DOCSLIB.ORG

Sacred and Secular October 30, 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sacred and Secular October 30, 2019 Raphael: Pope Julius II (1511, London NG) Bramante: Il Tempietto (1502, San Pietro in Martorio, Rome) Bramante: Cloister of Santa Maria della Pace (1504, Rome) Michelangelo: Sistine Chapel Ceiling (1508–12) Hellenistic: Laocoon and his Sons (Vatican, excavated 1506) Raphael: Adoration of the Holy Sacrament (1509–11, Vatican) Raphael: The School of Athens (1509–11, Vatican) F. Raphael as Stage Director In his later religious paintings, Raphael developed the skills of both storyteller and stage-director, disposing large groups of people in dynamic compositions with telling control of action, gesture, costume, setting, and even lighting. Raphael: The Expulsion of Heliodorus (1514, Vatican) Raphael: The Deliverance of St. Peter (1514, Vatican) Raphael: The Death of Ananias (1515, London V&A) Raphael: The Miraculous Draught of Fishes (1515, London V&A) Palestrina: Missa Papae Marcelli (1555) Full Names and Dates of Artists, Authors, and Composers: George Frederick Bodley (1827–1907) Donato Bramante (1444– 1514), Filippo Brunelleschi (1377–1446), Donatello (Donato di Niccolo, c.1386–1466), Lorenzo Ghiberti(c.1368 –1455), Heinrich Isaac (1450–1517), Francesco Landini (1325/35–97), Benjamin Henry Latrobe (1764–1820), Leonardo da Vinci (1452–1519), Ambrogio Lorenzetti (c.1290–1348), Masaccio (Tommaso di Ser Giovanni di Simone, 1401–28), Masolino (Tommaso di Cristofano da Panicale, c.1383–1440), Michelangelo Buonarroti (1475–1564), Giovanni Pierluigi da Palestrina (c.1525–94), Piero della Francesca (1415–92), Raphael (Raffaello Sanzio, 1483–1520), Spinello Aretino (c.1350– 1410), Marcus Vitruvius Pollio (c.85–15 BCE) All the art, music, and texts are available on my website: Sacred and Secular http://www.brunyate.com/SacredMCC/ October 30, 2019 The Humanist Ideal Brunelleschi: San Lorenzo, Florence (begun 1419) Brunelleschi: Santo Spirito, FLorence (begun 1441) Leonardo da Vinci: Vitruvian Man (c.1492, Venice, Accademia) The Renaissance of interest in Classical culture introduced values based upon Humanism and secular aesthetics in C. A Visit to Umbria contrast to older theology. The synthesis of these elements A trip to see the work of Piero della Francesca, whose quest for has been an issue for religious art ever since. purity, obsession with perspective, and refusal to prettify make him unparalleled as a painter of ideas. Piero della Francesca: Brera Madonna (c.1472, Milan, Brera) A. Tales of Two Cities Piero della Francesca: The Flagellation of Christ (c.1468, Urbino) Florence in the quattrocento (1400s) and Rome in the cinquecento Piero della Francesca: Annunciation (c.1470, Perugia) (1500s), the respective epicenters of the Early and High Piero della Francesca: Annunciation (fresco c.1460, Arezzo) Renaissance. The seismic shift that enabled architects, artists, and Donatello: Calvacanti Annunciation (c.1435, Florence, Santa Croce) thinkers to bring about a rapprochement between Catholic Heinrich Isaac: La Martinella (c.1480) Christianity and the pagan past. Washington Cathedral (Bodley, begun 1906) Baltimore Basilica (Latrobe, begun 1806) D. Three Davids and an Apollo Cathedral of Santa Maria del Fiore, Florence Revisiting the passage from quattrocento to cinquecento through Saint Peter's Basilica, Rome two sculptures by Donatello, one by Michelangelo, and the antique Apollo that turned the art world on its head. B. The Florentine Spring Donatello: Marble David (1408, Bargello), with St. George Three geniuses of the Florentine Renaissance: the architect Donatello: St. George (1410, Bargello) Brunelleschi, the sculptor Ghiberti, and the painter Masaccio. The Donatello: Bronze David (1440s, Bargello) invention of perspective, and the transition from a God-centered Michelangelo: David (1501-04, Florence Accademia) world to one whose ideal measure is Man. Hellenistic: Apollo Belvedere (Vatican) Landini: "Ecco la Primavera" (later C14) Aretino: Annunciation (c.1400, Cambridge UK) E. Roman Rivalry Brunelleschi: The Binding of Isaac (1401) Michelangelo disliked Raphael, yet the younger artist found ways of Ghiberti: The Binding of Isaac (1401) sneaking into the Sistine Chapel to see the work in progress. Ghiberti: Annunciation (1403–25) Michelangelo devised a vast decorative scheme in which figures Ghiberti: Jacob, Esau, and Isaac (1437-55) from the Hebrew Bible rubbed shoulders with others from Greek Masolino and Masaccio: Adam and Eve (1425-28, Brancacci Chapel) and Roman myth. Raphael brought ancient and modern together in Masaccio: The Tribute Money (1425-28, Brancacci Chapel) silent conversation in the vast airy compositions with which he Masaccio: The Holy Trinity (1427, Santa Maria Novella, Florence) decorated the Pope's chambers. .
