1.
Leonardo da Vinci
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He has been variously called the father of palaeontology, ichnology, and architecture, and is widely considered one of the greatest painters of all time. Sometimes credited with the inventions of the parachute, helicopter and tank, many historians and scholars regard Leonardo as the prime exemplar of the Universal Genius or Renaissance Man, an individual of unquenchable curiosity and feverishly inventive imagination. Much of his working life was spent in the service of Ludovico il Moro in Milan. He later worked in Rome, Bologna and Venice, and he spent his last years in France at the home awarded to him by Francis I of France, Leonardo was, and is, renowned primarily as a painter. Among his works, the Mona Lisa is the most famous and most parodied portrait, Leonardos drawing of the Vitruvian Man is also regarded as a cultural icon, being reproduced on items as varied as the euro coin, textbooks, and T-shirts. Perhaps fifteen of his paintings have survived, Leonardo is revered for his technological ingenuity. He conceptualised flying machines, a type of armoured fighting vehicle, concentrated power, an adding machine. Some of his inventions, however, such as an automated bobbin winder. A number of Leonardos most practical inventions are nowadays displayed as working models at the Museum of Vinci. He made substantial discoveries in anatomy, civil engineering, geology, optics, and hydrodynamics, today, Leonardo is widely considered one of the most diversely talented individuals ever to have lived. Leonardo was born on 15 April 1452 at the hour of the night in the Tuscan hill town of Vinci. He was the son of the wealthy Messer Piero Fruosino di Antonio da Vinci, a Florentine legal notary, and Caterina. Leonardo had no surname in the modern sense – da Vinci simply meaning of Vinci, his birth name was Lionardo di ser Piero da Vinci, meaning Leonardo. The inclusion of the title ser indicated that Leonardos father was a gentleman, little is known about Leonardos early life. He spent his first five years in the hamlet of Anchiano in the home of his mother and his father had married a sixteen-year-old girl named Albiera Amadori, who loved Leonardo but died young in 1465 without children. When Leonardo was sixteen, his father married again to twenty-year-old Francesca Lanfredini, pieros legitimate heirs were born from his third wife Margherita di Guglielmo and his fourth and final wife, Lucrezia Cortigiani. Leonardo received an education in Latin, geometry and mathematics. In later life, Leonardo recorded only two childhood incidents, one, which he regarded as an omen, was when a kite dropped from the sky and hovered over his cradle, its tail feathers brushing his face
2.
Oil painting
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Oil painting is the process of painting with pigments with a medium of drying oil as the binder. Commonly used drying oils include linseed oil, poppy seed oil, walnut oil, the choice of oil imparts a range of properties to the oil paint, such as the amount of yellowing or drying time. Certain differences, depending on the oil, are visible in the sheen of the paints. An artist might use different oils in the same painting depending on specific pigments and effects desired. The paints themselves also develop a particular consistency depending on the medium, the oil may be boiled with a resin, such as pine resin or frankincense, to create a varnish prized for its body and gloss. Its practice may have migrated westward during the Middle Ages, Oil paint eventually became the principal medium used for creating artworks as its advantages became widely known. In recent years, water miscible oil paint has come to prominence and, to some extent, water-soluble paints contain an emulsifier that allows them to be thinned with water rather than paint thinner, and allows very fast drying times when compared with traditional oils. Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint, Oil paint is usually mixed with linseed oil, artist grade mineral spirits, or other solvents to make the paint thinner, faster or slower-drying. A basic rule of oil paint application is fat over lean and this means that each additional layer of paint should contain more oil than the layer below to allow proper drying. If each additional layer contains less oil, the painting will crack. This rule does not ensure permanence, it is the quality and type of oil leads to a strong. There are many media that can be used with the oil, including cold wax, resins. These aspects of the paint are closely related to the capacity of oil paint. Traditionally, paint was transferred to the surface using paintbrushes. Oil paint remains wet longer than other types of artists materials, enabling the artist to change the color. At times, the painter might even remove a layer of paint. This can be done with a rag and some turpentine for a time while the paint is wet, Oil paint dries by oxidation, not evaporation, and is usually dry to the touch within a span of two weeks. It is generally dry enough to be varnished in six months to a year, art conservators do not consider an oil painting completely dry until it is 60 to 80 years old
3.
Louvre
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The Louvre or the Louvre Museum is the worlds largest museum and a historic monument in Paris, France. A central landmark of the city, it is located on the Right Bank of the Seine in the citys 1st arrondissement, approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square metres. The Louvre is the second most visited museum after the Palace Museum in China. The museum is housed in the Louvre Palace, originally built as a fortress in the late 12th century under Philip II, remnants of the fortress are visible in the basement of the museum. Due to the expansion of the city, the fortress eventually lost its defensive function and. The building was extended many times to form the present Louvre Palace, in 1692, the building was occupied by the Académie des Inscriptions et Belles Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years, during the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nations masterpieces. The museum opened on 10 August 1793 with an exhibition of 537 paintings, because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum renamed Musée Napoléon, the collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic, whether this was the first building on that spot is not known, it is possible that Philip modified an existing tower. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den, in the 7th century, St. Fare, an abbess in Meaux, left part of her Villa called Luvra situated in the region of Paris to a monastery. This territory probably did not correspond exactly to the modern site, the Louvre Palace was altered frequently throughout the Middle Ages. In the 14th century, Charles V converted the building into a residence and in 1546, Francis acquired what would become the nucleus of the Louvres holdings, his acquisitions including Leonardo da Vincis Mona Lisa. After Louis XIV chose Versailles as his residence in 1682, constructions slowed, however, on 14 October 1750, Louis XV agreed and sanctioned a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. Under Louis XVI, the museum idea became policy. The comte dAngiviller broadened the collection and in 1776 proposed conversion of the Grande Galerie of the Louvre – which contained maps – into the French Museum, many proposals were offered for the Louvres renovation into a museum, however, none was agreed on. Hence the museum remained incomplete until the French Revolution, during the French Revolution the Louvre was transformed into a public museum. In May 1791, the Assembly declared that the Louvre would be a place for bringing together monuments of all the sciences, on 10 August 1792, Louis XVI was imprisoned and the royal collection in the Louvre became national property
4.
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
5.
Prime version
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In the art world the prime version of a work of art which exists in a number of versions is the version which is known or believed to have been the first to be produced. Many artworks produced in such as painting or carved sculpture which create unique objects are in fact repeated by their artists. It is regarded as a matter of importance both by art historians and the art market to establish which version has priority, that is to say was the original work. The presumption usually is that the version is the finest. In many periods the later repetitions were often produced by the workshop of the master, with varying degrees of supervision, in many periods replicas were the direct product of collecting, as collectors have always preferred recognizable masterpieces to what is offbeat. In Friths case the replicas were painted many years after his first versions, the French painter Charles Landelle recorded no fewer than 32 versions of his Femme Fellah, an Orientalist hit at the Paris Salon of 1866. An example of a work now known from a replica and studies is Aeneas and his Family Fleeing Troy. The prime version was given in 1586 by Francesco Maria II, the last Duke of Urbino, to Rudolph II, Holy Roman Emperor in Prague, and was later looted by the Swedes. It was taken to Rome by Queen Christina of Sweden, passed to the Orleans collection in Paris, the Rome version was painted in 1598, presumably for Cardinal Scipio Borghese. Infrared and X-ray photography are among the techniques that may help in discovering these technical issues. The version in the Uffizi Gallery in Florence, previously considered prime, was replaced by the version in the National Gallery, London, an example of a relatively recent work where documentary evidence means that the prime version has never been in dispute. Christiansen, Keith, Caravaggio and Lesempio davanti del naturale, The Art Bulletin, Vol.68,3, pp. 421-445, JSTOR Christiansen, Keith, in The Art of Orazio Gentileschi in Gentileschi, eds. 1220, Raphael, pp. 757–759, JSTOR Gould, Cecil, The Sixteenth Century Italian Schools,1975, National Gallery Catalogues, London, ISBN0947645225 Harding, artistes pompiers, French academic art in the 19th century. Millar, Oliver, letter headed The Van Dyck Catalogue, The Burlington Magazine, Vol.146,1217, Architecture, p.553, JSTOR Turner, Nicholas, Federico Barocci,2000, Vilo
6.
Transfer of panel paintings
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It has now been largely superseded by improved methods of wood conservation. The practice evolved in Naples and Cremona in 1711-25, and reached France by the middle of the eighteenth century and it was especially widely practiced in the second half of the 19th century. Similar techniques are used to transfer frescos, oil paintings on canvas often receive additional support or are transferred to a new backing. The process is described by Henry Mogford in his Handbook for the Preservation of Pictures, smooth sheets of paper were pasted over the painted surface of the panel, and a layer of muslin over that. The ground of the painting was removed by solvents or scraping, until nothing remained but a thin skin of colour, pasted over with paper. A prepared canvas was then attached to the back of the paint layer, when the glue had dried, the paper and muslin was removed by careful damping. The leading workshop carrying out the process in Paris in the century was that of Jean-Louis Hacquin. Transfers from the workshop have sometimes found to have a layer of pieces of silk. The workshop was continued after Hacquin’s death by his son, François-Toussaint Hacquin, a later restorer, Marie-Jacob Godefroid is recorded as having achieved similar results by the use of steam. A less dramatic partial transfer tended to be used in Germany and Austria, in which a layer of the original wood was retained
7.
Mary, mother of Jesus
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Mary, also known by various titles, styles and honorifics, was a 1st-century Galilean Jewish woman of Nazareth and the mother of Jesus, according to the New Testament and the Quran. The gospels of Matthew and Luke in the New Testament and the Quran describe Mary as a virgin, the miraculous birth took place when she was already betrothed to Joseph and was awaiting the concluding rite of marriage, the formal home-taking ceremony. She married Joseph and accompanied him to Bethlehem, where Jesus was born, the Gospel of Luke begins its account of Marys life with the Annunciation, when the angel Gabriel appeared to her and announced her divine selection to be the mother of Jesus. According to canonical gospel accounts, Mary was present at the crucifixion and is depicted as a member of the early Christian community in Jerusalem. According to the Catholic and Orthodox teaching, at the end of her life her body was assumed directly into Heaven. Mary has been venerated since Early Christianity, and is considered by millions to be the most meritorious saint of the religion and she is claimed to have miraculously appeared to believers many times over the centuries. The Eastern and Oriental Orthodox, Roman Catholic, Anglican, and Lutheran churches believe that Mary, there is significant diversity in the Marian beliefs and devotional practices of major Christian traditions. The Roman Catholic Church holds distinctive Marian dogmas, namely her status as the Mother of God, her Immaculate Conception, her perpetual virginity, many Protestants minimize Marys role within Christianity, based on the argued brevity of biblical references. Mary also has a position in Islam, where one of the longer chapters of the Quran is devoted to her. Marys name in the manuscripts of the New Testament was based on her original Aramaic name ܡܪܝܡ. The English name Mary comes from the Greek Μαρία, which is a form of Μαριάμ. Both Μαρία and Μαριάμ appear in the New Testament, in Christianity, Mary is commonly referred to as the Virgin Mary, in accordance with the belief that she conceived Jesus miraculously through the Holy Spirit without her husbands involvement. The three main titles for Mary used by the Orthodox are Theotokos, Aeiparthenos as confirmed in the Second Council of Constantinople in 553, Catholics use a wide variety of titles for Mary, and these titles have in turn given rise to many artistic depictions. For example, the title Our Lady of Sorrows has inspired such masterpieces as Michelangelos Pietà, the title Theotokos was recognized at the Council of Ephesus in 431. However, this phrase in Greek, in the abbreviated form ΜΡ ΘΥ, is an indication commonly attached to her image in Byzantine icons. The Council stated that the Church Fathers did not hesitate to speak of the holy Virgin as the Mother of God, some Marian titles have a direct scriptural basis. For instance, the title Queen Mother has been given to Mary since she was the mother of Jesus, the scriptural basis for the term Queen can be seen in Luke 1,32 and the Isaiah 9,6. Queen Mother can be found in 1 Kings 2, 19-20 and Jeremiah 13, other titles have arisen from reported miracles, special appeals or occasions for calling on Mary
8.
