DOCSLIB.ORG

Portrait Medals of Pope Julius II a Dissertation Submitte

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Portrait Medals of Pope Julius II a Dissertation Submitte UNIVERSITY OF CALIFORNIA Los Angeles Casting an Ecclesiastical Prince: Portrait Medals of Pope Julius II A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by James Eynon Fishburne 2014 © Copyright by James Eynon Fishburne 2014 ABSTRACT OF THE DISSERTATION Casting an Ecclesiastical Prince: Portrait Medals of Pope Julius II by James Eynon Fishburne Doctor of Philosophy in Art History University of California, Los Angeles, 2014 Professor Joanna Woods-Marsden, Chair The portrait medal was arguably the preeminent humanist genre in the Renaissance, yet the medallic commissions of one of the era’s most important patrons remain largely unexplored. Pope Julius II Della Rovere (born 1445, reigned 1503-13) commissioned more than two dozen medals, the earliest of which date from his cardinalate. Using semiotics and social art history, I place the medals in their appropriate political and art historical contexts while investigating the various sign systems employed in these complex works of art. Portrait medals are double-sided objects inspired by ancient Roman coins. They allowed patrons to fashion personae using words and images with references to antiquity and princely authority. The reproducible format was distributed to nobles and diplomats, often with propagandistic intentions. Ruling during an exceptionally turbulent period in which the papacy was threatened by internal and external forces, Julius and his advisors shrewdly exploited portrait medals in order to project an image of strength and reassert Petrine authority. ii As the temporal ruler of the Papal States and spiritual leader of Western Christianity, the pontiff was unlike any other sovereign figure in Europe. The unique nature of the position, which encompassed both secular and ecclesiastical roles, was reflected in the medals’ inscriptions and iconography. I examine how the medals were used to construct various personae for the controversial cleric who spent much of his pontificate at war. The works of art combined biblical and classical content, thereby presenting the pontiff with a balance of piety and imperial strength. I argue that some medals cast Julius as a pastoral and priestly figure, while others compared him, both implicitly and explicitly, to the emperors of ancient Rome. A thorough study of the medals will provide a greater understanding of the pope’s endeavors, including his attempted reorganization of Roman government, the rebuilding of St. Peter’s Basilica, and the battle for control over the Papal States. iii The dissertation of James Eynon Fishburne is approved. Peter Stacey Charlene Villaseñor Black Robert Gurval Joanna Woods-Marsden, Committee Chair University of California, Los Angeles 2014 iv For Professor Joanna Woods-Marsden v TABLE OF CONTENTS LIST OF FIGURES .................................................................................................................................................... vii ACKNOWLEDGMENTS ........................................................................................................................................ xvi VITA ............................................................................................................................................................................. xix INTRODUCTION ........................................................................................................................................................ 1 I. SETTING THE STAGE: THE PATRONAGE OF POPE JULIUS II AND THE CHRONOLOGY OF HIS MEDALS ......................................................................................................... 14 II. THE PERSONAE OF POPE JULIUS II ................................................................................................ 65 III. FORGING AND EMPIRE: ARCHITECTURAL MEDALS OF POPE JULIUS II ..................... 120 IV. TEXT AND IMAGE: AN IMPERFECT UNION .............................................................................. 161 CONCLUSION ......................................................................................................................................................... 