DOCSLIB.ORG

Catalogue Entry

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Catalogue Entry CALLISTO FINE ARTS 17 Georgian House 10 Bury Street London SW1Y 6AA +44 (0)207 8397037 info@callistoart.com www.callistoart.com Jacopo della Quercia (Quercegrossa, c.1372 – Siena, 1438) Warrior Saint c.1426-1430 Marble 53x23x14 cm Bibliography: Casciaro, Raffaele, “Celsis Florentia nota tropheis”, in Raffaele Casciaro e Paola Di Girolami, a cura di, Jacopo della Quercia ospite a Ripatransone, Tracce di scultura toscana tra Emilia e Marche. Ripatransone, Firenze, 2008, pp. 21-39 Custoza, Gian Camillo, con prefazione di Giancarlo Gentilini, “Jacopo della Quercia. San Paolo”, Venezia, 2011 Gentilini, Giancarlo, introduzione di, David Lucidi, con la collaborazione di, “Scultura italiana del Rinascimento”, Firenze, 2013, pp. 13-15 CALLISTO FINE ARTS 17 Georgian House 10 Bury Street London SW1Y 6AA +44 (0)207 8397037 info@callistoart.com www.callistoart.com Gentilini, Giancarlo, scheda, in Massimo Pulini, a cura di, “Lo Studiolo di Baratti”, Cesena, 2010, cat. 1, pp. 30-33 Ortenzi, Francesco, in “Lo Studiolo di Baratti”, catalogo della mostra (Cesena 2010), a cura di M. Pulini, Cesena 2010, pp. 30-33 n. 1; Ortenzi, Francesco, scheda, in Raffaele Casciaro e Paola Di Girolami, a cura di, “Jacopo Della Quercia ospite a Ripatransone. Tracce di scultura toscana tra Emilia e Marche”. Ripatransone, Firenze, 2008, cat. 5, pp. 64-68 Exhibitions: “Scultura italiana del Rinascimento”, a cura di Giancarlo Gentilini e David Lucidi, Firenze, The Westin Excelsior, 5-9 ottobre 2013 “Lo Studiolo di Baratti”, a cura di Massimo Pulini, Cesena, Galleria Comunale d’Arte, 6 febbraio – 11 aprile 2010 “Jacopo della Quercia ospite a Ripatransone. Tracce di scultura toscana tra Emilia e Marche”, a cura di Raffaele Casciaro e Paola Di Girolami, Ripatransone, Chiesa di Sant’Agostino, 28 giugno – 14 settembre 2008 This marvellous work has been attributed to Jacopo della Quercia by Francesco Ortenzi in 2008 and by Giancarlo Gentilini in 2011. Both Ortenzi and Gentilini believe that this work belongs to the artist’s late activity (c. 1430), when Della Quercia was involved in the project for the main portal of the Basilica of Saint Petronius in Bologna (started in 1425). In Raffaele Casciaro’s opinion, this marble clearly shows a harmonious juxtaposition of Jacopo’s style and technique, hence supporting the attribution of the Saint Warrior to this artist. Giancarlo Gentilini stressed again Jacopo della Quercia’s paternity to this work in an oral communication, underlining its noteworthy quality notwithstanding the head’s mutilation. Moreover, Laura Cavazzini and Gabriele Fattorini both examined some photographs of our work. In 2017, the former supported the attribution to Jacopo della Quercia’s late activity particularly for its complex and tortuous drapery which is comparable to the Sienese artist’s late works and especially to its sculptures on the main portal of Saint Petronius in Bologna (e.g. the Prophets, completed by 1428, the Stories of Christ’s Youth on the architrave and the two mighty Saints Ambrosius and Petronius on the lunette above). The latter specified that the work was made between 1426 and c.1430, grounding his opinion on the style of the work. Fattorini believes that Jacopo della Quercia’s workshop, with Bolognese and Sienese pupils, was involved in the creation of our Saint Warrior. This hypothesis is mainly grounded on the simplified characters of the armour (cf. the Massacre of the Innocents in the architrave of Saint Petronius) and on the Gothic footwear on the Saint’s right foot, which does not correspond to Jacopo della Quercia’s predilection developed from the 1420s on for naked feet or all’antica footwear. Another CALLISTO FINE ARTS 17 Georgian House 10 Bury Street London SW1Y 6AA +44 (0)207 8397037 info@callistoart.com www.callistoart.com example of this Gothic pointy footwear is given by the wooden Saint Bishop in the Museo Civico di Siena attributed by Aldo Galli to Jacopo’s workshop around 1430 (in “Da Jacopo della Quercia a Donatello”, pp. 102-103, n.A.32). Among