The Evolution of Landscape in Venetian Painting, 1475-1525

Total Page:16

File Type:pdf, Size:1020Kb

The Evolution of Landscape in Venetian Painting, 1475-1525 THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 by James Reynolds Jewitt BA in Art History, Hartwick College, 2006 BA in English, Hartwick College, 2006 MA, University of Pittsburgh, 2009 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by James Reynolds Jewitt It was defended on April 7, 2014 and approved by C. Drew Armstrong, Associate Professor, History of Art and Architecture Kirk Savage, Professor, History of Art and Architecture Jennifer Waldron, Associate Professor, Department of English Dissertation Advisor: Ann Sutherland Harris, Professor Emerita, History of Art and Architecture ii Copyright © by James Reynolds Jewitt 2014 iii THE EVOLUTION OF LANDSCAPE IN VENETIAN PAINTING, 1475-1525 James R. Jewitt, PhD University of Pittsburgh, 2014 Landscape painting assumed a new prominence in Venetian painting between the late fifteenth to early sixteenth century: this study aims to understand why and how this happened. It begins by redefining the conception of landscape in Renaissance Italy and then examines several ambitious easel paintings produced by major Venetian painters, beginning with Giovanni Bellini’s (c.1431- 36-1516) St. Francis in the Desert (c.1475), that give landscape a far more significant role than previously seen in comparable commissions by their peers, or even in their own work. After an introductory chapter reconsidering all previous hypotheses regarding Venetian painters’ reputations as accomplished landscape painters, it is divided into four chronologically arranged case study chapters. Three of these focus on the artists identified during their own lifetimes as specialists in landscape painting in northern Italy—Tiziano Vecellio (c.1485-90- 1576), Girolamo Savoldo (fl.1506-48), and Dosso Dossi (c.1486-1542). Working from a more historicized definition of landscape, my study shifts focus from questions of landscape’s origins and status to a more nuanced examination of its function in private residences. Bellini’s St. Francis is considered anew in light of humanist-inspired aesthetics as a precursor to Venetian poesie that celebrated an artistically self-conscious approach to image-making. Titian’s youthful Flight into Egypt (c.1507) is analyzed for the first time in regard to its original presentation in the main reception hall of its patron Andrea Loredan’s palace. Savoldo’s Temptation of St. Anthony (c.1520) is reconsidered, on the basis of unpublished technical analysis, as a document of the artist’s presence in Venice and his adaptation of Flemish landscape to suit the tastes of local iv clients. Finally, a reevaluation of Dosso’s Jupiter Painting Butterflies centering on the landscape and its theoretical implications is proposed. Dosso’s painting of atmospheric phenomena embodies theories published decades later advocating painting’s superiority over sculpture and the painter’s god-like ability to portray all of Nature’s creation. These focused analyses suggest that landscape achieved a new position in Venice from 1475-1525. Ultimately, this dissertation proposes that the goals of virtuoso landscape painting were two-fold: to enhance both the doctrinal message and delight audiences absorbed from a picture. v TABLE OF CONTENTS PREFACE...................................................................................................................................viii 1.0 INTRODUCTION.............................................................................................................1 1.1 THE RENAISSANCE CONCEPTION OF LANDSCAPE...............................5 1.2 GOMBRICH AND THE HUMANIST RECOVERY OF LANDSCAPE........9 1.3 LANDSCAPE’S IMPORTANCE IN VENICE.................................................16 1.4 DISSERTATION STRUCTURE AND SCOPE................................................27 2.0 GIOVANNI BELLINI’S FRICK ST. FRANCIS AND THE HUMANIST POETICS OF QUATTROCENTO LANDSCAPE PAINTING....................................................35 2.1 LANDSCAPE AND POETRY IN FERRARA..................................................43 2.2 CLASSICAL PARADIGMS RENEWED.........................................................48 2.3 THE AESTHETICS OF DEVOTION...............................................................58 