197 APPENDIX: TWO ARTISTS, ONE MEDAL ................................................................................................... 200 FIGURES .................................................................................................................................................................. 205 BIBLIOGRAPHY .................................................................................................................................................... 270 vi LIST OF FIGURES Figure Number Page 1 Caradosso Foppa, Pope Julius II (reverse: St. Peter’s Basilica), 1506, 205 cast bronze, 57 mm diameter, British Museum, London. 2 Pisanello, Emperor John VIII Palaeologus, 1438-1439, cast bronze, 205 102 mm diameter, British Museum, London. 3 Roman Sesterius, AD 74, bronze, 32 mm diameter, 26.16 g, 206 American Numismatic Society, New York. 4 Andrea Guacialoti, Pope Nicholas V, 1455, cast bronze, 78 mm 206 diameter, Vatican Medagliere. 5 Hegesandros, Athenodoros, and Polydoros of Rhodes, The Laocoön, 207 c. First century BC, rediscovered on Esquiline Hill in 1506, Vatican Museums. 6 Pinturicchio, Music, Borgia Apartments, 1492-94, fresco, Vatican 207 Palace. 7 Raphael, Stanza della Segnatura (view of School of Athens and 208 Poetry), 1508-11, fresco, Vatican Palace. 8 Raphael, Stanza della Segnatura (view of Disputa and Law), 1508- 208 11, fresco, Vatican Palace. 9 Raphael, Theology (Disputa), 1508-11, fresco, Vatican Palace. 209 10 Raphael, Philosophy (School of Athens), 1508-11, fresco, Vatican 209 Palace. 11 Raphael, Law (Justice), 1508-11, fresco, Vatican Palace. 210 12 Raphael, Poetry (Parnassus), 1508-11, fresco, Vatican Palace. 210 13 Raphael, Stanza di Eliodoro (view of The Expulsion of Heliodorus 211 and The Mass of Bolsena), 1512-14, fresco, Vatican Palace. 14 Raphael, Stanza di Eliodoro (view of The Repulse of Attila and The 211 Liberation of St. Peter), 1512-14, fresco, Vatican Palace. 15 Raphael, The Liberation of St. Peter, 1512-14, fresco, Vatican 212 Palace. vii 16 Raphael, The Expulsion of Heliodorus, 1512-14, fresco, Vatican 212 Palace. 17 Raphael, The Mass of Bolsena, 1512-14, fresco, Vatican Palace. 213 18 Hartt’s Reconstruction of 1505 design of Michelangelo’s Tomb of 213 Pope Julius II. 19 Michelangelo, Sistine Chapel Ceiling, 1508-1512, fresco, Vatican. 214 20 Sandro Botticelli and assistants, Gallery of Popes (detail), 1482-83, 214 fresco, Vatican (Sistine Chapel). 21 Diagram of Sistine Chapel ceiling showing locations of figures. 215 22 Michelangelo, Ignudo, 1508-1512, fresco, Vatican (Sistine Chapel). 215 23 Della Rovere Stemma, stucco, 1511, Stanza della Segnatura. 216 24 Giovanni Antonio Dosio, View of the Cortile del Belvedere from the 216 Vatican Palace, pen and brown ink with traces of black chalk on paper, 1558-61, Uffizi 2559A, Florence. 25 Donato Bramante, St. Peter’s Basilica (floor plan), c. 1506, Vatican. 217 26 Apollonius of Athens, Belvedere Torso, First century BC, Vatican 217 Museums. 27 Pantheon (cross section), 123-125 AD, Rome. 218 28 Unknown artist from Roman school, Cardinal Giuliano Della Rovere 218 (reverse: Fortress of Ostia), February-November 1483, cast bronze, 34 mm diameter, Museo Nazionale del Bargello, Florence. 29 Unknown artist from Roman School, Pope Sixtus IV (reverse: 219 Fortress of Ostia), February-November 1483, cast bronze, 39 mm diameter, Museo Nazionale del Bargello, Florence. 30 Sperandio of Mantua, Cardinal Giuliano Della Rovere (reverse: ship 219 with allegorical figures), c. 1488, cast bronze, 76 mm diameter, Museo Nazionale del Bargello, Florence. 31 Giovanni Candida, Cardinal Giuliano Della Rovere (reverse: 220 Clemente Della Rovere), March 1495, cast bronze, 62 mm diameter, National Gallery of Art, Washington. viii 32 Unknown artist from Roman School, Cardinal Pietro Barbo, c. 1455, 220 cast bronze, 34 mm diameter, British Museum, London. 33 Unknown artist from Roman School, Cardinal Pietro Barbo, c. 1455, 221 cast bronze, 34 mm diameter, British Museum, London. 34 Adriano Fiorentino (attributed), Cardinal Raffaele Riario, c. 1483, 221 cast bronze, 80 mm diameter, British Museum, London. 35 Lysippus the Younger (attributed), Cardinal Raffaele Riario, 1478, 222 cast bronze, 34 mm diameter, British Museum, London. 36 Unknown artist from Ferrarese School, Cardinal Bartolommeo 222 Roverella, c. 1470, cast bronze, 67 mm diameter, British Museum, London. 