who liked to listen to John, is reluctant to do so because he fears him, knowing he is a righteous and holy man. The account then describes how Herods daughter Herodias dances before Herod, when the girl asks her mother what she should request, she is told to demand the head of John the Baptist. Reluctantly, Herod orders the beheading of John, and his head is delivered to her, at her request, Johns disciples take the body away and bury it in a tomb. There are a number of difficulties with this passage, the Gospel wrongly identifies Antipas as King and the ex-husband of Herodias is named as Philip, but he is known to have been called Herod. Although the wording clearly implies the girl was the daughter of Herodias, many texts describe her as Herods daughter, Herodias. Since these texts are early and significant and the reading is difficult, many see this as the original version, corrected in later versions and in Matthew. Josephus says that Herodias had a daughter by the name of Salome, scholars have speculated about the origins of the story
11.
Columbidae
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Pigeons and doves constitute the bird family Columbidae, which includes about 310 species. Pigeons and doves are stout-bodied birds with short necks, and short slender bills and they primarily feed on seeds, fruits, and plants. This family occurs worldwide, but the greatest variety is in the Indomalaya, in general, the terms dove and pigeon are used somewhat interchangeably. Pigeon is a French word that derives from the Latin pipio, for a peeping chick, the species most commonly referred to as pigeon is the rock dove, one subspecies of which, the domestic pigeon, is common in many cities as the feral pigeon. Pigeons and doves are likely the most common birds in the world, doves and pigeons build relatively flimsy nests – often using sticks and other debris – which may be placed in trees, on ledges, or on the ground, depending on species. They lay one or two eggs at a time, and both parents care for the young, which leave the nest after seven to 28 days. Unlike most birds, both sexes of doves and pigeons produce crop milk to feed to their young, secreted by a sloughing of fluid-filled cells from the lining of the crop, young doves and pigeons are called squabs. The adjective columbine refers to pigeons and doves, recent phylogenomic studies support the grouping of these pigeons and sandgrouse together, along with mesites, forming the sister taxon to Mirandornithes. The Columbidae are usually divided into five subfamilies, probably inaccurately, for example, the American ground and quail doves, which are usually placed in the Columbinae, seem to be two distinct subfamilies. The order presented here follows Baptista et al. with some updates, osteology and DNA sequence analyses indicate the dodo and Rodrigues solitaire are better considered as a subfamily Raphinae in the Columbidae pending availability of further information. The dodo and Rodrigues solitaire are in all part of the Indo-Australian radiation that produced the three small subfamilies mentioned above, with the fruit-doves and pigeons. Therefore, they are included as a subfamily Raphinae, pending better material evidence of their exact relationships. Exacerbating these issues, columbids are not well represented in the fossil record, no truly primitive forms have been found to date. The genus Gerandia has been described from Early Miocene deposits of France, apart from that, all other fossils belong to extant genera. For these, and for the number of more recently extinct prehistoric species. Phylogeny based on the work by John H. Boyd III, Pigeons and doves exhibit considerable variations in size. Overall, the Columbidae tend to have short bills and legs, the wings are large and have low wing loadings, pigeons have strong wing muscles and are among the strongest fliers of all birds. They are also highly manoeuvrable in flight, the plumage of the family is variable
12.
