Biographical Dates
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Pope Paul III and the Cultural Politics of Reform Pope Paul III and the Cultural Politics of Reform
6 RENAISSANCE HISTORY, ART AND CULTURE Cussen Pope Paul III and the Cultural Politics of Reform of Politics Cultural the and III Paul Pope Bryan Cussen Pope Paul III and the Cultural Politics of Reform 1534-1549 Pope Paul III and the Cultural Politics of Reform Renaissance History, Art and Culture This series investigates the Renaissance as a complex intersection of political and cultural processes that radiated across Italian territories into wider worlds of influence, not only through Western Europe, but into the Middle East, parts of Asia and the Indian subcontinent. It will be alive to the best writing of a transnational and comparative nature and will cross canonical chronological divides of the Central Middle Ages, the Late Middle Ages and the Early Modern Period. Renaissance History, Art and Culture intends to spark new ideas and encourage debate on the meanings, extent and influence of the Renaissance within the broader European world. It encourages engagement by scholars across disciplines – history, literature, art history, musicology, and possibly the social sciences – and focuses on ideas and collective mentalities as social, political, and cultural movements that shaped a changing world from ca 1250 to 1650. Series editors Christopher Celenza, Georgetown University, USA Samuel Cohn, Jr., University of Glasgow, UK Andrea Gamberini, University of Milan, Italy Geraldine Johnson, Christ Church, Oxford, UK Isabella Lazzarini, University of Molise, Italy Pope Paul III and the Cultural Politics of Reform 1534-1549 Bryan Cussen Amsterdam University Press Cover image: Titian, Pope Paul III. Museo di Capodimonte, Naples, Italy / Bridgeman Images. Cover design: Coördesign, Leiden Lay-out: Crius Group, Hulshout isbn 978 94 6372 252 0 e-isbn 978 90 4855 025 8 doi 10.5117/9789463722520 nur 685 © B. -
Renaissance Popes and What They Did Source: Mcbrien, Richard; Lives of the Popes, Harper Collins, San Francisco, 1997
Renaissance Popes and what they did Source: McBrien, Richard; Lives of the Popes, Harper Collins, San Francisco, 1997. Nicholas V (1447-1455) • The first Renaissance Pope. • His book collection formed the nucleus of the Vatican Library • Was Pope when Constantinople fell • Tried to organize a crusade to retake Constantinople; couldn’t raise the funds Calixtus III (Spanish, 1455-1458) • Tried to finance a fleet to retake Constantinople (Indulgences, taxes, selling Vatican artworks/books) • French and Germans objected to heavy-handed fundraising tactics. • Made two nephews into Cardinals, one of whom became Pope Alexander VI (nepotism) Pius II (1458-1464) • Encouraged arts and literature to thrive • Called for Crusade against the Turks o Met opposition from rulers because of funding concerns o Blamed church councils for his weakness and opposed conciliarism • Went on Crusade anyway and died in transit Paul II (1464-1471) • A true medieval Pope, the only one of this period who was not a humanist • Banned the study of pagan poetry, such as Virgil and Homer • Angered humanists and was one of the least popular Popes in history • Also tried to send a Crusade to Constantinople and also failed Sixtus IV (1471-1484) • Sistine Chapel begun and named after him • Authorized Spanish Inquisition • Made two nephews cardinals, one of whom became Pope Julius II • Wanted a Crusade against Turks but rulers still didn’t really care for it • Drained treasury and approved the sale of indulgences to replenish it • Paid little attention to qualifications when -
JEWISH REVIEW of BOOKS Volume 5, Number 1 Spring 2014 $7.95
The New Balaboosta, Khazar DNA & Agnon’s Lost Satire JEWISH REVIEW OF BOOKS Volume 5, Number 1 Spring 2014 $7.95 The Screenwriter & the Hoodlums Ben Hecht with Stuart Schoffman Ivan Marcus Rashi with Chumash Elliott Abrams Israel’s Journalist-Prophet Steven Aschheim The Memory Man Amy Newman Smith Expulsion Chick-Lit Gavriel D. Rosenfeld George Clooney, Historian NEW AT THE Editor CENTER FOR JEWISH HISTORY Abraham Socher Senior Contributing Editor Allan Arkush Art Director Betsy Klarfeld Associate Editor Amy Newman Smith Administrative Assistant Rebecca Weiss Editorial Board Robert Alter Shlomo Avineri Leora Batnitzky Ruth Gavison Moshe Halbertal Hillel Halkin Jon D. Levenson Anita Shapira Michael Walzer J. H.H. Weiler Leon Wieseltier Ruth R. Wisse Steven J. Zipperstein Publisher Eric Cohen Associate Publisher & Director of Marketing Lori Dorr NEW SPACE The Jewish Review of Books (Print ISSN 2153-1978, The David Berg Rare Book Room is a state-of- Online ISSN 2153-1994) is a quarterly publication the-art exhibition space preserving and dis- of ideas and criticism published in Spring, Summer, playing the written word, illuminating Jewish Fall, and Winter, by Bee.Ideas, LLC., 165 East 56th Street, 4th Floor, New York, NY 10022. history over time and place. For all subscriptions, please visit www.jewishreviewofbooks.com or send $29.95 UPCOMING EXHIBITION ($39.95 outside of the U.S.) to Jewish Review of Books, Opening Sunday, March 16: By Dawn’s Early PO Box 3000, Denville, NJ 07834. Please send notifi- cations of address changes to the same address or to Light: From Subjects to Citizens (presented by the [email protected]. -
