DOCSLIB.ORG

HA2F1-30 the Renaissance: North and South

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
HA2F1-30 the Renaissance: North and South HA2F1-30 The Renaissance: North and South 20/21 Department History of Art Level Undergraduate Level 2 Module leader Giorgio Tagliaferro Credit value 30 Module duration 10 weeks Assessment Multiple Study location University of Warwick main campus, Coventry Description Introductory description This long-view module intends to provide students with an overview of the evolution of the different arts (painting, sculpture, and architecture) in two different geographical areas: the Italian city- states (especially but not exclusively Florence) and Northern Europe. Module aims This module focuses on the movement of art and artists between Italy (especially but not exclusively Florence) and the Low Countries and Germany from c. 1400 to c. 1550. Students will consider a variety of products such as oil paintings, tapestries and marble sculptures and the factors behind exchange, trade and gifts. Students will debate the traditional narrative of the Renaissance and challenge the tendency to view artistic influence in one direction, questioning the extent to which artists like Michelangelo can be understood as isolated instances of genius. Aspects such as historical context, issues of patronage, diverging iconographies and diverse mediums will also be examined. We will discuss the development of the arts in the major Northern and Southern centres, from the Burgundian Netherlands, to the German Empire and the Italian pensinsula. Artists studied will include: Claus Sluter, Jan van Eyck, Rogier van der Weyden, Petrus Christus, Hans Memling, Hugo van der Goes, Jean Foquet, Enguerrand Quarton, and Hieronymus Bosch; Masaccio, Donatello, Piero della Francesca, Antonello da Messina, Sandro Botticelli, Andrea Mantegna, Giovanni Bellini, Leonardo, Michelangelo, and Raphael; Lucas Cranach, Tilman Riemenschneider, Albrecht Dürer, Matthias Grünewald, Albrecht Altdorfer, Hans Baldung Grien, and Hans Holbein. Outline syllabus This is an indicative module outline only to give an indication of the sort of topics that may be covered. Actual sessions held may differ. Background: Northern and Italian Renaissance. Artistic techniques (painting and sculpture). Court culture: Burgundy vs. Medici. Merchants between North and South. Markets: Bruges and Florence. Portraiture: North and South. Devotion: North and South. Northern vs. Italian altarpieces. Symbols and meanings. Learning outcomes By the end of the module, students should be able to: • Understand the artistic, religious and social contexts in which the artists of the Northern and Italian Renaissance worked. • Understand the artistic, religious and social contexts in which the artists of the Northern and Italian Renaissance worked. • Understand the artistic, religious and social contexts in which the artists of the Northern and Italian Renaissance worked. • Present an argument, initiate and sustain group discussion through intelligent questioning and debate at an appropriate level • Ability to undertake research and to write up the results in the form of a well-structured argument at an appropriate level. • Familiarity with essential ICT skills • Ability to collaborate effectively with others • Show understanding of diverse viewpoints • Ability to find, select, organize and synthesize evidence • Ability to formulate a sustained argument • Think conceptually and independently at an appropriate level • Employ sophisticated conceptual and visual analysis • Demonstrate bibliographical skills at an appropriate level • Produce critical analysis of cultural artefacts in their context Indicative reading list F. Ames-Lewis (ed.), Florence (Cambridge, 2012) J. Chipps Smith, The Northern Renaissance (London, 2004) J. Dunkerton, S. Foister, D. Gordon, N. Penny, Giotto to Dürer: Early Renaissance Painting in the National Gallery (New Haven and London, 1991) L. Kaborycha, A Short History of Renaissance Italy (New York, 2011) B. G. Lane, The Altar and the Altarpiece: Sacramental Themes in Early Netherlandish Painting (New York, 1984) S. Nash, Northern Renaissance Art (Oxford, 2008) J. Snyder, Northern Renaissance Art: Painting, Sculpture, the Graphic Arts from 1350 to 1575 (Englewood Cliffs and New York, 1985) View reading list on Talis Aspire Subject specific skills • Understand the artistic, religious and social contexts in which the artists of the Northern and Italian Renaissance worked. • Compare and contrast the types of meanings which art works embodied. • Understand the role of patrons and audiences. • Employ sophisticated conceptual and visual analysis • Produce critical analysis of cultural artefacts in their context Transferable skills • initiate and sustain group discussion through intelligent questioning and debate at an appropriate level • ability to undertake research and to write up the results in the form of a well-structured argument at an appropriate level • familiarity with essential ICT skills • ability to collaborate effectively with others • show understanding of