37 Unknown artist from Ferrarese School, Cardinal Bartolommeo 223 Roverella, c. 1470, cast bronze, 44 mm diameter, British Museum, London. 38 Unknown artist from Roman school, Pope Julius II (reverse: Cortile 223 del Belvedere), c. 1504, cast bronze, 45 mm diameter, British Museum, London. 39 Portrait of Pope Julius II in illuminated manuscript, Vatican, MS. 224 Vat. lat. 1682, fol. gr (Weiss, 33, cat. e). 40 Caradosso Foppa, Pope Julius II (reverse: St. Peter’s Basilica), 1506, 224 cast bronze, 57 mm diameter, National Gallery of Art, Washington. 41 Donato Bramante, Plan for St. Peter’s Basilica, Gabinetto Disegni e 225 Stampe degli Uffizi (U 1A), Florence. 42 Donato Bramante (attributed), Plan for St. Peter’s Basilica, 1505, 225 Gabinetto Disegni e Stampe degli Uffizi (U 8Av), Florence. 43 Caradosso Foppa, Pope Julius II (reverse: shepherd), 1506, cast 226 bronze, 57 mm diameter, British Museum, London. 44 Camelio, Pope Julius II (reverse: Christ,
Load more

Recommended publications
  • Contratto Di Quartiere “Borgo Pio”
    Venezia, 10-20 novembre 2004 Catalogo della Mostra Comune di Roma Contratto di quartiere “Borgo pio” Il recupero del Passetto e del suo Borgo Il piano-progetto per il recupero urbano dell’intera area di Borgo1 è il risultato di una ricerca sul tema “Analisi di fattibilità del recupero di un monumento: il Passetto di Borgo a Roma” 2. Il programma di riqualificazione generale prodotto dalla ricerca si estende all’intera area del Piano di zona che interessa la civitas Pia e, oltre il Passetto, via della Conciliazione e Borgo Santo Spirito. La proposta generale 1. Ass. Roberto Morassut, direttore Di- partimento VI: dott.sa Virginia Proverbio. ha recepito le esigenze generate dal diffuso degrado del costruito e dalla scarsa vivibilità degli spazi in questa Direttore U.O. n. 6: arch. Gennaro Farina, responsabile del procedimento: arch. “isola” del centro storico ed è avvalorata da un piano di fattibilità sia funzionale che economica. Elide Vagnozzi. Progetto preliminare arch. A. Della Valle, arch D. Fondi, arch. M. Un’area campione, l’isola 19 di Borgo Pio, è stata oggetto di approfondimento con la elaborazione del progetto Alexis, Studio tecnico associato D’Andrea - Manchia, prof. P. Palazzi (cons.). preliminare per un intervento sperimentale di edilizia sovvenzionata inserito nell’ambito del programma di recupero urbano denominato Contratto di quartiere II3. 2. La Ricerca interfacoltà di Ateneo “La Sapienza” è stata svolta negli anni 1994/ Questo progetto, promosso dalle realtà di base operanti nel quartiere, si inserisce in una prima fase di 97. Responsabile della ricerca: prof. P. Palazzi del Dipartimento di Scienze attuazione del Piano di recupero adottato nel 1985 che investe l’area a nord del Passetto.
    [Show full text]
  • Coins and Identity: from Mint to Paradise
    Chapter 13 Coins and Identity: From Mint to Paradise Lucia Travaini Identity of the State: Words and Images on Coins The images and text imprinted with dies transformed disks of metal into coins and guaranteed them. The study of iconography on coins is therefore no less important than that of its other aspects, although each coinage should be studied together with the entire corpus of data and especially with reference where possible to its circulation.1 It may be difficult sometimes to ascertain how coin iconography was originally understood and received, but in most cases it is at least possible to know the idea behind the creation of different types, the choice of a model or of a language, as part of a crucial interaction of identity between the State and its coinage. We shall examine first some ex- amples of the creative phase, before minting took place, and then examples of how a sense of identity between the coins and the people who used them can be documented, concluding with a very peculiar use of coins as proof of identity for security at the entrance of gates of fortresses at Parma and Reggio Emilia in 1409.2 1 St Isidore of Seville stated in his Etymologiae that “in coins three things are necessary: metal, images and weight; if any of these is lacking it is not a coin” (in numismate tria quaeren- tur: metallum, figura et pondus. Si ex his aliquid defuerit nomisma non eriit) (Isidore of Seville, Origenes, Vol. 16, 18.12). For discussion of method, see Elkins and Krmnicek, Art in the Round, and Kemmers and Myrberg, “Rethinking numismatics”.
