A Renaissance Architecture of Power
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Discovering Florence in the Footsteps of Dante Alighieri: “Must-Sees”
1 JUNE 2021 MICHELLE 324 DISCOVERING FLORENCE IN THE FOOTSTEPS OF DANTE ALIGHIERI: “MUST-SEES” In 1265, one of the greatest poets of all time was born in Florence, Italy. Dante Alighieri has an incomparable legacy… After Dante, no other poet has ever reached the same level of respect, recognition, and fame. Not only did he transform the Italian language, but he also forever altered European literature. Among his works, “Divine Comedy,” is the most famous epic poem, continuing to inspire readers and writers to this day. So, how did Dante Alighieri become the father of the Italian language? Well, Dante’s writing was different from other prose at the time. Dante used “common” vernacular in his poetry, making it more simple for common people to understand. Moreover, Dante was deeply in love. When he was only nine years old, Dante experienced love at first sight, when he saw a young woman named “Beatrice.” His passion, devotion, and search for Beatrice formed a language understood by all - love. For centuries, Dante’s romanticism has not only lasted, but also grown. For those interested in discovering more about the mysteries of Dante Alighieri and his life in Florence , there are a handful of places you can visit. As you walk through the same streets Dante once walked, imagine the emotion he felt in his everlasting search of Beatrice. Put yourself in his shoes, as you explore the life of Dante in Florence, Italy. Consider visiting the following places: Casa di Dante Where it all began… Dante’s childhood home. Located right in the center of Florence, you can find the location of Dante’s birth and where he spent many years growing up. -
Stepping out of Brunelleschi's Shadow
STEPPING OUT OF BRUNELLESCHI’S SHADOW. THE CONSECRATION OF SANTA MARIA DEL FIORE AS INTERNATIONAL STATECRAFT IN MEDICEAN FLORENCE Roger J. Crum In his De pictura of 1435 (translated by the author into Italian as Della pittura in 1436) Leon Battista Alberti praised Brunelleschi’s dome of Florence cathedral, Santa Maria del Fiore [Fig. 1], as ‘such a large struc- ture’ that it rose ‘above the skies, ample to cover with its shadow all the Tuscan people’.1 Alberti was writing metaphorically, but he might as easily have written literally in prediction of the shadowing effect that Brunelleschi’s dome, dedicated on 30 August 1436, would eventually cast over the Florentine cultural and historical landscape of the next several centuries.2 So ever-present has Brunelleschi’s structure been in the historical perspective of scholars – not to mention in the more popular conception of Florence – that its stately coming into being in the Quattrocento has almost fully overshadowed in memory and sense of importance another significant moment in the history of the cathedral and city of Florence that immediately preceded the dome’s dedication in 1436: the consecration of Santa Maria del Fiore itself on 25 March of that same year.3 The cathedral was consecrated by Pope Eugenius IV (r. 1431–1447), and the ceremony witnessed the unification in purpose of high eccle- siastical, foreign, and Florentine dignitaries. The event brought to a close a history that had begun 140 years earlier when the first stones of the church were laid in 1296; in 1436, the actual date of the con- secration was particularly auspicious, for not only is 25 March the feast of the Annunciation, but in the Renaissance that day was also the start of the Florentine calendar year. -
The Medici Palace, Cosimo the Elder, and Michelozzo: a Historiographical Survey
chapter 11 The Medici Palace, Cosimo the Elder, and Michelozzo: A Historiographical Survey Emanuela Ferretti* The Medici Palace has long been recognized as an architectural icon of the Florentine Quattrocento. This imposing building, commissioned by Cosimo di Giovanni de’ Medici (1389–1464), is a palimpsest that reveals complex layers rooted in the city’s architectural, urban, economic, and social history. A symbol – just like its patron – of a formidable era of Italian art, the palace on the Via Larga represents a key moment in the development of the palace type and and influenced every other Italian centre. Indeed, it is this building that scholars have identified as the prototype for the urban residence of the nobility.1 The aim of this chapter, based on a great wealth of secondary literature, including articles, essays, and monographs, is to touch upon several themes and problems of relevance to the Medici Palace, some of which remain unresolved or are still debated in the current scholarship. After delineating the basic construction chronology, this chapter will turn to questions such as the patron’s role in the building of his family palace, the architecture itself with regards to its spatial, morphological, and linguistic characteristics, and finally the issue of author- ship. We can try to draw the state of the literature: this preliminary historio- graphical survey comes more than twenty years after the monograph edited by Cherubini and Fanelli (1990)2 and follows an extensive period of innovative study of the Florentine early Quattrocento,3 as well as the fundamental works * I would like to thank Nadja Naksamija who checked the English translation, showing many kindnesses. -