diverse viewpoints • ability to find, select, organize and synthesize evidence • ability to formulate a sustained argument • think conceptually and independently at an appropriate level • Demonstrate bibliographical skills at an appropriate level Study Study time Type Required Seminars 20 sessions of 2 hours (13%) Total 300 hours Type Required External visits 1 session of 2 hours (1%) Private study 258 hours (86%) Total 300 hours Private study description Required and recommended reading for seminar presentations, research for written assessments and revision for examinations. Costs No further costs have been identified for this module. Assessment You do not need to pass all assessment components to pass the module. Assessment group D1 Weighting Study time Assessed Essay 50% 3000 word essay Slide Test 10% Image Analysis exam Written Examination 40% • Answerbook Pink (12 page) Assessment group A Weighting Study time Anthology (2500 words) 50% Written assignment (2500 words) 40% Online slide test 10% Feedback on assessment Written feedback and dedicated feedback tutorials. Past exam papers for HA2F1 Availability Courses This module is Option list A for: • Year 1 of THAA-V4P3 History of Art (Diploma) • Year 2 of UHAA-V401 Undergraduate History of Art • Year 2 of UHAA-V402 Undergraduate History of Art with Intercalated Year • Year 2 of UHAA-V3R3 Undergraduate History of Art with Italian This module is Option list B for: • Year 1 of UHAA-V41P Undergraduate History of Art This module is Option list D for: • Year 2 of UHAA-V3R1 Undergraduate History of Art and French.
Load more

Recommended publications
  • Ng Rabbit.Indd
    IJUH 6 The International Journal of Urologic History© www.ijuh.org Rabbit Uroscopy and the Virgin Mary with Christ Child Casey K. Ng*, E. Darracot Vaughan, Erich Meyerhoff From the Department of Urology (CKN, EDV, EM), Weil Cornell Medical College, New York, New York *Correspondence: Southern California Permanente Medical Group, 13652 Cantara Street, Panorama City, California; e-mail: [email protected] Introduction: The depiction of a rabbit with a urinary matula on the same page with the Virgin Mary and the Christ child in a medieval text, the Book of Hours, has raised interests among art and medical historians. We will describe the complex interplay between the rabbit, the matula, and the Virgin Mary. Sources: We studied the original illuminated texts from the medieval (ca. 1475) Book of Hours archived in the Morgan Library, New York. We reviewed articles and historical publications from art history and medical literature. Results: The Book of Hours was composed for use by lay people who wished to incorporate elements of monasticism into their devotional life. There was often an amalgamation of religious and secular themes within these illustrated texts. The use of uroscopy to diagnose ailments was prevalent and popular during the Middle Ages and the depiction of a matula was not uncommon in medieval manuscripts. As a result, the urine fl ask came to be identifi ed with and used as a symbol of the physician, much like the caduceus is today. From the fourth century to modernity, the rabbit has been an averter of evil and bringer of good luck. Rabbits functioned as motifs in many medieval manuscripts.
    [Show full text]
  • The Commissioning of Artwork for Charterhouses During the Middle Ages
    Geography and circulation of artistic models The Commissioning of Artwork for Charterhouses during the Middle Ages Cristina DAGALITA ABSTRACT In 1084, Bruno of Cologne established the Grande Chartreuse in the Alps, a monastery promoting hermitic solitude. Other charterhouses were founded beginning in the twelfth century. Over time, this community distinguished itself through the ideal purity of its contemplative life. Kings, princes, bishops, and popes built charterhouses in a number of European countries. As a result, and in contradiction with their initial calling, Carthusians drew closer to cities and began to welcome within their monasteries many works of art, which present similarities that constitute the identity of Carthusians across borders. Jean de Marville and Claus Sluter, Portal of the Chartreuse de Champmol monastery church, 1386-1401 The founding of the Grande Chartreuse in 1084 near Grenoble took place within a context of monastic reform, marked by a return to more strict observance. Bruno, a former teacher at the cathedral school of Reims, instilled a new way of life there, which was original in that it tempered hermitic existence with moments of collective celebration. Monks lived there in silence, withdrawn in cells arranged around a large cloister. A second, smaller cloister connected conventual buildings, the church, refectory, and chapter room. In the early twelfth century, many communities of monks asked to follow the customs of the Carthusians, and a monastic order was established in 1155. The Carthusians, whose calling is to devote themselves to contemplative exercises based on reading, meditation, and prayer, in an effort to draw as close to the divine world as possible, quickly aroused the interest of monarchs.