Load more

Recommended publications
  • Painting Perspective & Emotion Harmonizing Classical Humanism W
    Quattrocento: Painting Perspective & emotion Harmonizing classical humanism w/ Christian Church Linear perspective – single point perspective Develops in Florence ~1420s Study of perspective Brunelleschi & Alberti Rules of Perspective (published 1435) Rule 1: There is no distortion of straight lines Rule 2: There is no distortion of objects parallel to the picture plane Rule 3: Orthogonal lines converge in a single vanishing point depending on the position of the viewer’s eye Rule 4: Size diminishes relative to distance. Size reflected importance in medieval times In Renaissance all figures must obey the rules Perspective = rationalization of vision Beauty in mathematics Chiaroscuro – use of strong external light source to create volume Transition over 15 th century Start: Expensive materials (oooh & aaah factor) Gold & Ultramarine Lapis Lazuli powder End: Skill & Reputation Names matter Skill at perspective Madonna and Child (1426), Masaccio Artist intentionally created problems to solve – demonstrating skill ☺ Agonistic Masaccio Dramatic shift in painting in form & content Emotion, external lighting (chiaroscuro) Mathematically constructed space Holy Trinity (ca. 1428) Santa Maria Novella, Florence Patron: Lorenzo Lenzi Single point perspective – vanishing point Figures within and outside the structure Status shown by arrangement Trinity literally and symbolically Vertical arrangement for equality Tribute Money (ca. 1427) Brancacci Chapel in Santa Maria del Carmine, Florence Vanishing point at Christ’s head Three points in story Unusual
    [Show full text]
  • Janson. History of Art. Chapter 16: The
    16_CH16_P556-589.qxp 12/10/09 09:16 Page 556 16_CH16_P556-589.qxp 12/10/09 09:16 Page 557 CHAPTER 16 CHAPTER The High Renaissance in Italy, 1495 1520 OOKINGBACKATTHEARTISTSOFTHEFIFTEENTHCENTURY , THE artist and art historian Giorgio Vasari wrote in 1550, Truly great was the advancement conferred on the arts of architecture, painting, and L sculpture by those excellent masters. From Vasari s perspective, the earlier generation had provided the groundwork that enabled sixteenth-century artists to surpass the age of the ancients. Later artists and critics agreed Leonardo, Bramante, Michelangelo, Raphael, Giorgione, and with Vasari s judgment that the artists who worked in the decades Titian were all sought after in early sixteenth-century Italy, and just before and after 1500 attained a perfection in their art worthy the two who lived beyond 1520, Michelangelo and Titian, were of admiration and emulation. internationally celebrated during their lifetimes. This fame was For Vasari, the artists of this generation were paragons of their part of a wholesale change in the status of artists that had been profession. Following Vasari, artists and art teachers of subse- occurring gradually during the course of the fifteenth century and quent centuries have used the works of this 25-year period which gained strength with these artists. Despite the qualities of between 1495 and 1520, known as the High Renaissance, as a their births, or the differences in their styles and personalities, benchmark against which to measure their own. Yet the idea of a these artists were given the respect due to intellectuals and High Renaissance presupposes that it follows something humanists.
