Art and Life in Renaissance Venice Free Download
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Ancient Battles Guido Beltramini
Ancient Battles Guido Beltramini In 1575 Palladio published an illustrated Italian edition of Julius Caesar’s Commentaries. Five years later, his death halted the publication of Polybius’ Histories, which included forty-three engravings showing armies deployed at various battles: from Cannae to Zamas, Mantinea and Cynoscephalae. At the height of his career, Palladio invested time, energy and money into two publishing ventures far removed from architecture. In fact the two publications were part of a world of military matters which had attracted Palladio’s interest since his youth, when it formed an integral part of his education undertaken by Giangiorgio Trissino. As John Hale has shown, sixteenth-century Venice was one of the most active centres in Europe for military publications dealing with matters such as fortifications, tactics, artillery, fencing and even medicine. The distinguishing element in the Venetian production of such books was the widespread belief in the importance of the example of the Classical Greek and Roman writers, shared by men of letters and professional soldiers. This was combined with particular care shown towards the reader. The books were supplemented with tables of contents, indices, marginal notes and even accompanied by the publication of compendia illustrating the texts, such as the series entitled Gioie (‘Gems’) which Gabriele Giolito published from 1557 to 1570 (Hale 1980, pp. 257-268). Fig 1: Valerio Chiericati, manuscript of Della Many of the leading players in this milieu were linked to Trissino, albeit Milizia. Venice, Museo Correr, MS 883 in different ways: cultivated soldiers like Giovan Jacopo Leonardi, the Vicentine Valerio Chiericati (fig. -
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. -
ART HISTORY of VENICE HA-590I (Sec
Gentile Bellini, Procession in Saint Mark’s Square, oil on canvas, 1496. Gallerie dell’Accademia, Venice ART HISTORY OF VENICE HA-590I (sec. 01– undergraduate; sec. 02– graduate) 3 credits, Summer 2016 Pratt in Venice––Pratt Institute INSTRUCTOR Joseph Kopta, [email protected] (preferred); [email protected] Direct phone in Italy: (+39) 339 16 11 818 Office hours: on-site in Venice immediately before or after class, or by appointment COURSE DESCRIPTION On-site study of mosaics, painting, architecture, and sculpture of Venice is the primary purpose of this course. Classes held on site alternate with lectures and discussions that place material in its art historical context. Students explore Byzantine, Gothic, Renaissance, Baroque examples at many locations that show in one place the rich visual materials of all these periods, as well as materials and works acquired through conquest or collection. Students will carry out visually- and historically-based assignments in Venice. Upon return, undergraduates complete a paper based on site study, and graduate students submit a paper researched in Venice. The Marciana and Querini Stampalia libraries are available to all students, and those doing graduate work also have access to the Cini Foundation Library. Class meetings (refer to calendar) include lectures at the Università Internazionale dell’ Arte (UIA) and on-site visits to churches, architectural landmarks, and museums of Venice. TEXTS • Deborah Howard, Architectural History of Venice, reprint (New Haven and London: Yale University Press, 2003). [Recommended for purchase prior to departure as this book is generally unavailable in Venice; several copies are available in the Pratt in Venice Library at UIA] • David Chambers and Brian Pullan, with Jennifer Fletcher, eds., Venice: A Documentary History, 1450– 1630 (Toronto: University of Toronto Press, 2001). -
C HAPTER THREE Dissertation I on the Waters and Aqueducts Of
