DOCSLIB.ORG

California State University, Northridge

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
California State University, Northridge CALIFORNIA STATE UNIVERSITY, NORTHRIDGE The Palazzo del Te: Art, Power, and Giulio Romano’s Gigantic, yet Subtle, Game in the Age of Charles V and Federico Gonzaga A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in Interdisciplinary Studies with emphases in Art History and Political Science By Diana L. Michiulis December 2016 The thesis of Diana L. Michiulis is approved: ___________________________________ _____________________ Dr. Jean-Luc Bordeaux Date ___________________________________ _____________________ Dr. David Leitch Date ___________________________________ _____________________ Dr. Margaret Shiffrar, Chair Date California State University, Northridge ii ACKNOWLEDGEMENTS I would like to convey my deepest, sincere gratitude to my Thesis Committee Chair, Dr. Margaret Shiffrar, for all of her guidance, insights, patience, and encourage- ments. A massive "merci beaucoup" to Dr. Jean-Luc Bordeaux, without whom completion of my Master’s degree thesis would never have been fulfilled. It was through Dr. Bordeaux’s leadership, patience, as well as his tremendous knowledge of Renaissance art, Mannerist art, and museum art collections that I was able to achieve this ultimate goal in spite of numerous obstacles. My most heart-felt, gigantic appreciation to Dr. David Leitch, for his leadership, patience, innovative ideas, vast knowledge of political-theory, as well as political science at the intersection of aesthetic theory. Thank you also to Dr. Owen Doonan, for his amazing assistance with aesthetic theory and classical mythology. I am very grateful as well to Dr. Mario Ontiveros, for his advice, passion, and incredible knowledge of political art and art theory. And many thanks to Dr. Peri Klemm, for her counsel and spectacular help with the role of "spectacle" in art history. A colossal thank you to the Getty Research Institute of the J. Paul Getty Museum of Los Angeles – which very generously supported me in my research, especially with rare, historic books. I am also indebted to the wonderful Carol Togneri of the Norton Simon Museum of Art, near Los Angeles, for her support and graciousness. "Danke sehr" to Dr. Martina Hesser, for her very kind assistance to me in my research. Finally, “grazie mille” to Ugo Bazzotti, former director of Palazzo del Te, whose book uniquely helped to light my path. iii TABLE OF CONTENTS Signature Page ii Acknowledgements iii List of Images v Abstract viii Chapter 1: Introduction 1 Chapter 2: Political Context 5 Chapter 3: Methodology 20 Chapter 4: Renaissance Cultural Context: Covert Messages as Political Criticism, Games, Contradiction, and the “Fusion of Extremes” 24 Chapter 5: Giulio Romano’s Early Career in Rome: Raphael’s Studio and Independent Works ~~ c. 1515-24 30 Chapter 6: Mantua: Federico II Gonzaga as Patron 41 Chapter 7: Giulio Romano’s Competition: Local Artistic Milieu in Mantua ~~ 1460-1546 43 Chapter 8: Giulio Romano’s Palazzo del Te ~~ c. 1525-36 45 Architecture 47 Interior Decorations: Sala di Psiche 52 Interior Decorations: Sala dei Giganti 65 Chapter 9: After Federico Gonzaga’s Death ~~ 1540-46 81 Chapter 10: The Critical Fortune of Giulio Romano’s Palazzo del Te 83 Conclusion 88 References 91 iv LIST OF IMAGES Page Image 1 Portrait of Giulio Romano (c. 1536), Titian 3 Image 2 Portrait of Federico II Gonzaga (c. 1529), Titian 4 Image 3 Political Map of Italian Peninsula ~~ 1494 6 Image 4 H.R. Emperor Charles V, King François I of France, & Cardinal Alessandro Farnese (c. 1559), T. Zuccari 8 Image 5 Portrait of Baldassare Castiglione (1516), Raphael 11 Image 6 Portrait of Pietro Aretino (c. 1520s), Engraving, M. Raimondi 12 Image 7 Panoramic View of Mantua, 1575 15 Image 8 Fall of the Giants (c. 1531-33), Perino del Vaga 18 Image 9 Loggia di Psiche (c. 1517-18), Villa Chigi-Farnesina, Raphael, Giulio Romano, Giovanni da Udine, & Assistants 34 