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The Astronomical Garden of Venus and Mars-NG915: the Pivotal Role Of
The astronomical garden of Venus and Mars - NG915 : the pivotal role of Astronomy in dating and deciphering Botticelli’s masterpiece Mariateresa Crosta Istituto Nazionale di Astrofisica (INAF- OATo), Via Osservatorio 20, Pino Torinese -10025, TO, Italy e-mail: [email protected] Abstract This essay demonstrates the key role of Astronomy in the Botticelli Venus and Mars-NG915 painting, to date only very partially understood. Worthwhile coin- cidences among the principles of the Ficinian philosophy, the historical characters involved and the compositional elements of the painting, show how the astronomi- cal knowledge of that time strongly influenced this masterpiece. First, Astronomy provides its precise dating since the artist used the astronomical ephemerides of his time, albeit preserving a mythological meaning, and a clue for Botticelli’s signature. Second, it allows the correlation among Botticelli’s creative intention, the historical facts and the astronomical phenomena such as the heliacal rising of the planet Venus in conjunction with the Aquarius constellation dating back to the earliest represen- tations of Venus in Mesopotamian culture. This work not only bears a significant value for the history of science and art, but, in the current era of three-dimensional mapping of billion stars about to be delivered by Gaia, states the role of astro- nomical heritage in Western culture. Finally, following the same method, a precise astronomical dating for the famous Primavera painting is suggested. Keywords: History of Astronomy, Science and Philosophy, Renaissance Art, Educa- tion. Introduction Since its acquisition by London’s National Gallery on June 1874, the painting Venus and Mars by Botticelli, cataloged as NG915, has remained a mystery to be interpreted [1]1. -
The Armstrong Browning Library Newsletter God Is the Perfect Poet
The Armstrong Browning Library Newsletter God is the perfect poet. – Paracelsus by Robert Browning NUMBER 51 SPRING/SUMMER 2007 WACO, TEXAS Ann Miller to be Honored at ABL For more than half a century, the find inspiration. She wrote to her sister late Professor Ann Vardaman Miller of spending most of the summer there was connected to Baylor’s English in the “monastery like an eagle’s nest Department—first as a student (she . in the midst of mountains, rocks, earned a B.A. in 1949, serving as an precipices, waterfalls, drifts of snow, assistant to Dr. A. J. Armstrong, and a and magnificent chestnut forests.” master’s in 1951) and eventually as a Master Teacher of English herself. So Getting to Vallombrosa was not it is fitting that a former student has easy. First, the Brownings had to stepped forward to provide a tribute obtain permission for the visit from to the legendary Miller in Armstrong the Archbishop of Florence and the Browning Library, the location of her Abbot-General. Then, the trip itself first campus office. was arduous—it involved sitting in a wine basket while being dragged up the An anonymous donor has begun the cliffs by oxen. At the top, the scenery process of dedicating a stained glass was all the Brownings had dreamed window in the Cox Reception Hall, on of, but disappointment awaited Barrett the ground floor of the library, to Miller. Browning. The monks of the monastery The Vallombrosa Window in ABL’s Cox Reception The hall is already home to five windows, could not be persuaded to allow a woman Hall will be dedicated to the late Ann Miller, a Baylor professor and former student of Dr. -
The Esotericism in Sandro Botticelli's La Primavera
THE ESOTERICISM IN SANDRO BOTTICELLI’S LA PRIMAVERA © Esperanza Parra López. Registered in the Spanish Register of Intellectual Property. Register Number: 08/2011/549. ABSTRACT: This article proposes an iconographic and especially iconological interpretation about the picture La Primavera (Allegory of Spring) by Sandro Botticelli. This fresh interpretation has a strong esoteric component, characteristic of the period when it was created, which has remained largely unnoticed. But the author of this research maintains that in order to fully understand this picture, it is needed to penetrate the Italian Renaissance Mentality. KEYWORDS: Marsilio Ficino – Lorenzo of Pierfrancesco of Medici – Lorenzo The Magnificent – Simonetta Vespucci – Semiramide Appiani. RESUMEN: Se propone aquí, en el presente artículo, una interpretación iconográfica y sobre todo iconológica totalmente nueva y definitiva sobre el cuadro La Primavera de Sandro Botticelli. Esta novedosa interpretación tiene un fuerte componente esotérico, propio de la época en la cual se realizó esta obra de arte, que, muchas veces, ha pasado totalmente desapercibido. Pero la autora de esta investigación, insiste, en que hay que penetrar en la mentalidad del Renacimiento Italiano y sus escritos para comprender la totalidad de dicho cuadro. THE ESOTERICISM IN SANDRO BOTTICELLI’S LA PRIMAVERA © Esperanza Parra López. Registered in the Spanish Register of Intellectual Property. Register Number: 08/2011/549. [email protected] Botticelli: La Primavera. Florence, ©Uffizi. (fig. 1) PREFACE: This essay begins with a short review of what has been written until now about Botticelli’s La Primavera. Later, the main part of the essay is presented. The purpose of this research is not to compile what has been said before, but to bring new information 2 that can help to envisage the iconographic, and above all, iconological interpretation of this artwork. -
Draft Programme the Information in This Programme Is Correct As of 19Th February
The Trollope Society Visit to Florence 1st - 5th April 2020 Draft Programme The information in this programme is correct as of 19th February. For the latest version of the programme visit www.trollopesociety.org/event/trip-florence/ Wednesday 1st April From 5pm Registration and pick up pack Reception, Hotel Ricasoli, Via Delle Mantellate 2, Firenze 6pm – 8pm Welcome to Florence by Dominic Hotel Ricasoli, Via Delle Edwardes, Chair of the Trollope Mantellate 2, Firenze Society Drinks Reception with canapes to include the launch of newly reprinted Fanny Trollope’s The Life and Adventures of Jonathan Jefferson Whitlaw (1836) Thursday 2nd April 10am to 1pm Walking tour of City Centre Meet at the carousel in Piazza della Repubblica, 50123 Firenze 3pm-4pm Talk by Mark Roberts, Consultant to Acton Room, Harold Acton the British Institute on Some 19th- Library, Century Literary Visitors to Florence British Institute, Lungarno Guicciardini, 9, 50125 Firenze See More Information 4.30pm – 6.30pm Visit to the British Institute with The Ferragamo Room, Harold afternoon tea and cake Acton Library, British Institute, Lungarno Guicciardini, 9, 50125 Firenze Friday 3rd April 9.30am Walk to Trollope Villa Trollope Villa, 21 Piazza della Indipendenza 10.15am to 12 Talk by Dominic Edwardes on The noon Life of Fanny Trollope. Talk by Julia Bolton Holloway, Hotel Ricasoli, Via Delle librarian, archivist and custodian of Mantellate 2, Firenze the English Cemetery, on Frances Trollope’s political and social activism The Trollope Society Visit to Florence 2020 – Draft Programme 23rd February 2.00pm Walk to English Cemetery OR English Cemetery, Piazzale 2.30pm Meet at English Cemetery Donatello, 38, 50132 Firenze Followed by refreshments at nearby café 7.00pm Dinner at Gran Caffè San Marco Gran Caffè San Marco, Piazza San Marco, 11/R, 50121 Firenze Included for those who have pre- booked and pre-paid Saturday 4th April 10am - 12 noon Free time or optional visit to the The Stibbert Museum, Via Stibbert Museum. -
Simonetta Cattaneo Vespucci: Beauty. Politics, Literature and Art in Early Renaissance Florence
! ! ! ! ! ! ! SIMONETTA CATTANEO VESPUCCI: BEAUTY, POLITICS, LITERATURE AND ART IN EARLY RENAISSANCE FLORENCE ! by ! JUDITH RACHEL ALLAN ! ! ! ! ! ! ! A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Department of Modern Languages School of Languages, Cultures, Art History and Music College of Arts and Law University of Birmingham September 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT ! My thesis offers the first full exploration of the literature and art associated with the Genoese noblewoman Simonetta Cattaneo Vespucci (1453-1476). Simonetta has gone down in legend as a model of Sandro Botticelli, and most scholarly discussions of her significance are principally concerned with either proving or disproving this theory. My point of departure, rather, is the series of vernacular poems that were written about Simonetta just before and shortly after her early death. I use them to tell a new story, that of the transformation of the historical monna Simonetta into a cultural icon, a literary and visual construct who served the political, aesthetic and pecuniary agendas of her poets and artists. -