Aqueduct Hunting in the Seventeenth Century: Raffaele Fabretti's De aquis et aquaeductibus veteris Romae Harry B. Evans http://www.press.umich.edu/titleDetailDesc.do?id=17141, The University of Michigan Press C HAPTER THREE Dissertation I on the Waters and Aqueducts of Ancient Rome o the distinguished Giovanni Lucio of Trau, Raffaello Fabretti, son of T Gaspare, of Urbino, sends greetings. 1. introduction Thanks to your interest in my behalf, the things I wrote to you earlier about the aqueducts I observed around the Anio River do not at all dis- please me. You have in›uenced my diligence by your expressions of praise, both in your own name and in the names of your most learned friends (whom you also have in very large number). As a result, I feel that I am much more eager to pursue the investigation set forth on this subject; I would already have completed it had the abundance of waters from heaven not shown itself opposed to my own watery task. But you should not think that I have been completely idle: indeed, although I was not able to approach for a second time the sources of the Marcia and Claudia, at some distance from me, and not able therefore to follow up my ideas by surer rea- soning, not uselessly, perhaps, will I show you that I have been engaged in the more immediate neighborhood of that aqueduct introduced by Pope Sixtus and called the Acqua Felice from his own name before his ponti‹- 19 Aqueduct Hunting in the Seventeenth Century: Raffaele Fabretti's De aquis et aquaeductibus veteris Romae Harry B. -
Procession in Renaissance Venice Effect of Ritual Procession on the Built Environment and the Citizens of Venice
Procession in Renaissance Venice Effect of Ritual Procession on the Built Environment and the Citizens of Venice Figure 1 | Antonio Joli, Procession in the Courtyard of the Ducal Palace, Venice, 1742. Oil on Canvas. National Gallery of Art Reproduced from National Gallery of Art, http://www.nga.gov/content/ngaweb/Collection/art-object-page.32586.html Shreya Ghoshal Renaissance Architecture May 7, 2016 EXCERPT: RENAISSANCE ARCH RESEARCH PAPER 1 Excerpt from Procession in Renaissance Venice For Venetians, the miraculous rediscovery of Saint Mark’s body brought not only the reestablishment of a bond between the city and the Saint, but also a bond between the city’s residents, both by way of ritual procession.1 After his body’s recovery from Alexandria in 828 AD, Saint Mark’s influence on Venice became evident in the renaming of sacred and political spaces and rising participation in ritual processions by all citizens.2 Venetian society embraced Saint Mark as a cause for a fresh start, especially during the Renaissance period; a new style of architecture was established to better suit the extravagance of ritual processions celebrating the Saint. Saint Mark soon displaced all other saints as Venice’s symbol of independence and unity. Figure 2 | Detailed Map of Venice Reproduced from TourVideos, http://www.lahistoriaconmapas.com/atlas/italy-map/italy-map-venice.htm 1 Edward Muir, Civic Ritual in Renaissance Venice (Princeton, NJ: Princeton University Press, 1981), 87. 2 Muir, Civic Ritual, 80-81. EXCERPT: RENAISSANCE ARCH RESEARCH PAPER 2 The Renaissance period in Venice, lasting through the Quattrocento and Cinquecento, was significant because of the city’s maintenance of civic peace; this was achieved in large part by the rise in number and importance of processional routes by the Doges, the elected leaders of the Republic.3 Venice proved their commitment to these processions by creating a grander urban fabric. -
Epigraphical Research and Historical Scholarship, 1530-1603
Epigraphical Research and Historical Scholarship, 1530-1603 William Stenhouse University College London A thesis submitted in fulfilment of the requirements of the Ph.D degree, December 2001 ProQuest Number: 10014364 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10014364 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract This thesis explores the transmission of information about classical inscriptions and their use in historical scholarship between 1530 and 1603. It aims to demonstrate that antiquarians' approach to one form of material non-narrative evidence for the ancient world reveals a developed sense of history, and that this approach can be seen as part of a more general interest in expanding the subject matter of history and the range of sources with which it was examined. It examines the milieu of the men who studied inscriptions, arguing that the training and intellectual networks of these men, as well as the need to secure patronage and the constraints of printing, were determining factors in the scholarship they undertook. It then considers the first collections of inscriptions that aimed at a comprehensive survey, and the systems of classification within these collections, to show that these allowed scholars to produce lists and series of features in the ancient world; the conventions used to record inscriptions and what scholars meant by an accurate transcription; and how these conclusions can influence our attitude to men who reconstructed or forged classical material in this period. -