    [Show full text]
  • If the Hat Fits, Wear It!
    If the hat fits, wear it! By Canon Jim Foley Before I put pen to paper let me declare my interests. My grandfather, Michael Foley, was a silk hatter in one of the many small artisan businesses in Claythorn Street that were so characteristic of the Calton district of Glasgow in late Victorian times. Hence my genetic interest in hats of any kind, from top hats that kept you at a safe distance, to fascinators that would knock your eye out if you got too close. There are hats and hats. Beaver: more of a hat than an animal As students for the priesthood in Rome the wearing of a ‘beaver’ was an obligatory part of clerical dress. Later, as young priests we were required, by decree of the Glasgow Synod, to wear a hat when out and about our parishes. But then, so did most respectable citizens. A hat could alert you to the social standing of a citizen at a distance of a hundred yards. The earliest ‘top’ hats, known colloquially as ‘lum’ hats, signalled the approach of a doctor, a priest or an undertaker, often in that order. With the invention of the combustion engine and the tram, lum hats had to be shortened, unless the wearer could be persuaded to sit in the upper deck exposed to the elements with the risk of losing the hat all together. I understand that the process of shortening these hats by a few inches led to a brief revival of the style and of the Foley family fortunes, but not for long.
    [Show full text]
  • Evaluating the Effects of the Geography of Italy Geography Of
    Name: Date: Evaluating the Effects of the Geography of Italy Warm up writing space: Review: What are some geographical features that made settlement in ancient Greece difficult? Write as many as you can. Be able to explain why you picked them. _____________________________________________________________________________________________ _____________________________________________________________________________________________ _____________________________________________________________________________________________ _____________________________________________________________________________________________ _____________________________________________________________________________________________ Give One / Get One Directions: • You will get 1 card with important information about Rome’s or Italy’s geography. Read and understand your card. • Record what you learned as a pro or a con on your T chart. • With your card and your T chart, stand up and move around to other students. • Trade information with other students. Explain your card to them (“Give One”), and then hear what they have to say (“Get One.”) Record their new information to your T chart. • Repeat! Geography of Italy Pros J Cons L Give one / Get one cards (Teachers, preprint and cut a set of these cards for each class. If there are more than 15 students in a class, print out a few doubles. It’s okay for some children to get the same card.) The hills of Rome Fertile volcanic soil 40% Mountainous The city-state of Rome was originally Active volcanoes in Italy (ex: Mt. About 40% of the Italian peninsula is built on seven hills. Fortifications and Etna, Mt. Vesuvius) that create lava covered by mountains. important buildings were placed at and ash help to make some of the the tops of the hills. Eventually, a land on the peninsula more fertile. city-wall was built around the hills. Peninsula Mediterranean climate Tiber River Italy is a narrow peninsula—land Italy, especially the southern part of The Tiber River links Rome, which is surrounded by water on 3 sides.
    [Show full text]
  • Aug-Sept 2016
    The Goodnewsletter A Newsletter for Members of St. Ann, St. Vincent de Paul & St. Patrick Parishes Stannlenox.org/[email protected] 134 Main St., Lenox, MA 01240 (413) 637-0157 Volume 4 - Issue 2 September 2016 A NOTE FROM OUR PASTOR . On June 20th, our first parish meeting was held in the Family Center. There were some 55 people in attendance. To prepare for the parish meeting a survey was posted on the parish website and available for parishioners to answer. Some submitted an available paper survey. The results are posted on the parish web site and will remain available for anyone to consult throughout the year. Some 58 persons answered the survey. The results ran to some 50+ pages. A synthesis of the material will be posted on the website soon. However, I urge everyone to read the survey responses. All of the responses were well thought out and cogently expressed. There seems to be a remark- able consensus on many mattes and a thoughtful disagreement on others. At the parish meeting, fortunately, it turns out; I was not able to present a synthesis of the survey because I could not hook up my laptop to the projector. As a happy consequence the conversation among the participants begins right away, based upon what they wanted to express and not as a response to my presentation. The conversation was spirited and fruitful. Participants focused on three overriding issues: faith formation, stabilizing our financial situation, and outreach in general but particularly to youth and young adults. A variety of views were expressed and differences were very respectfully express and received.