Image 10 Loggia di Raffaello (c. 1518), Raphael & Assistants; Vaulted Ceiling (c. 1520-24), Giulio Romano ~~ Villa Madama (c. 1518-27) 36 Image 11 I Modi Posture 11, Engraving, Raimondi (c. 1524); I Modi Posture 9, Woodblock print (c. 1550) with Sonnet by Pietro Aretino 38 Image 12 Plan of Palazzo del Te (1783) 46 Image 13 Palazzo del Te (c. 1525-36), Aerial View, Giulio Romano 48 Image 14 Palazzo del Te (c. 1525-36), North Façade, Giulio Romano 49 Image 15 Palazzo del Te (c. 1525-36), Courtyard, Giulio Romano 51 Image 16 Wedding of Cupid and Psyche (c. 1526-28) Fresco, Sala di Psiche, Palazzo del Te, South Wall, Giulio Romano & Assistants 53 v Page Image 17 Cupid and Psyche (c. 1526-28) Fresco, Sala di Psiche, Palazzo del Te, South Wall, Giulio Romano & Assistants 54 Image 18 Sala di Psiche (c. 1526-28) Frescoes, Palazzo del Te, West Wall, Giulio Romano & Assistants 55 Image 19 Sala di Psiche (c. 1526-28) Frescoes, Palazzo del Te, North Wall, Giulio Romano & Assistants 56 Image 20 Sala di Psiche (c. 1526-28) Frescoes, Palazzo del Te, East Wall, Giulio Romano & Assistants 57 Image 21 Jupiter seduces Olympias (c. 1526-28), Palazzo del Te, East Wall, Giulio Romano & Assistants 58 Image 22 Sala di Psiche (c. 1526-28) Vaulted Ceiling, Palazzo del Te, Giulio Romano & Assistants 61 Image 23 Sala di Psiche (c. 1526-28) Ceiling Detail, Palazzo del Te, Giulio Romano & Assistants 62 Image 24 Fall of the Giants (c. 1530-34) Frescoes, Sala dei Giganti, Palazzo del Te, North and West Walls, Giulio Romano & Assistants 67 Image 25 Fall of the Giants (c. 1530-34) Fresco, Sala dei Giganti, Palazzo del Te, North Wall, Giulio Romano & Assistants 68 Image 26 Frescoes with Illusionism (c. 1530-34), Sala dei Giganti, Palazzo del Te, South and West Walls, Giulio Romano & Assistants 69 Image 27 Frescoes with Illusionism (c. 1530-34), Sala dei Giganti, Palazzo del Te, Domed Ceiling and South Wall, Giulio Romano & Assistants 71 Image 28 Assumption of the Virgin (c. 1526-30), Cupola of Cathedral Duomo (Dome), Parma, Correggio (A. Allegri) 72 Image 29 Camera degli Sposi, Ceiling Oculus (c. 1473) with Illusionism, Palazzo Ducale, Andrea Mantegna 74 vi Page Image 30 Fall of the Giants (c. 1530-34) Fresco Detail, Sala dei Giganti Palazzo del Te, East Wall, Giulio Romano & Assistants 79 Image 31 Assembly of Gods around Jupiter’s Throne (c. 1530-34), Sala dei Giganti, Ceiling Detail, Palazzo del Te, Giulio Romano & Assistants 90 vii Abstract The Palazzo del Te: Art, Power, and Giulio Romano’s Gigantic, yet Subtle, Game in the Age of Charles V and Federico Gonzaga By Diana L. Michiulis Master of Arts in Interdisciplinary Studies with emphases in Art History and Political Science This thesis examines Giulio Romano’s Late Renaissance masterwork, Palazzo del Te (c. 1525-36) in Mantua, in the context of playing a critical role in the political success of his patron, Federico II Gonzaga, vis-à-vis Holy Roman Emperor Charles V. At the Palazzo del Te, Giulio combined a multiplicity of techniques throughout, as well as viewer engagement in the Sala dei Giganti (c. 1530-34). The clever complexity of Giulio’s palazzo stood in contrast to the conventional, two-dimensional portraits executed by many Cinquecento court artists for their benefactors. For centuries, scholars have deliberated Giulio’s underlying intentions for his mysterious Room of the Giants at the palace. The debates range from Vasari’s praise of the chamber in the 16th century; to the 20th and 21st centuries, when many academics have surmised that Giulio’s Sala dei Giganti exalted the Gonzaga and somehow referred – or paid tribute – to the Imperial Emperor. In contrast, I assert that Giulo’s Room of the Giants represented something viii dramatically different. The space, with its Fall of the Giants frescoes, conceivably held covert criticism of Emperor Charles V and the authoritarian political regime of the Holy Roman Empire. Giulio’s masterpiece-chamber potentially comprised indirect political dissent against foreign, Imperial