the most beautiful parts of our Saint Warrior, Fattorini underlines the folds of the drapery around the foot and the lower part of the right leg, which present a Gothic verve comparable to the first works at Saint Petronius between 1426 and 1428, which are close to the results of the Trenta altar in Lucca, completed in 1422. Our marble is hence a rare testimony of the production of Jacopo della Quercia’s inner circle. Moreover, Fattorini pointed out that the sculpture was created for a niche of either a monument or an altar for the unfinished character of its verso. Francesco Ortenzi thinks that the whole work, now acephalous, was sculpted from a particularly thin marble sheet in stiacciato technique and yet aiming to a tutto tondo final effect. Gabriele Fattorini denotes a powerful Gothic touch and angularity in the three-quarter views, while frontally the sculpture appears bi-dimensional and rigid. Additionally, Fattorini believes that the head could have not been sculpted from a different piece of marble for the small dimensions of the work and he supposes that the metallic pivot positioned at the height of the neck’s break was probably once used to repair a previous break and to reattach the head, eventually lost. Overall, the marble presents a beautiful patina and shows some signs of its unknown past vicissitudes – the base is damaged and presents a small fissure which creates some stability problems which are solved by the introduction of a small metallic beam fixed on a modern pedestal. This precious Warrior Saint is enveloped by a wide cape which partly unveils an armour. The sword in the right hand leaning against the shoulder is the attribute of the soldier. According to the iconographical identification, Gian Camillo Custoza hypothesised that our work might represent Saint Paul as ‘Miles Christi’, discerning a letter under the Saint’s left hand. Laura Cavazzini and Gabriele Fattorini, however, do not agree with this interpretation, grounding their dissensus on Saint Paul’s iconography that does never include an armour. Therefore, the figure must have been a knight and, in particular, Ortenzi talks about the Saints venerated in Bologna, such as Proculus, Agricola and Florian – preferring the first one to the others. Finally, Fattorini reminds Saint Vittore, one of the patrons of Siena, usually depicted with his armour, large cape and sword (cf. Sassetta’s Saint Vittore with sword and cape in a small section of the altarpiece for the Arte della Lana, completed around 1423-1424; and the marble interpretation by the sculptor Antonio Federighi, one of the pupils of Jacopo della Quercia, for the Loggia della Mercanzia in 1459). Anyhow, the missing detail of the head makes it impossible to give a more precise definition of the identity of our Saint Warrior. .
Load more

Recommended publications
  • The Master of the Unruly Children and His Artistic and Creative Identities
    The Master of the Unruly Children and his Artistic and Creative Identities Hannah R. Higham A Thesis Submitted to The University of Birmingham For The Degree of DOCTOR OF PHILOSOPHY Department of Art History, Film and Visual Studies School of Languages, Art History and Music College of Arts and Law The University of Birmingham May 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines a group of terracotta sculptures attributed to an artist known as the Master of the Unruly Children. The name of this artist was coined by Wilhelm von Bode, on the occasion of his first grouping seven works featuring animated infants in Berlin and London in 1890. Due to the distinctive characteristics of his work, this personality has become a mainstay of scholarship in Renaissance sculpture which has focused on identifying the anonymous artist, despite the physical evidence which suggests the involvement of several hands. Chapter One will examine the historiography in connoisseurship from the late nineteenth century to the present and will explore the idea of the scholarly “construction” of artistic identity and issues of value and innovation that are bound up with the attribution of these works.