Holy Spirit in Christianity
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For the majority of Christian denominations, the Holy Spirit or Holy Ghost is the third person of the Trinity, the Triune God manifested as Father, Son, and Holy Spirit, each person itself being God. The New Testament details a relationship between the Holy Spirit and Jesus during his earthly life and ministry. The Gospels of Matthew and Luke and the Nicene Creed state that Jesus was conceived by the Holy Spirit, born of the Virgin Mary. The Holy Spirit descended on Jesus like a dove during his baptism, the theology of the Holy Spirit is called pneumatology. The Holy Spirit is referred to as the Lord, the Giver of Life in the Nicene Creed, since the first century, Christians have also called upon God with the trinitarian formula Father, Son and Holy Spirit in prayer, absolution and benediction. The Koine Greek word pneûma is found around 385 times in the New Testament, Pneuma appears 105 times in the four canonical gospels,69 times in the Acts of the Apostles,161 times in the Pauline epistles, and 50 times elsewhere. These usages vary, in 133 cases, it refers to spirit in a general sense, around 93 times, the reference to the Holy Spirit, sometimes under the name pneuma and sometimes explicitly as the pneûma tò Hagion. It was generally translated into the Vulgate as Spiritus and Spiritus Sanctus, the English terms Holy Ghost and Holy Spirit are complete synonyms, one derives from the Old English gast and the other from the Latin loanword spiritus. Like pneuma, they refer to the breath, to its animating power, and to the soul. In particular, Another Stoic concept which offered inspiration to the Church was that of divine Spirit, cleanthes, wishing to give more explicit meaning to Zenos creative fire, had been the first to hit upon the term pneuma, or spirit, to describe it. The sacredness of the Holy Spirit is affirmed in all three Synoptic Gospels which proclaim blasphemy against the Holy Spirit is the unforgivable sin. What the Hebrew Bible calls Spirit of God and Spirit of Elohim is called in the Talmud, although the expression Holy Spirit occurs in Ps.51,11 and in Isa. 63, 10–11, it had not yet acquired quite the same meaning which was attached to it in rabbinical literature, in Gen.1,2 Gods spirit hovered over the form of lifeless matter, thereby making the Creation possible. The most characteristic sign of the presence of the ruach ha-kodesh is the gift of prophecy, the use of the word ruach in the phrase ruach ha-kodesh seems to suggest that Judaic authorities believed the Holy Spirit was a kind of communication medium like the wind. The spirit talks sometimes with a masculine and sometimes with a feminine voice, the Holy Spirit does not simply appear for the first time at Pentecost after the resurrection of Jesus, but is present in the Gospel of Luke prior to the birth of Jesus. In Luke 1,15, John the Baptist was said to be filled with the Holy Spirit prior to birth, and the Holy Spirit came upon the Virgin Mary in Luke 1,35. In Luke 3,16 John the Baptist stated that Jesus baptized not with water but with the Holy Spirit, in Luke 11,13 Jesus provided assurances that God the Father would give the Holy Spirit to those who ask him. Matthew 10,20 refers to the act of speaking through the disciples
13.
Golden ratio
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In mathematics, two quantities are in the golden ratio if their ratio is the same as the ratio of their sum to the larger of the two quantities. The figure on the right illustrates the geometric relationship, expressed algebraically, for quantities a and b with a > b >0, a + b a = a b = def φ, where the Greek letter phi represents the golden ratio. Its value is, φ =1 +52 =1.6180339887 …, A001622 The golden ratio is also called the golden mean or golden section. Other names include extreme and mean ratio, medial section, divine proportion, divine section, golden proportion, golden cut, the golden ratio appears in some patterns in nature, including the spiral arrangement of leaves and other plant parts. The golden ratio has also used to analyze the proportions of natural objects as well as man-made systems such as financial markets. Two quantities a and b are said to be in the golden ratio φ if a + b a = a b = φ, one method for finding the value of φ is to start with the left fraction. Through simplifying the fraction and substituting in b/a = 1/φ, a + b a =1 + b a =1 +1 φ, multiplying by φ gives φ +1 = φ2 which can be rearranged to φ2 − φ −1 =0. First, the line segment A B ¯ is about doubled and then the semicircle with the radius A S ¯ around the point S is drawn, now the semicircle is drawn with the radius A B ¯ around the point B. The arising intersection point E corresponds 2 φ, next up, the perpendicular on the line segment A E ¯ from the point D will be establish. The subsequent parallel F S ¯ to the line segment C M ¯, produces, as it were and it is well recognizable, this triangle and the triangle M S C are similar to each other. The hypotenuse F S ¯ has due to the cathetuses S D ¯ =1 and D F ¯ =2 according the Pythagorean theorem, finally, the circle arc is drawn with the radius 5 around the point F. The golden ratio has been claimed to have held a fascination for at least 2,400 years. But the fascination with the Golden Ratio is not confined just to mathematicians, biologists, artists, musicians, historians, architects, psychologists, and even mystics have pondered and debated the basis of its ubiquity and appeal. In fact, it is fair to say that the Golden Ratio has inspired thinkers of all disciplines like no other number in the history of mathematics. Ancient Greek mathematicians first studied what we now call the golden ratio because of its frequent appearance in geometry, the division of a line into extreme and mean ratio is important in the geometry of regular pentagrams and pentagons. Euclid explains a construction for cutting a line in extreme and mean ratio, throughout the Elements, several propositions and their proofs employ the golden ratio. The golden ratio is explored in Luca Paciolis book De divina proportione, since the 20th century, the golden ratio has been represented by the Greek letter φ or less commonly by τ. Timeline according to Priya Hemenway, Phidias made the Parthenon statues that seem to embody the golden ratio, plato, in his Timaeus, describes five possible regular solids, some of which are related to the golden ratio
14.