occupation of the Italian peninsula, and also condemned the vicious quagmire of dynastic politics in early 16th century Italy. During the savagery of the Italian Wars (1494-1559), deliberately obscure discourse was of crucial importance, as the State and Church limited all forms of critical dialogue. This thesis additionally considers the duality of Giulio’s Palazzo del Te – although the palace was an autonomous work of art, according to Adorno’s Aesthetic Theory – it was also an exhibit of Federico’s princely power, whilst demonstrating an oppositional stance against the totalitarian political environment of early 16th century Italy, mostly via Giulio’s “ugly” giants in the Sala dei Giganti. After his visit to Palazzo del Te in 1530, the Imperial Emperor was so stupefied by Giulio’s palazzo and the Sala di Psiche (c. 1526-28), the companion room to the Sala dei Giganti, that the Habsburg monarch elevated Federico II Gonzaga to the first Duke of Mantua. Conversely in 1532, Charles V visited Palazzo del Te again and viewed the Sala dei Giganti – when he had to interpret for himself the enigmatic iconography of Giulio’s Fall of the Giants frescoes. I argue that it was plausible that the emperor comprehended Giulio’s arcane, political game of protest, which was similar to the Humanist Annibale Caro’s construal of the moral allegory at the gardens of Bomarzo: Monarchs must not abuse their power, nor should they position themselves higher than the gods. Giulio Romano’s genius and sophisticated, subtle wit, especially at his Late Renaissance chef d’ oeuvre, Palazzo del Te, solidified his own artistic reputation while enabling his patron to triumph – in the midst of the treachery and chaos of Charles V’s gigantic, political re-structuring of early 16th century Italy and her loss of political autonomy. ix CHAPTER 1: INTRODUCTION In contrast to the conventional, two-dimensional portraits executed by many Late Renaissance court artists for their patrons, Giulio Romano’s Palazzo del Te (c.1525-36), built for his patron Federico II Gonzaga, combined a multiplicity of techniques throughout, vast and complex interior decorations, as well as viewer engagement in his Sala dei Giganti.
Load more

Recommended publications
  • THE LATE RENAISSANCE and MANNERISM in SIXTEENTH-CENTURY ITALY 591 17 CH17 P590-623.Qxp 4/12/09 15:24 Page 592
    17_CH17_P590-623.qxp 12/10/09 09:24 Page 590 17_CH17_P590-623.qxp 12/10/09 09:25 Page 591 CHAPTER 17 CHAPTER The Late Renaissance and Mannerism in Sixteenth- Century Italy ROMTHEMOMENTTHATMARTINLUTHERPOSTEDHISCHALLENGE to the Roman Catholic Church in Wittenberg in 1517, the political and cultural landscape of Europe began to change. Europe s ostensible religious F unity was fractured as entire regions left the Catholic fold. The great powers of France, Spain, and Germany warred with each other on the Italian peninsula, even as the Turkish expansion into Europe threatened Habsburgs; three years later, Charles V was crowned Holy all. The spiritual challenge of the Reformation and the rise of Roman emperor in Bologna. His presence in Italy had important powerful courts affected Italian artists in this period by changing repercussions: In 1530, he overthrew the reestablished Republic the climate in which they worked and the nature of their patron- of Florence and restored the Medici to power. Cosimo I de age. No single style dominated the sixteenth century in Italy, Medici became duke of Florence in 1537 and grand duke of though all the artists working in what is conventionally called the Tuscany in 1569. Charles also promoted the rule of the Gonzaga Late Renaissance were profoundly affected by the achievements of Mantua and awarded a knighthood to Titian. He and his suc- of the High Renaissance. cessors became avid patrons of Titian, spreading the influence and The authority of the generation of the High Renaissance prestige of Italian Renaissance style throughout Europe. would both challenge and nourish later generations of artists.
