DOCSLIB.ORG

The Business of Sculpture in Venice 1525–1625

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Business of Sculpture in Venice 1525–1625 The Business of Sculpture in Venice 1525–1625 Volume I: Text Emma Jane Jones Department of History of Art Pembroke ColleGe This dissertation is submitted for the deGree of Doctor of Philosophy University of CambridGe September 2016 CONTENTS VOLUME 1: page Acknowledgements i-ii List of Abbreviations iii-iv Introduction 1-17 I. Patrons: Sculptural Genres, Motivations, Locations 18-51 II. Sculptors: Contracts, Fees, Quality 52-84 III. Materials: Sourcing, Supply, Significance 85-127 IV. Workshops, Authorship, Networks, Problem-solving 128-160 Conclusion 161-163 Bibliography 164-209 VOLUME 2: Illustrations Introduction 1-23 Chapter I 24-130 Chapter II 131-179 Chapter III 180-223 Chapter IV 224-269 VOLUME 3: Appendix I. Notes on Documentary Transcriptions; Currency and Units of Weight and Measurement 1-2 II. Catalogue of Select Commissions 3-217 III. Tables: 1: Contract drawings and models 218-223 2: Sculptors’ fees 224-233 3: Copper prices 234-235 4: Tin prices 236 5: Bronze prices 237-238 IV. List of Illustrations and Photo Credits 239-260 ACKNOWLEDGEMENTS This research has been made possible thanks to the generous doctoral scholarship provided by the Arts and Humanities Research Council (AHRC) of Great Britain. My most sincere thanks go to the Faculty of Architecture and History of Art for putting me forward for this scholarship and to the University of Cambridge for endorsing it. Research undertaken in Venice for this thesis was made possible through the generous and much-appreciated financial support of the AHRC Travel Fund, the Gladys Krieble Delmas Foundation, and the Kettle’s Yard Art History Travel Fund, University of Cambridge. In Venice, the staff of the following institutions have been marvellous facilitators and advisers, and incredibly generous and kind with their time: the Archivio di Stato di Venezia (especially Dott.ssa Alessandra Schiavon and Dott.ssa Claudia Salmini); the Archivio Storico del Patriarcato di Venezia (especially Dott.ssa Manuela Barausse and Dott. Davide Trivellato); the Biblioteca del Museo Correr; the Biblioteca Nazionale Marciana; the Archivio parrocchiale di Santa Maria Gloriosa dei Frari (Renata Marzi). For access to wonderful photographs, I offer my heart-felt thanks to Francesco Turio Böhm (Osvaldo Böhm archive); Dennis Cecchin (Archivio fotografico, Museo Correr); Leslie Contarini (Save Venice, Inc.); Matteo De Fina; and Ilaria Turetta (Fototeca, Fondazione Giorgio Cini). For access to works of sculpture not usually easily accessible, I am indebted to Leslie Contarini (Save Venice, Inc.); Irene Galifi (Curia Patriarcale); and Ettore Vio (Proto emerito, Basilica di San Marco). Finally, I am most grateful to Lady Frances Clarke (President of Venice in Peril), who has been a wonderful source of enthusiasm and encouragement throughout. I am sincerely grateful to the following scholars, conservators, and practitioners for their encouragement, advice and helpful discussions during the course of my research: Denise Allen, Frances Andrews, Nebahat Avcioglu, Alexandra Bamji, Peter Bell, Francesca Bewer, Sarah Blake McHam, Amy Bloch, Patricia Fortini Brown, Marietta Cambareri, Donal Cooper, Tracy Cooper, Blake De Maria, Marcella De Paoli, C.D. Dickerson III, James Draper, Iain Fenlon, Maria Fusaro, Anna Gannon, Julian Gardner, Maartje van Gelder, Beth Glixon, Jonathan Glixon, James Grubb, Michael Hatt, Kelley Helmstutler Di Dio, Andrew Hopkins, Peter Humfrey, Paul Joannides, Donald Johnston, Volker Krahn, Claudia Kryza-Gersch, Andrew Lacey, Mary Laven, Manfred Leithe-Jasper, Siân Lewis, Alison Luchs, Richard Mackenney, Vittorio Mandelli, Jean Michel Massing, Daniel Maze, Marco Morin, Rebecca Norris, David Oldfield, Benjamin Paul, Debra