DOCSLIB.ORG

Color Plate A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Color Plate A Color Plate a Stephen H. Kawai, Enantiomeric Snails Reveling in Their Encounter on a Leaf Inspired by Chinen, land snails (Amphidromus), rock, steel wire, 90 cm, 1995. (© S.H. Kawai. Photo: D. Kubin.) 37 Downloaded from http://direct.mit.edu/leon/article-pdf/46/1/37/1575267/leon_a_00482.pdf by guest on 28 September 2021 Color Plate B Amit Zoran, hybrid reassemblage: The masks. Glazed ceramic, spray paint, Objet PolyJet 3D-printed heads and epoxy glue, 2010. (left) a broken helmet. (middle and right) A broken element glued around a 3D-printed head. (© Amit Zoran) 38 Downloaded from http://direct.mit.edu/leon/article-pdf/46/1/37/1575267/leon_a_00482.pdf by guest on 28 September 2021 Color Plate C Julian Voss-Andreae, (a–c) Heart of Steel, weathering steel and glass, height 5 ft (1.60 m), 2005. (© Julian Voss-Andreae) The images show a time-sequence of the hemoglobin-based sculpture’s metamorphosis: Photo (a) was taken right after unveil- ing, (b) after 10 days and (c) after several months of exposure to the elements. (d) Alpha Helix for Linus Pauling, powder- coated steel, 10 ft (3 m) high, 2004. (© Julian Voss-Andreae. Collection of The Linus Pauling Center for Science, Peace, and Health.) This memorial for Linus Pauling is located in front of Pauling’s childhood home in Portland, OR. (e) Angel of the West, stainless steel, 12 × 12 × 4 ft (3.70 × 3.70 × 1.20 m), 2008. (© Julian Voss-Andreae. Photo by James McEntee, courtesy of The Scripps Research Institute.) Commissioned as the signature sculpture of The Scripps Research Institute’s new cam- pus in Jupiter, FL, this sculpture plays upon the striking similarity between the human body and our immune system’s key molecule, the antibody. 39 Downloaded from http://direct.mit.edu/leon/article-pdf/46/1/37/1575267/leon_a_00482.pdf by guest on 28 September 2021 Color Plate D Giuseppe Sanmartino, Cristo Velato (Veiled Christ), Carrara Statuario marble, 178 × 71 cm, 1753. Cappella Sansevero, Napoli. (Photo: Scala/Art Resource, NY) A rare example of art as an all-consuming illusion of the reality it represents. (See article by Tom Albright in this issue.) 40 Downloaded from http://direct.mit.edu/leon/article-pdf/46/1/37/1575267/leon_a_00482.pdf by guest on 28 September 2021 Color Plate e Antonio Corradini, La Pudicizia (Modesty), Carrara Statuario marble, 182 × 95 cm, Cappella Sansevero, Napoli, 1752. (Photo: Scala/Art Resource, NY) This life-sized sculpture was created by the Venetian Corradini, a contemporary of Sanmartino who similarly employed the technique of enveloping the subject in a sheer veil. Although the veil is a highly evocative feature of Corradini’s Modesty, the implied movement in the figure precludes any possibility of illusion of the quality achieved by Sanmartino’s Veiled Christ. (See article by Tom Albright in this issue.) 41 Downloaded from http://direct.mit.edu/leon/article-pdf/46/1/37/1575267/leon_a_00482.pdf by guest on 28 September 2021 Color Plate F Vladimirs Guculaks’s GPS dog map intersects with Nicholas Gruter’s map. (© Vladimirs Guculaks) (See article by Dermott McMeel and Chris Speed in this issue.) 42 Downloaded from http://direct.mit.edu/leon/article-pdf/46/1/37/1575267/leon_a_00482.pdf by guest on 28 September 2021 Color Plate G A.R. Jensenius, motion history keyframe display of a dance improvisation, starting from top left. Each motion history image represents 2 seconds of movement. Such motion history keyframe displays can show chunks of movement within each frame, as well as the temporal unfolding of longer movement sequences. (© A.R. Jensenius) 43 Downloaded from http://direct.mit.edu/leon/article-pdf/46/1/37/1575267/leon_a_00482.pdf by guest on 28 September 2021.