    [Show full text]
  • Vittorio Sgarbi Racconta Parma E I Suoi Artisti
    66 IL UOCO DELLA ELLEZZA 67 MARZO MARZO 2020 F B 2020 VITTORIO SGARBI RACCONTA PARMA E I SUOI ARTISTI È ENORME L’EREDITÀ LASCIATA DA CORREGGIO E PARMIGIANINO, I DUE GENI DEL RINASCIMENTO CUI È DEDICATA LA MOSTRA MULTIMEDIALE “L’ALCHIMIA DELLA GRAZIA” a cura di Patrizia Maglioni a Parma che si svela “l‘alchimia della grazia”. Se la grazia avesse un nome, sarebbe quello di Correggio, o quello del Parmigianino. I due grandi artisti parmigiani sono i protagonisti della mostra multimediale ospitata dal 20 marzo al 13 dicembre 2020 nella prestigiosa sede delle ÈScuderie della Pilotta, primo grande evento di Parma Capitale della Cultura 2020. Tra le tante iniziative, IL FUOCO DELLA BELLEZZA DELLA FUOCO IL Correggio, Camera della Badessa E PARMIGIANINO CORREGGIO vi sarà anche quella che farà tornare a nuova vita i Chiostri del Correggio, un THE LEGACY LEFT BY CORREGGIO AND PARMIGIANINO, THE TWO 68 progetto di rigenerazione urbana che interessa in particolare l’ex convento GENIUSES OF RENAISSANCE TO WHOM THE MULTIMEDIA EXHIBITION 69 benedettino di San Paolo, dove si trova la celebre Camera della Badessa affrescata “THE ALCHEMY OF GRACE” IS DEDICATED, IS ENORMOUS dal Correggio nel 1518-19. In questo prezioso bene storico monumentale si pensa MARZO MARZO 2020 anche di inserire un museo nazionale innovativo di enogastronomia. 2020 PARMA AND ITS ARTISTS is the poet of harmony, Correggio is and the Lamentation over the Dead “Correggio è autore di opere meravigliose che hanno evocato It is in Parma that “the alchemy of the painter of harmony. He is a point Christ, works of great appeal and letteratura: Stendhal, Mengs, la Madonna della Scodella, la grace” is revealed.
    [Show full text]
  • Scenario Book 1
    Here I Stand SCENARIO BOOK 1 SCENARIO BOOK T A B L E O F C O N T E N T S ABOUT THIS BOOK ......................................................... 2 Controlling 2 Powers ........................................................... 6 GETTING STARTED ......................................................... 2 Domination Victory ............................................................. 6 SCENARIOS ....................................................................... 2 PLAY-BY-EMAIL TIPS ...................................................... 6 Setup Guidelines .................................................................. 2 Interruptions to Play ............................................................ 6 1517 Scenario ...................................................................... 3 Response Card Play ............................................................. 7 1532 Scenario ...................................................................... 4 DESIGNER’S NOTES ........................................................ 7 Tournament Scenario ........................................................... 5 EXTENDED EXAMPLE OF PLAY................................... 8 SETTING YOUR OWN TIME LIMIT ............................... 6 THE GAME AS HISTORY................................................. 11 GAMES WITH 3 TO 5 PLAYERS ..................................... 6 CHARACTERS OF THE REFORMATION ...................... 15 Configurations ..................................................................... 6 EVENTS OF THE REFORMATION
    [Show full text]
  • Archivio Gonzaga