    [Show full text]
  • Patronage and Dynasty
    PATRONAGE AND DYNASTY Habent sua fata libelli SIXTEENTH CENTURY ESSAYS & STUDIES SERIES General Editor MICHAEL WOLFE Pennsylvania State University–Altoona EDITORIAL BOARD OF SIXTEENTH CENTURY ESSAYS & STUDIES ELAINE BEILIN HELEN NADER Framingham State College University of Arizona MIRIAM U. CHRISMAN CHARLES G. NAUERT University of Massachusetts, Emerita University of Missouri, Emeritus BARBARA B. DIEFENDORF MAX REINHART Boston University University of Georgia PAULA FINDLEN SHERYL E. REISS Stanford University Cornell University SCOTT H. HENDRIX ROBERT V. SCHNUCKER Princeton Theological Seminary Truman State University, Emeritus JANE CAMPBELL HUTCHISON NICHOLAS TERPSTRA University of Wisconsin–Madison University of Toronto ROBERT M. KINGDON MARGO TODD University of Wisconsin, Emeritus University of Pennsylvania MARY B. MCKINLEY MERRY WIESNER-HANKS University of Virginia University of Wisconsin–Milwaukee Copyright 2007 by Truman State University Press, Kirksville, Missouri All rights reserved. Published 2007. Sixteenth Century Essays & Studies Series, volume 77 tsup.truman.edu Cover illustration: Melozzo da Forlì, The Founding of the Vatican Library: Sixtus IV and Members of His Family with Bartolomeo Platina, 1477–78. Formerly in the Vatican Library, now Vatican City, Pinacoteca Vaticana. Photo courtesy of the Pinacoteca Vaticana. Cover and title page design: Shaun Hoffeditz Type: Perpetua, Adobe Systems Inc, The Monotype Corp. Printed by Thomson-Shore, Dexter, Michigan USA Library of Congress Cataloging-in-Publication Data Patronage and dynasty : the rise of the della Rovere in Renaissance Italy / edited by Ian F. Verstegen. p. cm. — (Sixteenth century essays & studies ; v. 77) Includes bibliographical references and index. ISBN-13: 978-1-931112-60-4 (alk. paper) ISBN-10: 1-931112-60-6 (alk. paper) 1.
    [Show full text]
  • Counter Reformation John Donnelly Marquette University, [email protected]
    Marquette University e-Publications@Marquette History Faculty Research and Publications History, Department of 1-1-1996 Counter Reformation John Donnelly Marquette University, [email protected] Published version. "Counter Reformation," in The World Book Encyclopedia. Ed. World Book Inc. Chicago: World Book Inc., 1996: 1096-1097. Publisher Link. © 1996 World Book Inc. The publication can be found in Volume 4 of the The orldW Book Encyclopedia 1996 Edition. 1096 Counseling policy. The council aims to develop new approaches to, against Protestantism. The council met in sessio n!> be­ and an understanding of, international relations. It does tween 1545 and 1563 in Trent, Italy. It defined Cat.ho lic not, however, support or oppose any course of action. doctrine on questions disputed by Protestant theolo­ The council encourages the publication of books on gians. The questions included original sin, grace, free foreign affairs. The authors of these books need not be will, the seven sacraments, the Mass, and the r 'Iation council members. However, they receive advice from between Scripture and tradition. The council arrunged study groups made up of experts who are members. for the pope to issue a catechism and books on N urgy Since 1922, the council has published a quarterly maga- (acts of worship), so there would be greater uniformity zine called Foreign Affairs. • , in church teachings. The church also published :.;, li st of The Council on Foreign Relations sponsors about 150 books Catholics were forbidden to read because th e meetings yearly for members. Leading government offi­ books were considered harmful to faith or morais, In cials and experts in foreign affairs address the meetings.