Load more

Recommended publications
  • The Rough Guide to Naples & the Amalfi Coast
    HEK=> =K?:;I J>;HEK=>=K?:;je CVeaZh i]Z6bVaÒ8dVhi D7FB;IJ>;7C7B<?9E7IJ 7ZcZkZcid BdcYgV\dcZ 8{ejV HVc<^dg\^d 8VhZgiV HVciÉ6\ViV YZaHVcc^d YZ^<di^ HVciVBVg^V 8{ejVKiZgZ 8VhiZaKdaijgcd 8VhVaY^ Eg^cX^eZ 6g^Zcod / AV\dY^EVig^V BVg^\a^Vcd 6kZaa^cd 9WfeZ_Y^_de CdaV 8jbV CVeaZh AV\dY^;jhVgd Edoojda^ BiKZhjk^jh BZgXVidHVcHZkZg^cd EgX^YV :gXdaVcd Fecf[__ >hX]^V EdbeZ^ >hX]^V IdggZ6ccjco^ViV 8VhiZaaVbbVgZY^HiVW^V 7Vnd[CVeaZh GVkZaad HdggZcid Edh^iVcd HVaZgcd 6bVa[^ 8{eg^ <ja[d[HVaZgcd 6cVX{eg^ 8{eg^ CVeaZh I]Z8Vbe^;aZ\gZ^ Hdji]d[CVeaZh I]Z6bVa[^8dVhi I]Z^haVcYh LN Cdgi]d[CVeaZh FW[ijkc About this book Rough Guides are designed to be good to read and easy to use. The book is divided into the following sections, and you should be able to find whatever you need in one of them. The introductory colour section is designed to give you a feel for Naples and the Amalfi Coast, suggesting when to go and what not to miss, and includes a full list of contents. Then comes basics, for pre-departure information and other practicalities. The guide chapters cover the region in depth, each starting with a highlights panel, introduction and a map to help you plan your route. Contexts fills you in on history, books and film while individual colour sections introduce Neapolitan cuisine and performance. Language gives you an extensive menu reader and enough Italian to get by. 9 781843 537144 ISBN 978-1-84353-714-4 The book concludes with all the small print, including details of how to send in updates and corrections, and a comprehensive index.
    [Show full text]
  • Industry and the Ideal
    INDUSTRY AND THE IDEAL Ideal Sculpture and reproduction at the early International Exhibitions TWO VOLUMES VOLUME 1 GABRIEL WILLIAMS PhD University of York History of Art September 2014 ABSTRACT This thesis considers a period when ideal sculptures were increasingly reproduced by new technologies, different materials and by various artists or manufacturers and for new markets. Ideal sculptures increasingly represented links between sculptors’ workshops and the realm of modern industry beyond them. Ideal sculpture criticism was meanwhile greatly expanded by industrial and international exhibitions, exemplified by the Great Exhibition of 1851, where the reproduction of sculpture and its links with industry formed both the subject and form of that discourse. This thesis considers how ideal sculpture and its discourses reflected, incorporated and were mediated by this new environment of reproduction and industrial display. In particular, it concentrates on how and where sculptors and their critics drew the line between the sculptors’ creative authorship and reproductive skill, in a situation in which reproduction of various kinds utterly permeated the production and display of sculpture. To highlight the complex and multifaceted ways in which reproduction was implicated in ideal sculpture and its discourse, the thesis revolves around three central case studies of sculptors whose work acquired especial prominence at the Great Exhibition and other exhibitions that followed it. These sculptors are John Bell (1811-1895), Raffaele Monti (1818-1881) and Hiram Powers (1805-1873). Each case shows how the link between ideal sculpture and industrial display provided sculptors with new opportunities to raise the profile of their art, but also new challenges for describing and thinking about sculpture.