    Archivio Gonzaga buste A-Z e 1-3720 (762, in copia del sec. XI-1866) cfr.: Pietro Torelli, L’Archivio Gonzaga di Mantova, Arnaldo Forni Editore, Ostiglia (MN) 1920, ristampa anastatica Mantova 1988, vol. I; Alessandro Luzio, La corrispondenza familiare, amministrativa e diplomatica dei Gonzaga, Verona 1922, ristampa anastatica Mantova 1993, vol. II. Archivio Gonzaga Nota introduttiva L’Archivio Gonzaga si può definire in sostanza come l’antico archivio «segreto» marchionale poi ducale, abbondantemente integrato con altra documentazione di data molto posteriore alla caduta della dinastia; esso è stato inserito, durante i lavori di ordinamento iniziati nel 1760, entro le ventidue classi A-Z fissate col piano di sistemazione variato il 13 agosto 1775. Come tale è poi rimasto, intatto nella sua struttura, a costituire il nucleo più prestigioso e il centro d’attrazione di sempre nuove carte di particolare importanza, sia dell’archivio governativo istituito nel 1786, sia soprattutto dell’archivio storico patrio pervenuto, come si è detto, all’Archivio di Stato di Mantova nel 1899. Un tipico archivio di corte e di cancelleria, insomma, con richiami di atti dalle più svariate magistrature sia comunali che principesche, ma ordinato per materia a posteriori, e quindi in modo tale da non rispecchiare né l’organizzazione della cancelleria, né tanto meno quella degli organi di governo nel loro complesso. Naturalmente esso comprende anche carte di data anteriore all’avvento dei Gonzaga al potere: in particolare quelle che i Gonzaga stessi avevano concentrato nella magna domus dopo la battaglia di piazza San Pietro del 16 agosto 1328, data comunemente accolta come termine della signoria bonacolsiana, e che l’incendio dell’archivio del comune nel 1413 ha reso poi particolarmente preziose.
    [Show full text]
  • Facing the Responsibility of Paulus Manutius
    UCLA UNIVERSITY RESEARCH LIBRARY Department of Special Collections OCCASIONAL PAPERS 8 ^ 5 .-<« fyHtufnt k't* tILt- f^t \fL W mm^Jtitm. * t-nt«ji^/' /J<^ -«<»«a* 'hhi^,^ VJKliw*" "*^ Ju -it t, «»i/e<rf /nj'^/ ^uy» ^ /5*> fC'lf' f^ fa^* t*.Zi. )«»V» rM<fKi4d-y MFi^ fu>J7iUlf IA.1^ ^t^4A ^^ s'^^mj^antai ul^ fl.''A«*S)j««^ '?HW-\ ^UmIZ4/''^ The Contract Facing the Responsibility of Paulus Manutius by MARTIN LOWRY Department of Special Collections University Research Library University of California Los Angeles 1995 Copyright © March 1995 by the Regents of the University of CaUfomia ISSN 1041-1143 This publication is produced with support from The Bemadine J. L. M Zelenka Endowment CONTENTS The Problem 1 New Evidence. The Ahmanson-Murphy Document 6 The Forces behind the Contract 17 The Editorial Strategy of the Counter-Reformation 35 Failure of Funds: Failure of Nerve? 52 Conclusion 71 Appendix; Transcription of the Contract 78 ABBREVIATIONS Aldo Aldo Manuzio di Paolo Junior Aldus Aldus Manutius Senior CEBR Contemporaries ofErasmus: a Biographical Register, 3 vols.. University of Toronto Press 1985-87 Eubel K. Eubel & G. Van Gulik, Hierarchia Catholica Medii et Recentioris Aevi, vol. 3, Regensburg 1923 Nolhac P. de Nolhac, "Lettres inedites de Paul Manuce" in Ecole Frangaise deRome, Melanges dArchaelogie etd'Histoire, vol. 3, 1883 Pastor L. von Pastor, History of the Popes from the Close of the Middle Ages, new English edition, 40 vols., Liechtenstein 1968-69 PMEL Pauli Manutii Epistolarum Libri decern, duobus nuper odditis, Venice 1580 PMLV Tre Libri di Lettere Volgari di M.