    [Show full text]
  • HISTORY ·Op the POPES
    THE HISTORY ·op THE POPES, FROM THE CLOSE OF THE MIDDLE AGES . DRAWN FROM THE SECRET ARCHIVES OF THE VATICAN AND O,THER ORIGINAL SOURCES. FROM TH~ GERMAN OF DR . LUDWIG PASTOR, PROFESSOR OF HISTORY IN THE UNIVERSITY OF lNNSBRUCJt. IDITFI\ BY FREDERICK IGNATIUS ANTROBUS OF THE ORATORY. FIFTH. EDITION. VOLUME iV. LONDON ROUTLEDGE & KEGAN PAUL LTD BROADWAY HO USE: 6&-74 CARTER.LANE, E.C+ ST. LOUIS, MO.: B. HERDER BOOK CO. 15 & 17 SOUTH ' BRO~WA-Y°: : - 1949 ·. "i . .. .. · .. ' .i:.. : :. '. : •.: .. i.,_, ' : '. , . I '. ' (. • JI . :. .. :! '... ·. ;. ~ .: • • ,J J II ...... I I) ••• .! ~· .! ' • . ·:: . : . ' . ·.... : . " :~ . ' - . • •I ... HIS.TORY OF THE· POPES. VOL. IV. CONTENTS OF VOL. IV. PAGE Table of Contents vii-xxii List of Unpublished Docume1ns in Appendix , xxiii-xxv BOOK I. PAUt. II., l464-1471. Election of 'Paul II. .. 3-35 Paul Ii. and the Renaissance 36-78 The War against the Turks . .. '79-91 Europ~n Policy of Paul 11.-Reforms 92-118 The New Cardinals. The Church Questions in Bohemia 119-147 Paul 11.'s·care for the States of the Church 148-173 Death of Paul II. · 174- 194 . BOOK II. S1xros IV., 1471-1484. Election of Sixtus IV. Rise of the Rovere and Riario families . 231-255 The King of Denmark in Rome . 256-272 The Jubilee "X ear 273-287 Beginning of the Rupture with Lorenzo de' Medici 288-299 The Conspiracy of the Pazzi 300-3rz The Tuscan War 313-330 The Turkish War 331-347 A\lia.nce between the Pope and Venice . 348- 371 The Pope's Struggle with Venice. Death of Sixtus IV.
    [Show full text]
  • Cna85b2317313.Pdf
    THE PAINTERS OF THE SCHOOL OF FERRARA BY EDMUND G. .GARDNER, M.A. AUTHOR OF "DUKES AND POETS IN FERRARA" "SAINT CATHERINE OF SIENA" ETC LONDON : DUCKWORTH AND CO. NEW YORK : CHARLES SCRIBNER'S SONS I DEDICATE THIS BOOK TO FRANK ROOKE LEY PREFACE Itf the following pages I have attempted to give a brief account of the famous school of painting that originated in Ferrara about the middle of the fifteenth century, and thence not only extended its influence to the other cities that owned the sway of the House of Este, but spread over all Emilia and Romagna, produced Correggio in Parma, and even shared in the making of Raphael at Urbino. Correggio himself is not included : he is too great a figure in Italian art to be treated as merely the member of a local school ; and he has already been the subject of a separate monograph in this series. The classical volumes of Girolamo Baruffaldi are still indispensable to the student of the artistic history of Ferrara. It was, however, Morelli who first revealed the importance and significance of the Perrarese school in the evolution of Italian art ; and, although a few of his conclusions and conjectures have to be abandoned or modified in the light of later researches and dis- coveries, his work must ever remain our starting-point. vii viii PREFACE The indefatigable researches of Signor Adolfo Venturi have covered almost every phase of the subject, and it would be impossible for any writer now treating of Perrarese painting to overstate the debt that he must inevitably owe to him.