2.4 COLLECTING LANDSCAPE POESIE...........................................................66 3.0 RE-VISITING ANDREA LOREDAN’S PORTEGO: THE FIRST DISPLAY CONTEXT FOR TITIAN’S FLIGHT INTO EGYPT....................................................71 3.1 ANDREA LOREDAN’S PATRONAGE AND THE CA’ LOREDAN...........80 3.2 THE VENETIAN PORTEGO AND ITS CONTENTS.....................................84 3.3 SAFE ARRIVAL AND RETREAT IN THE PORTEGO.................................90 4.0 IMITATION AND INNOVATION: GIROLAMO SAVOLDO’S BOSCHIAN TEMPTATION OF ST. ANTHONY................................................................................97 vi 4.1 SAVOLDO’S ACTIVITY TO 1530.................................................................102 4.2 PROVENANCE.................................................................................................105 4.3 SAVOLDO’S FIRST LANDSCAPE PAINTING...........................................107 4.4 SAVOLDO’S TECHNIQUE AND SOURCES...............................................111 4.5 GRIMANI’S BOSCHIAN TRIPTYCH TRANSFORMED..........................116 4.6 LANDSCAPE EXOTICA IN PRIVATE COLLECTIONS............................122 5.0 PAINTING THE PARAGONE: DOSSO DOSSI’S JUPITER PAINTING BUTTERFLIES AS AN ALLEGORY OF PITTURA.................................................130 5.1 JUPITER AS DEUS ARTIFEX........................................................................138 5.2 PAINTING TEMPESTS...................................................................................141 5.3 UNIVERSALITY AND LANDSCAPE............................................................144 5.4 DOSSO AS LANDSCAPIST.............................................................................145 5.5 THE PARAGONE..............................................................................................148 5.6 COLORE AND LANDSCAPE PAINTING.....................................................158 5.7 “COLORE METEOROLOGICO”.....................................................................163 6.0 CONCLUSION..................................................................................................169 7.0 EPILOGUE........................................................................................................179 APPENDIX A. LIST OF FIGURES.......................................................................................185 BIBLIOGRAPHY......................................................................................................................192 vii PREFACE I am grateful to the Department of the History of Art and Architecture at the University of Pittsburgh, and the Kenneth P. Dietrich School of Arts and Sciences, for the generous support I received over the course of my graduate career. In particular, I would like to thank my dissertation committee for their invaluable feedback, support, and encouragement of my work and project: Ann Sutherland Harris, Jennifer Waldron, Drew Armstrong, and Kirk Savage. Their comments have been invaluable for shaping it into what it is today. Dennis Looney kindly served as an unofficial fifth member and I wish to express my gratitude to him for both stepping in at key moments and offering, as always, exceptional insights into the nuances of Italian literature and culture. As my advisor, Ann Harris deserves special thanks and recognition. This dissertation developed in response to her course on European landscape painting I took my first semester as a graduate student. Ann has gone above and beyond to help me in formulating my PhD topic and furthering my professional development. My two article publications thus far are indebted to her admirable example as a scholar. She has tirelessly encouraged my writing, read drafts, and provided keen feedback every step of the way. I also appreciate the continual encouragement of Jen Waldron, who graciously lent her expertise at several crucial moments. I am also grateful to Kirk Savage and Drew Armstrong for their enthusiasm for my project and kind advice. Early on, Kathleen Christian offered essential inspiration and suggestions as I developed my ideas. Additionally, I would like to thank others at the University of Pittsburgh for their friendship and assistance in this process: my graduate colleagues Aaron Tacinelli, Saskia Beranek, Courtney viii