    [Show full text]
  • Painting in Renaissance Siena
    Figure r6 . Vecchietta. The Resurrection. Figure I7. Donatello. The Blood of the Redeemer. Spedale Maestri, Torrita The Frick Collection, New York the Redeemer (fig. I?), in the Spedale Maestri in Torrita, southeast of Siena, was, in fact, the common source for Vecchietta and Francesco di Giorgio. The work is generally dated to the 1430s and has been associated, conjecturally, with Donatello's tabernacle for Saint Peter's in Rome. 16 However, it was first mentioned in the nirieteenth century, when it adorned the fa<;ade of the church of the Madonna della Neve in Torrita, and it is difficult not to believe that the relief was deposited in that provincial outpost of Sienese territory following modifications in the cathedral of Siena in the seventeenth or eighteenth century. A date for the relief in the late I4 5os is not impossible. There is, in any event, a curious similarity between Donatello's inclusion of two youthful angels standing on the edge of the lunette to frame the composition and Vecchietta's introduction of two adoring angels on rocky mounds in his Resurrection. It may be said with little exaggeration that in Siena Donatello provided the seeds and Pius II the eli­ mate for the dominating style in the last four decades of the century. The altarpieces commissioned for Pienza Cathedral(see fig. IS, I8) are the first to utilize standard, Renaissance frames-obviously in con­ formity with the wishes of Pius and his Florentine architect-although only two of the "illustrious Si­ enese artists," 17 Vecchietta and Matteo di Giovanni, succeeded in rising to the occasion, while Sano di Pietro and Giovanni di Paolo attempted, unsuccessfully, to adapt their flat, Gothic figures to an uncon­ genial format.
    [Show full text]
  • Nology Transfer Based on the Participation of Conser
    During the past years an experiment in interdisciplinary research and tech- nology transfer based on the participation of conservation institutions, restoration laboratories, research centres and private companies, has been consolidating in Tuscany. The aims of this network are to promote research, development and the dissemination of advanced technologies and new methodologies in conservation. The core of the scientific background in this experiment lies in opto-elec- tronic and information technologies, which in Tuscany have a high concen- tration of activities in public research institutions and in industrial initiatives. The sources of conservation expertise are located in prestigious centres of Tuscany, such as the Opificio delle Pietre Dure, the Centro di Restauro della Soprintendenza archeologica della Toscana, the Soprintendenze, govern- ment organizations devoted to the preservation of the artistic, architectural and archaeological heritage, and in organizations linked to the patrimony of cities of art as Florence, Pisa and Siena among many other important his- torical centres. The technological innovation policies of the Tuscany Region were put in practice in 2000-2001 with the RIS+ Tuscany pilot project Technologies for cultural heritage. The positive evaluation of the achievements of this pilot experience laid the foundation for organizing these competencies within an association called OPTOCANTIERI, in order to propose advanced technolo- gies to the end-users in this field, at national and international levels. Proposed technologies are: laser applications for the restoration of stone and metals, reflectographic investigations of paintings, 3D digital documen- tation using optical and laser scanning, environmental monitoring in muse- ums, investigation of archaeological sites using radar techniques, diagnos- tics of masonry and wood structures.
