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Abstract / the Mid-Fourteenth-Century Papal Palace in Avignon Built By
/Abstract / The mid-fourteenth-century papal palace before them; they include impressive scenic land- in Avignon built by Benedict xii and Clement vi in- scapes. Indeed, these frescoes seem to widen the cluded several chapels intended to replace churches small chapels and to open their walls. Giovanetti in Rome that were important for papal processions. therefore must be regarded as an important pioneer Two of these chapels adjacent to the great assembly in illusionistic painting. halls have preserved their original fresco paint- ings. One chapel is dedicated to St Martial, a pro- / Keywords/ Wall-Painting, Illusionism, Popes, Tre- vincial saint who was believed to be a follower of cento, Landscape Representations, Architecture St Peter and a contemporary of the apostles. Held Representations, Perspective to have Christianized Aquitania, Martial was an ideal prefiguration for the popes in Avignon. The / Stichwörter/ Wandmalerei, Illusionismus, Päpste, other chapel was dedicated to St John the Baptist Trecento, Landschaftsdarstellung, Architekturdar- and St John the Evangelist and thus supplanted the stellung, Perspektive importance of Rome’s St John Lateran. The painter of the surviving frescoes, Matteo Giovanetti, -de Dieter Blume picted complex architecture in perspective con- Kunsthistorisches Seminar struction and developed fictitious rooms and Friedrich-Schiller-Universität Jena places that are more illusionistic than any pictures dieter.blume@uni-jena-de 74 Rom im Exil – Die fiktiven Räume des Matteo Giovanetti in Avignon Dieter Blume Rom ist der Mittelpunkt der Welt, Zentrum der neuen, ungleich größer dimensionierten Kapellen- Christenheit, Wirkungs- und Grabstätte der Apo- raum, den er dem Apostel Petrus weihte und an den stelfürsten Petrus und Paulus, Heimstatt zahlloser sich auch eine Benediktionsloggia anschloss. -
December 1911
Vol. XXX, No. 6. DECEMBER, 1911. COVER DESIGN. Drawing by Vernon Howe Bailey. Page THE PASSING OF MADISON SQUARE GARDEN . 513 SOME REMARKS PROMPTED BY THE PENDING DEMOLI- TION OF NEW YORK'S FAMOUS SHOW BUILDING. Illustrations from Drawings by Vernon Howe Bailey. THE PALACE OF THE POPES AT AVIGNON Frederic Lees 523 ITS HISTORY AND RESTORATION. Illustrations from Photographs by the author. CURRENT ARCHITECTURE. Portfolio . 538 Fifth Fifth Piano Salesroom Store ; Avenue Jewelry ; Avenue First National Bank, Cleveland, Ohio; Connecticut State Armory and Arsenal, Residence of Clinton MacKenzie and No. 68 East 56th Street, New York City. ARCHITECTURE OF AMERICAN COLLEGES Montgomery Schuyler 549 IX-UNION, HAMILTON, HOBART, CORNELLand SYRACUSE Illustrations from Photographs. SOME CENTURY-OLD DOORWAYS IN RURAL NEW ENGLAND 575 Nine Plates from Photographs by A. G. Byne. EARLY AMERICAN CHURCHES Aymar Embury II. 584 WILLIAMSBURG, VA. ; BENNINGTON, VT.; AUGUSTA, GA.; and GUILFORD, CONN. NOTES AND COMMENTS 597 CROSS INDEX, VOLUME XXX Past Six Numbers Indexed according to Articles, Plate Illustrations, Clas- sified Buildings and Architects (home office, etc.) Page numbers of each issue will be found on the back of the binding for ready reference. Published by THE ARCHITECTURAL RECORD COMPANY . W. CLINTON W. SWEET Vice-President HARRY DESMOND . T. FRED W. DODGE Secretary . FRANKLIN MILLER HARRY W. DESMOND Editor RUSSELL F. WHITEHEAD .... Associate Editor RALPH REINHOLD Business Manager 11-15 EAST TWENTY-FOURTH STREET, NEW YORK CITY Subscription (Yearly) $3.00. Published Monthly Copyright, 1911, by "THE ARCHITECTURAL RECORD COMPANY." All rights reserved. Entered My 22. 1902, as second-class matter. Post Office at New York, N. -
City of the Popes
