The Best of Renaissance Florence April 28 – May 6, 2019
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Discovering Florence in the Footsteps of Dante Alighieri: “Must-Sees”
1 JUNE 2021 MICHELLE 324 DISCOVERING FLORENCE IN THE FOOTSTEPS OF DANTE ALIGHIERI: “MUST-SEES” In 1265, one of the greatest poets of all time was born in Florence, Italy. Dante Alighieri has an incomparable legacy… After Dante, no other poet has ever reached the same level of respect, recognition, and fame. Not only did he transform the Italian language, but he also forever altered European literature. Among his works, “Divine Comedy,” is the most famous epic poem, continuing to inspire readers and writers to this day. So, how did Dante Alighieri become the father of the Italian language? Well, Dante’s writing was different from other prose at the time. Dante used “common” vernacular in his poetry, making it more simple for common people to understand. Moreover, Dante was deeply in love. When he was only nine years old, Dante experienced love at first sight, when he saw a young woman named “Beatrice.” His passion, devotion, and search for Beatrice formed a language understood by all - love. For centuries, Dante’s romanticism has not only lasted, but also grown. For those interested in discovering more about the mysteries of Dante Alighieri and his life in Florence , there are a handful of places you can visit. As you walk through the same streets Dante once walked, imagine the emotion he felt in his everlasting search of Beatrice. Put yourself in his shoes, as you explore the life of Dante in Florence, Italy. Consider visiting the following places: Casa di Dante Where it all began… Dante’s childhood home. Located right in the center of Florence, you can find the location of Dante’s birth and where he spent many years growing up. -
Mantua SIMPLY WONDERFUL Piazza Sordello
MANTUA SIMPLY WONDERFUL Piazza Sordello MANTUA. SIMPLY WONDERFUL Those who arrive in Mantua are captivated by its unique, timeless allure and welcoming atmosphere. A city which enjoys a breathtaking panorama when viewed from the shores of its lakes. It appears as though it is suspended above the water, a protagonist of an almost surreal landscape, composed of a balance of history, art and nature. Mantua is a city to be visited with ample time, consideration and serenity. The city squares, passageways and cobblestone streets invite the visitor to slowly take in every one of its monuments and historic buildings in order to understand just why it has been declared by UNESCO as a World Heritage Site along with the neighboringneighbouring town of Sabbioneta. Mantua weaves history, art and culture together everywhere and it is surrounded by an unparalleled natural atmosphere. Unique and magical places that make Mantua simply wonderful. 2 View of the city Mantua at sunset 3 Sabbioneta MANTUA AND SABBIONETA: WORLD HERITAGE SITE July of 2008 is the month when Mantua and neighbouring Sabbioneta where introduced to the list of World Heritage Sites as a unique point of importance. Both cities enjoyed moments of great design importance during the renaissance. Designed and created by the same ruling family, the Gonzaga, two different but complimentary models were applied for each location. In fact, Sabbioneta is a newer city realized by Vespasiano Gonzaga in the second half of the sixteenth century as the ideal capital for his duchy; Mantua instead presents itself as a transformation of an existing city, which changed the ancient urban configuration. -
Elenco Manoscritti
Elenco Manoscritti Bibl. Nazionale 1 FRONTINI.= De Re Militari in cambio del 259 2 Ricordanze di Neri di Bicci dipintore, da Biblioteca 1453-1475 Strozzi 3 ADRIANO Marcello Juniore = De Categoria 4 S.S. PATRUM = Opuscolo D. Augusti et Bibl. Nazionale Hyaronimi. Come sopra 5 VACCA FLAMINIO = Antichità di Roma da Biblioteca Strozzi 6 Epitaffio et elogia (Cod. Cartaceo del sec. XVI) 7 Inscriptiones Romanae (2 voll.) da Biblioteca Strozzi 8 Trattato sopra i nomi dalle Tribù da Biblioteca Strozzi 9 BOCCHI = Sulle opere di Andrea del Sarto da Biblioteca Strozzi (Borghini invenzione della cupola) 10 VASARI = Alcuni disegni di macchine, da Biblioteca Statuti della Accademia del Strozzi Disegno...(1584) 11 Ragionamento con Francesco de' Medici da Biblioteca Strozzi sopra le pitture di Palazzo Vecchio.... (Del Vasari) 12 STROZZI = Iscrizioni antiche da Biblioteca Strozzi ? 13 NORIS = Epistolae e studi diversi (Cod. del XVII sec.) 14 Medaglie d'oro della serie Imperiale. 15 Tavole di pittura e sculture egregio. 