    [Show full text]
  • Souveraineté De La Lumière Provençale Jacques Lepage
    Document generated on 10/01/2021 7:02 a.m. Vie des arts Souveraineté de la lumière provençale Jacques Lepage Number 45, Winter 1967 URI: https://id.erudit.org/iderudit/58343ac See table of contents Publisher(s) La Société La Vie des Arts ISSN 0042-5435 (print) 1923-3183 (digital) Explore this journal Cite this article Lepage, J. (1967). Souveraineté de la lumière provençale. Vie des arts, (45), 18–23. Tous droits réservés © La Société La Vie des Arts, 1967 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ zmtmz JW ^H r**$tï" 4 «>• V 9 P "Kl 4m VS Mff< EJKI <m •BH • Comment expliquer l'unité profonde de la peinture en Provence aux XlVe et XVe siècles? Comment, sinon en évoquant ce qu'elle fut au XIXe: Cézanne et Van Gogh doivent nous rendre sensible ce qui s'est passé cinq siècles auparavant lorsque Siennois, Français, Catalans, Anglais, mêlèrent leur savoir et leurs humeurs, leurs goûts et leurs techniques dans ces villes-creusets que furent Avignon et Aix. Cézanne désira peindre comme un "Parisien"; Van Gogh abordait la Provence avec un héritage nordique. Rien de commun entre ces prémisses et l'œuvre qu'ils nous ont livrée.
    [Show full text]
  • Renaissance Art Reconsidered / an Anthology of Primary Sources ; Ed
    Contents Notes on Contributors xiii Preface xv Introduction 1 PART I: MAKING RENAISSANCE ART 3 Drawing and Workshop Practice 5 1.1.1 Cennino Cennini on drawing 6 1.1.2 Alberti on drawing figures 8 1.1.3 Francesco Squarcione details the drawing regime for his pupils 9 1.1.4 Gerard Horenbout takes on two apprentices 10 1.1.5 A master's duty of care for his apprentices 13 1.1.6 Leonardo da Vinci on drawing 15 1.1.7 Diirer gives drawings as gifts and uses them to pay day-to- day expenses 18 1.1.8 Diirer lists the qualities required to be a painter 22 1.1.9 Joachim Camerarius praises Diirer's drawings 23 Linear Perspective 29 1.2.1 Cennino Cennini's method for depicting buildings in a painting 30 1.2.2 Alberti and the earliest written description of single-point perspective 31 1.2.3 Lorenzo Ghiberti lists the sources for perspective 41 1.2.4 Filarete's method for making drawings of buildings 43 1.2.5 Piero della Francesca's perspective for painters 47 vi Contents 1.2.6 Manetti's descriptions of Brunelleschi's experiments 49 1.2.7 Leonardo da Vinci on single-point and aerial perspective 51 Sculpture 59 1.3.1 PosthumouPosthumouss inventorinventory oof TourTournan i sculptop r Colart le Cat 60 Michelozzo and Donatelllla are contractettdd tto makmakee ththee PPratr o 1.3.2 62 Pulpit Pulpit 65 1.3.3 ReporReport to on nDonatello' Donatellos sprogres pg s on the Prato pulpit 1.3.4 Thee BrusselBrusselss painterspainters'' guilguiildd claimli s exclusivxclusive rightrightss to market painted workks of art 66 1.3.5 Extracts from De StatuaS by Leon Battista
    [Show full text]
  • Le Retable De L'annonciation D'aix De Barthélemy D'eyck
    « Le retable de l’Annonciation d’Aix de Barthélemy d’Eyck : une pratique originale de la vision entre peinture et performance »* ROSE-MARIE FERRE, PARIS IV-SORBONNE, SITM 2007, LILLE. La bibliographie concernant le triptyque de l’Annonciation d’Aix peint par Barthélemy d’Eyck est foisonnante. Les études se sont surtout attachées, à partir de la redécouverte du retable au début du XXe siècle, à l’occasion de l’exposition « Les Primitifs français » de 1904, à déterminer l’auteur du tableau et ses affinités stylistiques1. Pour résumer, deux tendances apparaissent parallélement dans l’historiographie jusque dans les années 1950-1960 quant à l’attribution du retable. D’une part, les partisans « d’un flamand acclimaté en France » pour reprendre les termes de G. Hulin de Loo2 ; et d’autre part, les tenants, longtemps majoritaires dans la critique française, d’un provençal « d’éducation flamande » (comme Nicolas Froment, Enguerrand Quarton, Guillaume Dombet etc., tous actifs à Avignon et à Aix)3. * Cette étude s’inscrit dans une recherche sur « Le théâtre et la commande artistique à la cour de René d’Anjou : art, pouvoir et dévotion », thèse actuellement en préparation à l’université de Paris IV-Sorbonne, sous la direction de Madame Fabienne Joubert. 