Pincus, Gary Radke, Gianni Ridella, Roberto Santamaria, David Scrase, Allison Sherman, Dylan Smith, Paul Smith, Susan Steer, Richard Stone, Shelley Sturman, Giorgio Tagliaferro, Dora Thornton, William Wallace, Jeremy Warren, Paul Williamson, Thomas Worthen, and Dimitrios Zikos. Special thanks go to Professor Louise Bourdua (History of Art, University of Warwick) for her interest in my research, as well as her support and encouragement, which began ! i when she was my MA supervisor during the Warwick History of Art Venice MA in 2008–09, and which has been so much appreciated. I am most grateful to the History of Art Department, University of Cambridge, and especially Francé Davies and Nichola Tooke for their wonderful administrative, practical, and pastoral support over the course of my doctoral research. I would also like to thank the Master, Fellows, and staff of Pembroke College for their support, especially Dr Polly Blakesley (also my PhD Advisor), Professor Loraine Gelsthorpe (my College Tutor) and Frances Kentish (Graduate Secretary) for their much-appreciated support and kindness, especially during the period of my parents’ illnesses and deaths. I have a number of academic role models to whom I am hugely indebted for their inspirational scholarship, stimulating discussions, advice, and unerring friendship: Victoria Avery, Charles Avery, Susan Connell, Deborah Howard, and Peta Motture. For their love, support and solidarity, I offer my family and friends my most heart-felt and sincere thanks: Jean Chester; Sean, Lexi and Martha Morris; Barbara, Philip, Amelie and Brooke Wilson; Steve and Maggie Beresford; Yvonne and Mike Harris; Charles and Mary Avery; Susanna Avery-Quash, James Carleton-Paget, William and Joseph Quash, and Hope Carleton-Paget; Charlotte, Pierre and Dylan Pillet-Avery; and Lily; Lucilla Burn, Timothy and Clare Chambers, Anna Lloyd-Griffiths, Alistair McFarlane, Helen Ritchie, Henrietta Ryan, Jo Story, Helen Strudwick, Clare, Dave and James Terry. In Venice: Frances Clarke, Chiara Farnea Croff, Geraldine Ludbrooke, Alba Scapin, and Micky White. Spiritual support has been given most generously by Father Howard Levett (formerly Chaplain of St George’s Anglican Church, Venice); and the wonderful Bishops and Chapter of Ely Cathedral: Bishop Stephen Conway, Bishop David Thomson, The Very Reverend Mark Bonney, Canon Dr Jim Garrard, Canon Dr Alan Hargrave (now retired) and Canon Dr Vicky Johnson (plus Percy the dog!). Professor Deborah Howard has been the most wonderful supervisor and her sage advice, illuminating discussions, patience, kindness, friendship, and the example of her exemplary scholarship mean the world to me. Thank you so much for always believing in me. This thesis is dedicated to my beloved parents Noreen Morris (1950–2014) and Richard Morris (1945–2013), with love and gratitude, whom I wish were here to see this thesis completed; and most of all to my darling wife, soul-mate, best friend and pilgrim partner, Vicky Avery, for her infinite love and kindness, and for her boundless enthusiasm, encouragement, and unfailing good humour. I would be lost without you. ! ii LIST OF ABBREVIATIONS Institutions: AdA Archivio dell’arca del Santo, Padua APF Archivio parrocchiale di Santa Maria Gloriosa dei Frari, Venice APS Archivio parrocchiale di San Silvestro, Venice ASF Archivio di Stato di Firenze ASP Archivio di Stato di Padova ASPV Archivio Storico del Patriarcato di Venezia ASV Archivio di Stato di Venezia BMCV Biblioteca del Museo Correr, Venice BMV Biblioteca Nazionale Marciana, Venice IRE Istituzioni di Ricovero e di Educazione, Venice Archival fondi: Cod.Cic. BMCV, Codice Cicogna Demanio ASV, Direzione Dipartimentale del Demanio e Diritti uniti Grimani-Barbarigo ASV, Archivio privato Grimani e Barbarigo GV ASV, Giustizia Vecchia NA ASV, Notarile-Atti NT ASV, Notarile-Testamenti PSM