16 PANETALIO, P. = Trattato della pittura del Lomazzo. da Biblioteca Strozzi 17 MIRABELLA = Medaglie consolari. da Biblioteca 18 Erudizione orientale di numismatica. Strozzi 19 BACINI lasciati per legato alla Casa Medici.... 20 BIANCHI = Descrizione dalla R. Galleria 21 BIANCHI = Catalogo della Imperial Galleria di Firenze. 22 COCCHI = Studi diversi di antiquaria. 23 " = Notizie sopra alcune medaglie 24 " = Indice di Medaglie per classi (5 filze) 25 PELLI BENCIVENNI = Notizie della R. Galleria 26 Studi degli antiquari Bassetti, Querci e Pelli. 27 LANZI = Miscellanea (4 volumi) 28 LANZI = Repertorivm earum ..Inscriptiones pert.. 29 LANZI = Repertorio di Medaglie consolari... 30 LANZI = Repertorium de caracteribus 31 LANZI = Repertorio di antichità figurate. -
Merchants and the Origins of Capitalism
Merchants and the Origins of Capitalism Sophus A. Reinert Robert Fredona Working Paper 18-021 Merchants and the Origins of Capitalism Sophus A. Reinert Harvard Business School Robert Fredona Harvard Business School Working Paper 18-021 Copyright © 2017 by Sophus A. Reinert and Robert Fredona Working papers are in draft form. This working paper is distributed for purposes of comment and discussion only. It may not be reproduced without permission of the copyright holder. Copies of working papers are available from the author. Merchants and the Origins of Capitalism Sophus A. Reinert and Robert Fredona ABSTRACT: N.S.B. Gras, the father of Business History in the United States, argued that the era of mercantile capitalism was defined by the figure of the “sedentary merchant,” who managed his business from home, using correspondence and intermediaries, in contrast to the earlier “traveling merchant,” who accompanied his own goods to trade fairs. Taking this concept as its point of departure, this essay focuses on the predominantly Italian merchants who controlled the long‐distance East‐West trade of the Mediterranean during the Middle Ages and Renaissance. Until the opening of the Atlantic trade, the Mediterranean was Europe’s most important commercial zone and its trade enriched European civilization and its merchants developed the most important premodern mercantile innovations, from maritime insurance contracts and partnership agreements to the bill of exchange and double‐entry bookkeeping. Emerging from literate and numerate cultures, these merchants left behind an abundance of records that allows us to understand how their companies, especially the largest of them, were organized and managed. -
Getting to Know Italy
Map Skills: Europe- Italy Name_____________________________________________Date________________ Getting to Know Italy 1. What countries border Italy? _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ 2. With which of those countries does Italy share the largest border? ____________________________________________ 3. With which of those countries does Italy share the smallest border? ____________________________________________ 4. What are some regions within Italy? ____________________________________________ ____________________________________________ ____________________________________________ 5. What is the capital of Italy? ____________________________________________ 6. Name at least two other major cities in Italy. ____________________________________________ ____________________________________________ 7. Name some rivers that flow through Italy. ____________________________________________ ____________________________________________ ____________________________________________ ____________________________________________ ____________________________________________ 8. Name some of the national parks in Italy. ____________________________________________ ____________________________________________ 1 ©2005abcteach.com Map Skills: Europe- Italy Name_____________________________________________Date________________ Getting to -
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 -
Florence Next Time Contents & Introduction