Long, Amy Cymbala, Rachel Miller, and Sara Sumpter; the staff of the Frick Fine Arts Library, particularly Marcia Rostek; and the staff in the Department of the History of Art and Architecture, Natalie Swabb, Linda Hicks, and Veronica Gazdik. Over the course of my graduate career, and especially in the writing and research done in preparation of this dissertation, I received generous funding from a number of sources. I wish to thank the Centro Vittore Branca of the Fondazione Giorgio Cini, in particular Marta Zoppetti and Massimo Busetto; the Gladys Krieble Delmas Foundation; the Friends of the Frick Fine Arts/Wilkinson Travel Fund; the Newberry Renaissance Consortium; and the University Center for International Studies/European Union Center for Excellence at the University of
Recommended publications
  • Ca' Rezzonico
    Fondazione Musei Civici di Venezia — Ca’ Rezzonico Museum of the 18th Century Venice The Ferruccio Mestrovich Collection ENG da ballo MEZZANINE BROWNING / THE FERRUCCIO MESTROVICH COLLECTION Canal Grande The Collection The collection contains a nucleus his assets were confiscated by of sixteen paintings, all of high the Yugoslav government and never quality. returned. There are two major works by His son Audace worked for many Iacopo Tintoretto, an altar-piece of years in Venice as a lawyer. striking intensity and an austere His youngest son, Ferruccio, portrait. Particularly noteworthy a passionate scholar of early is a glowing and intimate “Sacra Veneto painting, is the donor of Conversazione” by Bonifacio de’ this collection: the attributions of Pitati; in addition, there are other the paintings are the result of his works by Benedetto Diana, Lelio research and studies; indeed, his Orsi, Jacopo Amigoni, Francesco suggestions and indications have Guardi and Alessandro Longhi, two assisted several scholars on many “soprarchi” (paintings above an occasions in the publication of his arch) by Benedetto Carpaccio, son paintings and other collections. and follower of Vittore and a small panel by Cima da Conegliano. The Mestrovichs belong to an ancient Dalmatian family originally from Zara and have lived in Venice since 1945. The head of the family, Aldo (1885-1969) was persecuted during the Austrian rule for his Ca’ Rezzonico, The Ferruccio Mestrovich Collection Italian patriotism; > 1 1. Benedetto Diana section of the polyptych frieze in the ITINERARY AND (Venice, 1460 ca. – 1525) San Francesco convent church in WORKS OF ART Christ Benedictory Miglionico, near Matera, taken there (oil on wood, 60 x 52,5 cm) at the end of the 16th century after being purchased in Venice by Don It’s a very interesting work of art Marcantonio Mizzoni.
    [Show full text]
  • Gian Cristoforo Romano in Rome: with Some Thoughts on the Mausoleum of Halicarnassus and the Tomb of Julius II
    Gian Cristoforo Romano in Rome: With some thoughts on the Mausoleum of Halicarnassus and the Tomb of Julius II Sally Hickson University of Guelph En 1505, Michel-Ange est appelé à Rome pour travailler sur le tombeau monumental du pape Jules II. Six mois plus tard, alors que Michel-Ange se trouvait à Carrare, le sculpteur et antiquaire Gian Cristoforo Romano était également appelé à Rome par Jules II. En juin 1506, un agent de la cour de Mantoue rapportait que les « premiers sculpteurs de Rome », Michel-Ange et Gian Cristoforo Romano, avaient été appelés ensemble à Rome afin d’inspecter et d’authentifier le Laocoön, récemment découvert. Que faisait Gian Cristoforo à Rome, et que faisait-il avec Michel-Ange? Pourquoi a-t-il été appelé spécifi- quement pour authentifier une statue de Rhodes. Cet essai propose l’hypothèse que Gian Cristoforo a été appelé à Rome par le pape probablement pour contribuer aux plans de son tombeau, étant donné qu’il avait travaillé sur des tombeaux monumentaux à Pavie et Crémone, avait voyagé dans le Levant et vu les ruines du Mausolée d’Halicarnasse, et qu’il était un sculpteur et un expert en antiquités reconnu. De plus, cette hypothèse renforce l’appartenance du développement du tombeau de Jules II dans le contexte anti- quaire de la Rome papale de ce temps, et montre, comme Cammy Brothers l’a avancé dans son étude des dessins architecturaux de Michel-Ange (2008), que les idées de ce dernier étaient influencées par la tradition et par ses contacts avec ses collègues artistes.