“Talk” on Albanian Territories (1392–1402)
Doctoral Dissertation A Model to Decode Venetian Senate Deliberations: Pregadi “Talk” on Albanian Territories (1392–1402) By: Grabiela Rojas Molina Supervisors: Gerhard Jaritz and Katalin Szende Submitted to the Medieval Studies Department Central European University, Budapest In partial fulfillment of the requirements for the degree of Doctor of Philosophy in Medieval Studies, Budapest, Hungary 2020 CEU eTD Collection To my parents CEU eTD Collection Table of Contents Acknowledgments .................................................................................................................................. 1 List of Maps, Charts and Tables .......................................................................................................... 2 Introduction ............................................................................................................................................ 3 A Survey of the Scholarship ........................................................................................................................... 8 a) The Myth of Venice ........................................................................................................................... 8 b) The Humanistic Outlook .................................................................................................................. 11 c) Chronicles, Histories and Diaries ..................................................................................................... 14 d) Albania as a Field of Study ............................................................................................................. -
Books & Works on Paper Including Autographs & Memorabilia (31 Mar
Books & Works on Paper including Autographs & Memorabilia (31 Mar 2020) Tue, 31st Mar 2020 Viewing: Clients may bid online via our own bidding platform, by telephone or absentee bidding as normal. Lot 74 Estimate: £1000 - £1500 + Fees Vitruvius (Pollio) Vitruvius (Pollio) De architectura libri decem nuper maxima diligentia castigati atque excusi, additis, Iulii Frontini de aqueductibus libris propter materiæ affinitatem, 2 parts in one volume, with separate pagination, woodcut printer’s device on title, ink faded, last leaf supplied in early facsimile, lacking Giunta’s device on verso, circa 140 illustrations, some leaves misnumbered, front endpaper and first 2 leaves restored, some spotting or foxing, paper flaws to E1, slight water staining to quire E & F, contemporary marginalia in part 2, later vellum over boards, new endpapers, soiled, upper hinge split, with loss, slight worming, [Adams V 904; Berlin Kat. 1800; Cicognara 699; Fowlwe 396; Sander 7697], 8vo, Giunti, Florence, 1522. ***Filippo Giunta’s re-edition in italics of the 1513 pocket version of Vitruvius, following the illustrated edition that Fr' Giocondo had published in Venice in 1511, with the woodcuts from the same blocks. It is accompanied by Frontinus’ treatise, De aquæductibus. It has been proved that Giocondo himself went back over the text, the index and the illustrations. A copy from 1511 kept at the ‘Centro Internazionale di Studi di Archittetura Andrea Palladio’, which was used to prepare the Giunta edition (Tura 2011, pp. 29- 36) proves this. Giocondo’s corrections are concerned above all with assimilating the errata from 1511, including the illustrations. The work is dedicated to Giulio de' Medici. -
Sacred Soundscapes: Music, Liturgy, and Architecture in Renaissance Venice
Smyth 1 Andrew Smyth Prof. Bonde HIAA 0420 12 December 2012 Sacred Soundscapes: Music, Liturgy, and Architecture in Renaissance Venice “How I wept during your hymns and songs! I was deeply moved by the music and sweet chants of your Church. The sounds flowed into my ears and the truth was distilled into my heart. This caused my feelings of devotion to overflow." St. Augustine, Confessions1 The Basilica di San Marco of the Venetian Renaissance was the locus of organization for an elaborate liturgy that was intimately engaged with a longstanding tradition in the production and performance of sacred music. We see at San Marco not only musicians responding to the acoustic demands of architectural features, but also the active involvement of architects in the configuration of space to accommodate musical concerns. This growing awareness of the role that architecture plays in shaping the listening experience can be observed both in Renaissance scholarly discourse and in the fascinating interaction between choirmaster Adrian Willaert and sculptor-architect Jacobo Sansovino during a series of sixteenth-century renovations to the choir.2 By considering architectural history, archival evidence, and recent applications of acoustic technology, an attempt will be made at reconstructing both the spatial and aural dimensions of worship and ritual in San Marco. Legally speaking, until 1807 San Marco was not the cathedral of Venice, but the private chapel of the doge. During the period of interest for this paper, the episcopal seat 1 James Joseph O'Donnell, Augustine Confessions (Oxford: Oxford UP, 2012) 96. 