Christopher White Table of Contents
Christopher White Table of Contents Introduction .................................................................................................................................................. 4 Peter the “rock”? ...................................................................................................................................... 4 Churches change over time ...................................................................................................................... 6 The Church and her earthly pilgrimage .................................................................................................... 7 Chapter 1 The Apostle Peter (d. 64?) : First Bishop and Pope of Rome? .................................................. 11 Peter in Rome ......................................................................................................................................... 12 Yes and No .............................................................................................................................................. 13 The death of Peter .................................................................................................................................. 15 Chapter 2 Pope Sylvester (314-335): Constantine’s Pope ......................................................................... 16 Constantine and his imprint .................................................................................................................... 17 “Remembering” Sylvester ...................................................................................................................... -
JKV Offers All Residents and Staff Chance for COVID-19 Vaccination
March 2021 Vol. 8, Number 12 A Life-Plan Continuing Care Retirement Community Published Monthly by John Knox Village • 651 S.W. Sixth Street, Pompano Beach, Florida 33060 In This Month’s Issue JKV Offers All Residents And Staff Thanks For Asking ............... 2 Chance For COVID-19 Vaccination Rescuing Europe’s Art ....... 3 Chef Mark’s In Good Taste Recipe ........................ 4 Book Review ..................... 4 Meet The Middletons .......... 5 Ask Kim About JKV ............ 6 The Stressless Move .......... 7 Food As Medicine ................. 8 The Curious Mind ................. 8 JKV staff members (L. to R.) Susanne Russell, Joanne Avis and Loli Pire-Schmidt check-in resident Andrea Hipskind for her initial COVID-19 vaccination on Jan. 19. In all, some 800 residents and employees received their first vaccinations that day. Marty Lee photo. Technology Training ............ 9 ver since December and the management team jumped into action to plan for this ma- JKV Expands ........................ 9 Marty Lee approval of both the Pfizer- jor health care event. Elders in the Meaningful Life homes Gazette Contributor E A General’s Thoughts ...... 10 BioNTech and Moderna COVID-19 including Assisted Living at Gardens West and Long-Term vaccines, people all over the nation Care in Seaside Cove and The Woodlands had already Find The Light ................. 10 have been seeking their turn for vaccinations. Subsequently, received their vaccinations, so the planning would involve the state of Florida prioritized persons 65 years of age and vaccinations for the entire community of more than 600 In- NSU Art Museum ............... 11 older, plus health care personnel with direct patient contact dependent Living residents and more than 600 employees. -
The Cathar Crucifix: New Evidence of the Shroud’S Missing History
THE CATHAR CRUCIFIX: NEW EVIDENCE OF THE SHROUD’S MISSING HISTORY By Jack Markwardt Copyright 2000 All Rights Reserved Reprinted by Permission INTRODUCTION Shortly after the dawn of the thirteenth century, a French knight toured the magnificent city that was then Constantinople and, upon entering one of its fabulous churches, observed a clear full-body image of Jesus Christ gracing an outstretched burial cloth.1 Those who advocate that this sydoine was, in fact, the Shroud of Turin, are challenged to credibly account for the relic’s whereabouts both prior to its exhibition in Byzantium and during the period spanning its disappearance in 1204 to its reemergence some one hundred and fifty years later.2 In this paper, the author suggests that medieval crucifixes, orthodox and heretical, evolved from increased awareness of the sindonic image and that these changes mark the historical path of the Shroud as it traveled in anonymity from East to West. THE ORTHODOX CRUCIFIX By the early third century, the cross was the recognized sign of Christianity throughout the Roman Empire and, over the next several centuries, the use of this symbol became so widespread that it is found on most remnants of the era.3 Perhaps repulsed by the ignominious nature of Christ’s death,4 the earliest Christians did not portray his crucifixion. “The custom of displaying the Redeemer on the Cross began with the close of the sixth century”5 and the first datable manuscript image of the Crucifixion is that found in a Syrian Gospel Book written in 586.6 The sudden rise -
