Renaissance and Baroque Bronzes from the Hill Collection
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Climatic Variability in Sixteenth-Century Europe and Its Social Dimension: a Synthesis
CLIMATIC VARIABILITY IN SIXTEENTH-CENTURY EUROPE AND ITS SOCIAL DIMENSION: A SYNTHESIS CHRISTIAN PFISTER', RUDOLF BRAzDIL2 IInstitute afHistory, University a/Bern, Unitobler, CH-3000 Bern 9, Switzerland 2Department a/Geography, Masaryk University, Kotlar8M 2, CZ-61137 Bmo, Czech Republic Abstract. The introductory paper to this special issue of Climatic Change sununarizes the results of an array of studies dealing with the reconstruction of climatic trends and anomalies in sixteenth century Europe and their impact on the natural and the social world. Areas discussed include glacier expansion in the Alps, the frequency of natural hazards (floods in central and southem Europe and stonns on the Dutch North Sea coast), the impact of climate deterioration on grain prices and wine production, and finally, witch-hlllltS. The documentary data used for the reconstruction of seasonal and annual precipitation and temperatures in central Europe (Germany, Switzerland and the Czech Republic) include narrative sources, several types of proxy data and 32 weather diaries. Results were compared with long-tenn composite tree ring series and tested statistically by cross-correlating series of indices based OIl documentary data from the sixteenth century with those of simulated indices based on instrumental series (1901-1960). It was shown that series of indices can be taken as good substitutes for instrumental measurements. A corresponding set of weighted seasonal and annual series of temperature and precipitation indices for central Europe was computed from series of temperature and precipitation indices for Germany, Switzerland and the Czech Republic, the weights being in proportion to the area of each country. The series of central European indices were then used to assess temperature and precipitation anomalies for the 1901-1960 period using trmlsfer functions obtained from instrumental records. -
Poor Relief and the Church in Scotland, 1560−1650
George Mackay Brown and the Scottish Catholic Imagination Scottish Religious Cultures Historical Perspectives An innovative study of George Mackay Brown as a Scottish Catholic writer with a truly international reach This lively new study is the very first book to offer an absorbing history of the uncharted territory that is Scottish Catholic fiction. For Scottish Catholic writers of the twentieth century, faith was the key influence on both their artistic process and creative vision. By focusing on one of the best known of Scotland’s literary converts, George Mackay Brown, this book explores both the Scottish Catholic modernist movement of the twentieth century and the particularities of Brown’s writing which have been routinely overlooked by previous studies. The book provides sustained and illuminating close readings of key texts in Brown’s corpus and includes detailed comparisons between Brown’s writing and an established canon of Catholic writers, including Graham Greene, Muriel Spark and Flannery O’Connor. This timely book reveals that Brown’s Catholic imagination extended far beyond the ‘small green world’ of Orkney and ultimately embraced a universal human experience. Linden Bicket is a Teaching Fellow in the School of Divinity in New College, at the University of Edinburgh. She has published widely on George Mackay Brown Linden Bicket and her research focuses on patterns of faith and scepticism in the fictive worlds of story, film and theatre. Poor Relief and the Cover image: George Mackay Brown (left of crucifix) at the Italian Church in Scotland, Chapel, Orkney © Orkney Library & Archive Cover design: www.hayesdesign.co.uk 1560−1650 ISBN 978-1-4744-1165-3 edinburghuniversitypress.com John McCallum POOR RELIEF AND THE CHURCH IN SCOTLAND, 1560–1650 Scottish Religious Cultures Historical Perspectives Series Editors: Scott R. -
William Herle's Report of the Dutch Situation, 1573
LIVES AND LETTERS, VOL. 1, NO. 1, SPRING 2009 Signs of Intelligence: William Herle’s Report of the Dutch Situation, 1573 On the 11 June 1573 the agent William Herle sent his patron William Cecil, Lord Burghley a lengthy intelligence report of a ‘Discourse’ held with Prince William of Orange, Stadtholder of the Netherlands.