    [Show full text]
  • Venetian Early Modern Single-Leaf Prints After Contemporary Sculpture: Questions of Form and Function
    Matej Klemenčič VENETIAN EARLY MODERN SINGLE-LEAF PRINTS AFTER CONTEMPORARY SCULPTURE: QUESTIONS OF FORM AND FUNCTION Riassunto rappresentare un singolo pezzo di scultu- ra e potevano essere realizzate per scopi Durante l’epoca moderna, sia la scultura di marketing, celebrativi o propagandistici classica che quella moderna furono spesso o altro ancora. L’articolo discute alcune di tradotte a stampa. Queste stampe sono state queste stampe singole, incise per illustrare pubblicate in diverse occasioni e utilizzate le opere dello scultore veneziano Antonio per vari scopi, spesso in serie con illustrazio- Corradini, e pubblicate a Venezia, Vienna e ni di importanti opere d’arte, come ad esem- Roma. Le incisioni vengono discusse in vi- pio a Roma, o come cataloghi di intere col- sta della loro funzione e dello sviluppo della lezioni di sculture. D’altra parte, potevano carriera di Corradini. Keywords: single-leaf prints, sculpture, Venice, Baroque, Antonio Corradini n one of his early drawings, Giambat- sculptor, therefore, whom Tiepolo wanted tista Tiepolo portrayed his colleagues to distinguish from the others, most prob- Iand friends, gathered sometime be- ably all of them painters. It would be in- tween 1716 and 1718 in a so-called “ac- triguing to identify him with one of the cademia del nudo”, a drawing academy younger Venetian sculptors of the time organised by Collegio dei pittori on Fon- but, unfortunately, there is little evidence damenta Nuove in contrada Santa Maria that would help us deduce his name.1 Formosa, in Venice (Fig. 1). Recently, the Even though our anonymous sculptor two figures on the right were identified as was carefully singled out by his contem- Gregorio Lazzarini (standing) and Antonio porary Tiepolo, at the time still a young, Balestra (sitting, and acting as a corrector), but already a very promising painter, this while the others remain anonymous.
    [Show full text]
  • Libretto Scuole A.S. 2014/15
    Officina delle Muse Programma didattico Anno scolastico 2014/2015 Officina delle Muse “Officina delle Muse” è un’associazione culturale ONLUS la cui attività è volta alla promozione dell’arte e della cultura e alla tutela e valorizzazio- ne dell’ambiente. Per il perseguimento di queste finalità, l’associazione si dedica all’organizzazione di mostre, percorsi didattici, convegni, visite ed escursioni. Tra i nostri obiettivi vi è anche quello di far avvi- cinare all’arte e alla cultura quelle persone che ri- sultano svantaggiate in ragione di condizioni fisi- che, psichiche, economiche, sociali o familiari. 1 Napoli e provincia Musei e complessi di interesse storico- artistico e archeologico Napoli Il Museo Archeologico Nazionale di Napoli Il percorso pre- vede una visita alle principali collezioni del museo. Il gruppo potrà an- che scegliere di approfondire la conoscenza di una se- zione in particolare. L’Appartamento storico di Palazzo Reale Un viaggio nella storia con re e regine illustri tra i fastosi arredi dell’appartamento storico del pa- lazzo. 2 Museo di Capodimonte Il museo ospita le collezioni Far- nese e borbonica che costituiscono i nuclei principali del patrimonio museale di Capodimonte. L'origine della raccolta Far- nese si deve all'azione politica e alle scelte culturali di Alessandro Farnese (1468-1549), che, ancora prima di diventare papa col nome di Paolo III, aveva coltivato l'interesse per il collezionismo artistico e antiquario. Museo di San Martino Visita alla certosa e ai suo tesori, passando per la nuova sezione na- vale ed ammirando i famosi prese- pi (possibilità di laboratorio su porcellana, pastori e pittura su maiolica).
    [Show full text]
  • ITALIAN ART SOCIETY NEWSLETTER XXIX, 3, Fall 2018
    ITALIAN ART SOCIETY NEWSLETTER XXIX, 3, Fall 2018 An Affiliated Society of: College Art Association Society of Architectural Historians International Congress on Medieval Studies Renaissance Society of America Sixteenth Century Society & Conference American Association of Italian Studies President’s Message from Sean Roberts Rosen and I, quite a few of our officers and committee members were able to attend and our gathering in Rome September 15, 2018 served too as an opportunity for the Membership, Outreach, and Development committee to meet and talk strategy. Dear Members of the Italian Art Society: We are, as always, deeply grateful to the Samuel H. Kress Foundation for their support this past decade of these With a new semester (and a new academic year) important events. This year’s lecture was the last under our upon us once again, I write to provide a few highlights of current grant agreement and much of my time at the moment IAS activities in the past months. As ever, I am deeply is dedicated to finalizing our application to continue the grateful to all of our members and especially to those lecture series forward into next year and beyond. As I work who continue to serve on committees, our board, and to present the case for the value of these trans-continental executive council. It takes the hard work of a great exchanges, I appeal to any of you who have had the chance number of you to make everything we do possible. As I to attend this year’s lecture or one of our previous lectures to approach the end of my term as President this winter, I write to me about that experience.