SALES MANUAL 2021 AVIGNON : CITY OF THE POPES Incoming Group Department www.avignon-tourisme.com UNESCO World Heritage Site since 1995 and a true open-air museum, Avignon was for much of the 14th Century home of the Pope when the papal seat was moved there. Nowadays the Palace of the Popes still stands in powerful testimony to the presence of 9 successive popes. The historic center of this walled city, one of the very few in France, includes the Popes Palace but also the episcopal center, the St Bénezet medieval bridge and the Rocher des Doms hill park. Worldwide famous, Avignon’s performing art festival provides plenty of artistic satisfaction and sums up to perfection the city’s cultural state of mind. Avignon was named European Capital of Culture in 2000. Packed with gourmet delights and wine lover secrets, Avignon is an ideal base for exploring the Provence area and its unique way of life. SUMMARY Avignon’s must sees n Avignon Best Of p. 3 n Let’s go back in time! p. 4 n Tell me about Avignon - The unmissable UNESCO World Heritage p. 5 n Must-visit attractions in Avignon: The Palace of the Popes and the St Bénezet Bridge p. 6 The Palace of the Popes in some other way n If you want to see another side to the the Palace of the Popes p. 7 n Breakfast with a view – 1 p. 8 n Breakfast with a view – 2 p. 9 n If you want to discover The Palace of the Popes from another side: p. -
Michelangelo and Pope Paul III, 1534-49
Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-15-2015 Michelangelo and Pope Paul III, 1534-49: Patronage, Collaboration and Construction of Identity in Renaissance Rome Erin Christine Sutherland Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the Classical Archaeology and Art History Commons Recommended Citation Sutherland, Erin Christine, "Michelangelo and Pope Paul III, 1534-49: Patronage, Collaboration and Construction of Identity in Renaissance Rome" (2015). Arts & Sciences Electronic Theses and Dissertations. 451. https://openscholarship.wustl.edu/art_sci_etds/451 This Dissertation is brought to you for free and open access by the Arts & Sciences at Washington University Open Scholarship. It has been accepted for inclusion in Arts & Sciences Electronic Theses and Dissertations by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Art History & Archaeology Dissertation Examination Committee: William E. Wallace, chair Marisa Bass Daniel Bornstein Nathaniel Jones Angela Miller Michelangelo and Pope Paul III, 1534-49: Patronage, Collaboration and Construction of Identity in Renaissance Rome by Erin Sutherland A dissertation presented to the Graduate School of Arts & Sciences of Washington University in partial fulfillment of -
Mise En Page 1
VISIT GUIDE WELCOME TO THE CHARTREUSE-CNES VILLENEUVE LEZ AVIGNON SOME ARCHITECTURAL AND HISTORICAL ELEMENTS TO ENRICH YOUR VISIT VISIT GUIDE 2 LA CHARTREUSE La Chartreuse du Val de Bénédiction owes its beginnings to Pope Innocent VI. After his election in 1352, the then cardinal donated his lands and a private residence he owned at Villeneuve lez Avignon. Works began quickly on the initial foundations, originally planned for twelve monks, and the monas- tery was granted numerous privileges. The decoration of its private chapel was entrusted The first restoration work was begun and the to Matteo Giovannetti, who had painted the decision was taken to buy back, little by little, frescoes in the Palace of the Popes. all the buildings in the original precinct. Pope Innocent VI had close ties with the Today, much of the monastery has been monastery and, at his request, he was restored and visitors enjoy its harmo- buried there when he died in 1362. nious proportions, the secluded charm of His mausoleum, a monument which was re- its cloisters and the shafts of light which moved after the Revolution, was returned penetrate the gloom of the church to the church in 1959. The work begun by through a collapsed apse. Innocent VI was carried on by his nephew, The monument’s present (artist’s residen- Pierre Selva de Montirac, Cardinal of Pam- cies) role has grown out of its rigorous pelona, who finished building the Saint construction around areas open to the sky, John Cloister in 1372. Over the centuries, planned for solitary and communal life. -
Papauté Avignon
A la découverte de l’Histoire Cours d’Histoire 2012/2013. G. Durand COURS 11 – LA PAPAUTE A AVIGNON Avignon doit sa célébrité, et l'essentiel de sa physionomie, au séjour qu'y fit la papauté au xive siècle. De 1309 à 1367 (ou 1403 si l'on compte les papes du Grand Schisme), la ville devint la capitale de la Chrétienté, principalement à cause de l'insécurité politique de Rome et de l'Italie d'alors. Papes français, les neuf papes d'Avignon se plurent sur les bords du Rhône, mais ils donnèrent toujours la priorité à la reconquête de leur pouvoir temporel en Italie. Dans des circonstances défavorables, ils surent, en excellents juristes, augmenter leur pouvoir en faisant de leur curie l'instrument d'une centralisation rigoureuse que favorisait l'heureuse situation géographique d'Avignon. Mais cette évolution, loin de résoudre le problème constitutionnel dans l'Église, l'aggrava bien plutôt, comme en témoigne le Grand Schisme ; elle aggrava aussi l'enlisement de l'Église dans les affaires temporelles : la « réforme dans la tête et les membres », réclamée au concile de Vienne, resta lettre morte. Sans doute était-il vain de l'attendre d'abord de réformes administratives. 