The Motivation for the Patronage of Pope Julius Ii
THE MOTIVATION FOR THE PATRONAGE OF POPE JULIUS II Christine Shaw As the head of the Western Church, Giuliano della Rovere, Pope Julius II (1503-13), has had his critics, from his own day to ours, above all for his role as ‘the warrior pope’. The aspect of his rule that has won most general approval has been his patronage of the arts. The complex iconography of some of the works Julius commissioned, particularly Raphael’s frescoes in the Vatican Stanze, and the scale of some of the projects he initiated – the rebuilding of St Peter’s, the development of the via Giulia, the massive and elaborate tomb Michelangelo planned to create for him – have provided fertile soil for interpretation of these works as expressions of Julius’s own ideals, aspirations, motives and self-image. Too fertile, perhaps – some interpretations have arguably become over-elaborate and recherchés. The temptation to link the larger than life character of Julius II with the claims for the transcendent power and majesty of the papacy embodied in the ico- nography and ideology of the works of art and writings produced in Rome during his pontificate, whether or not they were commissioned by the pope, has often proved irresistible to scholars. Some of the works associated with Julius can be read as expressions of certain conceptions of papal authority, and of the Rome of the Renaissance popes as the culmination of classical and Jewish, as well as early Christian history. But should they be read as Julius’s conception of his role as pope, his programme for his own papacy? Just because others identified him with Julius Caesar, or with Moses, does that mean that he saw himself as Moses, as a second Julius Caesar? There were plenty of learned men in Rome, ready to elabore theories of papal power which drew on different traditions and to fit Julius into them, just as they had fitted earlier popes and would fit later popes into them. -
Sources of Donatello's Pulpits in San Lorenzo Revival and Freedom of Choice in the Early Renaissance*
! " #$ % ! &'()*+',)+"- )'+./.#')+.012 3 3 %! ! 34http://www.jstor.org/stable/3047811 ! +565.67552+*+5 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org THE SOURCES OF DONATELLO'S PULPITS IN SAN LORENZO REVIVAL AND FREEDOM OF CHOICE IN THE EARLY RENAISSANCE* IRVING LAVIN HE bronze pulpits executed by Donatello for the church of San Lorenzo in Florence T confront the investigator with something of a paradox.1 They stand today on either side of Brunelleschi's nave in the last bay toward the crossing.• The one on the left side (facing the altar, see text fig.) contains six scenes of Christ's earthly Passion, from the Agony in the Garden through the Entombment (Fig. -
Martin Luther’S New Doctrine of Salvation That Resulted in a Break from the Catholic Church and the Establishment of Lutheranism
DO NOW WHAT DOES THE WORD REFORM MEAN? WHAT DO YOU THINK IT MEANS REGARDING THE CHURCH? Learning Targets and Intentions of the Lesson I Want Students To: 1. KNOW the significance of Martin Luther’s new doctrine of salvation that resulted in a break from the Catholic church and the establishment of Lutheranism. 2. UNDERSTAND the way humanism and Erasmus forged the Reformation. 3. Analyze (SKILL) how Calvinism replaced Lutheranism as the most dynamic form of Protestantism. Essential Question. What caused the Protestant Reformation? REFORMATION RE FORM TO DO TO MAKE AGAIN BUT DO OVER/MAKE WHAT AGAIN?THE CHURCH! Definitions Protest Reform To express strong To improve by objection correcting errors The Protestant Reformation 5 Problems in the Church • Corruption • Political Conflicts Calls for Reform • John Wycliffe (1330-1384) – Questioned the authority of the pope • Jan Hus (1370-1415) – Criticized the vast wealth of the Church • Desiderius Erasmus (1469-1536) – Attacked corruption in the Church Corruption • The Church raised money through practices like simony and selling indulgences. Advantages of Buying Indulgences Go Directly to Heaven! • Do not go to Hell! • Do not go to Purgatory! • Get through Purgatory faster! • Do not pass Go! Martin Luther Who was Martin Luther? • Born in Germany in 1483. • After surviving a violent storm, he vowed to become a monk. • Lived in the city of Wittenberg. • Died in 1546. Luther Looks for Reforms • Luther criticized Church practices, like selling indulgences. • He wanted to begin a discussion within the Church about the true path to salvation. • Stresses faith over He nailed his Ninety- works, rejected church Five Theses, or as intermediary. -