Council of Florence
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At stake was the greater conflict between the Conciliar movement and the principle of papal supremacy. The Council entered a second phase after Emperor Sigismunds death in 1437, Pope Eugene IV convoked a rival Council of Ferrara on 8 January 1438 and succeeded in drawing the Byzantine ambassadors to Italy. The Council of Basel first suspended him, declared him a heretic, the rival Council of Florence concluded in 1445 after negotiating unions with the various eastern churches. This bridging of the Great Schism proved fleeting, but was a coup for the papacy. In 1447, Sigismunds successor Frederick III commanded the city of Basel to expel the Council of Basel, ambrogio Traversari attended the Council of Basel as legate of Pope Eugene IV. Under pressure for reform, Pope Martin V sanctioned a decree of the Council of Constance obliging the papacy to summon general councils periodically. At the expiration of the first term fixed by this decree, due to an epidemic the location transferred almost at once to Siena and disbande, in circumstances still imperfectly known, just as it had begun to discuss the subject of reform. Martin himself, however, died before the opening of the synod, the Council was seated on December 14,1431, at a period when the conciliar movement was strong and the authority of the papacy weak. The Council at Basel opened with only a few bishops and abbots attending and it adopted an anti-papal attitude, proclaimed the superiority of the Council over the Pope and prescribed an oath to be taken by every Pope on his election. On December 18 Martins successor, Pope Eugene IV, tried to dissolve it and open a new council on Italian soil at Bologna, but he was overruled. Sigismund, King of Hungary and titular King of Bohemia, had defeated at the Battle of Domažlice in the fifth crusade against the Hussites in August 1431. Under his sponsorship, the Council negotiated a peace with Calixtine faction of the Hussites in January 1433, Pope Eugene acknowledged the council in May and crowned Sigismund Holy Roman Emperor on May 31,1433. The divided Hussites were defeated in May 1434, in June 1434, the pope had to flee a revolt in Rome and began a ten-year exile in Florence. When the Council was moved from Basel to Ferrara in 1438, some remained at Basel and they elected Amadeus VIII, Duke of Savoy, as Antipope. Driven out of Basel in 1448, they moved to Lausanne, where Felix V, the pope they had elected, the next year, they decreed the closure of what for them was still the Council of Basel. The new council was transferred to Florence in 1439 because of the danger of plague at Ferrara and because Florence had agreed, against future payment, some, perhaps feeling political pressure from the Byzantine Emperor, accepted the decrees of the Council. Others did so by sincere conviction, such as Isidore of Kiev, only Bishop Mark of Ephesus, however, refused to accept the union and became the leader of opposition back home. The Russians, upon learning of the union, angrily rejected it, despite the religious union, Western military assistance to Byzantium was meager, and the fall of Constantinople occurred in May 1453
15.
Monk
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A monk is a person who practices religious asceticism, living either alone or with any number of other monks. The concept is ancient and can be seen in many religions, in the Greek language the term can apply to women, but in modern English it is mainly in use for men. The word nun is typically used for female monastics, although the term monachos is of Christian origin, in the English language monk tends to be used loosely also for both male and female ascetics from other religious or philosophical backgrounds. However, being generic, it is not interchangeable terms that denote particular kinds of monk, such as cenobite, hermit, anchorite, hesychast. In Eastern Orthodoxy monasticism holds a special and important place. Orthodox monastics separate themselves from the world in order to pray unceasingly for the world and they do not, in general, have as their primary purpose the running of social services, but instead are concerned with attaining theosis, or union with God. However, care for the poor and needy has always been an obligation of monasticism, the level of contact though will vary from community to community. Hermits, on the hand, have little or no contact with the outside world. Orthodox monasticism does not have religious orders as are found in the West, basil the Great and the Philokalia, which was compiled by St. Nikodemos of the Holy Mountain and St. Makarios of Corinth. Hesychasm is of importance in the ascetical theology of the Orthodox Church. Meals are usually taken in common in a dining hall known as a trapeza. Food is usually simple and is eaten in silence while one of the brethren reads aloud from the writings of the Holy Fathers. The monastic lifestyle takes a deal of serious commitment. Within the cenobitic community, all monks conform to a way of living based on the traditions of that particular monastery. In struggling to attain this conformity, the comes to realize his own shortcomings and is guided by his spiritual father in how to deal honestly with them. For this same reason, bishops are almost always chosen from the ranks of monks, Eastern monasticism is found in three distinct forms, anchoritic, cenobitic, and the middle way between the two, known as the skete. One normally enters a community first, and only after testing and spiritual growth would one go on to the skete or, for the most advanced. However, one is not necessarily expected to join a skete or become a solitary, in general, Orthodox monastics have little or no contact with the outside world, including their own families
16.