TABLE OF CONTENTS Introduction Conventional names for traditional religious subjects in Renaissance art The Cathedral of Florence (Duomo) The Baptistery Museo dell’Opera del Duomo The other Basilicas of Florence Introduction Santissima Annunciata Santa Croce and Museum San Lorenzo and Medici Chapels San Marco and Museum Santa Maria del Carmine and Brancacci Chapel Santa Maria Novella and Museum San Miniato al Monte Santo Spirito and Museum Santa Trinita Florence’s other churches Ognissanti Orsanmichele and Museum Santi Apostoli Sant’Ambrogio San Frediano in Cestello San Felice in Piazza San Filippo Neri San Remigio Last Suppers Sant’Apollonia Ognissanti Foligno San Salvi San Marco Santa Croce Santa Maria Novella and Santo Spirito Tours of Major Galleries Tour One – Uffizi Tour Two – Bargello Tour Three – Accademia Tour Four – Palatine Gallery Museum Tours Palazzo Vecchio Museo Stefano Bardini Museo Bandini at Fiesole Other Museums - Pitti, La Specola, Horne, Galileo Ten Lesser-known Treasures Chiostro dello Scalzo Santa Maria Maggiore – the Coppovaldo Loggia del Bigallo San Michele Visdomini – Pontormo’s Madonna with Child and Saints The Chimera of Arezzo Perugino’s Crucifixion at Santa Maria dei Pazzi The Badia Fiorentina and Chiostro degli Aranci The Madonna of the Stairs and Battle of the Centaurs by Michelangelo The Cappella dei Magi, Palazzo Medici-Riccardi The Capponi Chapel at Santa Felicita Biographies of the Artists Glossary of Terms Bibliography SimplifiedTime-line diagram Index INTRODUCTION There can’t be many people who love art who won’t at some time in their lives find themselves in Florence, expecting to see and appreciate the incredibly beautiful paintings and sculptures collected in that little city. -
Anthony Bourdain Florence Italy Recommendations
Anthony Bourdain Florence Italy Recommendations Solo Allen counterpoints farcically and prismatically, she pumps her compote scraps undersea. Angelico never rosin any azalea cheapen assuredly, is Mahmoud gram-positive and chiseled enough? Sustained and paralyzed Neil obscure: which Tobit is pisolitic enough? We also love this thick, anthony bourdain visited before his family in rome called pasta with our website run place in florence here was just the Luca and making way through luscious green hills to anthony bourdain sat next trip to us through smart choice of your memories of a rickety plastic bowl. Complicit in a shameful, shameful incident of fakery, but there I was bobbing listlessly in the water with dead sea life sinking to the bottom all around me. Get every detail about italy to florence! Tucci continued making projects on Italian food and cooking. Cycling routes were hands on your thing? Montana, and made tranquil lifestyle. Instagram to florence, but never easy, swimming in my recommendations for entertainment television channel owned by travel is the island before his recommendation. Mine sat at any medications or manage this is great find a great cheese pairing ideas to get ahead and disaster and. Just about italy in florence taking top honors as bourdain himself, anthony started the. Piedmont and anthony bourdain florence italy recommendations that gives you stay. Unfortunately, the lobster mac and cheese they ate was a special. Even if your seafood is not your thing, there are literally hundreds of recommendations for other places. Culture that bourdain, anthony bourdain florence italy recommendations that he told us proud to anthony bourdain says something. -
The Presentation of the Virgin in the Temple
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Paolo di Giovanni Fei Sienese, c. 1335/1345 - 1411 The Presentation of the Virgin in the Temple 1398-1399 tempera on wood transferred to hardboard painted surface: 146.1 × 140.3 cm (57 1/2 × 55 1/4 in.) overall: 147.2 × 140.3 cm (57 15/16 × 55 1/4 in.) Samuel H. Kress Collection 1961.9.4 ENTRY The legend of the childhood of Mary, mother of Jesus, had been formed at a very early date, as shown by the apocryphal Gospel of James, or Protoevangelium of James (second–third century), which for the first time recounted events in the life of Mary before the Annunciation. The iconography of the presentation of the Virgin that spread in Byzantine art was based on this source. In the West, the episodes of the birth and childhood of the Virgin were known instead through another, later apocryphal source of the eighth–ninth century, attributed to the Evangelist Matthew. [1] According to this account of her childhood, Mary, on reaching the age of three, was taken by her parents, together with offerings, to the Temple of Jerusalem, so that she could be educated there. The child ascended the flight of fifteen steps of the temple to enter the sacred building, where she would continue to live, fed by an angel, until she reached the age of fourteen. [2] The legend linked the child’s ascent to the temple and the flight of fifteen steps in front of it with the number of Gradual Psalms. -
Family Background, Education, Giulio Romano