Merchants and the Origins of Capitalism
Merchants and the Origins of Capitalism Sophus A. Reinert Robert Fredona Working Paper 18-021 Merchants and the Origins of Capitalism Sophus A. Reinert Harvard Business School Robert Fredona Harvard Business School Working Paper 18-021 Copyright © 2017 by Sophus A. Reinert and Robert Fredona Working papers are in draft form. This working paper is distributed for purposes of comment and discussion only. It may not be reproduced without permission of the copyright holder. Copies of working papers are available from the author. Merchants and the Origins of Capitalism Sophus A. Reinert and Robert Fredona ABSTRACT: N.S.B. Gras, the father of Business History in the United States, argued that the era of mercantile capitalism was defined by the figure of the “sedentary merchant,” who managed his business from home, using correspondence and intermediaries, in contrast to the earlier “traveling merchant,” who accompanied his own goods to trade fairs. Taking this concept as its point of departure, this essay focuses on the predominantly Italian merchants who controlled the long‐distance East‐West trade of the Mediterranean during the Middle Ages and Renaissance. Until the opening of the Atlantic trade, the Mediterranean was Europe’s most important commercial zone and its trade enriched European civilization and its merchants developed the most important premodern mercantile innovations, from maritime insurance contracts and partnership agreements to the bill of exchange and double‐entry bookkeeping. Emerging from literate and numerate cultures, these merchants left behind an abundance of records that allows us to understand how their companies, especially the largest of them, were organized and managed. -
Getting to Know Italy
Map Skills: Europe- Italy Name_____________________________________________Date________________ Getting to Know Italy 1. What countries border Italy? _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ 2. With which of those countries does Italy share the largest border? ____________________________________________ 3. With which of those countries does Italy share the smallest border? ____________________________________________ 4. What are some regions within Italy? ____________________________________________ ____________________________________________ ____________________________________________ 5. What is the capital of Italy? ____________________________________________ 6. Name at least two other major cities in Italy. ____________________________________________ ____________________________________________ 7. Name some rivers that flow through Italy. ____________________________________________ ____________________________________________ ____________________________________________ ____________________________________________ ____________________________________________ 8. Name some of the national parks in Italy. ____________________________________________ ____________________________________________ 1 ©2005abcteach.com Map Skills: Europe- Italy Name_____________________________________________Date________________ Getting to -
Anthony Bourdain Florence Italy Recommendations
Anthony Bourdain Florence Italy Recommendations Solo Allen counterpoints farcically and prismatically, she pumps her compote scraps undersea. Angelico never rosin any azalea cheapen assuredly, is Mahmoud gram-positive and chiseled enough? Sustained and paralyzed Neil obscure: which Tobit is pisolitic enough? We also love this thick, anthony bourdain visited before his family in rome called pasta with our website run place in florence here was just the Luca and making way through luscious green hills to anthony bourdain sat next trip to us through smart choice of your memories of a rickety plastic bowl. Complicit in a shameful, shameful incident of fakery, but there I was bobbing listlessly in the water with dead sea life sinking to the bottom all around me. Get every detail about italy to florence! Tucci continued making projects on Italian food and cooking. Cycling routes were hands on your