    [Show full text]
  • Catalogue of the Splendid Collection of Pictures
    CATALOGUE OP THE SPLENDID COLLECTION OF PICTURES BELONGING TO PRINCE LUCIEN BUONAPARTE; WHICH WILL BE EXHIBITED FOR SALE BY PRIVATE CONTRACT, ON MONDAY THE SIXTH DAY OF FEBRUARY, 1815, AND FOLLOWING DAYS, AT THE NEW GALLERY, (MR. BUCHANAN’S) No. 60, PALL-MALL. ADJOINING THE BRITISH GALLERY". % Admittance One Shilling.— Descriptive Catalogue Eighteen-pence, .In England, where there is no National Gallery for the reception of the chefs-d’oeuvre of the Great Mas¬ ters of the various schools, where the amateur or the student might at all times have an opportunity of improving his taste, or forming his. knowledge on works of art, every thing must naturally be considered as desirable, which can in any degree tend to afford facility for such study, or acquirements. The numerous applications which have been made to view the Collection of Pictures belonging to Prince •Lucien Buonaparte have induced those under whose direction it has been placed, to open the New Gallery, in Pall-Mall, to the Public, in the manner usually adopted in this country : they have also resolved to allow the Collection itself to he separated, and sold, in the same manner as the celebrated Collection of the Duke of Orleans; being convinced that Collectors will feel more satisfied in having an opportunity afforded them of gratifying their wishes individually, by a selection of such pictures as may suit the taste of each purchaser. 2 This Collection has been formed from many of the principal Cabinets on the Continent, during a period of the last fifteen years; and not only has the greatest attention been paid to a selection of agreeable subjects of the different masters, but also to the quality and state of preservation of the pictures themselves.
    [Show full text]
  • Conservation Management Plan 2017-2022
    Garinish Island Ilnacullin and Bryce House Conservation Management Plan 2017-2022 Consultation Draft March 2017 Table of Contents Chapter 1: Understanding Garinish Island - Introduction, Background and Context 1.1 Introduction 1.2 OPW Approach & Philosophy 1.3 External Relationships 1.4 Purpose & Scope 1.5 Management Plan Structure 1.6 Historical Context & Cultural Value 1.7 Size & Location 1.8 Main Features 1.8.1 The Designed Landscape & Gardens 1.8.2 Architecture & Built Heritage 1.8.3 Collections & Presentation 1.8.4 Archaeology 1.8.5 Coastline & Islands 1.8.6 Trees, Shrubs & Herbaceous Planting 1.8.7 Natural Heritage – Geology, Climate, Ecology & Biodiversity 1.8.8 Paths & Access 1.8.9 Signage & Furniture 1.8.10 Depot Area 1.8.11 Utilities & Electricity 1.9 Legal Framework & Policy Context 1.9.1 Protective designations – Heritage & Natural Features 1.9.2 Current Governance 1.9.3 Planning & Development Legislation 1.9.4 Cork County Development Plan 2014 1.9.5 Bantry Electoral Area Local Area Plan 2015 1.9.6 'Non-statutory' Plans & Policies Chapter 2: Where are we Now? 2.1 Introduction 2.2 The Green Flag Award 2.3 A Welcoming Place 2.3.1 Welcoming 2.3.2 Good & Safe Access 2.3.3 Signage & Interpretation 2.3.4 Equal Access for All 2.3.5 'Something for Everyone' 2.4 Healthy, Safe & Secure 2.4.1 Safe Equipment & Facilities 2.4.2 Personal Security – Visitors and Staff 2.4.3 Dog Behaviour 2.4.4 Appropriate Provision of Facilities 2.4.5 Quality of Facilities 2.5 Clean & Well Maintained 2.5.1 Litter & Waste Management 2.5.2 Grounds Maintenance
    [Show full text]
  • Titian and Veronese Two Venetian Painters
    Titian and Veronese Two Venetian Painters Titian Veronese Garry Law Sack of Rome 1527 – end of the Renaissance in Rome Timeline and Contemporaries / Predecessors Titian - ~1488-1576 • Born Tiziano Vecellio in Pieve di Cadrone – Small fortified town dating back to the Iron Age. • Father a soldier / local councilor / supplier of timber to Venice • Named after a local saint Titianus • Went to Venice aged 9, apprenticed to Zuccato then Gentile Bellini then Giovani Bellini • Partnership with Giorgione – shared workshop – ended with G’s early death • Together redefined Venetian painting • Their work so similar have long been disputes over authorship of some paintings They did undertake some joint works – frescoes Titian was asked to complete some unfinished works after Giorgione’s death – only one such is known for sure – otherwise we don’t know if he did finish others. The Pastoral Concert - Once