ASV, Procuratoria di San Marco Rosario ASV, Scuola di Santa Maria del Rosario SGM ASV, San Giorgio Maggiore San Salvador ASV, San Salvador San Zaccaria ASV, San Zaccaria Tiepolo ‘Libro dei conti’ ASV, Archivio Tiepolo, Consegna II, b. 108 (no. 236), ‘Conto de fabriche per San Felise della casa de statio e quella del Querini e della Capella à Santa Tonino’ Tiepolo ‘Spese’ ASV, Archivio Tiepolo, Consegna II, b. 133 (no. 262), fasc. ‘Spese fatte per la fabrica della Cappella di San Sabba nella chiesa di Sant’Antonin’ Dictionaries DBI Dizionario biografico degli Italiani (accessed via http://www.treccani.it/biografie/) Grove Grove Art Online, ed. Alodie Larson (Oxford: Oxford University Press) (accessed via subscription at http://www.oxfordartonline.com) iii Other: b. busta doc./docs document/documents fasc. fascicolo fl. flourished fol./fols folio/folios n.p. not paginated proc. processo r. reigned reg. registro iv Introduction INTRODUCTION Desiring that this church be adorned as much as possible in honour of the Lord God, we have conceded, and do concede to the said Goldsmiths and Jewellers the freedom and authority to make their altar […] Doge Marino Grimani, 9 April 16011 With the above concession, issued in spring 1601, Doge Grimani granted the Guild of Goldsmiths and Jewellers, one of Venice’s most prominent trade guilds, the right to construct an altar in the ducal church of San Giacomo di Rialto, one of Venice’s most prestigious and ancient churches that had just been completely rebuilt.2 The Goldsmiths’ altar, erected over the following six years, was designed by architect Vincenzo Scamozzi (1548–1616) and adorned with bronzes by sculptor Girolamo Campagna (1549–1621), then at the pinnacle of their respective careers (fig.0.1). The over life-size St Anthony Abbot, the Goldsmiths’ patron saint, is given pride of place. In abbot’s attire, holding a crozier and with a ball of fire (another attribute) at his feet, he is shown being crowned with a mitre
Load more

Recommended publications
  • San Geminiano Bib.Pdf
    Helena Anderson, Oliver Cano, Catherine Scluzacek, Doris Zhao ART 294: Art & Architecture of Early Modern Venice San Geminiano Group Project Preliminary Bibliography Text: Boucher, Bruce and Donata Battilotti. "Sansovino." Grove Art Online. Oxford Art Online. 21 Feb. 2010 <http://www.oxfordartonline.com/subscriber/article/grove/art/T075803pg1>. Boucher, Bruce, and Iacopo Sansovino. The sculpture of Jacopo Sansovino. New Haven, CT: Yale University Press, 1991. Howard, Deborah. Jacopo Sansovino: Architecture and Patronage in Renaissance Venice. New Haven, CT: Yale University Press, 1987. Howard, Deborah. The Architectural History of Venice. Rev. New Haven, CT: Yale University Press, 2002. Huguenaud, Karine. "Ala Napoleonica in Piazza San Marco - Venice." Places, Museums, and Monuments. 31 Dec 2008. The Fondation Napoleon, Web. 21 Feb 2010. <http://www.napoleon.org/en/magazine/museums/files/Ala_Napoleonica_in_Piazza1.asp >. Lotz, Wolfgang. "The Roman Legacy in Sansovino's Venetian Buildings." The Journal of the Society of Architectural Historians. 22. 1 (1963): 3-12. Martin, Thomas. Alessandro Vittoria and the portrait bust in Renaissance Venice: remodelling antiquity. Clarendon studies in the history of art. Oxford [England]: Clarendon Press, 1998. McAndrew, John. "Sant'Andrea Della Certosa." The Art Bulletin 51.1 (1969): 15-28. McCarthy, Mary. Venice Observed. Art and places, 1. Paris: G. & R. Bernier, 1956. Munk, Judith, and Walter Munk. "Venice Hologram." Proceedings of the American Philosophical Society 116.5 (1972): 415-42. Milizia, Francesco, and Eliza Taylor tr Cresy. The lives of celebrated architects, ancient amd modern: with historical and critical observations on their works, and on the principles of the art. London: J. Taylor, 1826. Vasari, Giorgio, Betty Burroughs, and Jonathan Foster.
