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LIBRARY UNIVERSITY OF CALIFORNIA SAN DIEGO ITALIAN CITIES VOL. II. BY EDWIN HOWLAND BLASHFIE AND YANGELINE WILBOUR BLASHF VOLUME II PERUGIA THE PORTA AUGUSTA ITALIAN CITIES BY EDWIN HOWLAND BLASHFIELD AND EVANGELINE WILBOUR BLASHFIELD VOLUME II WITH FORTY-EIGHT ILLUSTRATIONS NEW YORK CHARLES SCRIBNER'S SONS 19O2 Copyright, 1900, 1902 BY CHARLES SCRIBNER'S SONS UNIVERSITY PRESS JOHN WILSON AND SON CAMBRIDGE, U. S. A. CONTENTS OF THE SECOND VOLUME PERUGIA PAGE I. PERUSIA AUGUSTA 3 II. PERUGINO 28 III. THE GRIFFIN'S BROOD 43 CORTONA THE DAUGHTERS OF SANTA MARGHERITA 53 SPOLETO 75 ASSISI I. IL POVERELLO 87 II. STOIC AND SAINT 105 III. THE CHURCH OF SAINT FRANCIS . 114 IV. LA POVERA 139 RAPHAEL IN ROME I. RAPHAEL CALLED TO ROME 149 II. THE STANZA DELLA SEGNATURA . 154 v CONTENTS. PAGE III. OTHER FRESCOES IN THE STANZE OF THE VATICAN 177 IV. THE LOGGIE, THE FARNESINA, AND THE SIBYLS 191 V. RAPHAEL'S ENDOWMENT 202 FLORENTINE SKETCHES I. BRUNELLESCHI'S DOME 215 II. GIOTTO'S CAMPANILE 219 III. THE PASSING OF DANTE'S FLORENCE. 222 THE AGE OF PREPARATION 241 MANTUA I. THE DUCAL CITY 257 II. THE REGGIA 261 III. MANTEGNA . 285 vi ILLUSTRATIONS* VOL. II. TO FACE PAOI 1. The Porta Augusta, Perugia. The lower part of this gate is of Etruscan masonry, the upper por- tion is much later. It bears the inscription " " Augusta Perusia Frontispiece 2. Angels playing Musical Instruments. Relief by Agostino di Duccio Florentine set in the fa9ade of the Oratory of San Bernardino, Perugia. The whole fa9ade, unique in its kind, is the work of Agostino 12 3. Interior of the Sala del Cambio or Hall of Exchange of Perugia, decorated by Pietro Vannucci, called II Perugino (1499-1500 or 1507). The vaulting and upper halls are frescoed, the lower walls covered with carved or inlaid wood, and the pave- ment is tesselated. To the right of the illustra- tion are the bench and seats of the presiding officials with the Griffin of Perugia above. The small door in the angle leads to the chapel of the Exchange, decorated by Gianniccola Manni. 28 " 4. Head of Publius Scipio from the fresco Temper- " ance and Fortitude by Pietro Vannucci, called II Perugino, in the Sala del Cambio, Perugia . 30 * Reproduced (except No. 9) from photographs by Alinari, Florence. vii ILLUSTRATIONS TO FACE PAGE 5. Temperance and Fortitude. Fresco by Pietro Van- nucci, called II Perugino, in the Sala del Cambio of Perugia. The figures of the Virtues are seated above below from left to the ; right standing figures are labelled Lucius Licinius, Leonidas, Horatius Codes, Publins Scipio, Pericles, Quintus Cincinnatus 32 6. Sarcophagus containing the body of Saint Margaret of Cortona, by Angelo and Francesco di Pietro d'Assisi (1362) 70 7. The so-called Temple of the Clitumnus. The little building in the valley of the Clitumnus River near Spoleto, although called a temple, is a Christian edifice of very early date, and is under the invoca- tion of San Salvatore 82 8. The Feast of Herod. Fresco by Giotto di Bondone in the Peruzzi chapel of the church of Santa Croce. The frescoes in this chapel are assigned to the latest period of Giotto's career .... 102 9. The Bridal Procession of the Virgin Mary. Fresco by Giotto di Bondone in Santa Maria dell' Arena, Padua. Giotto was working upon the decora- tion of this building (called also La Madonna dell' Arena, the Arena chapel, and the Scrovegni chapel) in the year 1306 when Dante visited Padua. The cycle is Giotto's masterpiece, and the composition of this fresco, one of the most damaged and least repainted, shows Giotto's simplicity and stateliness with even more than his usual measure of rhythmical charm . 120 10. Interior of the lower church of Saint Francis, Assisi, built by Jacopo d'Allemania between 1228 and 1232. The reproduction shows a little of the decoration by Giotto of the crociera over the high altar 124 viii ILLUSTRATIONS TO FACE PAGE 11. Institution of the Order of St. Francis by Pope Honorius III. Fresco by Domenico Bigordi, called II Ghirlandajo. The series to which this fresco belongs was painted for Francesco Sassetti and completed in the year 1485 in the Sassetti chapel of the church of the Santissima Trinita, Florence. These frescoes are the most masterly of Ghirlandajo's works. Although Honorius made his grant in 1223, Ghirlandajo has pictured his contemporaries and shows the Loggia de' Lanzi and the Palazzo Vecchio in the back- ground. Herr A. Warburg, in his Bildnisskunst und florentinisches Btirgerthum, identifies certain personages in the fresco as follows : at the ex- treme right stands Lorenzo de' Medici between the two Sassetti. Ascending the stairs are first, Angelo Poliziano with the child Giuliano de' Medici ; next the children Piero de' Medici and Giovanni