    [Show full text]
  • Immodest Modesty
    Immodest Modesty Marie GAILLE The Renaissance reinvented modesty—that contradictory passion which reveals while hiding. In a masterful book, Dominique Brancher shows how this art of circumvention spanned a variety of knowledge, especially medical knowledge, in the sixteenth century. Review of Dominique Brancher, Équivoques de la pudeur: Fabrique d’une passion à la Renaissance (Ambiguities of modesty: The production of a passion in the Renaissance), Genève, Droz, 2015, 904 pages, € 89. When entering the Sansevero Chapel Museum in Naples, one discovers not only Giuseppe Sanmartino’s extraordinary sculpture of the Veiled Christ (1775), but also a modesty statue— Pudicizia—executed by Antonio Corradini (1752). This white marble statue reveals its charms by concealing them with a veil so thin that it adapts to the smallest curves of the female body; meanwhile, its face turns away, eyes half closed, to escape direct confrontation with those of its admirer. The suggestive power of this sculpture illustrates how much the art of concealing can be associated with provocation, indecency, even obscenity. This ambivalence is particularly striking in the context of the Sansevero Chapel, a marble temple dedicated to the virtues and values cultivated by its founder, Prince of Sansevero, seventh of the name, which have little to do with the pleasures of the body and the charms of seduction: decorum, liberality, religious zeal, sweetness of the conjugal yoke, piety, disillusionment, sincerity, education, divine love. This ambivalence is the running theme of the book by Dominique Brancher, Équivoques de la pudeur: Fabrique d’une passion à la Renaissance. The book is a thoroughly original and ambitious one.
    [Show full text]
  • Color Plate A
    Color Plate a Stephen H. Kawai, Enantiomeric Snails Reveling in Their Encounter on a Leaf Inspired by Chinen, land snails (Amphidromus), rock, steel wire, 90 cm, 1995. (© S.H. Kawai. Photo: D. Kubin.) 37 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/LEON_a_00482 by guest on 28 September 2021 Color Plate B Amit Zoran, hybrid reassemblage: The masks. Glazed ceramic, spray paint, Objet PolyJet 3D-printed heads and epoxy glue, 2010. (left) a broken helmet. (middle and right) A broken element glued around a 3D-printed head. (© Amit Zoran) 38 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/LEON_a_00482 by guest on 28 September 2021 Color Plate C Julian Voss-Andreae, (a–c) Heart of Steel, weathering steel and glass, height 5 ft (1.60 m), 2005. (© Julian Voss-Andreae) The images show a time-sequence of the hemoglobin-based sculpture’s metamorphosis: Photo (a) was taken right after unveil- ing, (b) after 10 days and (c) after several months of exposure to the elements. (d) Alpha Helix for Linus Pauling, powder- coated steel, 10 ft (3 m) high, 2004. (© Julian Voss-Andreae. Collection of The Linus Pauling Center for Science, Peace, and Health.) This memorial for Linus Pauling is located in front of Pauling’s childhood home in Portland, OR. (e) Angel of the West, stainless steel, 12 × 12 × 4 ft (3.70 × 3.70 × 1.20 m), 2008. (© Julian Voss-Andreae. Photo by James McEntee, courtesy of The Scripps Research Institute.) Commissioned as the signature sculpture of The Scripps Research Institute’s new cam- pus in Jupiter, FL, this sculpture plays upon the striking similarity between the human body and our immune system’s key molecule, the antibody.