Christ Child
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The Christ Child, also known as Divine Infant, Baby Jesus, Infant Jesus, Child Jesus, the Holy Child, and Santo Niño, refers to Jesus Christ from his nativity to age 12. Upon reaching 13 years-old he was considered to be an adult in accordance with Jewish custom, the canonical Gospels lack any narration of the years between Jesus infancy and the Finding in the Temple when he was twelve. Commonly these are nativity scenes showing the birth of Jesus, with his mother, Mary, depictions as a baby with the Virgin Mary, known as Madonna and Child, are iconographical types in Eastern and Western traditions. Other scenes from his time as a baby, of his circumcision, presentation at the temple, the adoration of the Magi, scenes showing his developing years are more rare but not unknown. Saint Joseph, Anthony of Padua, and Saint Christopher are often depicted holding the Christ Child, the Christ Child was a popular subject in European wood sculpture beginning in the 1300s. The popularity of the Christ child was known in Spain under the title Montanesino after the santero sculptor Juan Martínez Montañés who began the trend. The growth of images being made were quite popular among nobility, while images were also used to colonize kingdoms such of Spain. The symbolism of the Child Jesus in art reached its apex during the Renaissance, tàladh Chrìosda is a Scottish carol from Moidart, Scotland. The Catholic priest Father Ranald Rankin, wrote the lyrics for Midnight Mass around the year 1855 and he originally wrote 29 verses in Scottish Gaelic, but the popular English translation is limited to five. The melody, Cumha Mhic Arois, is from the Hebrides and was a sung as a charm for the fisherman away at sea. The rhythm mirrors the rhythm of the surf and it is sung in the Hebrides at Midnight Mass of Christmas Eve. A number of texts, the Infancy Gospels grew up with legendary accounts of the intervening period. These stories were intended to show Jesus as having extraordinary gifts of power and knowledge, one common pious tale has the young Jesus animating sparrows out of clay belonging to his playmates. When admonished for doing so on the Sabbath, he causes the birds to fly away, in the seventeenth century veneration of the Christ Child under the title the Little King of Beaune was promoted by French Carmelites. In the late nineteenth century devotion to the Holy Child of Remedy developed in Madrid
9.
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
10.
Sfumato
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Sfumato is one of the four canonical painting modes of Renaissance art. The word sfumato comes from the Italian language and is derived from fumo, sfumato translated into English means soft, vague or blurred. In Italian the word is used as adjective or as verb. The technique is a fine shading meant to produce a transition between colours and tones, in order to achieve a more believable image. It is most often used by making subtle gradations that do not include lines or borders, the technique was used not only to give an elusive and illusionistic rendering of the human face but also to create rich atmospheric effects. Leonardo da Vinci described the technique as blending colours, without the use of lines or borders in the manner of smoke, Leonardo da Vinci became the most prominent practitioner of sfumato - his famous painting of the Mona Lisa exhibits the technique. Leonardo da Vinci described sfumato as without lines or borders, in the manner of smoke or beyond the focus plane, apart from Leonardo, other prominent practitioners of sfumato included Correggio, Raphael and Giorgione. Students and followers of Leonardo also tried their hands at sfumato after Leonardo, artists such as Bernardino Luini and Funisi. Leonardo da Vinci, anatomical drawings from the Royal Library, Windsor Castle, exhibition catalog fully online as PDF from The Metropolitan Museum of Art, which contains material on this technique
11.
Giovanni Ambrogio de Predis
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Ambrogio, who was born in Preda, gained a reputation as a portraitist, including as a painter of miniatures, for the court of Ludovico Sforza. The portrait of Bianca Maria was painted by Ambrogio, who followed her to Innsbruck after the wedding in 1493, in 1494 he returned to Milan, where he designed coins for the mint, designed and supervised tapestry works, and prepared stage scenery. In 1502 he produced his only surviving signed and dated work, much of Ambrogio de Prediss artistic output remains in dispute. A Portrait of Youth as Saint Sebastian at the Cleveland Art Museum is attributed to Abmbrogio de Predis, giovanni Ambrogio de Prediss paintings Freedberg, Sydney J. Pelican History of Art, ed
12.
Milan
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Milan is a city in Italy, capital of the Lombardy region, and the most populous metropolitan area and the second most populous comune in Italy. The population of the city proper is 1,351,000, Milan has a population of about 8,500,000 people. It is the industrial and financial centre of Italy and one of global significance. In terms of GDP, it has the largest economy among European non-capital cities, Milan is considered part of the Blue Banana and lies at the heart of one of the Four Motors for Europe. Milan is an Alpha leading global city, with strengths in the arts, commerce, design, education, entertainment, fashion, finance, healthcare, media, services, research, and tourism. Its business district hosts Italys Stock Exchange and the headquarters of the largest national and international banks, the city is a major world fashion and design capital, well known for several international events and fairs, including Milan Fashion Week and the Milan Furniture Fair. The city hosts numerous cultural institutions, academies and universities, with 11% of the national total enrolled students, Milans museums, theatres and landmarks attract over 9 million visitors annually. Milan – after Naples – is the second Italian city with the highest number of accredited stars from the Michelin Guide, the city hosted the Universal Exposition in 1906 and 2015. Milan is home to two of Europes major football teams, A. C. Milan and F. C. Internazionale, the etymology of Milan is uncertain. One theory holds that the Latin name Mediolanum comes from the Latin words medio, however, some scholars believe lanum comes from the Celtic root lan, meaning an enclosure or demarcated territory in which Celtic communities used to build shrines. Hence, Mediolanum could signify the central town or sanctuary of a Celtic tribe, indeed, the name Mediolanum is borne by about sixty Gallo-Roman sites in France, e. g. Saintes and Évreux. Alciato credits Ambrose for his account, around 400 BC, the Celtic Insubres settled Milan and the surrounding region. In 222 BC, the Romans conquered the settlement, renaming it Mediolanum, Milan was eventually declared the capital of the Western Roman Empire by Emperor Diocletian in 286 AD. Diocletian chose to stay in the Eastern Roman Empire and his colleague Maximianus ruled the Western one, immediately Maximian built several monuments, such as a large circus 470 m ×85 m, the Thermae Herculeae, a large complex of imperial palaces and several other buildings. With the Edict of Milan of 313, Emperor Constantine I guaranteed freedom of religion for Christians, after the city was besieged by the Visigoths in 402, the imperial residence was moved to Ravenna. In 452, the Huns overran the city, in 539, the Ostrogoths conquered and destroyed Milan during the Gothic War against Byzantine Emperor Justinian I. In the summer of 569, a Teutonic tribe, the Lombards, conquered Milan, some Roman structures remained in use in Milan under Lombard rule. Milan surrendered to the Franks in 774 when Charlemagne took the title of King of the Lombards, the Iron Crown of Lombardy dates from this period
13.
Gavin Hamilton (artist)
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Gavin Hamilton was a Scots neoclassical history painter, who is more widely remembered for his hunts for antiquities in the neighbourhood of Rome. These roles in combination made him an arbiter of neoclassical taste, Gavin Hamilton was born in Scotland in 1723 in Lanarkshire, into the prominent family for whom the town of Hamilton, South Lanarkshire was named, headed by the dukes of Hamilton. In 1738 he became a student of classics at the University of Glasgow, by 1744 he was in Italy, and probably studied in Rome in the studio of Agostino Masucci. From 1748 to 1750 he shared an apartment with Gilbert Stuart and Revett, on returning to Britain, he spent several years portrait-painting in London. At the end of period, he returned to Rome. He lived there for more than the four decades, until his death in 1798. Aside from a few portraits of friends, the Hamilton family and his most famous is a cycle of six paintings from Homers Iliad. As engraved by Domenico Cunego and reproduced, these were widely disseminated widely and were enormously influential, also influential was Hamiltons Death of Lucretia, also known as the Oath of Brutus. This inspired a series of paintings by European painters, which included Jacques-Louis Davids noted Oath of the Horatii. As a painter of classical subjects, Hamilton was highly regarded by Johann Joachim Winckelmann, writer Goethe, young sculptor Antonio Canova and others in Rome, but was less appreciated in Britain. He did receive a commission to paint the altar piece of SantAndrea degli Scozzesi, as an art dealer and archaeologist, Hamilton undertook excavations at Hadrians Villa in Tivoli in 1769–1771, at first to acquire marble for his sculptor to restore sculptures. In 1771 Hamilton discovered the Warwick Vaseat Hadrians Villa and he sold it to Sir William Hamilton, a connoisseur and the British envoy at Naples. Gavin Hamilton worked closely with Giovanni Battista Piranesi and he was an early advisor of Antonio Canova, a young sculptor whom he met at a dinner party in December 1779 on Canovas first visit to Rome. In 1785 Hamilton bought Leonardo da Vincis Virgin of the Rocks and his purchase was the version now held by the National Gallery, London. Such hunting and sale of antiquities was considered a marginally shady undertaking, in addition, Hamilton paid landowners for excavating rights, so kept his peace with them. He died on 4 January 1798, cassidy, ed. 194–207 M. Cima, Gavin Hamilton a Gabii. in Villa Borghese, storia e gestione, ed. A. Campitelli B
14.