thing? Montana, and made tranquil lifestyle. Instagram to florence, but never easy, swimming in my recommendations for entertainment television channel owned by travel is the island before his recommendation. Mine sat at any medications or manage this is great find a great cheese pairing ideas to get ahead and disaster and. Just about italy in florence taking top honors as bourdain himself, anthony started the. Piedmont and anthony bourdain florence italy recommendations that gives you stay. Unfortunately, the lobster mac and cheese they ate was a special. Even if your seafood is not your thing, there are literally hundreds of recommendations for other places. Culture that bourdain, anthony bourdain florence italy recommendations that he told us proud to anthony bourdain says something. -
Donatello's Terracotta Louvre Madonna
Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Sandra E. Russell May 2015 © 2015 Sandra E. Russell. All Rights Reserved. 2 This thesis titled Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning by SANDRA E. RUSSELL has been approved for the School of Art + Design and the College of Fine Arts by Marilyn Bradshaw Professor of Art History Margaret Kennedy-Dygas Dean, College of Fine Arts 3 Abstract RUSSELL, SANDRA E., M.A., May 2015, Art History Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning Director of Thesis: Marilyn Bradshaw A large relief at the Musée du Louvre, Paris (R.F. 353), is one of several examples of the Madonna and Child in terracotta now widely accepted as by Donatello (c. 1386-1466). A medium commonly used in antiquity, terracotta fell out of favor until the Quattrocento, when central Italian artists became reacquainted with it. Terracotta was cheap and versatile, and sculptors discovered that it was useful for a range of purposes, including modeling larger works, making life casts, and molding. Reliefs of the half- length image of the Madonna and Child became a particularly popular theme in terracotta, suitable for domestic use or installation in small chapels. Donatello’s Louvre Madonna presents this theme in a variation unusual in both its form and its approach. In order to better understand the structure and the meaning of this work, I undertook to make some clay works similar to or suggestive of it. -
The Magic of Donatello Andrew Butterfield
The Magic of Donatello Andrew Butterfield Sculpture in the Age of Donatello: smith Lorenzo Ghiberti, and another Renaissance Masterpieces from young Florentine goldsmith, Filippo Florence Cathedral Brunelleschi—the future architect— an exhibition at the Museum of came in second. A new era in the his- Biblical Art, New York City, tory of art had begun. February 20–June 14, 2015. Like all revolutions, the transfor- Catalog of the exhibition edited by mation of the arts in early-fifteenth- Timothy Verdon and Daniel M. Zolli. century Florence can never be fully Museum of Biblical Art/Giles, explained; at best we can only identify 200 pp., $49.95 some contributing causes. Stimulated in part by the city’s soaring prosperity The Museum of Biblical Art, lodged and growing hegemony, around 1400 in a relatively small space on Broad- the wealthy merchants who ran Flor- way near Lincoln Center, is now show- ence began to pour unprecedented ing nine sculptures by Donatello, one amounts of cash into new buildings, of the greatest of all Renaissance art- paintings, and sculptures. They were ists. Never before have so many of his proud of the architectural splendor best works been shown together in the of Florence and saw it as a sign of the United States. Antonio Quattrone/Opera di Santa Maria del Fiore, Florence city’s manifest destiny. This attitude Among the works on view is Don- was given voice by Leonardo Bruni, atello’s large sculpture of the Old Tes- who wrote around 1403–1404 in his tament prophet Habakkuk. “Speak, Panegyric to the City of Florence: damn you, speak!” Donatello, we are told, repeatedly shouted at the statue As soon as [visitors] have seen . -
Borso D'este, Venice, and Pope Paul II