    [Show full text]
  • Revisiting the Monument Fifty Years Since Panofsky’S Tomb Sculpture
    REVISITING THE MONUMENT FIFTY YEARS SINCE PANOFSKY’S TOMB SCULPTURE EDITED BY ANN ADAMS JESSICA BARKER Revisiting The Monument: Fifty Years since Panofsky’s Tomb Sculpture Edited by Ann Adams and Jessica Barker With contributions by: Ann Adams Jessica Barker James Alexander Cameron Martha Dunkelman Shirin Fozi Sanne Frequin Robert Marcoux Susie Nash Geoffrey Nuttall Luca Palozzi Matthew Reeves Kim Woods Series Editor: Alixe Bovey Courtauld Books Online is published by the Research Forum of The Courtauld Institute of Art Somerset House, Strand, London WC2R 0RN © 2016, The Courtauld Institute of Art, London. ISBN: 978-1-907485-06-0 Courtauld Books Online Advisory Board: Paul Binski (University of Cambridge) Thomas Crow (Institute of Fine Arts) Michael Ann Holly (Sterling and Francine Clark Art Institute) Courtauld Books Online is a series of scholarly books published by The Courtauld Institute of Art. The series includes research publications that emerge from Courtauld Research Forum events and Courtauld projects involving an array of outstanding scholars from art history and conservation across the world. It is an open-access series, freely available to readers to read online and to download without charge. The series has been developed in the context of research priorities of The Courtauld which emphasise the extension of knowledge in the fields of art history and conservation, and the development of new patterns of explanation. For more information contact booksonline@courtauld.ac.uk All chapters of this book are available for download at courtauld.ac.uk/research/courtauld-books-online Every effort has been made to contact the copyright holders of images reproduced in this publication.
    [Show full text]
  • Dott. Giovanni Sassu
    F ORMATO EUROPEO PER IL CURRICULUM VITAE INFORMAZIONI PERSONALI Nome SASSU GIOVANNI E-mail g.sassu@comune.fe.it Nazionalità Italiana Data di nascita 16/04/1970 ESPERIENZA LAVORATIVA • 1/7/2008 – ad oggi Conservatore del Museo della Cattedrale e dei Musei di Arte Antica di Ferrara • Nome e indirizzo del datore di Comune di Ferrara, Piazza Municipale 2, 44121, Ferrara (Italia) lavoro • Tipo di azienda o settore Ente pubblico, settore Cultura e Musei • Tipo di impiego Istruttore Direttivo Culturale, Settore Attività Culturali, cat. D/D1, a tempo indeterminato • Principali mansioni e responsabilità Curatore delle collezioni e responsabile della Fototeca Civica | dal 1° giugno 2016 con attribuzione specifiche responsabilità ex art. 17 comma 2 lettera F, CCNL. • 1/11/2002 – 30/6/2008 Conservatore Curatore Mostre e Musei • Nome e indirizzo del datore di Comune di Ferrara, Piazza Municipale 2, 44121, Ferrara (Italia) lavoro • Tipo di azienda o settore Ente pubblico, settore Cultura e Musei • Tipo di impiego Contratto Coordinato Continuativo • Principali mansioni e responsabilità Curatela del Museo della Cattedrale e affiancamento scientifico per le mostre della Fondazione Ferrara Arte (Palazzo dei Diamanti) • 1/10/1999 – 31/12/200 Responsabile progetti • Nome e indirizzo del datore di Fondazione del Monte di Bologna e Ravenna, via delle Donzelle 2, 40126, Bologna (Italia) lavoro • Tipo di azienda o settore Fondazione bancaria attiva nel settore culturale • Tipo di impiego Contratto a tempo determinato • P rincipali mansioni e responsabilità Coordinatore dei progetti della suddetta Fondazione per “Bologna 2000, città europea della cultura”. • 1/11/2002 – 30/6/2000 Consulente storico artistico • Nome e indirizzo del datore di Soprintendenza ai Beni Artistici e Storici, Bologna (Italia) lavoro • Tipo di azienda o settore Ente territoriale di tutela beni culturali • Tipo di impiego Contratto a progetto • Principali mansioni e responsabilità Responsabile schedatura OA chiese: chiesa di Santa Cristina e di San Giuliano (1996); chiesa di Santo Stefano (1997-1998).