de' Medici; then Matteo Franco and Luigi Pulci 144 12. Interior of the Sala della Segnatura in the Vatican. This hall, devoted to the signing of papal briefs, was painted by Eaphael in 1509-11. The floor is of mosaic, the dado, once covered by the intar- siatura of Fra Giovanni da Verona, was painted under Paul III. by Perino del Vaga, to the detri- ment of the general effect, since these lower frescoes unnecessarily complicate the ensemble. There has been much controversy over the gene- ral of the decoration the sim- meaning ; latest, plest, and best explanation is that it merely indi- cates the division of a library under the four heads of Theology, Philosophy, Jurisprudence, and Poetry. In the reproduction are seen the Parnassus, the School of Athens, and the lower ix ILLUSTRATIONS TO FACE FAOK part of the pendentive on which the Astronomy is painted 154 13. Group from the lower rigkt-huud portion of Ra- " " phael's fresco called La Disputa in the Sala della Segnatura of the Vatican. The personages represented have heen identified as follows : the mitred Saint Amhrose at the left looks upward, Saint also dictates to a Augustine, mitred, youth ; behind them are Duns Scotus and Saint Thomas Aquinas. Farther to the right is Pope Anacle- tus ; then Saint Bonaventara in cardinal's dress, Pope Innocent III. wearing the triple tiara, and, last of all, Savonarola and Dante 158 14. Group from the left foreground of Raphael's fresco " " The School of Athens in the Sala della Segna- tura of the Vatican. It is probable that in the case of most of the series of allegorical or sym- bolical cycles of the Renaissance the humanists aided the artists in the development of the liter- " ary side of the composition. In The School of " Athens Dante, Petrarch, Marsilio Ficino were sources of inspiration. Bellori in 1695 at- tempted the first detailed "description of the fresco. In this group the seated figure writing at the left is called of usually Pythagoras ; two his companions are perhaps Aristoxenes and Ter- pander, and the figure seated alone has been generally named Heraclitus of Ephesus. The standing youth with long hair and the girlish face is supposed to be Francesco Maria of Urbino, arbitrarily introduced into the company of the philosophers, while the child behind the tur- baned figure may be the little Federigo Gonzaga. The man leaning upon the base of a column at the left has been variously called Democritus, Epicurus, and Plotinus 164 ILLUSTRATIONS TO FACE PAGE " 15. Group from the right-hand foreground of The School of Athens." Archimedes, with the feat- ures of Bramante, traces a figure upon the ground while pupils stoop or kneel about him. Zoroaster holds a globe, the geographer Ptolemy, confused by Raphael with Ptolemy the king, wears a crown. At the extreme right stands Raphael himself with either Perugiuo or Sodoma at his side. The latest criticism inclines to the hy- pothesis that the latter artist is the one repre- sented 168 16. Window by Francesco Talenti in the Campanile of Santa Maria del Fiore of Florence. The Cam- panile, called also Giotto's Tower, was commenced in 1334 upon the designs of Giotto and the first story was built by him. Andrea Pisano from 1335 to 1349 continued it to the cornice above the statues. Francesco Talenti built the window stories the bells in and the ; were placed 1358 roof was added in 1381. The reproduction shows the tower of the Palazzo Vecchio seen through the window of the Campanile 218 17. The Demolition of the Centre of Florence. View showing the destruction, in 1890-92, of the quarter adjoining the Duomo and Baptistery. streets and small Many piazzas disappeared ; including little churches, various Arti or palaces of the the guilds ; many private palaces ; portico of the fish market built Vasari 1568 houses of by ; the Brunelleschi and Alfieri, and the remains of twenty-four mediaeval towers, with hundreds of other old buildings 226 18. Head of a Woman. Red chalk drawing by Leonardo da Vinci in the Uffizi Gallery, Florence. This drawing is evidently a somewhat conventionalized xi ILLUSTRATIONS TO FACE PAGE replica of a drawing by the same master in the Louvre, called by Charles Yriarte a portrait of Isabella d'Este. Yriarte's identification has been generally accepted. Leonardo made a study of Isabella in Mantua in 1499 264 " 19. Wedding Feast of Cupid and Psyche." Fresco by Giulio Pippi de' G-ianuzzi, called Giulio Romano, in the Sala di Psiche in the Palazzo del T (or Te), Mantua, painted 1532-34 278 " 20. Fragment of the fresco The Wedding Feast of Cupid and Psyche," companion-piece to the pre- ceding fresco 282 " 21. The Family of the Marquis of Mantua." Frag- ment of a fresco by Andrea Mantegna in the room called Camera degli Sposi, in the Ducal Palace of Mantua.