considered Giorgione – now considered Titian – though some have considered as by both (Louvre). • Portraits - Royal and Papal commissions late in career • Cabinet Pictures • Religious art • Allegorical / Classical Isabella d’Este “La Bella” • Lead the movement to having large pictures for architectural locations on canvas rather than Fresco – which lasted poorly in Venice’s damp climate • Sought to displace his teacher Bellini as official state painter – declined, but achieved on B’s death. • Married housekeeper by whom he already has two children • Wife dies young in childbirth – a daughter modelled for him for his group pictures • Does not remarry – described as flirting with women but not interested in relationships • Ran a large studio – El Greco was one pupil • Of his most successful pictures many copies were made in the studio Penitent Mary Madelene Two of many versions Christ Carrying the Cross.
    [Show full text]
  • Rethinking Savoldo's Magdalenes
    Rethinking Savoldo’s Magdalenes: A “Muddle of the Maries”?1 Charlotte Nichols The luminously veiled women in Giovanni Gerolamo Savoldo’s four Magdalene paintings—one of which resides at the Getty Museum—have consistently been identified by scholars as Mary Magdalene near Christ’s tomb on Easter morning. Yet these physically and emotionally self- contained figures are atypical representations of her in the early Cinquecento, when she is most often seen either as an exuberant observer of the Resurrection in scenes of the Noli me tangere or as a worldly penitent in half-length. A reconsideration of the pictures in connection with myriad early Christian, Byzantine, and Italian accounts of the Passion and devotional imagery suggests that Savoldo responded in an inventive way to a millennium-old discussion about the roles of the Virgin Mary and Mary Magdalene as the first witnesses of the risen Christ. The design, color, and positioning of the veil, which dominates the painted surface of the respective Magdalenes, encode layers of meaning explicated by textual and visual comparison; taken together they allow an alternate Marian interpretation of the presumed Magdalene figure’s biblical identity. At the expense of iconic clarity, the painter whom Giorgio Vasari described as “capriccioso e sofistico” appears to have created a multivalent image precisely in order to communicate the conflicting accounts in sacred and hagiographic texts, as well as the intellectual appeal of deliberately ambiguous, at times aporetic subject matter to northern Italian patrons in the sixteenth century.2 The Magdalenes: description, provenance, and subject The format of Savoldo’s Magdalenes is arresting, dominated by a silken waterfall of fabric that communicates both protective enclosure and luxuriant tactility (Figs.
    [Show full text]
  • Unequal Lovers: a Study of Unequal Couples in Northern Art
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications and Creative Activity, School of Art, Art History and Design Art, Art History and Design, School of 1978 Unequal Lovers: A Study of Unequal Couples in Northern Art Alison G. Stewart University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/artfacpub Part of the History of Art, Architecture, and Archaeology Commons Stewart, Alison G., "Unequal Lovers: A Study of Unequal Couples in Northern Art" (1978). Faculty Publications and Creative Activity, School of Art, Art History and Design. 19. https://digitalcommons.unl.edu/artfacpub/19 This Article is brought to you for free and open access by the Art, Art History and Design, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications and Creative Activity, School of Art, Art History and Design by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Unequal Lovers Unequal Lovers A Study of Unequal Couples in Northern Art A1ison G. Stewart ABARIS BOOKS- NEW YORK Copyright 1977 by Walter L. Strauss International Standard Book Number 0-913870-44-7 Library of Congress Card Number 77-086221 First published 1978 by Abaris Books, Inc. 24 West 40th Street, New York, New York 10018 Printed in the United States of America This book is sold subject to the condition that no portion shall be reproduced in any form or by any means, and that it shall not, by way of trade, be lent, resold, hired out, or otherwise disposed of without the publisher's consent, in any form of binding or cover other than that in which it is published.