    [Show full text]
  • Bowdoin Sculpture of St. John Nepomuk
    Bowdoin College Bowdoin Digital Commons Museum of Art Miscellaneous Publications Museum of Art 1975 Bowdoin Sculpture of St. John Nepomuk Bowdoin College. Museum of Art Zdenka Volavka Follow this and additional works at: https://digitalcommons.bowdoin.edu/art-museum-miscellaneous- publications Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Recommended Citation Bowdoin College. Museum of Art and Volavka, Zdenka, "Bowdoin Sculpture of St. John Nepomuk" (1975). Museum of Art Miscellaneous Publications. 7. https://digitalcommons.bowdoin.edu/art-museum-miscellaneous-publications/7 This Book is brought to you for free and open access by the Museum of Art at Bowdoin Digital Commons. It has been accepted for inclusion in Museum of Art Miscellaneous Publications by an authorized administrator of Bowdoin Digital Commons. For more information, please contact [email protected]. THE BOWDOIN SCULPTURE OF ST. JOHN NEPOMUK OCCASIONAL PAPERS II The Bowdoin Sculpture of St. John Nepomuk Zdenka Volavka BOWDOIN COLLEGE MUSEUM OF ART BRUNSWICK, MAINE COPYRIGHT 1975 THE PRESIDENT AND TRUSTEES OF BOWDOIN COLLEGE LIBRARY OF CONGRESS CATALOGUE CARD NO! 75" I3487 Also published as Number 396 of the Bouodoin College Bulletin Series PRINTED AT THE MERIDEN GRAVURE COMPANY, MERIDEN, CONNECTICUT COMPOSITION BY THE ANTHOENSEN PRESS, PORTLAND, MAINE ACKNOWLEDGMENTS THIS paper was commissioned by Richard V. West during his tenure as director of the Bowdoin College Museum of Art, but the work of publishing it did not begin until after he assumed the position of director of the E. B. Crocker Art Gallery in Sacramento, California. Nonetheless, Mr. West retained a lively interest in the project and for his help, especially his careful reading of the manuscript, we are very grateful.
    [Show full text]
  • 15X21 DICEMBRE:Layout 1
    dicembre gennaio QUINapoli 2010/11 Infopoint Azienda Autonoma di Indice / Contents Soggiorno Cura e Turismo di Napoli: Monumenti . .3 via San Carlo 9 Monuments tel. 081 402394 Eventi del mese . .41 [email protected] Events of the month Piazza del Gesù, 7 Alberghi . .56 tel. 081 5512701 Hotels 081 5523328 Affittacamere . .63 [email protected] Rent Rooms via Santa Lucia, 107 B&B . .64 tel. 081 2457475 Ostelli / Hostels . .67 081 7647064 Ristoranti . .68 fax 081 2452458 Napoli Restaurants QUI Pizzerie . .70 EPT - sede Centrale Pizza restaurants Piazza dei Martiri 58 è una pubblicazione dell’Azienda Autonoma Cucina Etnica . .71 Napoli Soggiorno, Cura e Turismo di Napoli Ethnic Food tel. 081 4107211 Aut. Trib. Napoli n. 3102 del 7/4/1982 UnicoCampania . .73 fax 081 401961 Dicembre 2010 - Gennaio 2011 Treni . .76 Trains Comune di Napoli Direttore Responsabile Osservatorio Turistico Autolinee . .78 Buses Roberta D’Agostino Culturale Piazza del Plebiscito Aliscafi . .79 In redazione Colonnato della Chiesa Hydrofoils Fabiana Calemma, Raffaella Capozzi, di San Francesco di Paola Traghetti / Navi . .80 Maurizio Cerullo, Domenico Guida tel. 081 7956161/62 Ferries / Ships foto di copertina: Enzo Barbieri Collegamenti da e per URP Comune di Napoli l’aereoporto . .83 Transport from/ to airport traduzioni testi: Laura Caliendo Piazza Municipio Palazzo San Giacomo ArteCard . .84 Azienda Autonoma di Soggiorno tel. 081 7955000 CitySightseeing . .85 Cura e Turismo di Napoli www.comune.napoli.it Autonoleggi . .86 Palazzo Reale Car Rental Piazza del Plebiscito 1 per informazioni e 80132 Napoli Mezzi di trasporto aggiornamenti consultare per i Musei . .87 tel. 081 2525711 il sito: www.inaples.it Transport to Museums fax 081 418619 Consolati .