    [Show full text]
  • The Best of Renaissance Florence April 28 – May 6, 2019
    Alumni Travel Study From Galleries to Gardens The Best of Renaissance Florence April 28 – May 6, 2019 Featuring Study Leader Molly Bourne ’87, Professor of Art History and Coordinator of the Master’s Program in Renaissance Art at Syracuse University Florence Immerse yourself in the tranquil, elegant beauty of Italy’s grandest gardens and noble estates. Discover the beauty, drama, and creativity of the Italian Renaissance by spending a week in Florence—the “Cradle of the Renaissance”—with fellow Williams College alumni. In addition to a dazzling array of special openings, invitations into private homes, and splendid feasts of Tuscan cuisine, this tour offers the academic leadership of Molly Bourne (Williams Class of ’87), art history professor at Syracuse University Florence. From the early innovations of Giotto, Brunelleschi, and Masaccio to the grand accomplishments of Michelangelo, our itinerary will uncover the very best of Florence’s Renaissance treasury. Outside of Florence, excursions to delightful Siena and along the Piero della Francesca trail will provide perspectives on the rise of the Renaissance in Tuscany. But the program is not merely an art seminar—interactions with local food and wine experts, lunches inside beautiful private homes, meanders through stunning private gardens, and meetings with traditional artisans will complement this unforgettable journey. Study Leader MOLLY BOURNE (BA Williams ’87; PhD Harvard ’98) has taught art history at Syracuse University Florence since 1999, where she is also Coordinator of their Master’s Program in Renaissance Art History. A member of the Accademia Nazionale Virgiliana, she has also served as project researcher for the Medici Archive Project and held a fellowship at Villa I Tatti, the Harvard Center for Renaissance Studies.
    [Show full text]
  • 1 Santo Spirito in Florence: Brunelleschi, the Opera, the Quartiere and the Cantiere Submitted by Rocky Ruggiero to the Universi
    Santo Spirito in Florence: Brunelleschi, the Opera, the Quartiere and the Cantiere Submitted by Rocky Ruggiero to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Art History and Visual Culture In March 2017. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (Signature)…………………………………………………………………………….. 1 Abstract The church of Santo Spirito in Florence is universally accepted as one of the architectural works of Filippo Brunelleschi (1377-1446). It is nevertheless surprising that contrary to such buildings as San Lorenzo or the Old Sacristy, the church has received relatively little scholarly attention. Most scholarship continues to rely upon the testimony of Brunelleschi’s earliest biographer, Antonio di Tuccio Manetti, to establish an administrative and artistic initiation date for the project in the middle of Brunelleschi’s career, around 1428. Through an exhaustive analysis of the biographer’s account, and subsequent comparison to the extant documentary evidence from the period, I have been able to establish that construction actually began at a considerably later date, around 1440. It is specifically during the two and half decades after Brunelleschi’s death in 1446 that very little is known about the proceedings of the project. A largely unpublished archival source which records the machinations of the Opera (works committee) of Santo Spirito from 1446-1461, sheds considerable light on the progress of construction during this period, as well as on the role of the Opera in the realization of the church.
    [Show full text]
  • Donato Bramante 1 Donato Bramante
    Donato Bramante 1 Donato Bramante Donato Bramante Donato Bramante Birth name Donato di Pascuccio d'Antonio Born 1444Fermignano, Italy Died 11 April 1514 (Aged about 70)Rome Nationality Italian Field Architecture, Painting Movement High Renaissance Works San Pietro in Montorio Christ at the column Donato Bramante (1444 – 11 March 1514) was an Italian architect, who introduced the Early Renaissance style to Milan and the High Renaissance style to Rome, where his most famous design was St. Peter's Basilica. Urbino and Milan Bramante was born in Monte Asdrualdo (now Fermignano), under name Donato di Pascuccio d'Antonio, near Urbino: here, in 1467 Luciano Laurana was adding to the Palazzo Ducale an arcaded courtyard and other features that seemed to have the true ring of a reborn antiquity to Federico da Montefeltro's ducal palace. Bramante's architecture has eclipsed his painting skills: he knew the painters Melozzo da Forlì and Piero della Francesca well, who were interested in the rules of perspective and illusionistic features in Mantegna's painting. Around 1474, Bramante moved to Milan, a city with a deep Gothic architectural tradition, and built several churches in the new Antique style. The Duke, Ludovico Sforza, made him virtually his court architect, beginning in 1476, with commissions that culminated in the famous trompe-l'oeil choir of the church of Santa Maria presso San Satiro (1482–1486). Space was limited, and Bramante made a theatrical apse in bas-relief, combining the painterly arts of perspective with Roman details. There is an octagonal sacristy, surmounted by a dome. In Milan, Bramante also built the tribune of Santa Maria delle Grazie (1492–99); other early works include the cloisters of Sant'Ambrogio, Milan (1497–1498), and some other constructions in Pavia and possibly Legnano.