    [Show full text]
  • A Taxonomy of Art Patronage in Renaissance Italy Sheryl E
    1 A Taxonomy of Art Patronage in Renaissance Italy Sheryl E. Reiss On November 25, 1523, Michelangelo wrote from Florence to his stonecutter Topolino in Carrara with important news: “You will have heard that Medici has been made pope, because of which, it seems to me, everyone is rejoicing and I think that here, as for art, there will be much to be done.”1 Michelangelo spoke of Cardinal Giulio de’ Medici, who had been elected Pope Clement VII two days before. This passage reveals the necessarily symbiotic relationships of patrons and artists in early modern Italy. Each depended upon the other to secure their repu- tations by bringing works of art and architecture into existence. Although the strategies employed by artists and patrons were often mutually reinforcing, some- times relations between them were adversarial. Patrons in Renaissance Italy promoted personal, familial, and group renown by requesting works from – and fostering the careers of – famous or promising artists. Just as artists in this period often competed for the attention of patrons, patrons frequently competed for the services of successful artists. While artists of the caliber of Michelangelo, Raphael, or Titian often manipulated the patronage game to great advantage, most painters, sculptors, and architects in the period functioned within a deeply entrenched sociocultural system of mutual dependency. Even in the case of Michelangelo (who had, to paraphrase William Wallace, “reversed the rules of patronage”), in a painting for the Casa Buonarroti, his Seicento descendants had him depicted in the mode of a traditional presentationCOPYRIGHTED image, in which artist MATERIAL was subservient to patron (fig.
    [Show full text]
  • Revisiting the Monument Fifty Years Since Panofsky’S Tomb Sculpture
    REVISITING THE MONUMENT FIFTY YEARS SINCE PANOFSKY’S TOMB SCULPTURE EDITED BY ANN ADAMS JESSICA BARKER Revisiting The Monument: Fifty Years since Panofsky’s Tomb Sculpture Edited by Ann Adams and Jessica Barker With contributions by: Ann Adams Jessica Barker James Alexander Cameron Martha Dunkelman Shirin Fozi Sanne Frequin Robert Marcoux Susie Nash Geoffrey Nuttall Luca Palozzi Matthew Reeves Kim Woods Series Editor: Alixe Bovey Courtauld Books Online is published by the Research Forum of The Courtauld Institute of Art Somerset House, Strand, London WC2R 0RN © 2016, The Courtauld Institute of Art, London. ISBN: 978-1-907485-06-0 Courtauld Books Online Advisory Board: Paul Binski (University of Cambridge) Thomas Crow (Institute of Fine Arts) Michael Ann Holly (Sterling and Francine Clark Art Institute) Courtauld Books Online is a series of scholarly books published by The Courtauld Institute of Art. The series includes research publications that emerge from Courtauld Research Forum events and Courtauld projects involving an array of outstanding scholars from art history and conservation across the world. It is an open-access series, freely available to readers to read online and to download without charge. The series has been developed in the context of research priorities of The Courtauld which emphasise the extension of knowledge in the fields of art history and conservation, and the development of new patterns of explanation. For more information contact booksonline@courtauld.ac.uk All chapters of this book are available for download at courtauld.ac.uk/research/courtauld-books-online Every effort has been made to contact the copyright holders of images reproduced in this publication.
    [Show full text]
  • SIENA Distance from the Borgo: 30Km
    SIENA distance from the borgo: 30km The medieval city of Siena is a must-see destination with a memorable history, a world-class repository of medieval art and architecture, and the site of the famous Palio horse race held twice a year in the city’s expansive public square, the Piazza del Campo. Strategically located on the Via Francigena – the pilgrimage route from Northern Europe to Rome – Siena rose to greatness in the Middle Ages. The city flourished as one of Europe’s largest cities from the twelfth to the fourteenth centuries, larger than Paris or London and rivaling Florence. Artistic projects proliferated, filling Siena with Gothic masterpieces. The Palazzo Publico with its Mangia Tower offers an outstanding view of the city and its surrounding countryside. The palace houses a museum of Sienese painting, including Martini’s Maesta, the Middle Ages’ largest painting, and perhaps its most famous, Ambrogio Lorenzetti’s Allegory of Good and Bad Government. In the surrounding city, a wealth of palaces and churches demonstrate civic and non-secular architecture. Siena’s Santa Maria Assunta, a twelfth century cathedral, rivals Florence as a dictionary of Italian greats. Its collection includes sculptures by Michelangelo, Pinturicchio’s frescoed Piccolomini library, and frescoes by Lorenzo Ghiberti, Donatello, and Jacopo della Quercia. Historical Overview: The Sienese claim to have descended from the twin sons of Remus, whom Romulus expelled from Rome, and statues of the fabled she-wolf that suck- led the twins as infants abound in the city. In 1348, the plague descended, killing three quarters of the Sienese population.