Theology
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Theology is the critical study of the nature of the divine. It is taught as a discipline, typically in universities, seminaries. Augustine of Hippo defined the Latin equivalent, theologia, as reasoning or discussion concerning the Deity, the term can, however, be used for a variety of different disciplines or fields of study. Theologians use various forms of analysis and argument to help understand, explain, test, critique, the English equivalent theology had evolved by 1362. Greek theologia was used with the discourse on god in the fourth century BC by Plato in The Republic, Book ii. Drawing on Greek Stoic sources, the Latin writer Varro distinguished three forms of discourse, mythical, rational and civil. Theologos, closely related to theologia, appears once in some manuscripts, in the heading to the book of Revelation, apokalypsis ioannoy toy theologoy. The Latin author Boethius, writing in the early 6th century, used theologia to denote a subdivision of philosophy as a subject of study, dealing with the motionless. Boethius definition influenced medieval Latin usage, Theology can also now be used in a derived sense to mean a system of theoretical principles, an ideology. They suggest the term is appropriate in religious contexts that are organized differently. Kalam. does not hold the place in Muslim thought that theology does in Christianity. To find an equivalent for theology in the Christian sense it is necessary to have recourse to several disciplines, and to the usul al-fiqh as much as to kalam. Jose Ignacio Cabezon, who argues that the use of theology is appropriate, can only do so, he says, I take theology not to be restricted to its etymological meaning. In that latter sense, Buddhism is of course atheological, rejecting as it does the notion of God, within Hindu philosophy, there is a solid and ancient tradition of philosophical speculation on the nature of the universe, of God and of the Atman. The Sanskrit word for the schools of Hindu philosophy is Darshana. Nevertheless, Jewish theology historically has been active and highly significant for Christian. It is sometimes claimed, however, that the Jewish analogue of Christian theological discussion would more properly be Rabbinical discussion of Jewish law, the history of the study of theology in institutions of higher education is as old as the history of such institutions themselves. Modern Western universities evolved from the institutions and cathedral schools of Western Europe during the High Middle Ages
17.
Ambrose Traversari
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Cam. also referred to as Ambrose of Camaldoli, was an Italian monk and theologian, who was a prime supporter of the papal cause in the 15th century. He is honored as a saint by the Camaldolese Order, Traversari was born near Forlì, at the village of Portico di Romagna in 1386. At the age of fourteen he entered the Camaldolese Order in the Monastery of St. Mary of the Angels in Florence, in his study of Greek literature his master was Emmanuel Chrysoloras. He worked primarily as a scholar until he became Prior General of the Order in 1431, Ambrose emerged as a leading advocate of the primacy of the Roman Pontiff. He was next sent by the Pope to the Emperor Sigismund to ask his aid in the efforts to end this Council. The Pope transferred the Council from Basel to Ferrara on 18 September 1437, so strong was Ambroses hostility to some of the delegates that he described Basel as a western Babylon. He likewise supported the pope at Ferrara and Florence, and worked hard in the attempt to reconcile the Eastern and Western Churches and his feastday is celebrated by the Camaldolese Order on 20 November. According to the author of his biography in the Eleventh edition of the Encyclopædia Britannica, Ambrose is interesting as typical of the new humanism which was growing up within the church. His works include a treatise on the Holy Eucharist, one on the Procession of the Holy Spirit, many lives of saints, as well as a history of his term as Prior General of the Camaldolese. He also translated from Greek into Latin a life of Saint John Chrysostom and he also translated four books against the errors of the Greeks, by Manuel Kalekas, Patriarch of Constantinople, a Dominican friar, P. G. 13-661, a work only through Ambroses translation. Dom Mabillons Letters and Orations of St. Ambrose of Camaldoli was published at Florence,1759, diogenes Laërtius, Vitae philosophorum Pseudo-Dionysius the Areopagite A number of his manuscripts remain in the library of St Mark at Venice. Traversari The Baptism of Christ Attribution This article incorporates text from a now in the public domain, Becket. This article incorporates text from a now in the public domain, Chisholm, Hugh. Stinger, Charles L. Humanism and the Church Fathers, Ambrogio Traversari, Ambrogio Traversari, Artistic Adviser in Early Fifteenth-Century Florence. The Camaldolese Academy, Ambrogio Traversari, Marsilio Ficino & the Christian Platonic Tradition, Marsilio Ficino, His Theology, His Philosophy, His Legacy, ed. Michael J. B. Allen & Valery Rees, with Martin Davies. Letters – a few letters in the original Latin and a portrait of him from a manuscript he copied
18.