1. La papauté à Avignon • Circonstances de l'établissement de Clément V à Avignon (1305-1314) Lorsque Bertrand de Got, archevêque de Bordeaux, est élu pape en 1305, il se fait couronner à Lyon, sur le chemin de l'Italie, avec l'espoir de réconcilier dans cette ville d'Empire les rois de France et d'Angleterre, en guerre au sujet de l'Aquitaine. -
Carthusian Experience in the Papal Chapel at Villeneuve Aidan Valente A
Washington and Lee University Vox Clamantis in Deserto: Carthusian Experience in the Papal Chapel at Villeneuve Aidan Valente A Thesis Submitted for Honors in Art History On my honor, I have neither given nor received any unacknowledged aid on this paper. Valente 1 For my parents, without whose faith and many sacrifices I would not have made it this far. Acknowledgements I would like to thank my friends Nathan Brewer and Madeleine Lucas for supporting me through throughout my time at Washington and Lee and especially over the course of the past year. Furthermore, I wish to acknowledge all the professors at Washington and Lee who have inspired me and who have guided me on my academic path, including, but not limited to: George Bent, Erik Gustafson, Tom Camden, Stephen McCormick, Rebecca Benefiel, David Peterson, and Alexandra Brown. Valente 2 Table of Contents I. Introducing the Monastery ...................................................................................................3 II. The Social History and Context of the Chartreuse Val-de-Bénédiction ..............................6 III. A Formal Analysis of the Chapel of Saint John the Baptist ..............................................20 IV. The Carthusian Experience in the Chapel and the Charterhouse .......................................36 V. Concluding Remarks ..........................................................................................................46 VI. Appendix ............................................................................................................................48 -
THOMAS PATCH and the MANETTI CHAPEL FRESCOES by VALERIE SUTHERLAND B.Ed., University of British Columbia, 1975 a THESIS SUBMITTE
THOMAS PATCH AND THE MANETTI CHAPEL FRESCOES by VALERIE SUTHERLAND B.Ed., University of British Columbia, 1975 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES Department of Fine Arts We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April, 1978. c) Valerie Sutherland,1978 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Fine Arts The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date April 17, 1978. ii ABSTRACT Thomas Patch (1725-1782) is a relatively unknown English artist of the eighteenth century whose claim to fame so far has rested in his caricature work. He went to Rome around 1747, was banished from there in 1755 and joined the English circle in Florence where he remained until his death in 1782. Patch's work in Florence included his copying of what Vasari had said to be a fresco cycle by Giotto in the Church of the Carmine. This cycle had been damaged in a fire that broke out in the old church in 1771, and it had to be destroyed to make way for the new church that was completed in 1773. -
Forschungsbericht 2008.Pdf
Forschungsbericht Herbst 2006 N WINTER 2008 Kunsthistorisches Institut in Florenz Max-Planck-Institut Copyright 2009 Kunsthistorisches Institut in Florenz Max-Planck-Institut Via Giuseppe Giusti 44 I-50121 Firenze Telefon +39 055 249 111 Telefax +39 055 249 1155 http://www.khi.fi.it Herausgeber: Alessandro Nova, Gerhard Wolf Redaktion: Astrid B. Mller (verantwortlich), Eva Mu%otter (stellvertretend) Lektorat: Anna Schreurs, Nicola Suthor Studentische Hilfskraft: Daniela Nerlich Layout und Satz: Rebecca Milner Titelbild Alphonse Bernoud, Piazza della Signoria mit Loggia dei Lanzi in Florenz , Aufnahme 1860N62, Photothek des Kunsthistorischen Instituts in Florenz INHALT 17 Einleitung 23 Fachbeirat 24 Kuratorium / Direktoren 27 Direktion Prof. Dr. Alessandro Nova Italienische Kunstgeschichte der Neuzeit im Europischen Kontext 29 Reprsentationen unsichtbarer Welten .......................................................... 