∗ Running to fourteen folio manuscript pages, the Discourse records the substance of numerous conversations between Herle and Orange and details Orange’s efforts to persuade Queen Elizabeth to come to the aid of the Dutch against Spanish Habsburg imperial rule. The main thrust of the document exhorts Elizabeth to accept the sovereignty of the Low Countries in order to protect England’s naval interests and lead a league of protestant European rulers against Spain. This essay explores the circumstances surrounding the occasion of the Discourse and the context of the text within Herle’s larger corpus of correspondence. In the process, I will consider the methods by which the study of the material features of manuscripts can lead to a wider consideration of early modern political, secretarial and archival practices. THE CONTEXT By the spring of 1573 the insurrection in the Netherlands against Spanish rule was seven years old. Elizabeth had withdrawn her covert support for the English volunteers aiding the Dutch rebels, and was busy entertaining thoughts of marriage with Henri, Duc d’Alençon, brother to the King of France. Rejecting the idea of French assistance after the massacre of protestants on St Bartholomew’s day in Paris the previous year, William of Orange was considering approaching the protestant rulers of Europe, mostly German Lutheran sovereigns, to form a strong alliance against Spanish Catholic hegemony. -
A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans
DOCUMENT RESUME ED 112 438 CS 202 298 AUTHOR Smith, Ron TITLE A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans. PUB DATE 75 NOTE 40p.; Prepared at Utah State University; Not available in hard copy due to marginal legibility of original document !DRS PRICE MF-$0.76 Plus Postage. HC Not Available from EDRS. DESCRIPTORS *Art; *Bibliographies; Greek Literature; Higher Education; Latin Literature; *Literature; Literature Guides; *Music; *Mythology ABSTRACT The approximately 650 works listed in this guide have as their focus the myths cf the Greeks and Romans. Titles were chosen as being (1)interesting treatments of the subject matter, (2) representative of a variety of types, styles, and time periods, and (3) available in some way. Entries are listed in one of four categories - -art, literature, music, and bibliography of secondary sources--and an introduction to the guide provides information on the use and organization of the guide.(JM) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. Reproductions * * supplied -
The First Three Commandments in the Polish Catholic Catechisms of the 1560S–1570S
CHAPTER 11 Man and God: The First Three Commandments in the Polish Catholic Catechisms of the 1560s–1570s Waldemar Kowalski Catechism: A New Tool in Religious Instruction The sixteenth century brought a number of fundamental and far-reaching changes in the Polish Church’s approach to the cura animarum (cure of souls). In practice, the laity previously had cursory access to the fundamentals of the faith. From the end of the Middle Ages up until the mid-seventeenth century, elementary catechesis was limited to the repetition of the Pater noster, Credo, Ave Maria and the Decalogue before the Sunday Mass. An average priest was able to mobilize his parishioners to repeat the Ten Commandments and to memorize the relevant verses, following synodical recommendations. It was a far more difficult task, however, to explain convincingly the moral obligations arising from them. Hypothetically these rudiments of faith were taught more effectively during the second half of the sixteenth century.1 One of the expla- nations for these changes was the relative growth in the ranks of the educated laity. This was also at least partly due to the proliferation of printed catechisms. They were composed and published with a view to explaining and promot- ing the principles of the faith in opposition to Lutheran and, later, Reformed attempts to evangelize the population. The fight against ‘heresy’, the reason for which the provincial synod in Piotrków convened in 1525, was thereafter to become part of a wider reform programme within the Church.2 Such a 1 For a thorough discussion of the possibilities and limitations of religious education at the turn of the modern age, see: Bylina S., Religijność późnego średniowiecza (Warsaw: 2009) 26–38. -
European Influences in the Fine Arts: Melbourne 1940-1960
INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole. -
Foreign Artists in 16Th Century London Transcript