Prior
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Prior, derived from the Latin for earlier, first, is an ecclesiastical title for a superior, usually lower in rank than an abbot or abbess. Its earlier generic usage referred to any monastic superior, in the Rule of Saint Benedict, the term appears several times, referring to any superior, whether an abbot, provost, dean, etc. In other old monastic rules the term is used in the generic sense. With the Cluniac Reforms, the prior received a specific meaning, it supplanted the provost or dean. As a result, it is not in use for the congregation as a whole, among them, the equivalent term of prior general is the one used. This applies, e. g. for the Camaldolese and the Carthusians, the term is also used by various mendicant orders, e. g. the Carmelites and the Dominicans. This applies both to the friars and the nuns of these orders and he has no ordinary jurisdiction by virtue of his office, since he performs the duties of his office entirely according to the will and under the direction of the abbot. His jurisdiction is, therefore, a one and extends just as far as the abbot desires. He is appointed by the abbot, generally after a consultation in chapter with the monks of the monastery. In many monasteries, especially larger ones, the prior is assisted by a sub-prior. In former times there were in larger monasteries, besides the prior and he had no authority to correct or punish the brethren, but was to report to the claustral prior whatever he found amiss or contrary to the rules. In the high days of Cluny, the abbot was assisted by a coadjutor styled Grand-Prior, the Conventual prior is the independent superior of a monastery that is not an abbey. In some orders, like the Benedictines, a remains a priory until it is considered stable enough. In other Orders, like the Camaldolese and Carthusians, conventual priors are the norm and this title, in its feminine form prioress, is used for monasteries of nuns in the Dominican and Carmelite orders. An Obedientiary Prior heads a monastery created as a satellite of an abbey, a Prior Provincial is the regional superior of certain Orders, such as the Order of Friars Preachers Dominicans or the Carmelite friars. In this last case, the head of the whole Order is called the prior general, among communities of friars, the second superior is called the sub-prior and his office is similar to that of the claustral prior in the Benedictine Order. Catholic religious order Priory This article incorporates text from a now in the public domain, Herbermann, Charles
19.