    [Show full text]
  • Donato Bramante 1 Donato Bramante
    Donato Bramante 1 Donato Bramante Donato Bramante Donato Bramante Birth name Donato di Pascuccio d'Antonio Born 1444Fermignano, Italy Died 11 April 1514 (Aged about 70)Rome Nationality Italian Field Architecture, Painting Movement High Renaissance Works San Pietro in Montorio Christ at the column Donato Bramante (1444 – 11 March 1514) was an Italian architect, who introduced the Early Renaissance style to Milan and the High Renaissance style to Rome, where his most famous design was St. Peter's Basilica. Urbino and Milan Bramante was born in Monte Asdrualdo (now Fermignano), under name Donato di Pascuccio d'Antonio, near Urbino: here, in 1467 Luciano Laurana was adding to the Palazzo Ducale an arcaded courtyard and other features that seemed to have the true ring of a reborn antiquity to Federico da Montefeltro's ducal palace. Bramante's architecture has eclipsed his painting skills: he knew the painters Melozzo da Forlì and Piero della Francesca well, who were interested in the rules of perspective and illusionistic features in Mantegna's painting. Around 1474, Bramante moved to Milan, a city with a deep Gothic architectural tradition, and built several churches in the new Antique style. The Duke, Ludovico Sforza, made him virtually his court architect, beginning in 1476, with commissions that culminated in the famous trompe-l'oeil choir of the church of Santa Maria presso San Satiro (1482–1486). Space was limited, and Bramante made a theatrical apse in bas-relief, combining the painterly arts of perspective with Roman details. There is an octagonal sacristy, surmounted by a dome. In Milan, Bramante also built the tribune of Santa Maria delle Grazie (1492–99); other early works include the cloisters of Sant'Ambrogio, Milan (1497–1498), and some other constructions in Pavia and possibly Legnano.
    [Show full text]
  • Grabmalskultur Und Soziale Strategien Im Frühneuzeitlichen Rom Am Beispiel Der Familie Papst Urbans VIII
    Grabmalskultur und soziale Strategien im frühneuzeitlichen Rom am Beispiel der Familie Papst Urbans VIII. Barberini Autor(en): Köchli, Ulrich Objekttyp: Article Zeitschrift: Zeitschrift für schweizerische Kirchengeschichte = Revue d'histoire ecclésiastique suisse Band (Jahr): 97 (2003) PDF erstellt am: 11.10.2021 Persistenter Link: http://doi.org/10.5169/seals-130330 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Grabmalskultur und soziale Strategien im frühneuzeitlichen Rom am Beispiel der Familie Papst Urbans Vili. Barberini Ulrich Köchli Wer je die römische Petersbasilika mit offenen Augen durchmessen hat, dem werden die zahlreichen, zum Teil monumentalen Grablegen vergangener Päpste in Erinnerung geblieben sein.
    [Show full text]
  • Introduction: the Spirituali and Their Goals
    NOT BY FAITH ALONE: VITTORIA COLONNA, MICHELANGELO AND REGINALD POLE AND THE EVANGELICAL MOVEMENT IN SIXTEENTH CENTURY ITALY A Thesis Submitted to the Faculty of The School of Continuing Studies and of The Graduate School of Arts and Sciences in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Studies Christopher Allan Dunn, J.D. Georgetown University Washington, D.C. March 19, 2014 NOT BY FAITH ALONE: VITTORIA COLONNA, MICHELANGELO AND REGINALD POLE AND THE EVANGELICAL MOVEMENT IN SIXTEENTH CENTURY ITALY Christopher Allan Dunn, J.D. MALS Mentor: Michael Collins, Ph.D. ABSTRACT Beginning in the 1530’s, groups of scholars, poets, artists and Catholic Church prelates came together in Italy in a series of salons and group meetings to try to move themselves and the Church toward a concept of faith that was centered on the individual’s personal relationship to God and grounded in the gospels rather than upon Church tradition. The most prominent of these groups was known as the spirituali, or spiritual ones, and it included among its members some of the most renowned and celebrated people of the age. And yet, despite the fame, standing and unrivaled access to power of its members, the group failed utterly to achieve any of its goals. By 1560 all of the spirituali were either dead, in exile, or imprisoned by the Roman Inquisition, and their ideas had been completely repudiated by the Church. The question arises: how could such a “conspiracy of geniuses” have failed so abjectly? To answer the question, this paper examines the careers of three of the spirituali’s most prominent members, Vittoria Colonna, Michelangelo and Reginald Pole.
    [Show full text]