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Michelangelo Moving Time James Philip Anno Washington University in St Washington University in St. Louis Washington University Open Scholarship Arts & Sciences Electronic Theses and Dissertations Arts & Sciences Spring 5-15-2017 Michelangelo Moving Time James Philip Anno Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/art_sci_etds Part of the History of Art, Architecture, and Archaeology Commons, Philosophy Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation Anno, James Philip, "Michelangelo Moving Time" (2017). Arts & Sciences Electronic Theses and Dissertations. 1086. https://openscholarship.wustl.edu/art_sci_etds/1086 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 C.D. Dickerson III Nathaniel Jones John Klein Angela Miller Michelangelo Moving Time by James P. Anno A dissertation presented to The Graduate School of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2017 St. Louis, Missouri ©2017, James P. Anno Table of Contents List of Figures .................................................................................................................... vi List of Abbreviations ....................................................................................................... xiii Acknowledgments ............................................................................................................ xiv Abstract ............................................................................................................................ xvi Introduction ..........................................................................................................................1 Chapter 1: Necessary Work: Time, Movement, and Temporal Perception .......................10 1.1 Introduction ............................................................................................................10 1.2 Plato: Time as the Moving Image of Eternity ........................................................14 1.2.1 Plato’s Forbearers ..................................................................................15 1.2.2 Plato’s Definition of Time .....................................................................16 1.2.3 Eternality of Form vs. Flux of the Cosmos ...........................................17 1.3 Aristotle: Time as the Number of Motion ..............................................................19 1.3.1 Aristotle’s Definition of Time ...............................................................20 1.3.2 Time As a Number but Perceived as Motion ........................................22 1.4 St. Augustine: Time as Distension of the Soul ......................................................25 1.4.1 Rejection of Eternal Recurrence ............................................................26 1.4.2 What is time? .........................................................................................27 1.4.3 Time as Distension of the Soul ..............................................................29 1.5 Renaissance Interlude: Clocks, Petrarch & The Triumph of the Cross ..................31 1.5.1 The Mechanical Clock ...........................................................................33 1.5.2 Petrarch’s Trionfo del Tempo ................................................................36 1.5.3 Savonarola and The Triumph of the Cross ............................................38 1.5.4 Renaissance Interlude: Synthesis ..........................................................41 1.6 Newton: Time as Absolute .....................................................................................42 1.6.1 Newton’s Definition of Time ................................................................43 1.6.2 Paradigm Shift .......................................................................................45 1.7 Beyond Newton: Enlightenment Art Theory and the Punctum Temporis .............46 ii 1.7.1 Lord Shaftesbury: The ‘Single Instant’ .................................................47 1.7.2 James Harris: The Punctum Temporis ...................................................48 1.7.3 Gotthold Lessing: Culmination of the Enlightenment Legacy ..............50 1.7.4 Lessing’s Legacy ...................................................................................51 1.8 Einstein: Time as Relative .....................................................................................52 1.8.1 Spacetime ..............................................................................................54 1.8.2 Time Has a Beginning: The Big Bang ..................................................55 1.9 Conclusion: Michelangelo Moving Time? ............................................................56 Chapter 2: The Doni Tondo and the End of the World ......................................................63 2.1 Introduction ............................................................................................................63 2.2 Background: The Deep Time of Paradise Lost ......................................................68 2.2.1 The Geography of Paradise ...................................................................70 2.2.2 Internal Logic of Mappae Mundi: Salvific Time Across Space ............74 2.3 Middleground: Savonarola & the Art of Repentance ............................................78 2.3.1 Savonarola’s “Adoration of the Cross” as Pretext for Michelangelo’s Nudes .....................................................................................................82 2.3.2 Grace and Renewal: Removal of Concupiscence in Baptism ...............85 2.3.3 The Nudes .............................................................................................87 2.3.4 The Hemicycle: Baptismal Font and Foundation of the Church ...........93 2.4 Foreground: The Bidirectionality of Christ and the End of the World ..................98 2.4.1 The Ambiguity of Christ’s Bidirectionality ........................................100 2.4.2 Mappae Mundi & Christ Child as Α and Ω .........................................104 2.4.3 The Painting’s Proleptic Frame ...........................................................108 2.4.4 The Picture Plane as Perpetual Present ...............................................110 2.5 Conclusion ...........................................................................................................111 Chapter 3: The Risen Christ as Anamnetic Presence .......................................................114 3.1 Introduction ..........................................................................................................114 3.2 As it Stands ..........................................................................................................118 3.2.1 Commission and Completion ..............................................................118 3.2.2 The Dialectic of Historiography ..........................................................123 iii 3.3 Base Matters: ‘Eucharistic View’ & the Bacchanalian Precedent .......................133 3.3.1 The Bacchus as Precedent for the Risen Christ ...................................135 3.3.2 ‘Eucharistic View’ ...............................................................................147 3.3.3 Material Aspects that Demonstrate Eucharistic View .........................149 3.4 Seeing the Eucharist in Liturgy & Art .................................................................153 3.4.1 Structure of Roman Canon: Consecration, Elevation & Anamnesis ...156 3.4.2 Beyond Mass: Cultural Strategies of Seeing the Eucharist .................158 3.4.3 Seeing the Eucharist in Art ..................................................................160 3.4.4 The Double Claim: Simultaneous Picturing the Risen Christ and Eucharist in Art ...................................................................................162 3.4.5 Look and Believe: substantia & accidens ...........................................166 3.5 Time, Eucharist & the Stepping Leg ....................................................................168 3.5.1 Typology: The Resurrection as Passover ............................................169 3.5.2 Transitus Domini: Inherent Movement in the Paschal Mystery .........170 3.5.3 Transitus Domini and the Eucharist ....................................................172 3.5.4 Temporal Implications: The Risen Christ, Transitus Domini & Anamnesis ...........................................................................................174 3.6 Conclusion ...........................................................................................................178 Chapter 4: The Rondanini Pietà and the Metaphysics of Carving ..................................182 4.1 Introduction ..........................................................................................................182 4.2 Inception, Iconography, and Autobiographical Interpretation .............................186 4.2.1 Inception ..............................................................................................186
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