    [Show full text]
  • Architectural Encounters Between Idea and Material the 1547 Frontispiece of Walther Hermann Ryff
    ARCHITECTURAL ENCOUNTERS 179 Architectural Encounters between Idea and Material The 1547 Frontispiece of Walther Hermann Ryff PAUL EMMONS Virginia Tech The renaissance frontispiece is simultaneously an that presented through a combination of word and encounter between reader and author and inhabit- image the idea of its content^.^ Frontispieces thus ant and building. The idea of the book is personified are excellent visual sources to study the significance into an architectural image. Reader and author are of a text. Architects often drew frontispieces, not face-to-face even though the later is absent and the only for their own books, but also for many other book stands as a physical incarnation of the ideas subjects. The visual threshold of frontispiece for of the author. This paper will examine one notable renaissance architectural treatises was variously renaissance architectural frontispiece in Walther shown as an altar (Palladio), triumphal arch (Bar- Hermann Ryff's Architectur (1547) to reconsider the baro), curtain or veil (Bartoli), window (Vignola), relation between idea and material in architectural or pedimented entry (Scamozzi). theory and practice today. Frontispieces employed allegorical illustrations like The illustrated architectural frontispiece developed emblems. Emblems originated with the renaissance with the early printed book.' At this time, printers humanist attempt to create a modern equivalent only produced the pages and sold them tied in a to Egyptian hieroglyphs. With the rediscovery of bundle which was then taken to a separate leather Horapollo's Hieyroglyphica in the fifteenth century, worker for the book's cover. The cover represented it was thought that the esoteric picture language of the owner while the first page, the frontispiece, the Egyptians could be deciphered and numerous represented the interior of the book.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Print This Article
    Byzantina Symmeikta Vol. 29, 2019 Byzantine families in Venetian context: The Gavalas and Ialinas family in Venetian Crete (XIIIth- XIVth centuries) ΓΑΣΠΑΡΗΣ Χαράλαμπος Institute of Historical Research, Athens https://doi.org/10.12681/byzsym.16249 Copyright © 2019 Χαράλαμπος Γάσπαρης To cite this article: ΓΑΣΠΑΡΗΣ, (2019). Byzantine families in Venetian context: The Gavalas and Ialinas family in Venetian Crete (XIIIth- XIVth centuries). Byzantina Symmeikta, 29, 1-132. doi:https://doi.org/10.12681/byzsym.16249 http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 30/09/2021 15:19:54 | INSTITUTE OF HISTORICAL RESEARCH ΙΝΣΤΙΤΟΥΤΟ ΙΣΤΟΡΙΚΩΝ ΕΡΕΥΝΩΝ SECTION OF BYZANTINE RESEARCH ΤΟΜΕΑΣ ΒΥΖΑΝΤΙΝΩΝ ΕΡΕΥΝΩΝ NATIONAL HELLENIC RESEARCH FOUNDATION ΕΘΝΙΚΟ IΔΡΥΜΑ ΕΡΕΥΝΩΝ CHARALAMBOS GASPARIS EFI RAGIA Byzantine Families in Venetian Context: THE GEOGRAPHY OF THE PROVINCIAL ADMINISTRATION OF THE TheBYZAN GavalasTINE E andMPI REIalinas (CA 600-1200):Families I.1.in T HVenetianE APOTHE CreteKAI OF (XIIIth–XIVthASIA MINOR (7T HCenturies)-8TH C.) ΤΟΜΟΣ 29 VOLUME ΠΑΡΑΡΤΗΜΑ / APPENDIX ΑΘΗΝΑ • 20092019 • ATHENS http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 30/09/2021 15:19:54 | http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 30/09/2021 15:19:54 | http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 30/09/2021 15:19:54 | ΒΥΖΑΝΤΙΝΑ ΣΥΜΜΕΙΚΤΑ 29 ΠΑΡΑΡΤΗΜΑ ΒΥΖΑΝΤΙΝΑ SYMMEIKTA 29 APPENDIX http://epublishing.ekt.gr | e-Publisher: EKT | Downloaded at 30/09/2021 15:19:54 | NATIONAL HELLENIC RESEARCH FOUNDATION INSTITUTE OF
    [Show full text]
  • Reinhold C. Mueller