Bernardino Luini
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Bernardino Luini was a North Italian painter from Leonardos circle. Both Luini and Giovanni Antonio Boltraffio were said to have worked with Leonardo directly, consequently, many of his works were attributed to Leonardo. He was known especially for his female figures with elongated eyes. Luini was born as Bernardino de Scapis in Runo, a frazione of Dumenza, details of his life are scant. In 1500 he moved to Milan with his father, according to Lomazzo, he trained under Giovan Stefano Scotto, although for others he was a pupil of Ambrogio Bergognone. In 1504-1507 he was probably in Treviso, as attested by a Madonna with Child signed Bernardinus Mediolanensis faciebat which is however of disputed attribution. His first fresco works are an Adoration of the Magi in San Pietro of Luino, Luini returned in Milan in 1509, receiving a commission for a polyptych from which today remains a St. Anthony of Padua in the Museo Poldi Pezzoli, influenced by Bernardino Zenales Cantù Polyptych. From 1509 -1514 Luini completed the frescoes for Villa Pelucca in Sesto San Giovanni, one of his best known works, they were commissioned by Girolamo Rabia, for whom he also painted mythological scenes in the Palazzo Rabia. In 1521 he travelled to Rome, where he was influenced by Raphaels style and this is evident in Luinis further frescoes in the Villa La Pelucca executed in 1520-1523, as well as in other works now at Brera. While at Saronno, he discovered amaretto, other works from his middle period include a Holy Family in the Museo del Prado, two Salome in the Museum of Fine Arts in Boston and the Uffizi and a Portrait of Lady in the National Gallery of Art. From 1526 is a Virgin with Child and Saints in the Lee Fareham collection of Richmond, in 1529 Luini completed one of his masterworks, the grand Passion and Crucifixion fresco at Santa Maria degli Angeli in Lugano, paired by other works in the same church. In 1531 he returned to the Saronno sanctuary to add other frescoes, in his later career Luini was increasingly influenced by Leonardo, as showed by the St. Anne of the Pinacoteca Ambrosiana and the St. Catherine of the Hermitage. His son Aurelio was also an accomplished painter, Madonna with Sts Augustine and Margaret, Musée Jacquemart-André, Paris. Signed Bernardino Milasnese, and dated 1507, an index of the solidity of Luinis training in a veristic, rigid Quattrocento style, before the transforming, but superficial influence of Leonardos style. Virgin, Child, and St. John, National Gallery, another version in Fogg Art Museum, Boston. Madonna Enthroned, abbey of Chiaravalle Christ among the Doctors, National Gallery, London Frescoes from the Cappella di S. Giuseppe, S. Maria della Pace, Detached, several panel paintings also at the National Gallery, Washington DC. Madonna and Child with St. John, Liechtenstein Collection, Vienna, Frescoes of the Life of Christ and the Life of the Virgin. Portrait of a Lady National Gallery of Art, Washington, Adoration of the Magi, detached fresco, 1520-25 Alluded to by Marcel Proust Holy Family with the Infant St John, Museo del Prado, Madrid
15.
Ludovico Sforza
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Ludovico Maria Sforza, was Duke of Milan from 1494 until 1499, following the death of his nephew Gian Galeazzo Sforza. A member of the Sforza family, he was the son of Francesco I Sforza. He was famed as a patron of Leonardo da Vinci and other artists and he is probably best known as the man who commissioned The Last Supper. Ludovico Sforza was born on 27 July 1452 at Vigevano, in what is now Lombardy and he was the fourth son of Francesco I Sforza and Bianca Maria Visconti and, as such, was not expected to become ruler of Milan. Nevertheless, his mother, Bianca, prudently saw to it that his education was not restricted to the classical languages. Under the tutelage of the humanist Francesco Filelfo, Ludovico received instruction in the beauties of painting, sculpture, and letters and he later helped Leonardo paint with pastels. When their father Francesco died in 1466, the titles devolved upon the dissolute Galeazzo Maria. Galeazzo Maria ruled until his assassination in 1476, leaving his titles to his son, Gian Galeazzo Sforza. For the following 13 years he ruled Milan as its Regent, Leonardo da Vinci orchestrated the wedding celebration. Beatrice and Alfonso’s sister, Isabella dEste was married to Francesco II Gonzaga, the 15-year-old princess quickly charmed the Milanese court with her joy in life, her laughter, and even her extravagance. She helped to make Sforza Castle a center of sumptuous festivals and balls and she loved entertaining philosophers, poets, diplomats and she would become the mother of Maximilian Sforza and Francesco II Sforza, future Dukes of Milan. Prior to and throughout the duration of his marriage, Ludovico is known to have had mistresses, bernardina de Corradis was an early mistress who bore him a daughter, Bianca Giovanna. The child was legitimized and later married to Galeazzo da Sanseverino in 1496, cecilia Gallerani, believed to be a favourite, gave birth to a son named Cesare on 3 May 1491, in the same year in which he married Beatrice dEste. Gallerani is identified as the subject of Leonardo da Vincis Lady with an Ermine – the ermine was the animal of Ludovico il Moro. Another mistress was Lucrezia Crivelli, who bore him another son, Giovanni Paolo. Ludovico also fathered an illegitimate son, called Sforza, who was born around 1484 and died suddenly in 1487. Ludovico contented himself with the rather than the appearance of power. He invested in agriculture, horse and cattle breeding, and the metal industry, some 20,000 workers were employed in the silk industry
16.
Infrared
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It extends from the nominal red edge of the visible spectrum at 700 nanometers, to 1000000 nm. Most of the radiation emitted by objects near room temperature is infrared. Like all EMR, IR carries radiant energy, and behaves both like a wave and like its quantum particle, the photon, slightly more than half of the total energy from the Sun was eventually found to arrive on Earth in the form of infrared. The balance between absorbed and emitted infrared radiation has an effect on Earths climate. Infrared radiation is emitted or absorbed by molecules when they change their rotational-vibrational movements and it excites vibrational modes in a molecule through a change in the dipole moment, making it a useful frequency range for study of these energy states for molecules of the proper symmetry. Infrared spectroscopy examines absorption and transmission of photons in the infrared range, Infrared radiation is used in industrial, scientific, and medical applications. Night-vision devices using active near-infrared illumination allow people or animals to be observed without the observer being detected, Infrared thermal-imaging cameras are used to detect heat loss in insulated systems, to observe changing blood flow in the skin, and to detect overheating of electrical apparatuses. Thermal-infrared imaging is used extensively for military and civilian purposes, military applications include target acquisition, surveillance, night vision, homing, and tracking. Humans at normal body temperature radiate chiefly at wavelengths around 10 μm, Infrared radiation extends from the nominal red edge of the visible spectrum at 700 nanometers to 1 mm. This range of wavelengths corresponds to a range of approximately 430 THz down to 300 GHz. Below infrared is the portion of the electromagnetic spectrum. Sunlight, at a temperature of 5,780 kelvins, is composed of near thermal-spectrum radiation that is slightly more than half infrared. At zenith, sunlight provides an irradiance of just over 1 kilowatt per square meter at sea level, of this energy,527 watts is infrared radiation,445 watts is visible light, and 32 watts is ultraviolet radiation. Nearly all the radiation in sunlight is near infrared, shorter than 4 micrometers. On the surface of Earth, at far lower temperatures than the surface of the Sun, almost all thermal radiation consists of infrared in mid-infrared region, much longer than in sunlight. Of these natural thermal radiation processes only lightning and natural fires are hot enough to produce much visible energy, thermal infrared radiation also has a maximum emission wavelength, which is inversely proportional to the absolute temperature of object, in accordance with Wiens displacement law. Therefore, the band is often subdivided into smaller sections. Due to the nature of the blackbody radiation curves, typical hot objects, such as exhaust pipes, the three regions are used for observation of different temperature ranges, and hence different environments in space
17.
Pentimento
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A pentimento is an alteration in a painting, evidenced by traces of previous work, showing that the artist has changed his or her mind as to the composition during the process of painting. The word is Italian for repentance, from the verb pentirsi, some pentimenti have always been visible on the final painting with careful inspection, others are revealed by the increasing transparency that some paint acquires after several centuries. Others, especially in the underdrawing, can only be seen with modern methods such as X-rays and infrared reflectography and these are able to record photographically some pigments, depending on their chemical composition, which remain covered by later paint layers. For example, white lead, a pigment, will be detected by X-ray. These methods have greatly expanded the number of art historians are aware of. Normally secondary versions or copies will have few if any pentimenti, although this will not always be the case, like Rembrandt, Titian and many other masters, Caravaggio seems rarely to have made preliminary drawings, but to have composed straight onto the canvas. The number of found in the work of such masters naturally tends to be higher. The term is usually treated as an Italian word and therefore written in italics, the fully anglicised word pentiment is much rarer, though included in the Grove Dictionary of Art. The word pentimento is occasionally used synonymously with palimpsest, but strictly the latter is used for documents and parchments which, a portrait in the National Gallery, London of Jacques de Norvins by Ingres was painted in 1811–12 when the sitter was Napoleons Chief of Police in Rome. Originally, instead of the curtain at the left, there was a fully painted bust of a head on top of a small column. Probably this was a bust of Napoleons son, who was known as the King of Rome, the presumption is that this was overpainted with the curtain after the fall of Napoleon, either by Ingres himself, or another artist. The bust can just be out in the enlarged online photo, with its chin level with the sitters hair-line. These may always have been visible, or have become so by the paint becoming transparent with age, few viewers of the painting would notice the bust without it being pointed out. Strictly speaking, these alterations might not be described as pentimenti, because of the lapse of time. These are used in discussing the painting and comparing it to version of the subject in Bari. A Zurbarán in the Cleveland Museum of Art shows that the size of a cloth was expanded after the dark background under-paint had been applied. The term has sometimes used in a modern sense to describe the appearance of the sides of buildings with painted advertising. Often old ads are painted over with newer ads and the paint wears away to reveal the older layers, examples in Amsterdam, New York City and elsewhere have been photographed
18.
X-ray
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X-radiation is a form of electromagnetic radiation. Most X-rays have a wavelength ranging from 0.01 to 10 nanometers, corresponding to frequencies in the range 30 petahertz to 30 exahertz, X-ray wavelengths are shorter than those of UV rays and typically longer than those of gamma rays. Spelling of X-ray in the English language includes the variants x-ray, xray, X-rays with high photon energies are called hard X-rays, while those with lower energy are called soft X-rays. Due to their ability, hard X-rays are widely used to image the inside of objects, e. g. in medical radiography. The term X-ray is metonymically used to refer to an image produced using this method. Since the wavelengths of hard X-rays are similar to the size of atoms they are useful for determining crystal structures by X-ray crystallography. By contrast, soft X-rays are easily absorbed in air, the length of 600 eV X-rays in water is less than 1 micrometer. There is no consensus for a definition distinguishing between X-rays and gamma rays, one common practice is to distinguish between the two types of radiation based on their source, X-rays are emitted by electrons, while gamma rays are emitted by the atomic nucleus. This definition has problems, other processes also can generate these high-energy photons. One common alternative is to distinguish X- and gamma radiation on the basis of wavelength, with radiation shorter than some arbitrary wavelength, such as 10−11 m and this criterion assigns a photon to an unambiguous category, but is only possible if wavelength is known. Occasionally, one term or the other is used in specific contexts due to precedent, based on measurement technique. Thus, gamma-rays generated for medical and industrial uses, for radiotherapy, in the ranges of 6–20 MeV. X-ray photons carry enough energy to ionize atoms and disrupt molecular bonds and this makes it a type of ionizing radiation, and therefore harmful to living tissue. A very high radiation dose over a period of time causes radiation sickness. In medical imaging this increased risk is generally greatly outweighed by the benefits of the examination. The ionizing capability of X-rays can be utilized in treatment to kill malignant cells using radiation therapy. It is also used for material characterization using X-ray spectroscopy, hard X-rays can traverse relatively thick objects without being much absorbed or scattered. For this reason, X-rays are widely used to image the inside of visually opaque objects, the most often seen applications are in medical radiography and airport security scanners, but similar techniques are also important in industry and research
19.