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    RADAR Research Archive and Digital Asset Repository Peripheral backwater or innovative upland?: patterns of Franciscan patronage in renaissance Perugia, c. 1390 - 1527 Beverley N. Lyle (2008) https://radar.brookes.ac.uk/radar/items/e2e5200e-c292-437d-a5d9-86d8ca901ae7/1/ Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, the full bibliographic details must be given as follows: Lyle, B N (2008) Peripheral backwater or innovative upland?: patterns of Franciscan patronage in renaissance Perugia, c. 1390 - 1527 PhD, Oxford Brookes University WWW.BROOKES.AC.UK/GO/RADAR Peripheral packwater or innovative upland? Patterns of Franciscan Patronage in Renaissance Perugia, c.1390 - 1527 Beverley Nicola Lyle Oxford Brookes University This work is submitted in partial fulfilment of the requirelnents of Oxford Brookes University for the degree of Doctor of Philosophy. September 2008 1 CONTENTS Abstract 3 Acknowledgements 5 Preface 6 Chapter I: Introduction 8 Chapter 2: The Dominance of Foreign Artists (1390-c.1460) 40 Chapter 3: The Emergence of the Local School (c.1450-c.1480) 88 Chapter 4: The Supremacy of Local Painters (c.1475-c.1500) 144 Chapter 5: The Perugino Effect (1500-c.1527) 197 Chapter 6: Conclusion 245 Bibliography 256 Appendix I: i) List of Illustrations 275 ii) Illustrations 278 Appendix 2: Transcribed Documents 353 2 Abstract In 1400, Perugia had little home-grown artistic talent and relied upon foreign painters to provide its major altarpieces.
  • Renaissance at the Vatican

    Renaissance at the Vatican

    Mensile Data Novembre 2013 Sotheby’s Pagina 46-47 Foglio 1 / 3 ART WORLD INSIDER Renaissance at the vatican VI (reigned 1963 to 1978), who knew many artists from his time in Paris, inaugurated the collection of modern art in the Borgia Apartments, decorated in the 15th century by Pinturicchio and home to some 600 donated works of variable quality (ironically, the Vatican’s version of Bacon’s famous popes is not among the best). Now, the Vatican is once again engaging with work by living artists and this year, for the fi rst time, it has a national pavilion at the Venice Biennale with commissioned works by the Italian multimedia collective Studio Azzurro, the Czech photographer Josef Koudelka and the American painter Lawrence Carroll. What do you say to these who think the Church should sell all of its treasures and give it to the poor? If it sold all its masterpieces, the poor would be poorer. Everything that is here is for the people of the world. Has the election of Pope Francis made a difference? PROFESSOR ANTONIO PAOLUCCI, DIRECTOR, VATICAN MUSEUMS Because of him, even more people have come to Rome. After the Angelus prayer and the papal audiences, they want to see the museums. We have 5.1 Anna Somers Cocks profi les Professor Antonio million visitors a year and I would like to have zero Paolucci, the custodian of one of the world’s growth now. greatest repositories of art at the Vatican Museums in Rome What is the role of the Vatican Museums? People expect them to be very pious: instead, you see After a brilliant career as a museum director in more male and female nudes than in most museums.