Foreign Artists in 16th Century London Transcript Date: Monday, 1 March 2010 - 12:00AM Location: Museum of London Foreign Artists working in London 1500-1520 Dr. Tarnya Cooper 1/3/2010 This lecture explored why foreign artists were employed in London and provided a brief survey of their work across a period 1500-1520. Instead of looking at the work of individual artists, it looked at key themes (The work of native English painters, the dominance of the one genre of portraiture, the persistent court patronage of foreign artists, the transmission of skills and direct compositions between foreign and English painters, and finally the near dominance of Netherlandish painters in the Jacobean period). It also touched upon the extent to which foreign artists helped to direct taste in England Or conversely, whether foreign artists were adjusting their style or practices to meet the demands of English patrons. The story of painting in England in the sixteenth century is a largely a narrative about immigration. This is true from the early 1500s when independent easel painting and portraiture was only just making its appearance in northern Europe. The early part of the century saw numerous craftsmen's and talented painters travel from Germany, the Netherlands and less often France and Italy to work in England. The most famous of such painters was Hans Holbein who arrived in 1526 for a short visit and returned in 1532 until the end of his life. While Van Dyck arrived in England 1620 for a brief stay, and returned in the 1630s. Yet the history of painting in between the death of Hans Holbein in 1543 and the arrival of Anthony Van Dyck in England in 1620s has traditionally been seen as fallow ground for art historians. -
Giovanni LAZZONI by Cristiano Giometti - Biographical Dictionary of Italians - Volume 64 (2005)
Giovanni LAZZONI by Cristiano Giometti - Biographical Dictionary of Italians - Volume 64 (2005) The founder of a family of Carrara sculptors whose activity took place mainly in Tuscany, Rome and the Duchy of Modena from the second half of the seventeenth century, Lazzoni was born in Carrara in 1618 by Andrea (Campori). His debut at the service of the Este can be traced back with certainty to 17 November. 1645 ( Ducale palazzo ... ), when he began to receive a commission for his participation in the decorative enterprise of the Ducal palace in Sassuolo. The polyphonic choir of the workers and plastics gathered for the occasion was cleverly coordinated by Luca Colombi, who assigned to Lazzoni the execution of the four stucco statues placed in the niches of the ground floor atrium of the palace depicting the Seasons . In these same years we can also trace the two allegories of Nobility and Glory placed at the sides of the Este coat of arms placed above the illusionistic perspective frescoed by Angelo Michele Colonna and Agostino Mitelli on the entrance staircase of the same building (Riccomini). The last payment to Lazzoni for this series of interventions is recorded on the date of 3 April. 1647 ( Ducal Palace ... ); and it is very probable that, in a short span of time, he had moved to Rome, almost certainly recalled by the enticing possibilities of work offered by the numerous papal factories promoted in view of the Jubilee year. Starting from the spring of 1647, in fact, the plastic decoration of the pillars of the nave of St. -
Giovanni Battista Braccelli's Etched Devotions Before the Vatican
Giovanni Battista Braccelli’s Etched Devotions before the Vatican Bronze Saint Peter Erin Giffin, Ludwig-Maximilians-Universität München, Germany IN THE MID-SEVENTEENTH CENTURY, the artist Giovanni Battista Braccelli (ca. 1584–1650) created an etching of the bronze Saint Peter cult statue at the Vat- ican surrounded by devotees and votives (fig. 1).1 This previously unpublished print, titled The Bronze Saint Peter with Votives, offers a detailed representation of the devotional object in its early modern location (figs. 2–3): against the northeast pier of the crossing of Saint Peter’s Basilica, where Pope Paul V Borghese (r. 1605– 21) had installed it on May 29, 1620 (still in situ today). The print details a group of early modern visitors gathered around the sculpture—well-dressed men, women, and children to the left of the composition, and an assortment of humbler lay and religious personages to the right. At the center, two pilgrims with walking sticks in hand and broad-brimmed hats slung over their shoulders approach the foot of the sculpted Saint Peter with great reverence. The first of the two bows down to touch the top of his head to the underside of the sculpted foot in an act of extreme humility, bracing himself against the sculpture’s base as the crowd looks on with approval. Emanating up from the devotees, a series of ex-voto offerings blanket the flanking pilasters of Saint Peter’s. One can make out the barest references of standard votive imagery and objects on the sketchily rendered plaques—kneel- ing figures and canopied beds before floating apparitions—accompanied by Contact Erin Giffin at Ludwig-Maximilians-Universität München (erin.giffin@kunstgeschichte .uni-muenchen.de). -
Art and Architecture in Italy 1600 to 1750