    [Show full text]
  • Fra Sabba Da Castiglione: the Self-Fashioning of a Renaissance Knight Hospitaller”
    “Fra Sabba da Castiglione: The Self-Fashioning of a Renaissance Knight Hospitaller” by Ranieri Moore Cavaceppi B.A., University of Pennsylvania 1988 M.A., University of North Carolina 1996 Thesis Submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in the Department of Italian Studies at Brown University May 2011 © Copyright 2011 by Ranieri Moore Cavaceppi This dissertation by Ranieri Moore Cavaceppi is accepted in its present form by the Department of Italian Studies as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date Ronald L. Martinez, Advisor Recommended to the Graduate Council Date Evelyn Lincoln, Reader Date Ennio Rao, Reader Approved by the Graduate Council Date Peter M. Weber, Dean of the Graduate School iii CURRICULUM VITAE Ranieri Moore Cavaceppi was born in Rome, Italy on October 11, 1965, and moved to Washington, DC at the age of ten. A Fulbright Fellow and a graduate of the University of Pennsylvania, Ranieri received an M.A. in Italian literature from the University of North Carolina at Chapel Hill in 1996, whereupon he began his doctoral studies at Brown University with an emphasis on medieval and Renaissance Italian literature. Returning home to Washington in the fall of 2000, Ranieri became the father of three children, commenced his dissertation research on Knights Hospitaller, and was appointed the primary full-time instructor at American University, acting as language coordinator for the Italian program. iv PREFACE AND ACKNOWLEDGMENTS I deeply appreciate the generous help that I received from each member of my dissertation committee: my advisor Ronald Martinez took a keen interest in this project since its inception in 2004 and suggested many of its leading insights; my readers Evelyn Lincoln and Ennio Rao contributed numerous observations and suggestions.
    [Show full text]
  • Title Page Diss
    Pre-Modern Iberian Fragments in the Present: Studies in Philology, Time, Representation and Value By Heather Marie Bamford A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Hispanic Languages and Literatures in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Jesús Rodríguez-Velasco, Co-Chair Professor José Rabasa, Co-Chair Professor Hans Ulrich Gumbrecht Professor Ignacio Navarrete Professor David Hult Fall 2010 1 Abstract Pre-Modern Iberian Fragments in the Present: Studies in Philology, Time, Representation, and Value by Heather Marie Bamford Doctor of Philosophy in Hispanic Literatures and Languages University of California, Berkeley Professors Jesús Rodríguez-Velasco and José Rabasa, Co-Chairs This dissertation examines the uses of medieval and early-modern Iberian cultural objects in the present. It draws on the notion of fragment and actual fragmentary testimonies to study how pre- modern Iberian things and texts are reconstituted and used for various projects of personal, institutional, national and transnational reconstitution in the present. The corpus objects are necessarily diverse in chronological scope, with examples from the medieval, early-modern and modern periods, and touch upon works of many genres: chivalric romance, royal and personal correspondence, early-modern and modern historiography, Hispano-Arabic and Hispano-Hebrew lyric, inscriptions, pre-modern and modern biographies and 21st century book exhibitions. The dissertation proposes that Iberian fragments are engaged in various forms of reconstitution or production in the present and, at the same time, are held as timeless, unchanging entities that have the capability to allow users to connect with something genuinely old, truly Spanish and, indeed, eternal.