1 Bouchot H., L’Exposition des Primitifs français. La peinture en France sous les Valois, Paris, 1904. 2 Hulin de Loo G., Revue de l’Art ancien et Moderne, 1923, p 85. 3 Dans l’ordre chronologique, nous pouvons citer les principales études : Haitze P.J. de, Les curiositez les plus remarquables de la ville d’Aix, Aix, 1679, p.
    [Show full text]
  • Renaissance Art in Northern Europe
    Professor Hollander Fall 2007 AH107 T, Th 2;20-3:45 AH107 HONORS OPTION STATEMENT Martha Hollander AH107, Northern Renaissance Art, covers visual culture—manuscript and panel painting, sculpture, tapestries, and printmaking,–– in fifteenth-and sixteenth-century Netherlands, Northern France, and Germany. Within a roughly chronological framework, the material is organized according to nationality and, to some extent, thematically, The four essays focus on areas of inquiry that occur at specific moments in the course. (Each essay is due the week during or after the relevant material is covered in class.) The attached reading list, which supplements the regular reading for the course, is designed as a resource of these essays. Two essays (2 and 3) are concerned with important texts of art theory as well as secondary scholarly texts which involve reading the texts and using artworks of the student’s choosing as illustrative examples. The other two essays (1 and 4) require in- depth analysis of specific assigned artworks, guiding the student to place the works in their artistic and social context. Taken together, the four essays (comprising between 8-15 pages) supplement the regular work of the course by enhancing the essential objectives of the course. The student will have the opportunity to exercise skills in understanding and applying contemporary ideas about art; and in engaging with specific objects. Each essay grade will be 10% of the final grade. The weight of the grades for regular coursework will be adjusted accordingly. The student and I will meet during my office hour every other week for planning and discussion.
    [Show full text]
  • The Fogg Triptych: Testimony of a Case Study to the Society and Artistic Production of Venetian Crete
    Open Research Online The Open University’s repository of research publications and other research outputs The Fogg Triptych: Testimony of a case study to the society and artistic production of Venetian Crete Conference or Workshop Item How to cite: Lymberopoulou, Angeliki (2018). The Fogg Triptych: Testimony of a case study to the society and artistic production of Venetian Crete. In: Cross-cultural interaction between Byzantium and the West, 1204-1669. Whose Mediterranean is it anyway? (Lymberopoulou, Angeliki ed.), Society for the Promotion of Byzantine Studies, Routledge, London, pp. 59–73. For guidance on citations see FAQs. c [not recorded] https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Accepted Manuscript Link(s) to article on publisher’s website: https://www.routledge.com/Cross-Cultural-Interaction-Between-Byzantium-and-the-West-12041669/Lymberopoulou/p/book/9780815372677 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk THE FOGG TRIPTYCH Testimony of a case study to the society and artistic production of Venetian Crete Angeliki Lymberopoulou As an art historian and field archaeologist, I chose to focus on an actual object, and use it as a case study to highlight the volume’s theme. The object is an unpublished triptych currently in Sam Fogg’s London-based gallery.1 Its dimen- sions are modest – it measures 48.3 × 20.4 × 5 cm (fully open) and 23.7 × 20.4 × 5 cm (closed); it is a portable painting that was probably made for private use.