    Reinhold C. Mueller Aspects of Venetian Sovereignty in Medieval and Renaissance Dalmatia [A stampa in Quattrocento Adriatico , Fifteenth Century Art of the Adriatic Rim , Papers from a colloquium, Florence, 1994, edited by Charles Dempsey (Villa Spelman Colloquia Series, 5), Bologna, Nuova Alfa Editoriale, 1996, pp. 29-56 – Distribuito in formato digitale da “Reti Medievali”] The reader is forewarned that this paper, which maintains the character of the original oral presentation, makes no attempt at covering completely such a vast subject, on which there is an extensive bibliography - much of it in Serbo-Croatian, a language I do not know. My intent is simply to offer for discussion some little-exploited historical materials on well-known themes that exemplify contacts between the two coasts of the Adriatic Sea, especially - but not only - during the Quattrocento. Following an overview of the history of Venetian sovereignty in that part of the Stato da mar, attention will turn to aspects of politics and society, that is, to the political, financial and monetary administration of the subject territories and to the movement of people and peoples across the Adriatic. I. AN OVERVIEW OF HISTORY AND MYTH Venetian efforts at domination of the eastern Adriatic can be said to have begun in the year 1000, with the naval expedition commanded personally by doge Pietro II Orseolo, which put an end to the activity of pirates installed at the mouth of the Narenta River and first avowed control over the Adriatic as the “Gulf of Venice.” Lordship over the Adriatic was central to Venetian historiography and mythology over the centuries: from the supposed papal grant of lordship at the peace of 1177 with Barbarossa and the ceremony each Ascension day of the doge wedding the sea, to invocations of Jove and Neptune - all depicted as part of a political program in the redecoration of the Ducal Palace after the fire of 1577 As late as the eighteenth century, Tiepolo still represented Neptune and the sea as the source of Venice’s wealth, when that was already history.
    [Show full text]
  • News Release
    NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 . 737-4215/842-6353 EXHBITION FACT SHEET Title; THE TREASURE HOUSES OF BRITAIN: FIVE HUNDRED YEARS OF PRIVATE PATRONAGE AND ART COLLECTING Patrons: Their Royal Highnesses The Prince and Princess of Wales Dates; November 3, 1985 through March 16, 1986, exactly one week later than previously announced. (This exhibition will not travel. Loans from houses open to view are expected to remain in place until the late summer of 1985 and to be returned before many of the houses open for their visitors in the spring of 1986.) Credits; This exhibition is made possible by a generous grant from the Ford Motor Company. The exhibition was organized by the National Gallery of Art, Washington, in collaboration v\n.th the British Council and is supported by indemnities from Her Majesty's Treasury and the U.S. Federal Council on the Arts and Humanities. Further British assistance was supplied by the National Trust and the Historic Houses Association. History of the exhibition; The suggestion that the National Gallery of Art consider holding a major exhibition devoted to British art was made by the British Council in 1979. J. Carter Brown, Director of the National Gallery, responded with the idea of an exhibition on the British Country House as a "vessel of civilization," bringing together works of art illustrating the extraordinary achievement of collecting and patronage throughout Britain over the past five hundred years. As this concept carried with it the additional, contemporary advantage of stimulating greater interest in and support of those houses open to public viewing, it was enthusiastically endorsed by the late Lord Howard of Henderskelfe, then-Chairman of the Historic Houses Association, Julian Andrews, Director of the Fine Arts Department of the British Council, and Lord Gibson, Chairman of the National Trust.
    [Show full text]