    [Show full text]
  • A History of Italian Literature Should Follow and Should Precede Other and Parallel Histories
    I. i III 2.3 CORNELL UNIVERSITY LIBRARY C U rar,y Ubrary PQ4038 G°2l"l 8t8a iterature 1lwBiiMiiiiiiiifiiliiii ! 3 1924 oim 030 978 245 Date Due M#£ (£i* The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924030978245 Short Histories of the Literatures of the World: IV. Edited by Edmund Gosse Short Histories of the Literatures of the World Edited by EDMUND GOSSE Large Crown 8vOj cloth, 6s. each Volume ANCIENT GREEK LITERATURE By Prof. Gilbert Murray, M.A. FRENCH LITERATURE By Prof. Edward Dowden, D.C.L., LL.D. MODERN ENGLISH LITERATURE By the Editor ITALIAN LITERATURE By Richard Garnett, C.B., LL.D. SPANISH LITERATURE By J. Fitzmaurice-Kelly [Shortly JAPANESE LITERATURE By William George Aston, C.M.G. [Shortly MODERN SCANDINAVIAN LITERATURE By George Brandes SANSKRIT LITERATURE By Prof. A. A. Macdonell. HUNGARIAN LITERATURE By Dr. Zoltan Beothy AMERICAN LITERATURE By Professor Moses Coit Tyler GERMAN LITERATURE By Dr. C. H. Herford LATIN LITERATURE By Dr. A. W. Verrall Other volumes will follow LONDON: WILLIAM HEINEMANN \AU rights reserved] A .History of ITALIAN LITERATURE RICHARD GARNETT, C.B., LL.D. Xon&on WILLIAM HEINEMANN MDCCCXCVIII v y. 1 1- fc V- < V ml' 1 , x.?*a»/? Printed by Ballantyne, Hanson &* Co. At the Ballantyne Press *. # / ' ri PREFACE "I think," says Jowett, writing to John Addington Symonds (August 4, 1890), "that you are happy in having unlocked so much of Italian literature, certainly the greatest in the world after Greek, Latin, English.
    [Show full text]
  • The Holy Family with Saint Elizabeth
    The Holy Family with Saint Elizabeth, the Child Saint John the Baptist and Two Angels, a copy of Raphael Technical report, restoration and new light on its history and attribution José de la Fuente Martínez José Luis Merino Gorospe Rocío Salas Almela Ana Sánchez-Lassa de los Santos This text is published under an international Attribution-NonCommercial-NoDerivs Creative Commons licence (BY-NC-ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by-ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao Photography credits © Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao: figs. 1, 2 and 5-19 © Groeningemuseum, Brugge: fig. 21 © Institut Royal du Patrimoine Artistique, Bruxelles: fig. 20 © Museo Nacional del Prado, Madrid: fig. 55 © RMN / Gérard Blot-Jean Schormans: fig. 3 © RMN / René-Gabriel Ojéda: fig. 4 Text published in: B’06 : Buletina = Boletín = Bulletin. Bilbao : Bilboko Arte Eder Museoa = Museo de Bellas Artes de Bilbao = Bilbao Fine Arts Museum, no. 2, 2007, pp. 17-64. Sponsored by: 2 fter undergoing a painstaking restoration process, which included the production of a detailed tech- nical report, the Holy Family with Saint Elizabeth, the Child Saint John the Baptist and Two Angels1 A[fig.
    [Show full text]
  • The European Garden I :
    The European Garden I : ............................................ I ............................................ Progetto editoriale: Angelo Pontecorboli Tutti i diritti riservati Angelo Pontecorboli Editore, Firenze www.pontecorboli.com – [email protected] ISBN 978-88-00000-00-0 2 Mariella Zoppi e European Garden ANGELO PONTECORBOLI EDITORE FIRENZE 3 4 C 5 Introduction As with all written histories of the garden, this one begins with the most ancient civilizations and thus dedicates much attention to the Roman Empire. is way, the ordinary has little that is ritual or can be foreseen and one can witness the true origins of gardens which arrived from western culture. ese origins were not lost in the centuries which passed by each other, but were a constant source of inspiration for the civilizations which came and went in the Mediterranean Basin. e Mediterranean, for an extremely long period stretching from 2000 BC to the late fourteenth century, was almost exclusively the scenery of western culture. Diverse peoples acquired economic and political hegemony, they imposed laws, customs and artistic models which merged with pre-existing backgrounds and styles which then expanded throughout Northern European and African countries. Ideas from the East, such as science, religion and artistic models, fil- tered throughout the Mediterranean. Nomadic populations reached Mediterranean shores and so cultures and customs were brought to- gether for several centuries in a relatively small circle. It was on the edges of the Mediterranean where the two fundamental ideas of gar- den design, the formal and the informal, were created and confronted each other. Here, the garden became the idealization of a perfect and immutable world, the mimesis of nature.