Flagellation of Christ (Piero della Francesca)
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The Flagellation of Christ is a painting by Piero della Francesca in the Galleria Nazionale delle Marche in Urbino, Italy. Called by one writer an enigmatic little painting, the composition is complex and unusual, kenneth Clark placed The Flagellation in his personal list of the best ten paintings, calling it the greatest small painting in the world. The theme of the picture is the Flagellation of Christ by the Romans during his Passion, the biblical event takes place in an open gallery in the middle distance, while three figures in the foreground on the right-hand side apparently pay no attention to the event unfolding behind them. The painting is signed under the seated emperor OPVS PETRI DE BVRGO SCI SEPVLCRI – the work of Piero of Borgo Santo Sepolcro, the portrait of the bearded man at the front is considered unusually intense for Pieros time. Much of the debate surrounding the work concerns the identities or significance of the three men at the front. Depending on the interpretation of the subject of the painting, they may represent contemporary figures or people related to the passion of Christ, or they may even have multiple identities. The latter is suggested with respect to the sitting man on the left, who is in one sense certainly Pontius Pilate. Originally the painting had a frame on which the Latin phrase Convenerunt in Unum, taken from Psalm 2 and this text is cited in Book of Acts 4,26 and related to Pilate, Herod and the Jews. Both advisers were held responsible for Oddantonios death due to their unpopular government, Oddantonios death would be compared, in its innocence, to that of Christ. The painting would then have been commissioned by Federico da Montefeltro, moreover, Oddantonios corpse was buried in an unnamed grave. A painting dedicated to the memory of Duke Oddantonio and to his rehabilitation would thus have been a case of betrayal to the citizens of Urbino, another traditional view considers the picture a dynastic celebration commissioned by Duke Federico da Montefeltro, Oddantonios successor and half-brother. The three men would simply be his predecessors, however, since Duke Guidobaldo was a son of Federico born in 1472, this information has to be erroneous. Instead, the rightmost figure may represent Oddantonios and Federicos father Guidantonio, according to this other old-fashioned view, the figure in the middle would represent an angel, flanked by the Latin and the Greek Churches, whose division created strife in the whole of Christendom. The young man would be Bonconte II da Montefeltro, who died of plague in 1458, in this way, the sufferings of Christ are paired both to those of the Byzantines and of Bonconte. The figure on the left watching would be sultan Murad II, the three men on the right are identified as, from left, Cardinal Bessarion, Thomas Palaiologos and Niccolò III dEste, host of the council of Mantua after its move to his lordship of Ferrara. Piero della Francesca painted the Flagellation some 20 years after the fall of Constantinople, again, the man in the far left would be the Byzantine Emperor. Another explanation of the painting is offered by Marilyn Aronberg Lavin in Piero della Francesca, the interior scene represents Pontius Pilate showing Herod with his back turned, because the scene closely resembles numerous other depictions of the flagellation that Piero would have known. Ottavio is dressed in the garb of an astrologer, even down to his forked beard
20.
The History of the True Cross
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The History of the True Cross or The Legend of the True Cross is a sequence of frescoes painted by Piero della Francesca in the Basilica of San Francesco in Arezzo. It is his largest work, and generally considered one of his finest, and this work demonstrates Piero’s advanced knowledge of perspective and colour, his geometric orderliness and skill in pictorial construction. The main episodes depicted are, Death of Adam, the Queen of Sheba in Adoration of the Wood and The Meeting of Solomon and the Queen of Sheba. According to the legend, the Queen of Sheba worshiped the beams made from the tree, and informed Solomon that the Saviour would hang from that tree and this caused Solomon to hew it down and bury it, until it was found by the Romans. Constantines Dream Emperor Constantine the Great, before the battle of Milvian Bridge, is awakened by an angel who shows him the cross in heaven, with the cross on his shield, he slew the enemy, and later converted to Christianity. Discovery and Proof of the True Cross, helena, Constantines mother, finds the cross in Jerusalem. It was not easy to get information and when the queen had called them and demanded them the place where our Lord Jesus Christ had been crucified, then commanded she to burn them all or cast them into a dry pit for seven days and there torment them with hunger. The Jew is shown in one fresco being pulled from the pit by a rope, whereupon he confessed that Jesus was his lord, the proof of the cross was that it was used to resurrect a dead man. The cross played a role in battles during the war between the Eastern Roman Empire and the Sassanid Empire, the cycle ends with a depiction of the Annunciation, not strictly part of the Legend of the True Cross but probably included by Piero for its universal meaning. Dating of the frescoes is uncertain, but they are believed to date from after 1447 and it would have been finished around 1466. Most of the choir was painted in the early- to mid-1450s, although the design of the frescoes is evidently Pieros, he seems to have delegated parts of the painting to assistants, as was usual. The hand of Giovanni da Piamonte, in particular, can be recognised in some of the frescoes, the Dictionary of Art, Grove Belton, R. & Kersten, B. Vision and Visions in Piero della Francesca’s Legend of the True Cross, translated into English prose by Lucius Hudson Holt. All images in series and interactive model Institute for Advanced Studies web site, the Legend of the True Cross fresco cycle on YouTube, here and here. Legend of the True Cross fresco cycle at art-threads
21.