    [Show full text]
  • Caterina Corner in Venetian History and Iconography Holly Hurlburt
    Early Modern Women: An Interdisciplinary Journal 2009, vol. 4 Body of Empire: Caterina Corner in Venetian History and Iconography Holly Hurlburt n 1578, a committee of government officials and monk and historian IGirolamo Bardi planned a program of redecoration for the Sala del Maggior Consiglio (Great Council Hall) and the adjoining Scrutinio, among the largest and most important rooms in the Venetian Doge’s Palace. Completed, the schema would recount Venetian history in terms of its international stature, its victories, and particularly its conquests; by the sixteenth century Venice had created a sizable maritime empire that stretched across the eastern Mediterranean, to which it added considerable holdings on the Italian mainland.1 Yet what many Venetians regarded as the jewel of its empire, the island of Cyprus, was calamitously lost to the Ottoman Turks in 1571, three years before the first of two fires that would necessitate the redecoration of these civic spaces.2 Anxiety about such a loss, fear of future threats, concern for Venice’s place in evolving geopolitics, and nostalgia for the past prompted the creation of this triumphant pro- gram, which featured thirty-five historical scenes on the walls surmounted by a chronological series of ducal portraits. Complementing these were twenty-one large narratives on the ceiling, flanked by smaller depictions of the city’s feats spanning the previous seven hundred years. The program culminated in the Maggior Consiglio, with Tintoretto’s massive Paradise on one wall and, on the ceiling, three depictions of allegorical Venice in triumph by Tintoretto, Veronese, and Palma il Giovane. These rooms, a center of republican authority, became a showcase for the skills of these and other artists, whose history paintings in particular underscore the deeds of men: clothed, in armor, partially nude, frontal and foreshortened, 61 62 EMWJ 2009, vol.
    [Show full text]
  • Integrating Conjugative Elements of the SXT/R391 Family That Encode Novel Diguanylate Cyclases Participate to C-Di-GMP Signalling in Vibrio Cholerae
    RÉGULATION DU C-DI-GMP ET RÔLE DE CE MESSAGER SECONDAIRE DANS LA FORMATION DE PILI DE TYPE IV CHEZ CLOSTRIDIUM DIFFICILE par Eric Bordeleau thèse présentée au Département de biologie en vue de l’obtention du grade de docteur ès science (Ph.D.) FACULTÉ DES SCIENCES UNIVERSITÉ DE SHERBROOKE Sherbrooke, Québec, Canada, juillet 2014 Le 15 juillet 2014 le jury a accepté la thèse de Monsieur Eric Bordeleau dans sa version finale. Membres du jury Professeur Vincent Burrus Directeur de recherche Département de biologie, Université de Sherbrooke Professeur Josée Harel Évaluatrice externe Département de biomédecine vétérinaire, Université de Montréal Professeur Daniel Lafontaine Évaluateur interne Département de biologie, Université de Sherbrooke Professeur Louis-Charles Fortier Évaluateur interne Département de microbiologie, Université de Sherbrooke Professeur François Malouin Président-rapporteur Département de biologie, Université de Sherbrooke SOMMAIRE Malgré la découverte du c-di-GMP en 1987, ce n’est que durant la dernière décennie que l’importance de ce messager secondaire dans la régulation des phénotypes bactériens a été exposée. Synthétisé par des diguanylate cyclases (DGC) et dégradé par des phosphodiestérases spécifiques (PDE), le c-di-GMP est prédit pour être un messager secondaire très répandu chez les bactéries et pratiquement exclusif à celles-ci. Le c-di-GMP est particulièrement reconnu pour son rôle dans la transition des bactéries motiles et planctoniques vers la formation de biofilm chez les bactéries à Gram négatif telles qu’Escherichia coli, Pseudomonas aeruginosa et Vibrio cholerae. De plus, le c-di-GMP est impliqué dans la régulation de l’expression de certains facteurs de virulence chez certaines bactéries.