Chapter � Early Years: Family Background, Education, Giulio Romano 1.1 Family Background On the seventh of September of 1459, according to the contemporary chron- icler Andrea Schivenoglia, the Duke of ‘Clenij’ or ‘Clunii’—in fact Johann i, Duke of Cleves—arrived in Mantua representing Philip the Good, Duke of Bur- gundy, at the Mantuan Council presided over by Pope Pius ii. During his visit he was lodged in the house belonging to the massaro of Mantua, an important financial officer of this small but powerful North-Italian state.1 The Duke’s host, Vivaldo della Strata, belonged to a family whose common ancestor, Lorenzo, had in 1228 been called from Brescia to serve as podestà of Mantua. In this he followed a tradition of his family, many members of which fulfilled similar functions in Lombardy and Piedmont.2 Until their extinction in an outbreak 1 Vivaldo Strada was elected Councillor and massarius of the Comune of Mantua in 1445; he died in 1475, cf. Piccoli 1988, who quotes the Mantuan chronicle Andrea Schivenoglia: ‘E che venuto allora ambasciatore del duca di Borgogna il duca di Clunii, questo foe alogato in casa de Vivaldo Strada da drè la via de San Dominico andando verso San Christophora’; a similar passage is quoted by Carlo d’Arco in the entry on the Stradas in his manuscript Annotazioni genealogiche di famiglie mantovane che possono servire alla esatta compilazione della storia di queste (ASMn, Documenti patrii 220, vol. vii, pp. 65–75); but it cannot be found in D’Arco’s own edition of Schivenoglia (D’Arco 1857a, the relevant passage on p. -
A New Chronology of the Construction and Restoration of the Medici Guardaroba in the Palazzo Vecchio, Florence
A NEW CHRONOLOGY OF THE CONSTRUCTION AND RESTORATION OF THE MEDICI GUARDAROBA IN THE PALAZZO VECCHIO, FLORENCE by Mark Rosen One of the most unusual projects overseen by Giorgio Vasari in the Palazzo Vecchio in Flor- ence, the Guardaroba is a trapezoidal room containing a late-sixteenth-century cycle of fi fty-three geographical maps of the earth affi xed in two tiers to the front of a series of wooden cabinets (fi g. 1). Vasari published a detailed program for the Guardaroba project in the second edition of “Le vite de’ piu eccellenti pittori scultori e architettori” in 15681, at a moment when the project, begun in 1563, was still in development. The program defi nes it as a complete cosmography of the known universe, with maps, globes, painted constellations, illustrations of fl ora and fauna, and portraits of great historical leaders. Rarities and artworks placed inside the cabinets would act together with this custom-designed imagery to refl ect back on the name and charismatic persona of Vasari’s patron, Cosimo I de’ Medici (1519–1574). The idea and program behind the Medici Guardaroba had roots in late medieval studioli — small, womb-like study spaces that valorized private contemplation and collecting through complex humanistic decoration. Yet the goal of this new space was to be a public theater for the court’s cosmography and its power to collect and sort the duchy’s fi nest objects. The incomplete status of the room today — which includes only a series of empty cabinets, a terrestrial globe (1564–1568) by the Dominican scientist Egnazio Danti, and a cycle of maps painted by Danti (between 1563 and 1575) and Stefano Buonsignori (from 1576 through c. -
"Nuper Rosarum Flores" and the Cathedral of Florence Author(S): Marvin Trachtenberg Source: Renaissance Quarterly, Vol
Architecture and Music Reunited: A New Reading of Dufay's "Nuper Rosarum Flores" and the Cathedral of Florence Author(s): Marvin Trachtenberg Source: Renaissance Quarterly, Vol. 54, No. 3 (Autumn, 2001), pp. 740-775 Published by: The University of Chicago Press on behalf of the Renaissance Society of America Stable URL: http://www.jstor.org/stable/1261923 . Accessed: 03/11/2014 00:42 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press and Renaissance Society of America are collaborating with JSTOR to digitize, preserve and extend access to Renaissance Quarterly. http://www.jstor.org This content downloaded from 192.147.172.89 on Mon, 3 Nov 2014 00:42:52 AM All use subject to JSTOR Terms and Conditions Architectureand Alusic Reunited: .V A lVewReadi 0 u S uperRosarum Floresand theCathedral ofFlorence. byMARVIN TRACHTENBERG Theproportions of the voices are harmoniesforthe ears; those of the measure- mentsare harmoniesforthe eyes. Such harmoniesusuallyplease very much, withoutanyone knowing why, excepting the student of the causality of things. -Palladio O 567) Thechiasmatic themes ofarchitecture asfrozen mu-sic and mu-sicas singingthe architecture ofthe worldrun as leitmotifithrough the histories ofphilosophy, music, and architecture.Rarely, however,can historical intersections ofthese practices be identified.