Madonna del Parto
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A Madonna del Parto is an iconic depiction of the Virgin Mary shown as pregnant, which was developed in Italy, mainly in Tuscany in the 14th century. Examples include works by Taddeo Gaddi, Bernardo Daddi and Nardo di Cione, the Madonna was portrayed standing, alone, often with a closed book on her belly, an allusion to the Incarnate Word. The works were associated with the devotions of pregnant women, praying for a safe delivery, here the Virgin wears the Girdle of Thomas, a belt of knotted cloth cord that was a relic held in Prato Cathedral, which many depictions wear. The most famous work showing this subject is a painting by the Italian Renaissance master Piero della Francesca. It is housed in the Museo della Madonna del Parto of Monterchi, Tuscany, Piero della Francesca finished it in seven days, using first-rate colors, including a large extent of blu oltremare obtained by lapis lazuli imported from Afghanistan by the Republic of Venice. The fresco was at one time located in Santa Maria di Momentana, the work was attributed to Piero della Francesca only in 1889. Its dating has been the subject of debate, ranging from 1450 to 1475, the 16th century artist and writer Giorgio Vasari wrote that it was completed in 1459, when Piero della Francesca was in Sansepolcro for his mothers death. The fresco also plays an important role in Richard Hayers novel Visus, in Andrei Tarkovskys film Nostalghia, Piero della Francescas Madonna has neither books nor royal attributes as in most predecessors of the image, nor does she wear the girdle. She is portrayed with a hand against her side to support her prominent belly and she is flanked by two angels, who are holding open the curtains of a pavilion decorated with pomegranates, a symbol of Christs Passion. The upper part of the painting is lost, the two angels are specular, as they were executed by the artist using with the same perforated cartoons. The theological symbolism behind the representation is complex, maurizio Calvesi has suggested that the tent represents the Ark of the Covenant. Mary would be thus the new Ark of Alliance in her role as Mother of Christ, for other scholars the tent is a symbol of the Catholic Church and the Madonna would symbolize the tabernacle, as she is portrayed containing Jesus body. Cassidy, Brendan, A Relic, Some Pictures and the Mothers of Florence in the Late Fourteenth Century, Gesta, Vol.30,2, pp. 91-99, The University of Chicago Press on behalf of the International Center of Medieval Art, JSTOR Longhi, Roberto. Gli affreschi di Piero della Francesca ad Arezzo e Monterchi, luogo teologico mariano, Piero della Francesca, Madonna del parto, ein Kunstwerk zwischen Politik und Devotion
22.
The Resurrection (Piero della Francesca)
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The Resurrection is a fresco painting by the Italian Renaissance master Piero della Francesca, painted in the 1460s in the Palazzo della Residenza in the town of Sansepolcro, Tuscany, Italy. The secular and spiritual meanings of the painting were always intimately intertwined, pieros Christ is also present on the towns Coat of Arms. His stern, impassive figure, depicted in an iconic and abstract fixity, rises over four sleeping soldiers and his figure in the communes council hall both protects the judge and purifies the judged according to Marilyn Aronberg Lavin. Andrew Graham-Dixon notes that apart from the wound, Christs body is as perfectly sculpted, but there are touches of intense humanity about him too, the unidealised, almost coarse-featured face, and those three folds of skin that wrinkle at his belly as he raises his left leg. Piero emphasises his twofold nature, as man and God. The guard holding the lance is depicted sitting in an impossible pose. Piero probably left them out not to break the balance of the composition, according to tradition and by comparison with the woodcut illustrating Vasaris Lives of the Painters, the sleeping soldier in brown armor on Christs right is a self-portrait of Piero. The contact between the head and the pole of the banner carried by Christ is supposed to represent his contact with the divinity. The composition is unusual in that it contains two vanishing points, one is in the center of the sarcophagus, because the faces of the guards are seen from below, and the other is in Jesuss face. The top of the forms a boundary between the two points of view, and the steepness of the hills prevents the transition between the two points of view from being too jarring. Sansepolcro was spared damage during World War 2 when British artillery officer Tony Clarke defied orders. Clarke had read Huxleys 1925 essay describing the Resurrection, which states, It stands there before us in entire and actual splendour and it was later ascertained that the Germans had already retreated from the area — the bombardment had not been necessary. The town, along with its famous painting, survived, when the events of the episode eventually became clear, Clarke was lauded as a local hero and to this day a street in Sansepolcro bears his name. Il Cristo Risorto di Piero immagini rare e desuete, amintore Fanfani e Giulio Gambassi, Il Cristo Risorto di Piero della Francesca, Una battaglia per l’arte. Firenze, Grafica European Center of Fine Arts
23.