    [Show full text]
  • Between Academic Art and Guild Traditions 21
    19 JULIA STROBL, INGEBORG SCHEMPER-SPARHOLZ, quently accompanied Philipp Jakob to Graz in 1733.2 MATEJ KLEMENČIČ The half-brothers Johann Georg Straub (1721–73) and Franz Anton (1726–74/6) were nearly a decade younger. There is evidence that in 1751 Johann Georg assisted at BETWEEN ACADEMIC ART AND Philipp Jakobs’s workshop in Graz before he married in Bad Radkersburg in 1753.3 His sculptural œuvre is GUILD TRADITIONS hardly traceable, and only the figures on the right-side altar in the Church of Our Lady in Bad Radkersburg (ca. 1755) are usually attributed to him.4 The second half- brother, Franz Anton, stayed in Zagreb in the 1760s and early 1770s; none of his sculptural output has been confirmed by archival sources so far. Due to stylistic similarities with his brother’s works, Doris Baričević attributed a number of anonymous sculptures from the 1760s to him, among them the high altar in Ludina The family of sculptors Johann Baptist, Philipp Jakob, and the pulpit in Kutina.5 Joseph, Franz Anton, and Johann Georg Straub, who worked in the eighteenth century on the territory of present-day Germany (Bavaria), Austria, Slovenia, Cro- STATE OF RESEARCH atia, and Hungary, derives from Wiesensteig, a small Bavarian enclave in the Swabian Alps in Württemberg. Due to his prominent position, Johann Baptist Straub’s Johann Ulrich Straub (1645–1706), the grandfather of successful career in Munich awoke more scholarly in- the brothers, was a carpenter, as was their father Jo- terest compared to his younger brothers, starting with hann Georg Sr (1674–1755) who additionally acted as his contemporary Johann Caspar von Lippert.
    [Show full text]
  • Portego ENG Museum of Palazzo Mocenigo
    Portego ENG Museum of Palazzo Mocenigo Flanked by the other rooms, this large central hall is typical of the structure of Venetian palazzi and was used for celebrations and official occasions. The paintings on display here are either nearly all portraits of the Mocenigo family or depict events in which they were involved. Four of the large portraits of the walls (1,2,4,5) are of the sovereigns under whom the Mocenigo family were ambassadors, while two of the seven doges from the family are portrayed above the door (6,8) and the others (18, 28,38,40,41) in the long frieze below the ceiling– inspired by the one in the Sala del Maggior Consiglio in the Doge’s Palace -, together with numerous illustrious members of the family. The walls were decorated with architectural motifs by Agostino Mengozzi Colonna in 1787. The itinerary to visit the museum begins in the room on our right, looking at the main entrance, with its marble double door. Captions on the back In black if the work belongs to the palazzo In grey if the work comes from other collections >>> Please return this card Portego ENG Walls 1. French scene? , 17th cent. Portrait of King Louis XIV (?) 29 oil on canvas, 1670 30 9 th Room 7 2. Manner of Peter Lely, 17 cent. 10 Room 5 Portrait of King Charles II Stuart 28 oil on canvas, 1651 31 3. Veneto scene, 17th cent. 27 2 Portrait of procurator Alvise Mocenigo 32 oil on canvas, 1621 th 26 4. Flemish scene? 17 cent.
    [Show full text]
  • Raimondo Di Sangro Y El Motivo Escultórico De La Cappella Sansevero
    FACULTAD DE GEOGRAFÍA E HISTORIA GRADO EN HISTORIA DEL ARTE Raimondo di Sangro y el motivo escultórico de la Cappella Sansevero Raimondo di Sangro and the sculptural motif of Cappella Sansevero Dirigido por: Delfín Rodríguez Ruiz Realizado por: Carlos Lozano Guillem A mi familia, por su apoyo incondicional. 2 Resumen La Cappella Sansevero de Nápoles se remonta en sus orígenes a finales del siglo XVI, pero alcanzaría su máximo esplendor en la segunda mitad del Settecento. El embellecimiento de este mausoleo familiar fue protagonizado por el séptimo príncipe de la casa Sansevero: Don Raimondo di Sangro, hombre versado en infinidad de artes y con un recorrido vital marcado por la controversia y el afecto de sus contemporáneos. Tanto su mecenas como el templo han sido centro de mitos y leyendas, pero de lo que no hay ninguna duda es de que se trata de una de las capillas más creativas -en cuanto a su motivo escultórico-, y que propone una lectura ligada al simbolismo hermético, alquimista y masón. Todas ellas doctrinas que el príncipe Sansevero acogió en unos tiempos en los que el Illuminismo comenzaba a establecerse en el viejo continente. Abstract The Cappella Sansevero in Naples dates back to the end of the 16th century, but would reach its peak in the second half of the 18th century. The embellishment of this family mausoleum was carried out by the seventh prince of Sansevero: Don Raimondo di Sangro, a man versed in a multitude of arts and with a life journey marked by controversy and the affection of his contemporaries.
    [Show full text]