Egypt
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Egypt, officially the Arab Republic of Egypt, is a transcontinental country spanning the northeast corner of Africa and southwest corner of Asia by a land bridge formed by the Sinai Peninsula. Egypt is a Mediterranean country bordered by the Gaza Strip and Israel to the northeast, the Gulf of Aqaba to the east, the Red Sea to the east and south, Sudan to the south, and Libya to the west. Across the Gulf of Aqaba lies Jordan, and across from the Sinai Peninsula lies Saudi Arabia, although Jordan and it is the worlds only contiguous Afrasian nation. Egypt has among the longest histories of any country, emerging as one of the worlds first nation states in the tenth millennium BC. Considered a cradle of civilisation, Ancient Egypt experienced some of the earliest developments of writing, agriculture, urbanisation, organised religion and central government. One of the earliest centres of Christianity, Egypt was Islamised in the century and remains a predominantly Muslim country. With over 92 million inhabitants, Egypt is the most populous country in North Africa and the Arab world, the third-most populous in Africa, and the fifteenth-most populous in the world. The great majority of its people live near the banks of the Nile River, an area of about 40,000 square kilometres, the large regions of the Sahara desert, which constitute most of Egypts territory, are sparsely inhabited. About half of Egypts residents live in areas, with most spread across the densely populated centres of greater Cairo, Alexandria. Modern Egypt is considered to be a regional and middle power, with significant cultural, political, and military influence in North Africa, the Middle East and the Muslim world. Egypts economy is one of the largest and most diversified in the Middle East, Egypt is a member of the United Nations, Non-Aligned Movement, Arab League, African Union, and Organisation of Islamic Cooperation. Miṣr is the Classical Quranic Arabic and modern name of Egypt. The name is of Semitic origin, directly cognate with other Semitic words for Egypt such as the Hebrew מִצְרַיִם, the oldest attestation of this name for Egypt is the Akkadian
20.
Gospel of Matthew
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The Gospel According to Matthew is the first book of the New Testament. The narrative tells how the Messiah, Jesus, rejected by Israel, most scholars believe the Gospel of Matthew was composed between AD80 and 90, with a range of possibility between AD70 to 110. The title Son of David identifies Jesus as the healing and miracle-working Messiah of Israel, as Son of Man he will return to judge the world, an expectation which his disciples recognise but of which his enemies are unaware. As Son of God he is God revealing himself through his son, the gospel reflects the struggles and conflicts between the evangelists community and the other Jews, particularly with its sharp criticism of the scribes and Pharisees. The original versions of the Gospel of Matthew and the gospels are lost. The oldest relatively complete extant manuscripts of the Bible are the Codex Vaticanus and the Codex Sinaiticus, besides these, there exist manuscript fragments ranging from a few verses to whole chapters. P104 and P67 are notable fragments of Matthew, in the process of recopying, variations slipped in, different regional manuscript traditions emerged, and corrections and adjustments were made. The Gospel of Matthew is anonymous, the author is not named within the text, the consensus is that Papias does not describe the Gospel of Matthew as we know it, and it is generally accepted that Matthew was written in Greek, not in Aramaic or Hebrew. The majority view of scholars is that Mark was the first gospel to be composed. The author of Matthew did not, however, simply copy Mark, an additional 220 verses, shared by Matthew and Luke but not found in Mark, from a second source, a hypothetical collection of sayings to which scholars give the name Quelle, or the Q source. The author also had at his disposal the Greek scriptures, both as book-scrolls and in the form of collections, and, if Papias is correct. The majority view among scholars is that Matthew was a product of the last quarter of the 1st century, the Christian community to which Matthew belonged, like many 1st-century Christians, were still part of the larger Jewish community, hence the designation Jewish Christian to describe them. The author of Matthew wrote for a community of Greek-speaking Jewish Christians located probably in Syria, Matthew, alone among the gospels, alternates five blocks of narrative with five of discourse, marking each off with the phrase When Jesus had finished. The Gospel of Matthew begins with the words The Book of Genealogy of Jesus Christ, John baptizes Jesus, and the Holy Spirit descends upon him. Jesus prays and meditates in the wilderness for forty days, and is tempted by Satan and his early ministry by word and deed in Galilee meets with much success, and leads to the Sermon on the Mount, the first of the discourses. The sermon presents the ethics of the kingdom of God, introduced by the Beatitudes and it concludes with a reminder that the response to the kingdom will have eternal consequences, and the crowds amazed response leads into the next narrative block. From the authoritative words of Jesus the gospel turns to three sets of three miracles interwoven with two sets of two stories, followed by a discourse on mission and suffering. Opposition to Jesus comes to a head with accusations that his deeds are done through the power of Satan, Jesus in turn accuses his opponents of blaspheming the Holy Spirit
21.
Saint Joseph
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Christian tradition places Joseph as Jesus foster father. Some historians state that Joseph was Jesus father, some differing views are due to theological interpretations versus historical views. In both Catholic and Protestant traditions, Joseph is regarded as the saint of workers and is associated with various feast days. In popular piety, Joseph is regarded as a model for fathers and has also become patron of various dioceses and places, several notable images of Saint Joseph have been granted a Canonical coronation by a Pope. In popular religious iconography he is associated with lilies or a spikenard, with the present-day growth of Mariology, the theological field of Josephology has also grown and since the 1950s centers for studying it have been formed. According to the New Testament, Joseph was the father of James, Joses, Judas, Simon, the Pauline epistles make no reference to Jesus father, nor does the Gospel of Mark. The first appearance of Joseph is in the gospels of Matthew, consequently, all the names between David and Joseph are different. Some scholars, such as Harry A. Ironside reconcile the genealogies by viewing the Solomonic lineage in Matthew as Josephs major royal line, the epistles of Paul are generally regarded as the oldest extant Christian writings. These mention Jesus mother, but do not refer to his father, the Book of Mark, the first gospel to be written, with a date about two decades after Paul, also does not mention Jesus father. Joseph first appears in the Gospels of Matthew and Luke, both dating from around 80-90 AD, the issue of reconciling the two accounts has been the subject of debate. In Matthew, Joseph obeys the direction of an angel to marry Mary, once Herod has died, an angel tells Joseph to return, but to avoid Herods son he takes his wife and the child to Nazareth in Galilee and settles there. In Luke, Joseph already lives in Nazareth, and Jesus is born in Bethlehem because Joseph, lukes account makes no mention of angels and dreams, the Massacre of the Innocents, or of a visit to Egypt. The last time Joseph appears in person in any Gospel is in the story of the Passover visit to the Temple in Jerusalem when Jesus is 12 years old, no mention is made of him thereafter. The story emphasizes Jesus awareness of his mission, here Jesus speaks to his parents of my father, meaning God. Christian tradition represents Mary as a widow during the ministry of her son. Joseph is not mentioned as being present at the Wedding at Cana at the beginning of Jesus mission, nor at the Passion at the end. If he had been present at the Crucifixion, he would under Jewish custom have been expected to charge of Jesus body. Nor would Jesus have entrusted his mother to the care of John the Apostle if her husband had been alive, in Mark 6,3, they call Jesus Marys son instead of naming his father
22.
Herod the Great
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Herod, also known as Herod the Great and Herod I, was a Roman client king of Judea, referred to as the Herodian kingdom. Vital details of his life are recorded in the works of the 1st century CE Roman–Jewish historian Josephus, Herod also appears in the Christian Gospel of Matthew as the ruler of Judea who orders the Massacre of the Innocents at the time of the birth of Jesus. Despite his successes, including singlehandedly forging a new aristocracy from practically nothing and his reign polarizes opinion amongst scholars and historians, some viewing his legacy as evidence of success, or a reminder of his tyrannical rule. It is generally accepted that Herod was born around 73 BCE in Idumea, however, some authors think that he was born in about 72/71 BCE. He was the son of Antipater the Idumaean, a high-ranked official under ethnarch Hyrcanus II, and Cypros. Herods father was by descent an Edomite whose ancestors had converted to Judaism, Herod was raised as a Jew. A loyal supporter of Hyrcanus II, Antipater appointed his son governor of Galilee in 47 BCE and his elder brother, Phasael, was appointed governor of Jerusalem. Herod enjoyed the backing of Rome, but his brutality was condemned by the Sanhedrin, in 41 BCE, Herod and his brother Phasael, were named as tetrarchs by the Roman leader Mark Antony. They were placed in this role to support Hyrcanus II, later, Antigonus, Hyrcanus nephew, took the throne from his uncle with the help of the Parthians. Herod fled to Rome to plead with the Romans to restore Hyrcanus II to power, the Romans had a special interest in Judea because their general Pompey the Great had conquered Jerusalem in 63 BCE, thus placing the region in the Roman sphere of influence. In Rome, Herod was unexpectedly appointed King of the Jews by the Roman Senate, Josephus puts this in the year of the consulship of Calvinus and Pollio, but Appian places it in 39 BCE. Herod went back to Judea to win his kingdom from Antigonus, toward the end of the campaign against Antigonus, Herod married the granddaughter of Hyrcanus II, Mariamne, who was also a niece of Antigonus. Herod did this in an attempt to secure his claim to the throne, however, Herod already had a wife, Doris, and a young son, Antipater, and chose therefore to banish Doris and her child. After three years of conflict, Herod and the Romans finally captured Jerusalem and Herod sent Antigonus for execution to Marc Antony, Herod took the role as sole ruler of Judea and the title of basileus for himself, ushering in the Herodian Dynasty and ending the Hasmonean Dynasty. Josephus reports this as being in the year of the consulship of Agrippa and Gallus, but also says that it was exactly 27 years after Jerusalem fell to Pompey, cassius Dio also reports that in 37 BCE the Romans accomplished nothing worthy of note in the area. According to Josephus, Herod ruled for 37 years,34 of them after capturing Jerusalem, as Herods family were converts to Judaism, his religious commitment was questioned by some elements of Jewish society. Herod later executed several members of his own family, including his wife Mariamne I, Herods rule marked a new beginning in the history of Judea. Judea had been ruled autonomously by the Hasmonean kings from 140 BCE until 63 BCE, the Hasmoneans retained their titles, but became clients of Rome after the conquest by Pompey in 63 BCE
23.