    [Show full text]
  • Masaccio (1401-1428) St Peter Distributing Alms to the Poor (Ca 1425)
    COVER ART Masaccio (1401-1428) St Peter Distributing Alms to the Poor (ca 1425) OR ALMOST 6 centuries, visitors to the Bran- banking and textiles had made some families wealthy, cacci Chapel in Florence, Italy, have been but many others were left behind. Hundreds of children charmed by the toddler shown here cling- were abandoned each year by poor parents who could ing to his mother, his little rounded rump not afford to raise them. Aid for these foundlings came dangling over her arm. from private charity and from the silk industry, whose FThe frescoes that cover the chapel walls show scenes guild had agreed in 1294 to become the official protec- from the life of St Peter, one of Christ’s 12 disciples. In tor of the city’s abandoned children. While Masaccio was this panel, Peter has traveled to a town in Palestine to working on the Brancacci Chapel, across town the Os- spread the gospel and to do good works following Christ’s pedale degli Innocenti (Foundling Hospital) was being resurrection. A community of believers have sold their built by the silk guild. (The “bambino” insignia of the personal property and pooled their funds, to be distrib- American Academy of Pediatrics was later drawn from a uted according to need. Peter is shown putting money roundel on the hospital’s facade.1) into the hand of the child’s indigent mother. At their feet What motivated this voluntary transfer of wealth to lies a man named Ananias, who secretly withheld part aid poor children? Genuine altruism certainly played a of the proceeds from selling his property and who fell role: rich men had children of their own, and the Re- dead when his deception was exposed.
    [Show full text]
  • Passepartour 2019
    PASSEPARTOUR 2019 FIRENZE OLTRARNO THE KEYS OF ACCESSIBILITY Florence is a world heritage site and as such it must be accessible to all, without exclusion. Florence welcomes people with physical disabilities due to an abundance of pedestrian areas and accessible historical and artistic sites. It is also unde- niable that some routes of the city-center - similar to many other historical cities throughout the world - may present some difficulties for people using wheelchairs: for example narrow streets, tiny sidewalks that are not easily passable or not homogeneous pavement. To address this problem and provide information on which paths are the best to follow for people with physical disabilities, the Municipality of Florence in collaboration with Kinoa Srl have designed and published this Guide. The PASSEPARTOUR project is made up of four volumes, each describing four different tourist itineraries "without barriers". In addition, the guide provides a map of the historical city-center, highlighting all the areas that can be navigated with complete autonomy, or with the support of a helper. In addition, Kinoa has developed the navigation app Kimap, which acts as a companion tool to the guide for the mobility of disabled people. Kimap can be downloaded for free on every smartphone: the app shows the most accessible path to reach your desired destination and is constantly updated. We hope that this project will contribute to improve the tourist experi- ence for those visiting our marvellous City, opening the doors to its extraordinary heritage. Cecilia Del Re Councilor for Tourism of the City of Florence Florence is a world heritage site and as such it must be accessible to all, without exclusion.