    [Show full text]
  • Terzo Di Città Itinerary
    museum info OPENING HOURS AND TICKET PRICES OF THE MUSEUMS ON THE TERZO DI CITTÀ ITINERARY PINACOTECA NAZIONALE (National Painting Gallery) Palazzo Buonsignori Via San Pietro 29 Tues.- Sat. 8.15-19.15, Mon. 8.30-13.30, Sunday and public holidays Siena 8.15-13.30. Closed 1 January, 1 May, 25 December Art Tickets: Euro 4,30 - Reduced Euro 2,00 PICCOLOMINI LIBRARY in the Duomo Terzo di Città 1 Nov.-14 March 10.00-13.00, 14.00-17.00; 15 March-31 and Culture Oct. 9.00-19.30; Sunday and public holidays open from 13.30 – 19,30 Closed: 25 December, 1 January Tickets: Euro 1,50 – groups of 15 or more 1,20 in Siena SANTA MARIA DELLA SCALA Piazza Duomo 16 March-5 Nov. 10.00-18.00; 6 Nov.-15 March, he Terzo di Città, or Third of the City, was the To get the hang of Siena it helps if you appreciate that 10.30-16.30, 24 Dec.-6 Jan. 10.00-18.00 T Tickets: Euro 5,20 - reduced 3,10 - groups of 15 or more 4,20 www.santamaria.comune.siena.it - infoscala@comune.siena.it original residential nucleus of Siena that the city is still divided into Terzi, or Thirds, known as PALAZZO DELLE PAPESSE Center for Contemporary Via di Città 12.00-19.00 Closed: Monday Tickets: Euro 5,00 - reduced 3,50 – groups of 20 or more 4,00 relied on the Castelvecchio for its defense. the Thirds of the City, of San Martino and of Camollia.
    [Show full text]
  • PISA E LUCCA Dal 19 Al 20 Ottobre 2013
    COMUNE DI CAMPONOGARA Assessorato alla Cultura PISA e LUCCA Dal 19 al 20 ottobre 2013 1° giorno: Ritrovo nel luogo convenuto e sistemazione a bordo dell’autobus. Quindi partenza per Pisa con brevi soste di relax lungo il tragitto. All’arrivo pranzo in ristorante riservato. Nel pomeriggio incontro con la guida per la visita della famosa Piazza dei Miracoli dichiarata Patrimonio dell’Umanità, con il Duomo ed il Battistero che fanno da cornice alla famosa Torre pendente. Nel tardo pomeriggio trasferimento in hotel e sistemazione nelle camere assegnate, cena e pernottamento. 2° giorno: Dopo la prima colazione in hotel, sistemazione dei bagagli a bordo dell’autobus e quindi partenza per Lucca. All’arrivo incontro con la guida per la visita del particolarissimo centro storico e molti sono i siti di interesse da visitare con una passeggiata che, trattandosi di un centro piccolo, permette di ammirare tutti i monumenti lucchesi, a partire dalle splendide mura: scesi dalle mura, ci si può incamminare verso il centro della città, facendo una prima tappa al Duomo cittadino, che non ha nulla da invidiare ai più famosi monumenti delle città toscane più note: fatto costruire intorno all’anno Mille, il Duomo vanta, oltre alla bellezza architettonica tipica del periodo, il bellissimo monumento funebre di Ilaria Del Carretto, e custodisce affreschi del Tintoretto, di Nicola Pisano e Jacopo della Quercia. Al termine della visita pranzo in ristorante e partenza per il rientro al luogo convenuto con arrivo previsto in serata. Quota individuale di partecipazione in camera doppia: - minimo 45 partecipanti € 215,00 - minimo 35 partecipanti € 236,00 - supplemento camera singola € 29,00 La quota comprende: • Viaggio in autobus G.T; • Sistemazione in hotel 3* in camera doppia con servizi privati; • Trattamento di pensione completa dal pranzo del primo giorno al pranzo dell’ultimo incluse le bevande ai pasti; • Servizio di visita guidata come da programma: una mezza giornata a Pisa e una mezza a Lucca; • Assicurazione medico – bagaglio.