Polyptych of Perugia
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The Polyptych of Perugia is a complex of paintings by the Italian Renaissance master Piero della Francesca, finished around 1470. It is housed in the Galleria Nazionale dellUmbria, Perugia, Italy, the work was executed for the new Franciscan convent of SantAntonio da Padova in Perugia, most likely in the years following his sojourn in Rome. It portrays the Virgin enthroned with the Child in the part, flanked by several saints, Anthony of Padua and John the Baptist on the left, Francis. In the cusp is the Annunciation, the upper part of the predella shows the saints Clare and Lucy, while in the lower part are miracles stories of the main Franciscan saints. More innovative and typical of the style is the Annunciation, set in a bright cloister
24.
Brera Madonna
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The Brera Madonna is a painting by the Italian Renaissance master Piero della Francesca, executed in 1472-1474. It is housed in the Pinacoteca di Brera of Milan, where it was deposited by Napoleon, the work, of a type known as a sacra conversazione, was commissioned by Federico III da Montefeltro, Duke of Urbino, to celebrate the birth of Federicos son, Guidobaldo. According to other sources, it would celebrate his conquest of several castles in the Maremma, some sources suggest that the work was commissioned to celebrate the birth of Federicos son, Guidobaldo, who was born in 1472. The work represents a sacred conversation, with the Virgin enthroned, on the right low corner, kneeling and wearing his armor, the patron of arts, duke and condottiero Federico da Montefeltro. At the center, hanging by a thread from the shell is an egg, emblem alike of Marys fecundity. The Child wears a necklace of deep red coral beads, a color which alludes to blood, a symbol of life and death, coral was also used for teething, and often worn by babies. The saints at the left of the Madonna are generally identified as John the Baptist, Bernardino of Siena and Jerome, on the right would be Francis, Peter Martyr and Andrew. In the last figure, the Italian historian Ricci has identified a portrait of Luca Pacioli, the presence of John the Baptist would be explained as he was the patron saint of Federicos wife, while St. Jerome was the protector of Humanists. Francis, finally, would be present as the painting was thought for the Franciscan church of San Donato degli Osservanti. The apse ends with a shell semi-dome from which an egg is hanging. The shell was a symbol of the new Venus, Mary, according to another hypothesis, the egg would be a pearl, and the shell would refer to the miracle of the virginal conception. The egg is considered a symbol of the Creation and, in particular, to Guidobaldos birth. According to Italian art historian Carlo Ludovico Ragghianti, the work has been cut down on both sides, as shown by the portions of entablatures barely visible in the upper corners
25.
Madonna di Senigallia
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The Madonna di Senigallia is a painting by the Italian Renaissance master Piero della Francesca, finished around 1474. It is housed in the Galleria Nazionale delle Marche, in the Ducal Palace of Urbino, from its small scale the painting was intended for private devotion. It was noticed for the first time in 1822 in the church of the Observant Franciscan convent of Santa Maria delle Grazie just outside Senigallia, Senigallia was wrested from Sigismondo Malatesta by Federico Montefeltro, both men were patrons of Piero. The commission was likely from or on behalf of Giovanni Della Rovere, betrothed in 1474 to Giovanna Montefeltro, at which time Federico made Giovanni, following its rediscovery the painting was taken to the Ducal Palace, Urbino. The light, which enters from the window on the left, is a symbol of the Virgins conception. The staring, thoughtful immobility of all the characters would be also an allusion to the latter
26.
De Prospectiva Pingendi
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De Prospectiva pingendi is the earliest and only pre–1500 Renaissance treatise solely devoted to the subject of perspective. It was written by the Italian master Piero della Francesca late in his career, despite its Latin title, the opus is written in Italian. The subjects covered by Piero della Francesca in these writings include arithmetic, algebra, geometry, the writings were inspired by the book De pictura by Leon Battista Alberti written in 1435 but probably also by works by Euclid. The manuscript later came into the possession of the Biblioteca Palatina in Parma before it was transferred to the Biblioteca Ambrosiana, much of Piero’s work was later absorbed into the writing of others, notably Luca Pacioli. Piero’s work on solid geometry appears in Pacioli’s De divina proportione, in 1899 the writings were first published in bookform