    [Show full text]
  • Europa E Italia. Studi in Onore Di Giorgio Chittolini
    21 CORE VENICE AND THE VENETO Metadata, citation and similar papers at core.ac.uk Provided by Reti Medievali Open Archive DURING THE RENAISSANCE THE LEGACY OF BENJAMIN KOHL Edited by Michael Knapton, John E. Law, Alison A. Smith thE LEgAcy of BEnJAMin KohL BEnJAMin of LEgAcy thE rEnAiSSAncE thE during VEnEto thE And VEnicE Smith A. Alison Law, E. John Knapton, Michael by Edited Benjamin G. Kohl (1938-2010) taught at Vassar College from 1966 till his retirement as Andrew W. Mellon Professor of the Humanities in 2001. His doctoral research at The Johns Hopkins University was directed by VEnicE And thE VEnEto Frederic C. Lane, and his principal historical interests focused on northern Italy during the Renaissance, especially on Padua and Venice. during thE rEnAiSSAncE His scholarly production includes the volumes Padua under the Carrara, 1318-1405 (1998), and Culture and Politics in Early Renaissance Padua thE LEgAcy of BEnJAMin KohL (2001), and the online database The Rulers of Venice, 1332-1524 (2009). The database is eloquent testimony of his priority attention to historical sources and to their accessibility, and also of his enthusiasm for collaboration and sharing among scholars. Michael Knapton teaches history at Udine University. Starting from Padua in the fifteenth century, his research interests have expanded towards more general coverage of Venetian history c. 1300-1797, though focusing primarily on the Terraferma state. John E. Law teaches history at Swansea University, and has also long served the Society for Renaissance Studies. Research on fifteenth- century Verona was the first step towards broad scholarly investigation of Renaissance Italy, including its historiography.
    [Show full text]
  • Illinois Classical Studies
    i 11 Parallel Lives: Plutarch's Lives, Lapo da Castiglionchio the Younger (1405-1438) and the Art of Italian Renaissance Translation CHRISTOPHER S. CELENZA Before his premature death in 1438 of an outbreak of plague in Ferrara, the Florentine humanist and follower of the papal curia Lapo da Castiglionchio the Younger left behind three main bodies of work in Latin, all still either unedited or incompletely edited: his own self-collected letters, a small number of prose treatises, and a sizeable corpus of Greek-to-Latin translations. This paper concerns primarily the last of these three aspects of his work and has as its evidentiary focus two autograph manuscripts that contain inter alia final versions of Lapo's Latin translations of Plutarch's Lives of Themistocles, Artaxerxes, and Aratus. In addition, however, to studying Lapo's translating techniques, this paper will address chiefly the complexities of motivation surrounding Lapo's choice of dedicatees for these translations. The range of circumstances will demonstrate, I hope, the lengths to which a young, little-known humanist had to go to support himself in an environment where there was as yet no real fixed, institutional place for a newly created discipline. Lapo and Translation: Patronage, Theory, and Practice Of the three areas mentioned, Lapo's translations represent the most voluminous part of his oeuvre and in fact it is to his translations that he owes his modem reputation. But why did this young humanist devote so much energy to translating? And why were Plutarch's Lives such an important part of his effort? An earlier version of this paper was delivered as an Oldfather Lecture at the University of Illinois at Urbana-Champaign on 8 November 1996.