2 Deborah Howard and Laura Moretti, Sound and Space in Renaissance Venice: Architecture, Music, Acoustics (New Haven: Yale University Press, 2009), 31. -
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. -
INNOVATION and EXPERIMENTATION: VENETIAN RENAISSANCE and MANNERISM (Titian and Pontormo) VENETIAN RENAISSANCE
INNOVATION and EXPERIMENTATION: VENETIAN RENAISSANCE and MANNERISM (Titian and Pontormo) VENETIAN RENAISSANCE Online Links: Giovanni Bellini - Wikipedia, the free encyclopedia Feast of the Gods – Smarthistory The Tempest - Smarthistory Titian - Wikipedia, the free encyclopedia Bacchus and Ariadne – Smarthistory Titian's Bacchus and Ariadne- National Gallery Podcast Venus of Urbino - Smarthistory Giorgione - Wikipedia, the free encyclopedia Alfonso I d'Este, Duke of Ferrara - Wikipedia, the free encyclopedia Venus of Urbino - Wikipedia, the free encyclopedia MANNERISM Online Links: Introduction to Mannerism - Smarthistory Correggio's Assumption of the Virgin - Smarthistory (no video) Parmigianino's Madonna of the Long Neck – Smarthistory Benvenuto Cellini's Perseus Beheading Medusa Benvenuto Cellini - Wikipedia, the free encyclopedia Pontormo's Entombment - Smarthistory Giovanni Bellini and Titian. The Feast of the Gods, 1529, oil on canvas Above: Map of 16th century Venice Left: Giovanni Bellini. Self-Portrait The High Renaissance in Venice coincided with the decline of the empire and the threat that the city would lose the independent status it had enjoyed for eight hundred years. Formidable foreign powers such as the French and Spanish kings, the pope, the Holy Roman emperor, and the rulers of Milan united against Venice and formed the League of Cambrai in 1509. They took most of the Venetian territory, including the important city of Verona, but not Venice itself. By 1529, peace was restored along with most of the territory, and Venice propagated the myth of its uniqueness in having survived so great a threat. In this illustration of a scene from Ovid’s, Fasti the gods, Jupiter, Neptune, and Apollo among them, revel in a wooded pastoral setting, eating and drinking, attended by nymphs and satyrs. -
On a Human Scale. Drawing and Proportion of the Vitruvian Figure Veronica Riavis
7 / 2020 On a Human Scale. Drawing and Proportion of the Vitruvian Figure Veronica Riavis Abstract Among the images that describe the proportions of the human body, Leonardo da Vinci’s one is certainly the most effective, despite the fact that the iconic drawing does not faithfully follow the measurements indicated by Vitruvius. This research concerned the geometric analysis of the interpretations of the Vitruvian man proposed in the Renaissance editions of De Architectura, carried out after the aniconic editio princeps by Sulpicio da Veroli. Giovanni Battista da Sangallo drew the Vitruvian figure directly on his Sulpician copy, very similar to the images by Albrecht Dürer in The Symmetry of the Human Bodies [Dürer 1591]. Fra Giocondo proposes in 1511 two engravings of homo ad quadratum and ad circulum in the first Latin illustrated edition of De Architectura, while the man by Cesare Cesariano, author of the first version in vernacular of 1521, has a deformed body extension to adapt a geometric grid. Francesco di Giorgio Martini and Giacomo Andrea da Ferrara also propose significant versions believed to be the origin of Leonardo’s figuration due to the friendship that bound them. The man inscribed in the circle and square in the partial translation of Francesco di Giorgio’s De Architectura anticipates the da Vinci’s solution although it does not have explicit metric references, while the drawing by Giacomo Andrea da Ferrara reproduces a figure similar to Leonardo’s one. The comparison between the measures expressed by Vitruvius to proportion the man and the various graphic descriptions allows us to understand the complex story of the exegesis of the Roman treatise.