31 Leonardo da Vinci und die Anatomie ............................................................. 31 ZLa dolce morte[: i disegni anatomici di Leonardo e il valore cognitivo delle immagini (Alessandro Nova) .................................................................................... 32 Piazza e monumento (mit Cornelia Jchner) ................................................ 33 Il monumento e il centro della piazza: lo spazio della citt e le sue presenze fantasmatiche (Alessandro Nova) .................................................................................... 34 Der Platz als Eingang in die Stadt. Eine -
PAPAL COINAGE to 1605 NOTES on PAPAL COINAGE the Papal Mint Is the Pope's Institute for the Production of Hard Cash
PAPAL COINAGE To 1605 NOTES ON PAPAL COINAGE The Papal Mint is the pope's institute for the production of hard cash. Papal Mint may also refer to the buildings in Avignon, Rome and elsewhere which used to house the mint. (The Italian word for mint is Zecca). The right to coin money being one of the regalia (sovereign prerogatives), there can be no papal coins of earlier date than that of the temporal power of the popes. Nevertheless, there are coins of Pope Zacharias (741-52), of Gregory III (Ficoroni, "Museo Kircheriano"), and possibly of Gregory II (715-741). There is no doubt that these pieces, two of which are of silver, are true coins, and not merely a species of medals, like those which were distributed as "presbyterium" at the coronation of the popes since the time of Valentine (827). Their stamp resembles that of the Byzantine and Merovingian coins of the seventh and eighth centuries, and their square shape is also found in Byzantine pieces. Those that bear the inscription GREII PAPE — SCI PTR (Gregorii Papæ — Sancti Petri) cannot be attributed to Pope Gregory IV (827-44), because of the peculiarity of minting. The existence of these coins, while the popes yet recognized the Byzantine domination, is explained by Hartmann (Das Königreich Italien, Vol. III), who believes that, in the eighth century, the popes received from the emperors the attributes of "Præfectus Urbis". Under the empire, coins that were struck in the provinces bore the name of some local magistrate, and those coins of Gregory and of Zacharias are simply imperial Byzantine pieces, bearing the name of the first civil magistrate of the City of Rome. -
Be Positive LUXURY JEWELLERY
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FLOREA-DISSERTATION-2017.Pdf
Copyright by Elizabeth Ann Florea 2017 The Dissertation Committee for Elizabeth Ann Florea Certifies that this is the approved version of the following dissertation: Turning the Tables on Romance: Rustichello da Pisa Invents a New Chivalric Table in his Arthurian Compilation Committee: Guy Raffa, Co-Supervisor Hannah Wojciehowski, Co-Supervisor Douglas Biow Daniel Birkholz F. Regina Psaki Turning the Tables on Romance: Rustichello da Pisa Invents a New Chivalric Table in his Arthurian Compilation by Elizabeth Ann Florea Dissertation Presented to the Faculty of the Graduate School of French and Italian The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2017 Dedication: To Mario, Mom, Paul, Jebb, Jasmin, and Nico. Acknowledgements : This dissertation could not have been completed without the support of my professors, collaborators, family, and friends. I am especially grateful for the constant encouragement, direction, and insight of Professors Guy Raffa and Hannah Wojciehowski. I send my profound thanks to Prof. F. Regina Psaki who offered invaluable suggestions on translation and brought to my attention many nuances of language and argumentation that I would not have discovered without her help. I would like to express my special thanks to Professor Fabrizio Cigni who took time out of his busy schedule teaching at the Scuola Normale di Pisa to discuss various aspects of Rustichello and his work in Summer 2015. This dissertation is greatly indebted to the previous work done by Prof. Cigni on Rustichello and also the phenomenal work of Amanda Luyster on the fresco cycle at St.