    [Show full text]
  • Italian Humanism Was Developed During the Fourteenth and the Beginning of the Fifteenth Centuries As a Response to the Medieval Scholastic Education
    Italian Humanism Was developed during the fourteenth and the beginning of the fifteenth centuries as a response to the Medieval scholastic education • Growing concern with the natural world, the individual, and humanity’s worldly existence. • Revived interest in classical cultures and attempt to restore the glorious past of Greece and Rome. Recovering of Greek and Roman texts that were previously lost or ignored. • Interest in the liberal arts - grammar, rhetoric, poetry, history and moral philosophy. • Promotes human values as distinct from religious values, mainly Roman civic virtues: self-sacrificing service to the state, participation in government, defense of state institutions. Renaissance architecture: Style of architecture, reflecting the rebirth of Classical culture, that originated in Florence in the early 15th century. There was a revival of ancient Roman forms, including the column and round arch, the tunnel vault, and the dome. The basic design element was the order. Knowledge of Classical architecture came from the ruins of ancient buildings and the writings of Vitruvius. As in the Classical period, proportion was the most important factor of beauty. Filippo Brunelleschi (1377 - 1446), Florentine architect and engineer. Trained as a sculptor and goldsmith, he turned his attention to architecture after failing to win a competition for the bronze doors of the Baptistery of Florence. Besides accomplishments in architecture, Brunelleschi is also credited with inventing one-point linear perspective which revolutionized painting. Sculpture of Brunelleschi looking at the dome in Florence Filippo Brunelleschi, Foundling Hospital, (children's orphanage that was built and managed by the Silk and Goldsmiths Guild), Florence, Italy, designed 1419, built 1421-44 Loggia Arcade A roofed arcade or gallery with open sides A series of arches supported by stretching along the front or side of a building.
    [Show full text]
  • Lorenzo Ghiberti, Gates of Paradise (East Doors), Baptistry of San Giovanni, Florence, 1425–52
    Lorenzo Ghiberti, Gates of Paradise (East Doors), Baptistry of San Giovanni, Florence, 1425–52 Florence Baptistery, constructed between 1059 and 1128 -renowned for its three sets of bronze doors with relief sculptures (south doors created by Andrea Pisano; north and east doors by Lorenzo Ghiberti) Figure from the 1804 edition of De Pictura (1435) of Leon Battista Alberti, showing the vanishing point Alberti’s treatise was the first surviving European treatise on painting. Book I is a geometry of perspective. Book II describes the good painting. Book III discusses the education and life-style of the artist “Masaccio in painting “Masaccio was a very expressed the likeness of good imitator of everything in nature so well nature, with great and that with our eyes we seemed comprehensive to see not the images of rilievo, a good things but things componitore and puro, themselves.” without ornato, because he devoted himself only to the Alamanno Rinuccini, 1472 imitation of truth and to the rilievo of his figures.” Cristoforo Landino, 1481 Masaccio, The Holy Trinity, 1427. Santa Maria Novella Church, Florence Interior of the Brancacci Chapel, Church of Santa Maria del Carmine, Florence. Frescoes by Masaccio and Masolino (c. 1423–28) and Filippino Lippi (c. 1482–84) Masaccio. Tribute Money, fresco in the Brancacci Chapel, c. 1427. (2.3x 6 m) “And since he had excellent judgment, he reflected that all the figures that did not stand firmly with their feet in foreshortening on the level, but stood on tip-toe, were lacking in all goodness of manner in the essential points, and that those who make them thus show that they do not understand foreshortening.” Vasari, Lives of Artists Raphael, Madonna of the Meadows, 1505–6, The Annunciation to the Shepherds, Cotton Kunsthistorisches Museum, Vienna MS Caligula A VII/1, fol.
    [Show full text]
  • Imagines-Number-2-2018-August
    Imagines è pubblicata a Firenze dalle Gallerie degli Uffizi Direttore responsabile Eike D. Schmidt Redazione Dipartimento Informatica e Strategie Digitali Coordinatore Gianluca Ciccardi Coordinatore delle iniziative scientifiche delle Gallerie degli Uffizi Fabrizio Paolucci Hanno lavorato a questo numero Andrea Biotti, Patrizia Naldini, Marianna Petricelli Traduzioni: Eurotrad con la supervisione di Giovanna Pecorilla ISSN n. 2533-2015 2 august 2018 index n. 2 (2018, August) 6 EIKE SCHMIDT Digital reflexions 10 SILVIA MASCALCHI School/Work programmes at the Uffizi Galleries. Diary of an experience in progress 20 SIMONE ROVIDA When Art Takes Centre Stage. Uffizi Live and live performance arts as a means to capitalise on museum resources 38 ELVIRA ALTIERO, FEDERICA CAPPELLI, LUCIA LO STIMOLO, GIANLUCA MATARRELLI An online database for the conservation and study of the Uffizi ancient sculptures 52 ALESSANDRO MUSCILLO The forgotten Grand Duke. The series of Medici-Lorraine busts and their commendation in the so-called Antiricetto of the Gallery of Statues and Paintings 84 ADELINA MODESTI Maestra Elisabetta Sirani, “Virtuosa del Pennello” 98 CARLA BASAGNI PABLO LÓPEZ MARCOS Traces of the “Museo Firenze com’era in the Uffizi: the archive of Piero Aranguren (Prato 1911- Florence 1988), donated to the Library catalog 107 FABRIZIO PAOLUCCI ROMAN ART II SEC. D. C., Sleepimg Ariadne 118 VINCENZO SALADINO ROMAN ART, Apoxyomenos (athlete with a Scraper) 123 DANIELA PARENTI Spinello Aretino, Christ Blessing Niccolò di Pietro Gerini, Crocifixion 132 ELVIRA ALTIERO Niccolò di Buonaccorso, Presentation of the Virgin in the Temple n.2 | august 2018 Eike Schmidt DIGITAL REFLEXIONS 6 n Abbas Kiarostami’s film Shirin (2008), sing questions of guilt and responsibility for an hour and a half we see women – would have been superimposed upon Iin a theatre in Iran watching a fictio- its famous first half, the action-packed nal movie based on the tragic and twi- Nibelungenlied (Song of the Nibelungs).