Massacre of the Innocents
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The Massacre of the Innocents is the biblical account of infanticide by Herod the Great, the Roman-appointed King of the Jews. The number of killed is not stated. The Holy Innocents, although Jewish, have claimed as martyrs for Christianity. Most recent biographers of Herod deny that the event occurred, in Matthews account, Magi from the east go to Judea in search of the newborn king of the Jews, having seen his star in the east. The King, Herod the Great, directs them to Bethlehem and they find Jesus and honor him, but an angel tells them not to alert Herod, and they return home by another way. The Massacre of the Innocents is at Matthew 2, 16–18, although the verses form the context, When had gone. Get up, he said, take the child and his mother, stay there until I tell you, for Herod is going to search for the child to kill him. So he got up, took the child and his mother during the night, and left for Egypt, and so was fulfilled what the Lord had said through the prophet, Out of Egypt I called my son. The massacre is reported only in the Gospel of Matthew and other later Christian writings likely based on that gospel, among those historians who doubt the massacres historicity, Geza Vermes and E. P. Sanders regard the story as part of a creative hagiography. Robert Eisenman argues that the story may have its origins in Herods murder of his sons, david Hill acknowledges that the episode contains nothing that is historically impossible, but adds that Matthews real concern is. With theological reflection on the theme of fulfillment, brown also sees the story as patterned on the Exodus account of the birth of Moses and the killing of the Hebrew firstborn by Pharaoh. Brown and others argue that, based on Bethlehems estimated population of 1,000 at the time, the largest number of infants that could have been killed would have been about twenty, and R. T. The storys first appearance in any other than the Gospel of Matthew is in the apocryphal Protoevangelium of James of c. And Mary, having heard that the children were being killed, was afraid, and took the infant and swaddled Him, and Elizabeth, having heard that they were searching for John, took him and went up into the hill-country, and kept looking where to conceal him. And there was no place of concealment, and Elizabeth, groaning with a loud voice, says, O mountain of God, receive mother and child. And immediately the mountain was cleft, and received her, and a light shone about them, for an angel of the Lord was with them, watching over them. The story assumed an important place in later Christian tradition, Byzantine liturgy estimated 14,000 Holy Innocents while an early Syrian list of saints stated the number at 64,000, coptic sources raise the number to 144,000 and place the event on 29 December. The Coventry Carol is a Christmas carol dating from the 16th century, the carol was performed in Coventry in England as part of a mystery play called The Pageant of the Shearmen and Tailors
24.
Archangel Uriel
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Uriel is one of the archangels of post-Exilic Rabbinic tradition, and also of certain Christian traditions. In apocryphal, kabbalistic and occult works, Uriel has been equated or confused with Urial, Nuriel, Uryan, Jeremiel, Vretil, Sariel, Suriel, Puruel, Phanuel, Jacob, the angels mentioned in the older books of the Hebrew Bible are without names. Indeed, rabbi Simeon ben Lakish of Tiberias, asserted that all the names for the angels were brought back by the Jews from Babylon. Raphael features prominently in the deuterocanonical Book of Tobit, the Book of Tobit is accepted as scriptural by the Roman Catholic Church, the Eastern Orthodox Church, and the Oriental Orthodox Church. Where a fourth archangel is added to the three, to represent the four cardinal points, Uriel is generally the fourth. Uriel is listed as the angel in Christian Gnostics, by Gregory the Great. However, the Book of Enoch clearly distinguishes the two Angels, Uriel means the Light of God while Phanuel means the Face of God, Uriel is the third angel listed in the Testament of Solomon, the fourth being Sabrael. Uriel appears in the Second Book of Esdras found in the Biblical apocrypha in which the prophet Ezra asks God a series of questions, and Uriel is sent by God to instruct him. According to the Revelation of Esdras, the angels that will rule at the end of the world are Michael, Gabriel, Uriel, Raphael, Gabuthelon, Beburos, Zebuleon, Aker, and Arphugitonos. The last five listed only appear in book and nowhere else in apocryphal or apocalyptic works. In Christian apocryphal gospels Uriel plays a role, differing sources, in the rescue of Jesus cousin John the Baptist from the Massacre of the Innocents ordered by King Herod. He carries John and his mother Saint Elizabeth to join the Holy Family after their Flight into Egypt and their reunion is depicted in Leonardo da Vincis Virgin of the Rocks. Uriel is often identified as a cherub and angel of repentance and he stands at the Gate of Eden with a fiery sword, or as the angel who watches over thunder and terror. In the Apocalypse of Peter he appears as the Angel of Repentance, in the Life of Adam and Eve, Uriel is regarded as the spirit of the third chapter of Genesis. He is also identified as one of the angels who helped bury Adam, stemming from medieval Jewish mystical traditions, Uriel has also become the Angel of Sunday, the Angel of Poetry, and one of the Holy Sephiroth. Uriel is depicted as the destroyer of the hosts of Sennacherib and he checked the doors of Egypt for lambs blood during the plague. He also holds the key to the Pit during the End Times and he is often depicted carrying a book or a papyrus scroll representing wisdom. Uriel is a patron of the Arts, in addition, every Monday throughout the year is dedicated to the angels
25.
Gabriel (archangel)
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Gabriel, in the Abrahamic religions, is an angel who typically serves as Gods messenger. Gabriel is mentioned in both the Old and New Testaments of the Bible, in the Old Testament, he appears to the prophet Daniel, explaining Daniels visions. In the Gospel of Luke, Gabriel appeared to Zechariah and the Virgin Mary, foretelling the births of John the Baptist and Jesus, respectively. In the Book of Daniel, he is referred to as the man Gabriel, while in the Gospel of Luke, Gabriel is not called an archangel in the Bible, but is so called in Intertestamental period sources like the Book of Enoch. In the Roman Catholic, Eastern Orthodox, and Anglican churches, the archangels Michael, Raphael, in Islam, Gabriel is considered an archangel whom God is believed to have sent with revelation to various prophets, including Muhammad. The 96th chapter of the Quran, The Clot, is believed by Muslims to have been the first chapter revealed by Gabriel to Muhammad, in the LDS Faith, The Angel Gabriel was The Prophet Noah, and Michael the Archangel was the Prophet Adam in their Mortal Ministries. Jewish rabbis interpreted the man in linen as Gabriel in the Book of Daniel, in the Book of Daniel, Gabriel is responsible for interpreting Daniels visions. Gabriels main function in Daniel is that of revealer, a role he continues in later literature, in the Book of Ezekiel, Gabriel is understood to be the angel that was sent to destroy Jerusalem. According to the Jewish Encyclopedia, Gabriel takes the form of a man, shimon ben Lakish concluded that the angelic names of Michael, Raphael, and Gabriel came out of the Babylonian exile. In Kabbalah, Gabriel is identified with the sephirot of Yesod, Gabriel also has a prominent role as one of Gods archangels in the Kabbalah literature. There, Gabriel is portrayed as working in concert with Michael as part of Gods court, Gabriel is not to be prayed to because only God can answer prayers and sends Gabriel as his agent. According to Jewish mythology, in the Garden of Eden there is a tree of life or the tree of souls that blossoms and produces new souls, which fall into the Guf, Gabriel reaches into the treasury and takes out the first soul that comes into his hand. Then Lailah, the Angel of Conception, watches over the embryo until it is born, the intertestamental period produced a wealth of literature, much of it having an apocalyptic orientation. The names and ranks of angels and devils were greatly expanded, and each had particular duties and status before God. In 1 Enoch 9, 1–3, Gabriel, along with Michael, Uriel and Suriel, saw much blood being shed upon the earth and heard the souls of men cry, Bring our cause before the Most High. —1 Enoch 10,9 Gabriel is the fifth of the five angels who watch, Gabriel, one of the holy angels, who is over Paradise and the serpents. And these are the four angels of the Lord of Spirits, the angel Gabriel is mentioned in Daniel 8, 16-26 and 9, 20-27. Gabriel, one who looked like a man, interprets Daniels visions, Gabriel speaks to Daniel while he is in a deep sleep, and Daniel is tired and sick for days after being with Gabriel
26.
Patron saint
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Catholics believe that patron saints, having already transcended to the metaphysical, are able to intercede effectively for the needs of their special charges. Historically, a practice has also occurred in many Islamic lands. With regard to the omnipresence of this belief, the late Martin Lings wrote. Traditionally, it has been understood that the saint of a particular place prays for that places wellbeing and for the health. Saints often become the patrons of places where they were born or had been active, professions sometimes have a patron saint owing to that individual being involved somewhat with it, although some of the connections were tenuous. Lacking such a saint, an occupation would have a patron whose acts or miracles in some way recall the profession and it is, however, generally discouraged in some Protestant branches such as Calvinism, where the practice is considered a form of idolatry. In Islam, the veneration or commemoration and recognition of saints is found in many branches of traditional Sunnism
27.
Filippo Lippi
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Fra Filippo Lippi, O. Carm. also called Lippo Lippi, was an Italian painter of the Quattrocento. Lippi was born in Florence in1406 to Tommaso, a butcher, when he was still a small child, both his parents died. He was sent to live with his aunt Mona Lapaccia, however because she was too poor to rear him and he was 8 years old when he left for the convent and started his education there. In 1420 he was admitted to the community of Carmelite friars of the Priory of Our Lady of Mount Carmel in Florence, taking vows in the Order the following year. He was ordained as a priest in approximately 1425, and remained in residence of that priory until 1432, georgio Vasari, the first art historian of the renaissance, writes that Lippi was inspired to become a painter by watching Masaccio at work in the Carmine church. Lippis early work, notably the Tarquinia Madonna show that influence from Masaccio, in his Lives of the Artists, Vasari says, Instead of studying, he spent all his time scrawling pictures on his own books and those of others. Due to his interest, the decided to give him the opportunity to learn painting. Lippi then went on to visit to Ancona and Naples, where he was captured by Barbary pirates and his skill in portrait-sketching helped to eventually release him. Louis Gillet, writing for the Catholic Encyclopedia, considers this account assuredly nothing, with his return to Florence in 1432 is paintings had became popular, warranting the support of the Medici family, who commissioned of The Annunciation and the Seven Saints. Cosimo de Medici had to him up in order to compel him to work. His escapades threw him into financial difficulties from which he did not hesitate to extricate himself by forgery and his life included many similar tales of lawsuits, complaints, broken promises and scandal. In 1441 Lippi painted an altarpiece for the nuns of S. Ambrogio which is now a prominent attraction in the Academy of Florence and it represents the coronation of the Virgin among angels and saints, including many Bernardine monks. In 1452 he was appointed chaplain to the nuns at the Monastery of St. Mary Magdalene in Florence, in June 1456 Fra Filippo is recorded as living in Prato to paint frescoes in the choir of the cathedral. Lippi asked that she might be permitted to sit for the figure of the Madonna, under that pretext, Lippi engaged in sexual relations with her, abducted her to his own house, and kept her there despite the nuns efforts to reclaim her. This relationship resulted in their son, Filippino Lippi, who became a famous painter following his father, Vasari accounts for this relationship in his publication of The Lives, which was published soon after. In 1457 he was appointed commendatory Rector of S. Quirico in Legania, despite these profits, Lippi struggled to escape poverty throughout his life. The close of Lippis life was spent at Spoleto, where he had commissioned to paint scenes from the life of the Virgin for the apse of the cathedral. In the semidome of the apse is the Christ Crowning the Madonna, with angels, sibyls and this series, which is not wholly equal to the one at Prato, was completed by one of his assistants, his fellow Carmelite, Fra Diamante, after Lippis death
28.