The Life of Michelangelo Buonarroti by John Addington Symonds</H1>
The Life of Michelangelo Buonarroti by John Addington Symonds The Life of Michelangelo Buonarroti by John Addington Symonds Produced by Ted Garvin, Keith M. Eckrich and PG Distributed Proofreaders THE LIFE OF MICHELANGELO BUONARROTI By JOHN ADDINGTON SYMONDS TO THE CAVALIERE GUIDO BIAGI, DOCTOR IN LETTERS, PREFECT OF THE MEDICEO-LAURENTIAN LIBRARY, ETC., ETC. I DEDICATE THIS WORK ON MICHELANGELO IN RESPECT FOR HIS SCHOLARSHIP AND LEARNING ADMIRATION OF HIS TUSCAN STYLE AND GRATEFUL ACKNOWLEDGMENT OF HIS GENEROUS ASSISTANCE CONTENTS CHAPTER page 1 / 658 I. BIRTH, BOYHOOD, YOUTH AT FLORENCE, DOWN TO LORENZO DE' MEDICI'S DEATH. 1475-1492. II. FIRST VISITS TO BOLOGNA AND ROME--THE MADONNA DELLA FEBBRE AND OTHER WORKS IN MARBLE. 1492-1501. III. RESIDENCE IN FLORENCE--THE DAVID. 1501-1505. IV. JULIUS II. CALLS MICHELANGELO TO ROME--PROJECT FOR THE POPE'S TOMB--THE REBUILDING OF S. PETER'S--FLIGHT FROM ROME--CARTOON FOR THE BATTLE OF PISA. 1505, 1506. V. SECOND VISIT TO BOLOGNA--THE BRONZE STATUE OF JULIUS II--PAINTING OF THE SISTINE VAULT. 1506-1512. VI. ON MICHELANGELO AS DRAUGHTSMAN, PAINTER, SCULPTOR. VII. LEO X. PLANS FOR THE CHURCH OF S. LORENZO AT FLORENCE--MICHELANGELO'S LIFE AT CARRARA. 1513-1521. VIII. ADRIAN VI AND CLEMENT VII--THE SACRISTY AND LIBRARY OF S. LORENZO. 1521-1526. page 2 / 658 IX. SACK OF ROME AND SIEGE OF FLORENCE--MICHELANGELO'S FLIGHT TO VENICE--HIS RELATIONS TO THE MEDICI. 1527-1534. X. ON MICHELANGELO AS ARCHITECT. XI. FINAL SETTLEMENT IN ROME--PAUL III.--THE LAST JUDGMENT AND THE PAOLINE CHAPEL--THE TOMB OF JULIUS. -
1 Santo Spirito in Florence: Brunelleschi, the Opera, the Quartiere and the Cantiere Submitted by Rocky Ruggiero to the Universi
Santo Spirito in Florence: Brunelleschi, the Opera, the Quartiere and the Cantiere Submitted by Rocky Ruggiero to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Art History and Visual Culture In March 2017. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (Signature)…………………………………………………………………………….. 1 Abstract The church of Santo Spirito in Florence is universally accepted as one of the architectural works of Filippo Brunelleschi (1377-1446). It is nevertheless surprising that contrary to such buildings as San Lorenzo or the Old Sacristy, the church has received relatively little scholarly attention. Most scholarship continues to rely upon the testimony of Brunelleschi’s earliest biographer, Antonio di Tuccio Manetti, to establish an administrative and artistic initiation date for the project in the middle of Brunelleschi’s career, around 1428. Through an exhaustive analysis of the biographer’s account, and subsequent comparison to the extant documentary evidence from the period, I have been able to establish that construction actually began at a considerably later date, around 1440. It is specifically during the two and half decades after Brunelleschi’s death in 1446 that very little is known about the proceedings of the project. A largely unpublished archival source which records the machinations of the Opera (works committee) of Santo Spirito from 1446-1461, sheds considerable light on the progress of construction during this period, as well as on the role of the Opera in the realization of the church. -
The Holocaust Expropriated Art Recovery Act of 2016: an Ineffective Remedy for Returning Nazi-Looted Art
THE HOLOCAUST EXPROPRIATED ART RECOVERY ACT OF 2016: AN INEFFECTIVE REMEDY FOR RETURNING NAZI-LOOTED ART SOFFIA H. KUEHNER GRAY* During World War II, the Third Reich engineered the “greatest art theft in history,” stealing over 650,000 works of art from across Europe. Nearly a century later, many of these works are still missing or have yet to be reunited with their prewar owners. Despite substantial efforts to both facilitate and expedite the restitution process, it still remains relatively difficult for individuals to reclaim art stolen from their families by the Na- zis during the war. This Note first examines the processes through which countries—in particular, the United States—have handled art restitution. This Note then analyzes the Holocaust Expropriated Art Recovery Act (“HEAR”) and its potential effectiveness in providing a suitable remedy to the victims of the Nazi art theft. Ultimately, this Note suggests several modifications to HEAR so that it provides an effective remedy to the victims while still pro- tecting the interests of good-faith purchasers. TABLE OF CONTENTS I. INTRODUCTION ........................................................................................364 II. BACKGROUND ..........................................................................................367 A. Terminology .....................................................................................367 1. Restitution .................................................................................367 2. Provenance ...............................................................................368