I quaderni del m.æ.s. – XVIII / 2020 «Bon fiol di questo stado» Borso d’Este, Venice, and pope Paul II: explaining success in Renaissance Italian politics Richard M. Tristano Abstract: Despite Giuseppe Pardi’s judgment that Borso d’Este lacked the ability to connect single parts of statecraft into a stable foundation, this study suggests that Borso conducted a coherent and successful foreign policy of peace, heightened prestige, and greater freedom to dispose. As a result, he was an active participant in the Quattrocento state system (Grande Politico Quadro) solidified by the Peace of Lodi (1454), and one of the most successful rulers of a smaller principality among stronger competitive states. He conducted his foreign policy based on four foundational principles. The first was stability. Borso anchored his statecraft by aligning Ferrara with Venice and the papacy. The second was display or the politics of splendor. The third was development of stored knowledge, based on the reputation and antiquity of Estense rule, both worldly and religious. The fourth was the politics of personality, based on Borso’s affability, popularity, and other virtues. The culmination of Borso’s successful statecraft was his investiture as Duke of Ferrara by Pope Paul II. His success contrasted with the disaster of the War of Ferrara, when Ercole I abandoned Borso’s formula for rule. Ultimately, the memory of Borso’s successful reputation was preserved for more than a century. Borso d’Este; Ferrara; Foreign policy; Venice; Pope Paul II ISSN 2533-2325 doi: 10.6092/issn.2533-2325/11827 I quaderni del m.æ.s. -
I Medici E La Toscana Bibliografia
I Medici e la Toscana Bibliografia Febbraio 2018 Biblioteca della Toscana Pietro Leopoldo Introduzione La bibliografia che qui proponiamo raccoglie i libri che la biblioteca possiede sulla famiglia de’ Medici, nota per aver retto le sorti della città di Firenze prima e della Toscana poi, dal 1434 fino al 1737. I volumi sono presentati in ordine alfabetico. I libri proposti in questa bibliografia, come quelli presenti nel catalogo della biblioteca, possono essere presi in prestito direttamente presso la sede della Biblioteca della Toscana Pietro Leopoldo oppure presso le biblioteche che fanno servizio di prestito interbibliotecario. Così come copie cartacee e digitali di articoli qui citati possono essere richieste presso biblioteche che effettuano il servizio di document delivery (servizio di fornitura documenti). Bibliografia I Medici e la Toscana febbraio 2018 2 Biblioteca della Toscana Pietro Leopoldo 1536-1541 : Mediceo del Principato, filze 329-353 / a cura di Anna Bellinazzi e Claudio Lamioni ; con un saggio di Giuseppe Pansini. - Firenze : Giunta regionale toscana ; [Scandicci] : La nuova Italia, 1982. - LXXXV, 357 p., 28 p. di tav. ; 30 cm 1541-1546 : Mediceo del Principato, filze 354-372 / a cura di Anna Bellinazzi e Claudio Lamioni. - Firenze : Giunta regionale toscana ; Scandicci : La nuova Italia, 1986. - 446 p., [20] c. di tav. : ill. ; 30 cm 1544-1549 : Mediceo del Principato, filze 373-391 A / a cura di Anna Bellinazzi, Claudio Lamioni, Marcella Morviducci. - Firenze : Regione Toscana ; Ospedaletto, Pisa : Pacini, 2013. - 271 p. ; 30 cm 1549-1551 : Mediceo del Principato, filze 392-403 A / a cura di Vanna Arrighi. - [Firenze] : Giunta regionale toscana ; Milano : Bibliografica, 1992. - VIII, 411 p., 16 p. -
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. -
The Master of the Unruly Children: River God and Bacchus TRINITY
TRINITY FINE ART Lorenzo Principi The Master of the Unruly Children: River God and Bacchus London February 2020 Contents Acknowledgements: Giorgio Bacovich, Monica Bassanello, Jens Burk, Sara Cavatorti, Alessandro Cesati, Antonella Ciacci, 1. Florence 1523 Maichol Clemente, Francesco Colaucci, Lavinia Costanzo , p. 12 Claudia Cremonini, Alan Phipps Darr, Douglas DeFors , 2. Sandro di Lorenzo Luizetta Falyushina, Davide Gambino, Giancarlo Gentilini, and The Master of the Unruly Children Francesca Girelli, Cathryn Goodwin, Simone Guerriero, p. 20 Volker Krahn, Pavla Langer, Guido Linke, Stuart Lochhead, Mauro Magliani, Philippe Malgouyres, 3. Ligefiguren . From the Antique Judith Mann, Peta Motture, Stefano Musso, to the Master of the Unruly Children Omero Nardini, Maureen O’Brien, Chiara Padelletti, p. 41 Barbara Piovan, Cornelia Posch, Davide Ravaioli, 4. “ Bene formato et bene colorito ad imitatione di vero bronzo ”. Betsy J. Rosasco, Valentina Rossi, Oliva Rucellai, The function and the position of the statuettes of River God and Bacchus Katharina Siefert, Miriam Sz ó´cs, Ruth Taylor, Nicolas Tini Brunozzi, Alexandra Toscano, Riccardo Todesco, in the history of Italian Renaissance Kleinplastik Zsófia Vargyas, Laëtitia Villaume p. 48 5. The River God and the Bacchus in the history and criticism of 16 th century Italian Renaissance sculpture Catalogue edited by: p. 53 Dimitrios Zikos The Master of the Unruly Children: A list of the statuettes of River God and Bacchus Editorial coordination: p. 68 Ferdinando Corberi The Master of the Unruly Children: A Catalogue raisonné p. 76 Bibliography Carlo Orsi p. 84 THE MASTER OF THE UNRULY CHILDREN probably Sandro di Lorenzo di Smeraldo (Florence 1483 – c. 1554) River God terracotta, 26 x 33 x 21 cm PROVENANCE : heirs of the Zalum family, Florence (probably Villa Gamberaia) THE MASTER OF THE UNRULY CHILDREN probably Sandro di Lorenzo di Smeraldo (Florence 1483 – c.