    [Show full text]
  • 013-Da Jacopo Della Quercia a Donatello
    Da Jacopo della Quercia a Donatello. Le arti a Siena nel primo Rinascimento Scritto da Adriana De Angelis 22 Apr, 2010 at 07:26 PM Siena e Firenze: due città che condividono l’appartenenza alla stessa regione, la Toscana, ma da sempre contraddistinte da modi di vedere, essere ed esprimersi del tutto individuali, addirittura rivali. La loro storica rivalità ebbe inizio sin dall'anno 1000, da quando, cioè, le due città conobbero un’incredibile crescita grazie alle rispettive attività mercantili e commerciali, favorite da banchieri e mercanti che non disdegnarono di attraversare l’Europa intera per aprire succursali delle loro banche e allargare i loro traffici. L’Arno fu la via d’acqua a cui Firenze dovette la sua fortuna;, Siena, invece, fu favorita dal suo estendersi ai bordi della via Francigena, la strada percorsa dai pellegrini che da tutta Europa si dirigevano a Roma e lungo la quale si svolgevano tutti i traffici che dalla città eterna puntavano al cuore del Sacro Romano Impero. Di parte guelfa papalina Firenze, ghibellina e alleata dell’imperatore Siena, come tutti sappiamo, i due centri giunsero allo scontro estremo il 4 settembre 1260 nella famosa battaglia di Montaperti, celebrata nel X canto dell’Inferno dedicato a Farinata degli Uberti, dove Siena riportò la vittoria su Firenze. Grazie a quella giornata ricordata da Dante («lo strazio e il grande scempio / che fece l'Arbia colorata in rosso»), Siena restò una repubblica indipendente per altri tre secoli, fino al 17 aprile 1555, quando, assediata dall' esercito di Carlo V, capitolò e fu assegnata al granduca di Toscana, Cosimo I.
    [Show full text]
  • Course Packet Will Get You Through the First Few Weeks of Class
    art 166 history of art II survey of western art this temporary course packet will get you through the first few weeks of class. buy the regular course packet in the bookstore as soon as possible! temporary course packet third edition use with: adams fourth edition professor hudelson palomar college f11 art 166 temporary course packet, third edition introduction This temporary course packet was researched and produced by professor Hudelson, ©2011. It is intended as a supplement for his Art 166/History of Art II students. Please purchase the COMPLETE course packet in the bookstore as soon as you can. This temporary version will only be useful for the first week or two of class. If you have any questions about its use or content, please contact professor Hudelson at: (760) 744-1150, ext. 2979 or mhudelson@palomar.edu In this temporary course packet, there are four types of materials: chapter guides, study guides, video guides and test guides. Chapter guides parallel the material in your textbook, Adams’ Art Across Time, fourth edition. In class, when you see a work of art listed in a chapter guide, or when we discuss a term, put a check mark by it. That way, you’ll know what we’ve gone over, its correct spelling, and you’ll have more time in class to take notes on information about the work or term. Study guides summarize major points that we will study in class. Other study guides compare and contrast various art styles, artists, etc. We will fill these out together in class or occasionally I’ll assign them as homework to be filled out from my website (http://daphne.palomar.edu/mhudelson).
    [Show full text]