    [Show full text]
  • Development of Form Making of Door Knockers in Italy in the Xv-Xvii Centuries
    Man In India, 96 (12) : 5677-5697 © Serials Publications DEVELOPMENT OF FORM MAKING OF DOOR KNOCKERS IN ITALY IN THE XV-XVII CENTURIES Tatiana Evgenievna Trofimova* Abstract: Decorative art items - door knockers - combine practical and esthetic features. At the same time they are a part of everyday and art culture, and can tell much about the ideology, lifestyle of the society, and the level of the artistic crafts development at the time when they were created. The goal of this research is to study the role and purpose of door knockers in the Italian culture of the XV-XVII centuries, to research door knockers that continue decorating doors of various Italian cities and towns, to study in details Italian door knockers of the golden age of the bronze-casting art through the samples from the Hermitage in Saint-Petersburg. For this research it was necessary to solve the following tasks: to put the generalized illustrative material in the historical succession, to consider form making of door knockers in accordance with the architectural styles, and symbolic meaning, to define characteristic features of the artistic expression, to reveal regularities in form making and decorating of door knockers, as well as to study and describe samples from the Hermitage in Saint-Petersburg as the best examples of Italian door knockers of the XV-XVII centuries. The following methods were used during the research: - References and analytical: reproduction of the general picture of the development of various forms of door knockers, searching for and systematization
    [Show full text]
  • Catalogo Della Biblioteca Specializzata Annessa All’Archivio Di S
    BIBLIOTECA SPECIALIZZATA ANNESSA ALL’ARCHIVIO STORICO DELL’ABBAZIA DI S. PIETRO DI PERUGIA CATALOGO PER AUTORE INDICE DALLA “A” ALLA “D” …………………………………… p. 3 DALLA “E” ALLA “H” …………………………………… p. 107 DALLA “I” ALLA “N” ……………………………………. p. 138 DALLA “O” ALLA “R”……………………………………. p. 187 DALLA “S” ALLA “Z”…………………………………….. p. 221 COLLEZIONI/ RIVISTE E OPERE SENZA AUTORE…… p. 261 2 CATALOGO DELLA BIBLIOTECA SPECIALIZZATA ANNESSA ALL’ARCHIVIO DI S. PIETRO DI PERUGIA DALLA “A” ALLA “D” AA. VV., Abbazia di Sant’Antimo. Una pietra che canta: guida storico-artistica illustrata, con presentazione della Comunità dei Canonici Regolari di Sant’Antimo, Siena, Edizioni Cantagalli, 1993, pp. 111 con ill., cm 24. ASPi, Benedettina 131 AA. VV., Alfabetismo e cultura scritta nella storia della società italiana, Atti del Seminario Perugia, 29-30 marzo 1977, Perugia, Università degli Studi, 1978, pp. 422, cm 25. ASPi, Letteratura 11 AA. VV., Alfabetismo e cultura scritta nella storia della società italiana, Seminario permanente: notizie marzo 1980, Perugia, Università degli Studi, 1980, pp. 48, cm 21. ASPi, Letteratura 11/1 AA. VV., Alfabetismo e cultura scritta nella storia della società italiana, Seminario permanente: notizie dicembre 1980, Perugia, Università degli Studi, 1980, pp. 44, cm 21. ASPi, Letteratura 11/2 AA. VV., Almanacco italiano 1965, Firenze, Bemporad Marzocco, 1965, pp. XL, 440 con ill., cm 19. ASPi, Opere generali 8 3 AA. VV., Annali della Biblioteca Statale e Libreria Civica di Cremona: studi e bibliografie 7, vol. 55 (2003), Cremona, Biblioteca Statale di Cremona, 2005, pp. 167 con ill., cm 24. ASPi, Bibliografia 65 AA. VV., Archivio Perugino-Pievese. Visite Perugine, Supplemento a Raccordo dell’Archidiocesi di Perugia - Città della Pieve, Anno IV, n.