RUDOLF WITTKOWER ART AND ARCHITECTURE IN ITALY 1600 TO 1750 PUBLISHED BY PENGUIN BOOKS CONTENTS LIST OF FIGURES XI LIST OF PLATES X1U FOREWORD XXI Part One The Period of Transition and the Early Baroque circa 1600-circa 162$ 1. ROME: SIXTUS V TO PAUL V (1585-1621) I The Council of Trent and the Arts - The Church and the Reformers - The 'Style Sixtus V and its Transformation - Paul V and Cardinal Scipione Borghese as Patrons - Caravaggios and Annibale Carracci s Supporters - The new Churches and the new Iconography - The Evolution of the 'Genres' 2. CARAVAGGIO 21 3. THE CARRACCI 31 4. CARAVAGGIO'S FOLLOWERS AND THE CARRACCI SCHOOL IN ROME 42 The Caravaggisti - The Bolognese in Rome and Early Baroque Classicism 5. PAINTING OUTSIDE ROME 55 Bologna and Neighbouring Cities 56 Florence and Siena 59 Milan 61 Genoa 64 Venice 65 Conclusion 67 6. ARCHITECTURE AND SCULPTURE 69 Architecture 69 Rome: Carlo Maderno (1556-1629) - Architecture outside Rome Sculpture 83 Rome - Sculpture outside Rome vii CONTENTS Part Two The Age of the High Baroque circa 1625-circa 167 s 7. INTRODUCTION 89 Seicento Devotion and Religious Imagery - Rhetoric and Baroque Procedure - Patronage 8. GIANLORENZO BERNINI 96 Introduction 96 Sculpture 97 Stylistic Development - Sculpture with One and Many Views - Colour and Light - The Transcending of Traditional Modes - New Iconographical Types - The Role of the 'Concetto' - Working Procedure Painting 112 Architecture 114 Ecclesiastical Buildings - Secular Buildings - The Piazza of St Peter's 9. FRANCESCO BORROMINI (1599-1667) I3O S. Carlo alle Quattro Fontane - S. Ivo della Sapienza - S. Giovanni in Laterano, S. -
Portrait of Queen Elizabeth I (1533–1603) with a Hidden Serpent
Portrait of Queen Elizabeth I (1533–1603) with a hidden serpent By an unknown artist Oil on panel, c.1580s–90s Given by the Mines Royal, Mineral and Battery Societies, 1865 The portrait and its condition This display has provided a rare opportunity to show this portrait in its unrestored condition. Due to loss of paint from the surface, it is now difficult to see how the painting would have originally looked. The composition was based on an existing portrait formula and numerous versions of this portrait type would have been painted, although very few survive today. Elizabeth is shown wearing the Lesser George, the medal signifying membership of the Order of the Garter, on a ribbon around her neck. A portrait underneath The recent technical analysis has shown that the portrait of Elizabeth has been painted over an unfinished portrait of an entirely different sitter. X-ray shows a female head in a higher position, facing in the opposite direction to the portrait of Elizabeth. The eyes and nose of the face underneath can now be seen where paint has been lost from Elizabeth’s forehead. The lips and headdress can also be seen, as can the ruff which was positioned underneath Elizabeth’s chin. The identity of the original sitter remains a mystery but the unfinished portrait appears to have been very competently painted, probably by a different artist. The original sitter appears to have been wearing a French hood of a type that was fashionable in the 1570s and 1580s, suggesting that there may have been a period of a few years before the panel was re-used. -
Echi Classici Nell'opera Di Seamus Heaney
UNIVERSITA’ DEGLI STUDI DI PARMA Dottorato di ricerca in Filologia Greca e Latina (e fortuna dei classici) Ciclo XXVIII L’Orfeo d’Irlanda: echi classici nell’opera di Seamus Heaney Coordinatore: Chiar.mo Prof. Giuseppe Gilberto Biondi Tutor: Chiar.ma Prof. ssa Mariella Bonvicini Dottoranda: Lidia Sessi Indice Introduzione p. 2 Capitolo I: La tradizione classica in Irlanda p. 7 Capitolo II: In difesa della poesia p. 56 Capitolo III: L'Orestea d'Irlanda p. 97 Capitolo IV: Il rito della sepoltura tra Grecia classica e Irlanda moderna p. 146 Capitolo V: Vergilius redivivus p. 190 Appendice p. 253 1 Introduzione In considerazione del notevole numero di studi sull'opera di Heaney, pare opportuno che ogni nuovo lavoro dichiari la propria raison d'être. In altre parole, sembra necessario precisare quale contributo si presuma di offrire alla comprensione del percorso poetico di Heaney, anche in rapporto alle monografie e ai saggi esistenti. È il poeta stesso a indicare la chiave di lettura che meglio consente di cogliere il senso profondo della sua ricerca estetica ed etica. Nel componimento “Out of the Bag” il narratore richiama l'attenzione su “the cure / By poetry that cannot be coerced”1. Riassumendo in questo verso le qualità fondamentali dell'arte poetica, Heaney mette in luce i tratti distintivi della sua produzione, sempre alla ricerca, fin dalle prime prestazioni, di una mediazione fra le pressioni socio-politiche del mondo esterno e la volontà di mantenere intatto il potere terapeutico del medium poetico. Lo scopo di questa ricerca è quello di affrontare la lettura, o rilettura, delle poesie di Heaney, come egli stesso suggerisce in “Squarings XXXVII”: “Talking about it isn't good enough / But quoting from it at least demonstrates / The virtue of an art that knows its mind”2.