Raphael
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Raffaello Sanzio da Urbino, known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running a large workshop and, despite his death at 37. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, the best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings and he was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region and his poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Under them, the court continued as a centre for literary culture, growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a humanistic education however, it is unclear how easily he read Latin. His mother Màgia died in 1491 when Raphael was eight, followed on August 1,1494 by his father, Raphael was thus orphaned at eleven, his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master and he had already shown talent, according to Vasari, who says that Raphael had been a great help to his father. A self-portrait drawing from his teenage years shows his precocity and his fathers workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter, and Luca Signorelli, according to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice despite the tears of his mother. The evidence of an apprenticeship comes only from Vasari and another source, an alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters, the Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a master, that is to say fully trained and his first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was named in the commission
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Michelangelo
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Michelangelo di Lodovico Buonarroti Simoni was an Italian sculptor, painter, architect, and poet of the High Renaissance who exerted an unparalleled influence on the development of Western art. Considered to be the greatest living artist during his lifetime, he has since described as one of the greatest artists of all time. A number of Michelangelos works of painting, sculpture, and architecture rank among the most famous in existence and he sculpted two of his best-known works, the Pietà and David, before the age of thirty. As an architect, Michelangelo pioneered the Mannerist style at the Laurentian Library, at the age of 74, he succeeded Antonio da Sangallo the Younger as the architect of St. Peters Basilica. Michelangelo transformed the plan so that the end was finished to his design, as was the dome, with some modification. Michelangelo was unique as the first Western artist whose biography was published while he was alive, in his lifetime he was often called Il Divino. One of the qualities most admired by his contemporaries was his terribilità, the attempts by subsequent artists to imitate Michelangelos impassioned and highly personal style resulted in Mannerism, the next major movement in Western art after the High Renaissance. Michelangelo was born on 6 March 1475 in Caprese near Arezzo, at the time of Michelangelos birth, his father was the Judicial administrator of the small town of Caprese and local administrator of Chiusi. Michelangelos mother was Francesca di Neri del Miniato di Siena, the Buonarrotis claimed to descend from the Countess Mathilde of Canossa, this claim remains unproven, but Michelangelo himself believed it. Several months after Michelangelos birth, the returned to Florence. There Michelangelo gained his love for marble, as Giorgio Vasari quotes him, If there is good in me. Along with the milk of my nurse I received the knack of handling chisel and hammer, as a young boy, Michelangelo was sent to Florence to study grammar under the Humanist Francesco da Urbino. The young artist, however, showed no interest in his schooling, preferring to copy paintings from churches, the city of Florence was at that time the greatest centre of the arts and learning in Italy. Art was sponsored by the Signoria, by the merchant guilds and by patrons such as the Medici. The Renaissance, a renewal of Classical scholarship and the arts, had its first flowering in Florence, the sculptor Lorenzo Ghiberti had laboured for fifty years to create the bronze doors of the Baptistry, which Michelangelo was to describe as The Gates of Paradise. The exterior niches of the Church of Orsanmichele contained a gallery of works by the most acclaimed sculptors of Florence – Donatello, Ghiberti, Andrea del Verrocchio, and Nanni di Banco. The interiors of the churches were covered with frescos, begun by Giotto. During Michelangelos childhood, a team of painters had been called from Florence to the Vatican, among them was Domenico Ghirlandaio, a master in fresco painting, perspective, figure drawing, and portraiture who had the largest workshop in Florence at that period
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Nativity of Jesus in art
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The Nativity of Jesus has been a major subject of Christian art since the 4th century. Christian art includes a great many representations of the Virgin Mary, such works are generally referred to as the Madonna and Child or Virgin and Child. They are not usually representations of the Nativity specifically, but are often devotional objects representing an aspect or attribute of the Virgin Mary. The Nativity has been depicted in different media, both pictorial and sculptural. Pictorial forms include murals, panel paintings, manuscript illuminations, stained glass windows, the subject of the Nativity is often used for altarpieces, many of these combining both painted and sculptural elements. Other sculptural representations of the Nativity include ivory miniatures, carved stone sarcophagi, architectural features such as capitals and door lintels, free-standing sculptures may be grouped into a Nativity scene within or outside a church, home, public place or natural setting. The scale of the figures may range from miniature to life-sized and these Nativity scenes probably derived from acted tableau vivants in Rome, although Saint Francis of Assisi gave the tradition a great boost. This tradition continues to this day, with small versions made of porcelain, plaster, the acted scenes evolved into the Nativity play. The scope of the matter which relates to the Nativity story begins with the genealogy of Jesus as listed in the Gospels of both Matthew and Luke. This lineage, or family tree is often depicted visually with a Tree of Jesse, springing from the side of Jesse and this incident, referred to as the Annunciation is often depicted in art. Matthews Gospel relates that an angel dispelled Josephs distress at discovering Marys pregnancy and this scene is depicted only occasionally. While there, Mary gave birth to the infant, in a stable, at this time, an angel appeared to shepherds on a hillside, telling them that the Saviour, Christ the Lord was born. The shepherds went to the stable and found the baby, wrapped in swaddling clothes and lying in the trough, or manger. Both have iconographic traditions, not covered here, the narrative is taken up in the Gospel of Matthew, and relates that wise men from the east saw a star, and followed it, believing it would lead them to a new-born king. On arriving in Jerusalem they proceed to the palace where a king might be found, Herod is worried about being supplanted, but he sends them out, asking them return when they have found the child. They follow the star to Bethlehem, where they give the gifts of gold, frankincense. The men are warned in a dream that Herod wished to kill the child. It is as kings that they are almost always depicted in art after about 900, there are a number of subjects but the Adoration of the Magi, when they present their gifts, and, in Christian tradition, worship Jesus, has always been much the most popular
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Benediction
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A benediction is a short invocation for divine help, blessing and guidance, usually at the end of worship service. It can also refer to a specific Christian religious service including the exposition of the eucharistic host in the monstrance, from the earliest church, Christians adopted ceremonial benedictions into their liturgical worship, particularly at the end of a service. Such benedictions have been practiced both in the Christian East and West. Among the benedictions of the Roman Catholic Church, include the Apostolic Benediction made by the Pope and his delegates, the Anglican Church retained the principle of benediction after the Protestant Reformation, and as a result, the benediction or blessing ends most Anglican services. A common form of benediction in Baptist and liturgical Protestant churches is for the leader to raise his hands. This addition to the Mass was made by Martin Luther in his Deutsche Messe, many Protestant denominations, such as the Methodist Church, incorporate the use of benedictions in the closing of their church services. Such benedictions may be taken from Scripture, written by a church member, an often complex and lengthy blessing before communion took place in the mass of the Gallican Rite and in some French sees survived until the Gallican rites controversy when they were suppressed. Pope John Paul II, however, gave permission for these sees to restore this traditional element of their local rite. In the Orthodox Church, benedictions will occur at both the beginning and the end of service, and there may be other benedictions during the course of the service. The final benediction is the most important, and will often mention of the feast or saint being commemorated that day. The priest will bless with his hand, and the bishop will bless with both hands. In both cases, the hand is held so that the form the initials IC XC. More solemn benedictions, such as that comes at the end of the Divine Liturgy. It is also the custom of some high-church Anglican churches to hold this service. At the end, the priest or deacon, his shoulders enveloped in a veil, takes the monstrance into his hands. Benediction is often employed as a conclusion to other services, e. g. Vespers, Compline, the Stations of the Cross, there is a good deal of diversity of usage in different countries with regard to details, but some of the elements are constant. The use of incense and wax candles, the singing of the Tantum ergo with its versicle and prayer, and the blessing given with the Blessed Sacrament are obligatory everywhere. In Rome, the portion of the service which is to be regarded as strictly liturgical is the singing of the Tantum ergo
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Kenneth Clark
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Clark was born in London, the only child of Kenneth MacKenzie Clark and Margaret Alice McArthur. The Clarks were a wealthy Scottish family with roots in the textile trade and his great-great-grandfather had invented the cotton spool. Kenneth Clark the elder, reputedly the man who broke the bank at Monte Carlo, had retired in 1909 at the age of 41 to become a member of the idle rich. Clark was educated at Wixenford School, Winchester College and Trinity College, Oxford, in 1927 he married a fellow Oxford student, Elizabeth Jane Martin, who was Irish and the daughter of Dr. Emily Winifred Dickson, first female Fellow of the Royal College of Surgeons. The couple had three children, Alan, in 1928, and twins Colette and Colin in 1932, greatly influenced by John Ruskin and a protégé of the most influential art critic of the time, Bernard Berenson, Clark quickly became the British art establishments most respected aesthete. After a stint as fine art curator at Oxfords Ashmolean Museum, in 1933 at age 30 and he remains the youngest person ever to hold the post. The following year he also became Surveyor of the Kings Pictures, as Director of the National Gallery he oversaw the successful relocation and storage of the collection to avoid the Blitz and continued a programme of concerts and performances. In 1939, Clark visited Australia, and later referred to it as that intolerable continent, adding that Australian galleries had the worst art, as Director of The National Gallery he wrote Southampton Art Gallerys acquisitions policy which included a growing collection of modern oil paintings. He was also an advisor to the Ministry of Information commissioning Dylan Thomas amongst others to write scripts for propaganda films, in 1946 Clark resigned his directorship in order to devote more time to writing. Between 1946 and 1950 he was Slade Professor of Fine Art at Oxford. He was a board member and also served as Chairman of the Arts Council of Great Britain from 1955 to 1960. In the preface to his book, The Nude, a study of art, Clark wrote. There is difficulty of form, a survey would be long and repetitive. And there is a difficulty of scope, since Jacob Burckhardt no responsible art historian would have attempted to cover both antique and post-mediaeval art, in 1955, Clark bought Saltwood Castle in Kent. Kenneth Clark was created Knight Commander of the Order of the Bath in 1938 and he was appointed to the Order of Merit in 1976. In 1959, he received the Grand Decoration with Sash for Services to the Republic of Austria and he was one of the founders, in 1954, of the Independent Television Authority, serving as its Chairman until 1957. In 1969 he wrote and presented Civilisation for BBC television, a series on the history of Western civilisation as seen through its art, afterwards Clark was persuaded to write a book version of Civilisation but lamented that without the visual and musical accompaniment it was weak. Also broadcast in the US on PBS in 1969, Civilisation was successful on both sides of the Atlantic, gaining Clark an international profile, according to Clark, the series was created in answer to growing criticism of Western civilisation, from its value system to its heroes