    [Show full text]
  • Theologians As Persons in Dante's Commedia Abigail Rowson
    Theologians as Persons in Dante’s Commedia Abigail Rowson Submitted in accordance with the requirements for the degree of Doctor of Philosophy University of Leeds School of Languages, Cultures and Societies January 2018 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. The right of Abigail Rowson to be identified as Author of this work has been asserted by Abigail Rowson in accordance with the Copyright, Designs and Patents Act 1988. 2 Acknowledgements Firstly, I am indebted to my supervisors, Claire Honess and Matthew Treherne, whose encouragement and support at the outset of this project gave me the confidence to even attempt it. I hope this work repays at least some of the significant amount of trust they placed in me; they should know that I shall be forever grateful to them. Secondly, this thesis would not have taken the shape it has without some wonderful intellectual interlocutors, including the other members of the Leeds/Warwick AHRC project. I feel fortunate to have been part of this wider intellectual community and have benefited enormously by being one of a team. I began to develop the structure and argument of the thesis at the University of Notre Dame’s Summer Seminar on Dante’s Theology, held at Tantur Ecumenical Institute, Jerusalem, 2013. The serendipitous timing of this event brought me into contact with an inspirational group of Dante scholars and theologians, whose generosity and intellectual humility was the hallmark of the fortnight.
    [Show full text]
  • Leonardo Da Vinci and the Persistence of Myth Emily Hanson
    Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) 1-1-2012 Inventing the Sculptor: Leonardo da Vinci and the Persistence of Myth Emily Hanson Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Hanson, Emily, "Inventing the Sculptor: Leonardo da Vinci and the Persistence of Myth" (2012). All Theses and Dissertations (ETDs). 765. https://openscholarship.wustl.edu/etd/765 This Thesis is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY Department of Art History & Archaeology INVENTING THE SCULPTOR LEONARDO DA VINCI AND THE PERSISTENCE OF MYTH by Emily Jean Hanson A thesis presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Master of Arts May 2012 Saint Louis, Missouri ACKNOWLEDGEMENTS I wouldn’t be here without the help and encouragement of all the following people. Many thanks to all my friends: art historians, artists, and otherwise, near and far, who have sustained me over countless meals, phone calls, and cappuccini. My sincere gratitude extends to Dr. Wallace for his wise words of guidance, careful attention to my work, and impressive example. I would like to thank Campobello for being a wonderful mentor and friend, and for letting me persuade her to drive the nearly ten hours to Syracuse for my first conference, which convinced me that this is the best job in the world.
    [Show full text]
  • Eserciti Papali in Ungheria. La Presa Di Strigonia
    ESERCITI PAPALI IN UNGHERIA LA PRESA DI STRIGONIA Nel corso del Medioevo l’Ungheria aveva adempito ripetutamente e con onore alla sua missione storica : difendere la civiltà cristiana del­ l’Occidente e diffonderla verso Oriente ; meritandosi, con le proprie forze, l’ambito epiteto di «baluardo dell’Occidente». Ma l’Occidente si rese conto preciso dell’importanza di tale missione soltanto Quando si vide minacciato direttamente dall’espansione turca nei suoi interessi più vitali. Sul principio del CinQuecento, logorata dalle lotte intestine, che ne ave­ vano intaccato le vitali energie, la Nazione ungherese cede all’aggressione della Mezzaluna e soccombe sui campi di Mohàcs (1526). L’Ungheria perde due terzi del suo territorio : non è più capace di resistere da sola, e tanto meno di arginare la pressione orientale che si fa sempre più tenace e petulante. E precisamente allora che si matura nelle Corti europee l’idea di una coalizione contro il Turco ; l’idea trova terreno particolar­ mente propizio, e altrimenti non avrebbe potuto essere, nella Corte romana, la Quale se ne fa la banditrice più tenace ed animosa. Ben più difficile appare invece conciliare i vari interessi delle Potenze laiche e ricondurli ad un comune denominatore : gli sforzi della diplomazia papale risultano vani. Se si riesce ad ottenere risultati positivi e successi militari contro il Turco, ciò si deve Quasi sempre all’intervento diretto dei Papi i Quali danno alle imprese non solo il loro appoggio materiale ma partecipano direttamente alle campagne con i loro eserciti mercenari. L’avvenimento più importante delle campagne combattute contro il Turco negli ultimi anni del CinQuecento è l’espugnazione della fortezza e della città di Strigonia (in ungherese Esztergom), che è dovuta essenzial­ mente all’intervento ed all’appoggio di un Papa, Clemente V ili.