Florence: the City of Memories
_l_ - - .. .·.. •; ,I .. FLORENCE: THE CITY OF MEMORIES - -· E. M. P OMEROY ----'---------. ANY. readers among the English-speaking peoples of the M world, who day by day followed the progress of the war in Italy, sometimes gave at least a passing thought to the historic centres of the past which have become the historic scenes of the present. For a moment or so the war was forgotten, and some centre of art or religion which captured the imagination in the past again stood out clear in all its ancient glory. To the writer such a centre was Florence or, as the Italians write it, Firenze, which means the City of Flowers. It was indeed the City of Flowers when visited during Easter week some years ago, when war clouds seemed far distant. Almost every person met on the street was wearing lilies-of-the-valley; and never to be-forgotten were the rose-covered garden walls on the road to Fiesole. Yet even more to the traveller than the City of Flowers did it become The City of Memories. l\!Iemory transformed the humblest city street into holy ground. Perhaps, one mused, from this street, while standing on these very stones, the nine-year-old Dante caught his first glimpse of Beatrice. Perchance he was walking here when, in his mind, were crystallizing some of the imperishable lines of his Vila Nuova. Certain it is that he gazed with tear-dimmed eyes upon the hills of Fiesole and the beautiful valley of the Arno, as he left his native city to pass into exil&-:-never to return! Then one's thoughts turned to that ardent reformer and :fiery orator, Savonarola, who lived a hundred years later. -
Fabienne Moine Elizabeth Barrett Browning's Italian Poetry
Fabienne Moine Elizabeth Barrett Browning’s Italian Poetry: Constructing National Identity and Shaping the Poetic Self After Elizabeth Barrett married the poet Robert Browning in 1846, the newly-wed couple settled in Italy, a soothing place for Elizabeth’s poor health and a land of psychological independence, very unlike the prison-like house of Wimpole Street where her father had kept her away from any suitor. From her Florentine windows in Casa Guidi, the famous poet contemplated Italian history in the making during the Risorgimento. There she wrote one of her best poems, Aurora Leigh (1856), an aesthetic autobiography in verse. This epic poem would hardly have been so successful had she not previously writ- ten her political verse Casa Guidi Windows. In the two parts of this poem committed to the birth of the new nation, Barrett Browning reveals how deeply engaged she is in the Italian cause. Indeed, the last fifteen years of her artistic life were dedicated to the country which welcomed the poet and opened new perspectives in terms of poetical writing. From 1846 onwards, Barrett Browning unceasingly appealed to and supported the Italian people and openheartedly fought for the freedom of the country in her poems: Casa Guidi Windows, Poems Before Congress, and Last Poems published post- humously and after she had been buried in the English cemetery in Florence. Barrett Browning had a personal approach to Italy entirely different from her husband’s who could stroll about Florentine streets. She would stay behind her windows, as the title -
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. -
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). -
31.07.2020 Orario Musei
Orari d’apertura Opening hours dei luoghi d’interesse of the places of interest LEGENDA E NOTE GLI UFFIZI 17 MUSEO DEL MUSEI COMUNALI MUSEO DEL CICLISMO MUSEO dello SPEDALE Legenda & Notes FC Piazzale degli Uffizi 1 BARGELLO 31 MUNICIPAL MUSEUMS GINO BARTALI 84 DEGLI INNOCENTI 49 c 9:00-18:30 FC Via Chiantigiana 177 c orari di apertura / FC Via del Proconsolo 4 Gratis per minori di 18 anni, FC Piazza Ss. Annunziata g lun / Mon PC /RS Ponte a Ema opening hours c 04/08-07/09/2020 disabili e accompagnatore. c gio-lun / Thu-Mon € 20,00 mar-ott / Mar-Oct 8:45-13:30 Riduzioni per tutti tra i 18 e i 25 g temporaneamente chiuso/ 16:00-20:00 g giorni di chiusura / temporarily closed € 12,00 nov-feb / Nov-Feb g mar e 16/08, 30/08 / anni e studenti universitari. € 9,00 closing days th th MUSEO DEL BIGALLO 20 include ingresso a / includes free Tue & Aug 16 , 30 Free under 18, disabled and FC Firenze Card carer. CIMITERO entrance to Museo Archeologico c mar / Tue 04/08/2020 FC P.zza San Giovanni 1 (attualmente non Reductions for everybody g temporaneamente chiuso/ DEGLI INGLESI 9 & Opificio delle Pietre Dure € 8,00 disponibile / not PALAZZO PITTI 42 -47 between 18 & 25 and university temporarily closed Piazzale Donatello available at the CAPPELLE MEDICEE 3 students. c Piazza Pitti 1 ALTRI MUSEI lun / Mon 9:00-12:00 moment ) FC P.zza Madonna PALAZZO VECCHIO 35 mar-ven/ Tue-Fri 15:00-18:00 FC GALL. -
Church Or Museum? Tourists, Tickets and Transformations
CHURCH OR MUSEUM? TOURISTS, TICKETS AND TRANSFORMATIONS Jennifer Ann Ryde A thesis submitted to the University of Western Sydney for the degree of Doctor of Philosophy June, 2013 Early Image of San Lorenzo - Codex Rustici. Dedication This thesis is dedicated to my parents Jack and Sheila Ryde who were always unwavering in their support and encouragement in my life choices. This project would not have been possible without their love and care. Acknowledgements My profound thanks go to my supervisors Dr Pamela James and Dr Russell Staiff for their outstanding mentorship throughout this endeavour. They have provided me with insight, guidance, valuable discussions, enthusiasm for my research and the determination to complete. I also thank Dr Carol Liston whose encouragement was crucial to commencing this thesis. Thanks also go to my family, friends and colleagues who have been a constant source of support and encouragement especially during difficult moments of self- doubt. Particular thanks go to my Italian colleague Dr Bruno Di Biase who has been a mentor since my early days in academia and without whose ongoing support I would not have embarked on this journey. My research would have been more difficult if not for the support of the University of Western Sydney librarians, especially Ms Narelle Oliver, always most generous with her time and energy, and also Ms Jenny Davis who sought out obscure Italian texts for me. Finally, special mention goes to my wonderful daughter Alessandra for her unwavering encouragement and unconditional support as well as her technical advice and expertise. Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. -
Hessisches Landesmuseum, Darmstadt
Botticelli Reimagined V&A Museum, 5 March – 3 July 2016 Lender Reference number: Hessisches Landesmuseum, Darmstadt (8767) Title: Birth of Venus Date of creation: 1868-9 Place of creation: Basel, Switzerland Artist/ Designer: Arnold Böcklin (1827-1901) Dimensions: 1355 x 790 mm Nationality of Artist: Swiss Materials/ medium: Oil on canvas Brief physical description (including identifying marks and inscriptions): Female figure, representing Venus, emerges from the foam of the sea. A veil held by two putti is gathered in the hand of the female figure to cover her from the waist down. Lender (name and address): Hessisches Landesmuseum Darmstadt Friedenspl. 1 64283 Darmstadt Germany Provenance: 1898 Maximilian Freiherr von Heyl, in Darmstadt; various owners; Sigmund Buchenau, Niendorf/Lubeck; 1938 Karl Haberstock, Berlin; ‘Führermuseum’, Linz; acquired by The Federal Republic of Germany; since 1968 on permanent loan to Hessisches Landesmuseum in Darmstadt Ownership between 1933-1945: Collection of Sigmund Buchenau; from 1938 in the collection of Karl Haberstock; the ‘Führermuseum’, Linz Art Gallery Object registered on Art Loss Register?: Not checked Image of Object: Lender Reference number: Hessisches Landesmuseum, Darmstadt (AE.1285) Title: The Devout Jews at Pentecost Date of creation: 1500s Place of creation: Italy Artist/ Designer: Sandro Botticelli (c.1445-1510) Dimensions: 231 x 365 mm Nationality of Artist: Italian (Florentine) Materials/ medium: Black chalk, pen and brown ink, brown wash with white gouache, on paper Brief physical description (including identifying marks and inscriptions): This drawing depicts eight figures (seven above and one below) gathered around a central door. It is believed to record the missing lower half of a painting titled Pentecost now in the collection of the Birmingham Museums Trust.