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Emblem
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An emblem is an abstract or representational pictorial image that represents a concept, like a moral truth, or an allegory, or a person, like a king or saint. Although the words emblem and symbol are used interchangeably, an emblem is a pattern that is used to represent an idea or an individual. An emblem crystallizes in concrete, visual terms some abstraction, a deity, an emblem may be worn or otherwise used as an identifying badge or patch. For example, in America, police officers badges refer to their personal metal emblem whereas their woven emblems on uniforms identify members of a particular unit. A real or metal shell, the emblem of St. James the Apostle, sewn onto the hat or clothes. In the Middle Ages, many saints were given emblems, which served to them in paintings and other images, St. Catherine had a wheel, or a sword, St. Anthony Abbot, a pig. These are also called attributes, especially when carried by or close to the saint in art. Kings and other grand persons increasingly adopted personal devices or emblems that were distinct from their family heraldry. The most famous include Louis XIV of Frances sun, the salamander of Francis I of France, the boar of Richard III of England, pisanello produced many of the earliest and finest of these. A symbol, on the hand, substitutes one thing for another, in a more concrete fashion, The Christian cross is a symbol of the Crucifixion. The Red Cross is one of three representing the International Red Cross. A red cross on a background is the emblem of humanitarian spirit. The crescent shape is a symbol of the moon, it is an emblem of Islam, the skull and crossbones is a symbol identifying a poison. The skull is an emblem of the nature of human life. A totem is specifically an animal emblem that expresses the spirit of a clan, heraldry knows its emblems as charges. The lion passant serves as the emblem of England, the lion rampant as the emblem of Scotland, an icon consists of an image, that has become standardized by convention. A logo is an impersonal, secular icon, usually of a corporate entity, since the 15th century the terms of emblem and emblematura belong to the termini technici of architecture. They mean an iconic painted, drawn, or sculptural representation of a concept affixed to houses, Emblem in this sense refers to a didactic or moralizing combination of picture and text intended to draw the reader into a self-reflective examination of his or her own life
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Halo (religious iconography)
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A halo is a ring of light that surrounds a person in art. They have been used in the iconography of many religions to indicate holy or sacred figures, halos may be shown as almost any colour or combination of colours, but are most often depicted as golden, yellow or white when representing light or red when representing flames. Homer describes a light around the heads of heroes in battle. 450-30 BC, in the Metropolitan Museum of Art, the Colossus of Rhodes was a statue of the sun-god Helios and had his usual radiate crown. Hellenistic rulers are shown wearing radiate crowns that seem clearly to imitate this effect. The rulers of the Kushan Empire were perhaps the earliest to give themselves haloes on their coins, in Chinese and Japanese Buddhist art the halo has also been used since the earliest periods in depicting the image of Amitabha Buddha and others. Thin lines of gold often radiate outwards or inwards from the rim of the halo, elaborate haloes and especially aureoles also appear in Hindu sculpture, where they tend to develop into architectural frames in which the original idea can be hard to recognise. Theravada Buddhism and Jainism did not use the halo for many centuries, in Asian art, the nimbus is often imagined as consisting not just of light, but of flames. This type seems to first appear in Chinese bronzes of which the earliest surviving examples date from before 450 and this type is also very rarely found, and on a smaller scale, in medieval Christian art. Sometimes a thin line of flames rise up from the edges of a halo in Buddhist examples. In Tibetan paintings the flames are shown as blown by a wind. Halos are found in Islamic art from various places and periods, especially in Persian miniatures and Moghul, flaming halos derived from Buddhist art surround angels, and similar ones are often seen around Muhammad and other sacred human figures. The halo represents an aura or glow of sanctity which was conventionally drawn encircling the head, though Roman paintings have largely disappeared, save some fresco decorations, the haloed figure remains fresh in Roman mosaics. In a 2nd-century AD Roman floor mosaic preserved at Bardo, Tunisia, significantly, the triton and nereid who accompany the sea-god are not haloed. In a late 2nd century AD floor mosaic from Thysdrus, El Djem, another haloed Apollo in mosaic, from Hadrumentum, is in the museum at Sousse. The conventions of representation, head tilted, lips slightly parted, large-eyed. The halo was incorporated into Early Christian art sometime in the 4th century with the earliest iconic images of Christ, initially the only figure shown with one. At least in later Orthodox images, each bar of cross is composed of three lines, symbolising the dogmas of the Trinity, the oneness of God and the two natures of Christ
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Martin Kemp (art historian)
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Martin Kemp is emeritus professor of the history of art at University of Oxford. He is considered one of the leading experts on the art of Leonardo da Vinci and visualisation in art. Kemp was trained in sciences and art history at Cambridge University. He was British Academy Wolfson Research Professor, for more than 25 years he was based in Scotland. He has held visiting posts in Princeton, New York, North Carolina, Los Angeles, Kemp has written books about Leonardo da Vinci, including Leonardo. He has published on imagery in the sciences of anatomy, natural history and optics, including The Science of Art, Kemp has focused on issues of visualisation, modelling and representation. He has written a column called Science in Culture in Nature. The Nature essays are developed in Seen and Unseen, in which his concept of structural intuitions is explored and his most recent book is Christ to Coke, How Image becomes Icon. Several of his books have been translated into various languages and he was also guest curator for Circa 1492 at the National Gallery of Art in Washington in 1992. In 2000, he advised skydiver Adrian Nicholas as he constructed a parachute according to Leonardos drawings from materials which would have available in his day. In 1485 Leonardo had scribbled a simple sketch of a pyramid covered in linen. In June 2000, Nicholas launched himself from a hot air balloon 10,000 feet over South Africa and he parachuted for five minutes as a black box recorder measured his descent, before cutting himself free of the device and releasing a conventional parachute. Leonardos parachute made such a smooth and slow descent that the two jumpers accompanying Nicholas had to twice to stay level with him. Kemps projects include, Leonardo da Vinci, experience, Experiment and Design an exhibition about how Leonardo thought on paper. It contains some of his most complex and challenging designs, although many other artists, inventors and scientists have brainstormed on paper, none of his predecessors, contemporaries or successors used paper quite like he did. The intensity, variety and unpredictability of what happens on a single sheet are unparalleled and this project was last exhibited at the Victoria and Albert Museum, London, from 14 September 2006 to 7 January 2007. Universal Leonardo A project aimed at deepening our understanding of Leonardo da Vinci through a series of exhibitions, scientific research. A web site is available for details of the exhibitions and to discover Leonardos fascinating thought and work in the realms of art, science and technology, http
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Museo del Prado
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The Prado Museum is the main Spanish national art museum, located in central Madrid. Founded as a museum of paintings and sculpture in 1819, it contains important collections of other types of works. El Prado is one of the most visited sites in the world, and it is considered one of the greatest art museums in the world. The collection currently comprises around 8,200 drawings,7,600 paintings,4,800 prints, and 1,000 sculptures, in addition to a large number of other works of art and historic documents. As of 2012, the museum displayed about 1,300 works in the buildings, while around 3,100 works were on temporary loan to various museums. The museum received 2.8 million visitors in 2012 and it is one of the largest museums in Spain. The best-known work on display at the museum is Las Meninas by Velázquez, Velázquez and his keen eye and sensibility were also responsible for bringing much of the museums fine collection of Italian masters to Spain, now the largest outside of Italy. The museum is planning a 16% extension in the nearby Salón de Reinos and their efforts and determination led to the Royal Collection being enriched by some of the masterpieces now to be seen in the Prado. In addition to works from the Spanish royal collection, other holdings increased and enriched the Museum with further masterpieces, such as the two Majas by Goya. Among the now closed museums whose collections have been added to that of the Prado were the Museo del la Trinidad in 1872, in addition, numerous legacies, donations and purchases have been of crucial importance for the growth of the collection. Upon the deposition of Isabella II in 1868, the museum was nationalized and acquired the new name of Museo del Prado, the building housed the royal collection of arts, and it rapidly proved too small. The first enlargement to the museum took place in 1918, particularly important donations include Barón Emile dErlangers gift of Goyas Black Paintings in 1881. Between 1873 and 1900, the Prado helped decorate city halls, new universities, during the Second Spanish Republic from 1931 to 1936, the focus was on building up provincial museums. The art had to be returned across French territory in night trains to the museum upon the commencement of World War II, during the early years of the dictatorship of Francisco Franco, many paintings were sent to embassies. The main building was enlarged with short pavilions in the rear between 1900 and 1960, in 1993, an extension proposed by the Prados director at the time, Felipe Garin, was quickly abandoned after a wave of criticism. In the late 1990s, a $14 million roof work forced the Velázquez masterpiece Las Meninas to change galleries twice, in 1998, the Prado annex in the nearby Casón del Buen Retiro closed for a $10 million two-year overhaul that included three new underground levels. In 2007, the finally executed Rafael Moneos project to expand its exposition room to 16,000 square meters. A glass-roofed and wedge-shaped foyer now contains the shops and cafeteria
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The Holy Infants Embracing
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The Holy Infants Embracing is a lost painting attributed to Leonardo da Vinci. It represents the infant Christ embracing his cousin John the Baptist, the subject of two Infants kissing was an inspirational source of quite a few copies of pupils and followers of Leonardo da Vinci. An early sketch of the subject by da Vinci himself is held at Windsor in the Royal collection, the sheet shows various studies of Madonna and Baby playing with the cat, while at the very bottom we see two infants kissing and embracing each other. The sketch is quite different from the version presented at numerous compositions, the connection between those paintings is evident in two copies made by Marco dOggiono and copy made by Bernardino dei Conti. Madonna, very much like as the one depicted in Virgin of the Rocks is seen blessing two kissing children, representing Jesus and St John the Baptist, other copies show half-length figure of Madonna leaning other the table with figures of embracing children. The painting of Holy Family by Bernardino Luini held at Prado, most of the copies show only the group of two children in a quite different background. These include copies by Marco dOggiono, depicting children in a background of castle, grotto. Other copies by artist are also at Naples and Vienna. Joos van Cleve is responsible for introducing the composition among artists of Northern Europe, 73B832 search for iconclass code the Christ-child and John the Baptist in RKD
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Joos van Cleve