    [Show full text]
  • Equestrian Monument to Bartolomeo Colleoni, 19Th Century
    anticSwiss 30/09/2021 08:14:52 http://www.anticswiss.com Equestrian monument to Bartolomeo Colleoni, 19th century FOR SALE ANTIQUE DEALER Period: 19° secolo - 1800 Ars Antiqua srl Milano Style: Altri stili +39 02 29529057 393664680856 Height:28cm Material:Bronzo Price:1200€ DETAILED DESCRIPTION: 19th century Equestrian monument to Bartolomeo Colleoni Dark patina bronze with marble base, cm alt 28 The work in question is a reproduction of the famous equestrian monument executed by Andrea del Verrocchio for Campo San Zanipolo in Venice between 1480 and 1488. It represents the leader Bartolomeo Colleoni (1395 / 1400-1475), one of the most enterprising captains of fortune of the Republic of Venice of the fifteenth century. He plays the classic bold and daring leader, full of charm and pride. He was at the service of the Serenissima and of Filippo Maria Visconti. The equestrian statue theme has been particularly prevalent in Western sculpture since Greek art. From the Roman imperial age this subject took on a heroic but also propaganda function that will characterize it until the twentieth century. More or less famous leaders were portrayed in this capacity; famous are the examples of Marcus Aurelius, Napoleon and Garibaldi, numerous are the works of this kind that adorn the main Italian and foreign squares. The realization of an equestrian monument, by one of the greatest artists of the fifteenth century, for the leader Bartolomeo Colleoni, who died a few years earlier, was decreed by the Republic of Venice in 1479. The following year the execution was entrusted to the Florentine Andrea Verrocchio (Florence, 1437 - Venice, 1488), however he disappeared before the work was finished.
    [Show full text]
  • VENICE Grant Allen's Historical Guides
    GR KS ^.At ENICE W VENICE Grant Allen's Historical Guides // is proposed to issue the Guides of this Series in the following order :— Paris, Florence, Cities of Belgium, Venice, Munich, Cities of North Italy (Milan, Verona, Padua, Bologna, Ravenna), Dresden (with Nuremberg, etc.), Rome (Pagan and Christian), Cities of Northern France (Rouen, Amiens, Blois, Tours, Orleans). The following arc now ready:— PARIS. FLORENCE. CITIES OF BELGIUM. VENICE. Fcap. 8vo, price 3s. 6d. each net. Bound in Green Cloth with rounded corners to slip into the pocket. THE TIMES.—" Good work in the way of showing students the right manner of approaching the history of a great city. These useful little volumes." THE SCOTSMAN "Those who travel for the sake of culture will be well catered for in Mr. Grant Allen's new series of historical guides. There are few more satisfactory books for a student who wishes to dig out the Paris of the past from the im- mense superincumbent mass of coffee-houses, kiosks, fashionable hotels, and other temples of civilisation, beneath which it is now submerged. Florence is more easily dug up, as you have only to go into the picture galleries, or into the churches or museums, whither Mr. Allen's^ guide accordingly conducts you, and tells you what to look at if you want to understand the art treasures of the city. The books, in a word, explain rather than describe. Such books are wanted nowadays. The more sober- minded among tourists will be grateful to him for the skill with which the new series promises to minister to their needs." GRANT RICHARDS 9 Henrietta St.
    [Show full text]