    [Show full text]
  • Myth and Prophecy in Juan Ginés De Sepúlveda's Crusading
    Bulletin for Spanish and Portuguese Historical Studies Journal of the Association for Spanish and Portuguese Historical Studies Volume 35 | Issue 1 Article 4 2011 Myth and Prophecy in Juan Ginés de Sepúlveda’s Crusading "Exhortación" Luna Nájera Guest Researcher at the Scaliger Institute, [email protected] Follow this and additional works at: https://digitalcommons.asphs.net/bsphs Recommended Citation Nájera, Luna (2011) "Myth and Prophecy in Juan Ginés de Sepúlveda’s Crusading "Exhortación"," Bulletin for Spanish and Portuguese Historical Studies: Vol. 35 : Iss. 1 , Article 4. https://doi.org/10.26431/0739-182X.1008 Available at: https://digitalcommons.asphs.net/bsphs/vol35/iss1/4 This Article is brought to you for free and open access by Association for Spanish and Portuguese Historical Studies. It has been accepted for inclusion in Bulletin for Spanish and Portuguese Historical Studies by an authorized editor of Association for Spanish and Portuguese Historical Studies. For more information, please contact [email protected]. Myth and Prophecy in Juan Ginés de Sepúlveda’s Crusading "Exhortación" Cover Page Footnote I am grateful to Prof. Eva Woods Peiró for sharing her workspace with me while I was doing research for this project during the year I was her colleague at Vassar College. Her supportive collegiality was, and continues to be, invaluable. I am also indebted to the members of Vassar College’s Medieval and Renaissance Faculty Seminar, whose feedback on an earlier version of this article greatly broadened my perspective of Sepúlveda. This article is available in Bulletin for Spanish and Portuguese Historical Studies: https://digitalcommons.asphs.net/bsphs/vol35/ iss1/4 BULLETIN FOR SPANISH AND PORTUGUESE HISTORICAL STUDIES 35:1/December 2010/48-68 Myth and Prophecy in Juan Ginés de Sepúlveda’s Crusading “Exhortación” LUNA NÁJERA Leiden University, Scaliger Institute The Spanish humanist Juan Ginés de Sepúlveda (ca.
    [Show full text]
  • Contents More Information
    Cambridge University Press 978-0-521-56580-6 - Picturing Women in Renaissance and Baroque Italy Edited by Geraldine A. Johnson and Sara F. Matthews Grieco Table of Contents More information Contents List of Illustrations • vi Notes on Contributors • xii Acknowledgments • xiv INTRODUCTION. WOMEN AND THE VISUAL 1 ARTS: BREAKING BOUNDARIES Geraldine A. Johnson and Sara F. Matthews Grieco PART I. ENVISIONING WOMEN'S LIVES 15 1 Regarding Women in Sacred Space • Adrian Randolph 17 2 Imaginative Conceptions in Renaissance Italy • 42 Jacqueline Marie Musacchio 3 Pedagogical Prints: Moralizing Broadsheets and 61 Wayward Women in Counter Reformation Italy • Sara F. Matthews Grieco PART II. CREATIVE CAREERS: WOMEN AS 89 ARTISTS AND PATRONS 4 Taking Part: Benedictine Nuns as Patrons of Art and 91 Architecture . Mary-Ann Winkelmes 5 Lavinia Fontana and Female Life Cycle Experience in 111 Late Sixteenth-Century Bologna . Caroline P. Murphy 6 "Virgo-non sterilis...": Nuns as Artists in 139 Seventeenth-Century Rome . Franca Trinchieri Camiz PART III. FEMALE BODIES IN THE LANGUAGE 165 OF ART 7 Disrobing the Virgin: The Madonna lactans in 167 Fifteenth-Century Florentine Art • Megan Holmes 8 Donna/Dono: Chivalry and Adulterous Exchange in 196 the Quattrocento • Chad Coerver 9 Idol or Ideal? The Power and Potency of Female 222 Public Sculpture • Geraldine A. Johnson Notes • 247 Index (compiled by Heather R. Lee) • 301 V © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-56580-6 - Picturing Women in Renaissance and Baroque Italy Edited by Geraldine A. Johnson and Sara F. Matthews Grieco Table of Contents More information Illustrations i Lorenzo Lotto, Portrait of Lucrezia Valier, c.
    [Show full text]