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Joos van Cleve was a painter active in Antwerp around 1511 to 1540. He is known for combining traditional Netherlandish painting techniques with influences of more contemporary Renaissance painting styles, an active member and co-deacon of the Guild of Saint Luke of Antwerp, he is known mostly for his religious works and portraits of royalty. As a skilled technician, his art shows sensitivity to color and he was one of the first to introduce broad landscapes in the backgrounds of his paintings, which would become a popular technique of sixteenth century northern Renaissance paintings. He was the father of Cornelius or Cornelis van Cleve who was also a painter and is believed to have suffered from an illness and was therefore referred to as Sotte Cleef. Joos van Cleve was born around 1485, the birthplace of Joos van Cleve is not precisely known. In various Antwerp legal documents he is referred to as van der Beke alias van Cleve’. It is therefore likely that he came from the Lower Rhenish region or city named Kleve, Joos van Cleve is believed to have moved to Bruges between 1507 -1511 since his painting style is similar to that of the painters of Bruges. Later he moved to Antwerp, and in 1511 became a master in the Antwerp Guild of Saint Luke. He was co-deacon of the guild for several years around 1520 and it is possible he spent time in France at the court in 1529 or 1535. He may also have made a trip to Italy around this time and he had two children from his first marriage, a daughter and a son. His son Cornelis became a painter, although the date of his death is unknown, Joos van Cleve drew up a will and testament on 10 November 1540, and his second wife was listed as a widow in April 1541. From the seventeenth to the centuries, the name of Joos van Cleve as an artist was lost. The paintings now attributed to Joos van Cleve were, at time, known as the works of “the Master of the Death of the Virgin. In 1894 it was discovered that the monogram on the back of the triptych was that of Joos van der Beke, the influence of Kalkar and Bruges are seen in many of Joos van Cleve’s early works, such as Adam and Eve. The Death of the Virgin shows the influence of several artists. It has the intense emotionality of Hugo van der Goes, and iconographic ideas of Jan van Eyck, a strong influence of Italian art combined with Joos van Cleve’s own color and light sensitivity make his works especially unique. The “Antwerp Mannerist” style is identifiable in the Adoration of the Magi and it is thought that the “Antwerp Mannerists” were in turn influenced by Joos van Cleve. Like Quentin Matsys, a fellow artist active in Antwerp, Joos van Cleve appropriated themes and techniques of Leonardo da Vinci and this is apparent in the use of sfumato in the Virgin and Child
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Museo di Capodimonte
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Museo di Capodimonte is an art museum located in the Palace of Capodimonte, a grand Bourbon palazzo in Naples, Italy. The museum is the repository of Neapolitan painting and decorative art, with several important works from other Italian schools of painting. It is one of the largest museums in Italy, the vast collection at the museum traces its origins back to 1738. Over the years the palace was enlarged and filled with more art, in 1787, on the advice of Jacob Philipp Hackert, a laboratory for the restoration of paintings was created. When the Parthenopaean Republic was declared in 1799, Ferdinand fled to Palermo on board Nelsons Vanguard, what remained was looted by the French troops of General Championnet who were billeted there during the short life of the Republic in 1799. Later on during the ten years of French reoccupation, the art collection was transferred to the Naples National Archaeological Museum, when King Ferdinand returned from Sicily in 1815, he employed many painters and sculptors to work on the redecoration of the palace. It was finally completed in 1840, and a gallery housing contemporary art was added, after the palace passed in 1861 to the House of Savoy, further pieces were added to the art collections, appointing Domenico Morelli as consultant for new acquisitions. They also added a collection of historic firearms and other weapons. In 1866, the boudoir of Maria Amalia of Saxony was transferred to Capodimonte from the Palace of Portici, after the end of the monarchy, the palace became purely a national museum in 1950, with many of the exhibits being returned from the National Museum. Elsewhere in the palace the royal apartments are furnished with antique 18th-century furniture, le Guide di Dove - Campania, Corriere della sera,2007. Il Museo di Capodimonte, valori di Napoli, Pubblicomit,2002
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Quentin Matsys
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Quentin Matsys was a painter in the Flemish tradition and a founder of the Antwerp school. He was born at Leuven, where legend states he was trained as an ironsmith before becoming a painter, Matsys was active in Antwerp for over 20 years, creating numerous works with religious roots and satirical tendencies. Most early accounts of Matsys life are composed primarily of legend, according to J. Molanus Historiae Lovaniensium Matsys is known to be a native of Leuven with humble beginnings as an ironsmith. One of four children, Matsys was born to Joost Matsys, documented donations and possessions of Joost Matsys indicate that the family had a respectable income and that financial need was most likely not the reason Matsys turned to painting. During the period in which Matsys was active in Antwerp he took only four apprentices, Arian van Overbeke, Willem Muelenbroec, Eduart Portugalois and it is widely believed that Joachim Patinir studied with Matsys at some point during his career and contributed to several of his landscapes. Lack of guild records during this time leaves Matsys travels to Italy, for the most part, foreign influences on Matsys are inferred from his paintings and are considered to be a large portion of the artists training during the 16th century. During the greater part of the 15th century, the centres in which the painters of the Low Countries most congregated were Tournai, Bruges, Ghent, Leuven gained prominence toward the close of this period, employing workmen from all of the crafts including Matsys. Not until the beginning of the 16th century did Antwerp take the lead which it afterward maintained against Bruges, Ghent, Brussels, as a member of Antwerps Guild of Saint Luke, Matsys is considered to be one of its first notable artists. Although the roots of Matsys training are unknown, his style reflects the qualities of Dirk Bouts. When Matsys settled at Antwerp at the age of twenty-five, his own style contributed importantly to reviving Flemish art along the lines of Van Eyck, Matsys departed from Leuven in 1491 when he became a master in the guild of painters at Antwerp. He also painted altarpieces and triptych panels, the most famous of which was built for the Church of Saint Peter in Leuven. Matsys work is considered to contain strong religious feeling—characteristic of traditional Flemish works—and is accompanied by a realism that often favored the grotesque, Matsys works generally reflect earnestness in expression, minutely detailed renderings, and subdued effects in light and shade. Like most Flemish artists of the time he paid a great deal of attention to jewelry, edging of garments, strenuous effort is devoted to the expression of individual character. A satirical tendency may be seen in the pictures of merchant bankers, revealing their greed and avarice. His other impulse, dwelling on the feelings of tenderness, may be noted in two replicas of the Virgin and Child at Berlin and Amsterdam, where the ecstatic kiss of the mother seems rather awkward. An expression of acute despair may be seen in a Lucretia in the museum at Vienna, the remarkable glow of the colour in these works, however, makes the Mannerist exaggerations palatable. Matsys had considerable skill as a portrait painter and his Ægidius which drew from Thomas More a eulogy in Latin verse, is but one of many, to which one may add the portrait of Maximilian of Austria in the gallery in Amsterdam. In this branch of his practice, Matsys was greatly influenced by his fellow countryman Jan Mabuse, Matsys portraiture exhibits highly personal and individual emotional characteristics that reflect his adherence to realism as a technique
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International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
42.
The Guardian
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The Guardian is a British daily newspaper, known from 1821 until 1959 as the Manchester Guardian. Along with its sister papers The Observer and The Guardian Weekly, The Guardian is part of the Guardian Media Group, the Scott Trust became a limited company in 2008, with a constitution to maintain the same protections for The Guardian. Profits are reinvested in journalism rather than to the benefit of an owner or shareholders, the Guardian is edited by Katharine Viner, who succeeded Alan Rusbridger in 2015. In 2016, The Guardians print edition had a daily circulation of roughly 162,000 copies in the country, behind The Daily Telegraph. The newspaper has an online UK edition as well as two international websites, Guardian Australia and Guardian US, the newspapers online edition was the fifth most widely read in the world in October 2014, with over 42.6 million readers. Its combined print and online editions reach nearly 9 million British readers, notable scoops include the 2011 News International phone hacking scandal, in particular the hacking of murdered English teenager Milly Dowlers phone. The investigation led to the closure of the UKs biggest selling Sunday newspaper, and one of the highest circulation newspapers in the world, in 2016, it led the investigation into the Panama Papers, exposing the then British Prime Minister David Camerons links to offshore bank accounts. The Guardian has been named Newspaper of the Year four times at the annual British Press Awards, the paper is still occasionally referred to by its nickname of The Grauniad, given originally for the purported frequency of its typographical errors. The Manchester Guardian was founded in Manchester in 1821 by cotton merchant John Edward Taylor with backing from the Little Circle and they launched their paper after the police closure of the more radical Manchester Observer, a paper that had championed the cause of the Peterloo Massacre protesters. They do not toil, neither do they spin, but they better than those that do. When the government closed down the Manchester Observer, the champions had the upper hand. The influential journalist Jeremiah Garnett joined Taylor during the establishment of the paper, the prospectus announcing the new publication proclaimed that it would zealously enforce the principles of civil and religious Liberty. Warmly advocate the cause of Reform, endeavour to assist in the diffusion of just principles of Political Economy and. Support, without reference to the party from which they emanate, in 1825 the paper merged with the British Volunteer and was known as The Manchester Guardian and British Volunteer until 1828. The working-class Manchester and Salford Advertiser called the Manchester Guardian the foul prostitute, the Manchester Guardian was generally hostile to labours claims. The Manchester Guardian dismissed strikes as the work of outside agitators –, if an accommodation can be effected, the occupation of the agents of the Union is gone. CP Scott made the newspaper nationally recognised and he was editor for 57 years from 1872, and became its owner when he bought the paper from the estate of Taylors son in 1907. Under Scott, the moderate editorial line became more radical, supporting William Gladstone when the Liberals split in 1886
43.
Andrew Graham-Dixon
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Andrew Michael Graham-Dixon is a British art historian and broadcaster. Graham-Dixon is a son of the barrister Anthony Graham-Dixon and Suzanne Sue, Graham-Dixon was educated at the independent Westminster School, where he was pushed to get into a well-paid job by his father and not waste time learning at school. This meant he finished his O Levels at age 14 and A Levels at age 16 and he continued his education at Christ Church, Oxford, where he read English. He graduated in 1981, before pursuing studies at the Courtauld Institute of Art. Graham-Dixon began work as a reviewer for the weekly Sunday Correspondent, early in his career he won the Arts Journalist of the Year Award three years in a row. As of 2005 he is the art critic of The Sunday Telegraph. Since 2004, he has also been a contributor to the BBC Twos The Culture Show on a variety of subjects, and is often the main presenter of the programme. In 1992, Graham-Dixon won the first prize in the Reportage section in the Montreal World Film Festival for a film about Théodore Géricaults painting The Raft of the Medusa. He is passionate about the Mona Lisa, appearing in the popular BBC documentary Secrets of the Mona Lisa and he has also presented programmes on subjects other than art, such as I, Samurai and The Real Casino Royale for the BBC and 100% English for Channel 4. In 2010, he interviewed John Lydon for a Culture Show special about Public Image Ltd, Graham-Dixon also wrote and presented the BBC documentary Who Killed Caravaggio. Broadcast on BBC4 in 2010, the same year, his biography of Caravaggio was published as Caravaggio, A Life Sacred And Profane. In 1994 American expatriate R. B. Kitaj had a retrospective at the Tate Gallery in London, Graham-Dixon, and many other London art critics wrote personal, vicious attacks against the artist. Kitaj blamed the death of his wife, artist Sandra Fisher, as they wisely say in Ireland, what do you expect from a pig but a grunt. Andrew Graham-Dixon was awarded an Honorary Doctorate of Arts from Plymouth University in 2010 and he was an early supporter of the later-to-be Young British Artists artists. They were far superior, for instance, to any of the art shows that have been staged by the Liverpool Tate in its own multi-million-pound dockland site. Graham-Dixon has three children and lives in Sussex, London, Thames & Hudson,1994, revised,2001. Paper Museum, writings about painting, mostly, in the Picture, The Year Through Art. Caravaggio, A Life Sacred And Profane
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Leonardo's Virgin of the Rocks, Smarthistory, Khan Academy