    [Show full text]
  • Madonna and Child Enthroned with Twelve
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Agnolo Gaddi Florentine, c. 1350 - 1396 Madonna and Child Enthroned with Twelve Angels, and with the Blessing Christ [middle panel] shortly before 1387 tempera on poplar panel overall: 204 × 80 cm (80 5/16 × 31 1/2 in.) Inscription: across the bottom: AVE MARIA GRATIA PLENA DOMINUS [TECUM] (Hail, Mary, full of grace, the Lord is with thee; from Luke 1:28); on the book held by the Redeemer in the gable: EGO SUM / A[ET] O PRINCI / PIU[M] [ET] FINIS / EGO SUM VI / A. VERITAS / [ET] VITA (I am Alpha and Omega, the beginning and the end, I am the way, the truth, and the life; from John 14:6; Revelations 22:13) Andrew W. Mellon Collection 1937.1.4.b ENTRY This panel is the central part of a triptych flanked by two laterals with paired saints (Saint Andrew and Saint Benedict with the Archangel Gabriel [left panel] and Saint Bernard and Saint Catherine of Alexandria with the Virgin of the Annunciation [right panel]). All three panels are topped with similar triangular gables with a painted medallion in the center. The reduction of a five-part altarpiece into a simplified format with the external profile of a triptych may have been suggested to Florentine masters as a consequence of trends that appeared towards the end of the fourteenth century: a greater simplification in composition and a revival of elements of painting from the first half of the Trecento. [1] Agnolo Gaddi followed this trend in several of his works.
    [Show full text]
  • Raphael's School of Athens: a Theorem in a Painting?
    Journal of Humanistic Mathematics Volume 2 | Issue 2 July 2012 Raphael's School of Athens: A Theorem in a Painting? Robert Haas Follow this and additional works at: https://scholarship.claremont.edu/jhm Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, and the Geometry and Topology Commons Recommended Citation Haas, R. "Raphael's School of Athens: A Theorem in a Painting?," Journal of Humanistic Mathematics, Volume 2 Issue 2 (July 2012), pages 2-26. DOI: 10.5642/jhummath.201202.03 . Available at: https://scholarship.claremont.edu/jhm/vol2/iss2/3 ©2012 by the authors. This work is licensed under a Creative Commons License. JHM is an open access bi-annual journal sponsored by the Claremont Center for the Mathematical Sciences and published by the Claremont Colleges Library | ISSN 2159-8118 | http://scholarship.claremont.edu/jhm/ The editorial staff of JHM works hard to make sure the scholarship disseminated in JHM is accurate and upholds professional ethical guidelines. However the views and opinions expressed in each published manuscript belong exclusively to the individual contributor(s). The publisher and the editors do not endorse or accept responsibility for them. See https://scholarship.claremont.edu/jhm/policies.html for more information. Raphael's School of Athens: A Theorem in a Painting? Cover Page Footnote Acknowledgments: I thank Robert J. Kolesar, Professor of Mathematics at John Carroll University, and Jon L. Seydl, the Paul J. and Edith Ingalls Vignos, Jr., Curator of European Painting and Sculpture, 1500-1800, at the Cleveland Museum of Art, for their comments and encouragement on the manuscript.
    [Show full text]