    [Show full text]
  • La Peinture En Provence Au Xve Siècle
    A la découverte de l’Histoire Cours d’Histoire 2012/2013. G. Durand COURS 13 – LA PEINTURE EN PROVENCE AU XVe SIECLE Quand, à la fin de son règne, René s’installe définitivement en Provence après 40 ans de faits d’armes, ce roi qui avait fait rêver les grands princes italiens de la Renaissance, est un monarque malheureux, ayant perdu ses couronnes de Hongrie, de Jérusalem, d’Aragon et de Naples. Il est inquiet des visées impatientes de son neveu Louis XI sur ses derniers fiefs, le duché de Bar, les comtés d’Anjou et de Provence. Usé par les épreuves, René entreprend, par un triste jour d’octobre 1471, la descente du Rhône vers ses terres de lumière, en quête de paix, pour rejoindre sa seconde épouse, la jeune Jeanne de Laval, restée à Aix. Il se réfugie dans une Provence qu’il avait négligée et qui se relève mal des épidémies de peste, des passages meurtriers des Grandes Compagnies et des atrocités commises par un triste personnage dévoyé des armées de la guerre de 100 ans, Raymond de Turenne, en qui les Provençaux avaient vécu voir un Attila des temps modernes. Aix, capitale officielle de la Provence, n’a jamais eu l’opulence commerciale de sa voisine Marseille ni le passé culturel prestigieux d’Avignon au temps des Papes. La ville est bien différente des cours princières que le monarque avait connues en Italie. Elle n’est qu’un gros bourg empuanti par les tanneries qui prolifèrent entre le quartier des Augustins et celui des Cardeurs. Le palais qui accueille René est austère et vieillot, son parc n’est plus qu’un jardin potager où on cultive les choux, les fèves, les épinards, la bourrache, le persil, les oignons, les aulx, les poireaux et quelques plans de safran, et où se dressent, bien visibles, les potences des condamnés à mort.
    [Show full text]
  • Â Enguerrand Quarton's Coronation of the Virgin
    Berghahn Books Enguerrand Quartern's "Coronation of the Virgin": This World and the Next, the Dogma and the Devotion, the Individual and the Community Author(s): Véronique Plesch Source: Historical Reflections / Réflexions Historiques, Vol. 26, No. 2, The Last Things (Summer 2000), pp. 189-221 Published by: Berghahn Books Stable URL: http://www.jstor.org/stable/41299173 . Accessed: 21/10/2014 21:21 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]. Berghahn Books is collaborating with JSTOR to digitize, preserve and extend access to Historical Reflections / Réflexions Historiques. http://www.jstor.org This content downloaded from 137.146.177.126 on Tue, 21 Oct 2014 21:21:29 PM All use subject to JSTOR Terms and Conditions Enguerrand Quartern's Coronation of the Virgin : This World and the Next, the Dogma and the Devotion, the Individual and the Community1 Veronique Plesch On September 11,1834 ProsperMerimee, then Inspecteur general des monuments historiques,visited Villeneuve-lez-Avignon with the primary goal ofseeing Pope InnocentVI's tomb at the Charterhouseof the Val-de- Benediction. While there he also paid a visitto other sites. Aftervisiting the Chartreuseand the church he went to the hospital: "The hospital of the same town," he wrote in an account published the followingyear, 1.
    [Show full text]
  • Text & Image in René D'anjou's Livre Des
    Text & Image in René d'Anjou's Livre des tournois, c. 1460: Constructing Authority and Identity in Fifteenth-Century Court Culture. Presented with a Critical Edition of BnF, ms. français 2695 3 Volumes Volume I Justin Meredith Sturgeon Doctor of Philosophy University of York Medieval Studies September 2015 Abstract This thesis addresses René d'Anjou's Livre des tournois as a holistic product of late- medieval court culture. It argues that the work can only be decoded when text and image are considered as inseparable mutually exegetic components. This thesis adopts an interdisciplinary methodology and draws on a diverse range of visual, historical, material and literary sources. The structure is based on a series of focussed case studies into aspects of the Livre des tournois that have been understudied or are in need of reconsideration. Chapter 1 explores the relationship between the work's images and text and the impact on the author's identity as an authority on the subject. Chapter 2 scrutinises the use and depiction of heraldry essential to the construction of a visual narrative within the work. Chapter 3 addresses the heralds' duties and how these roles compare to the precedents found in late- medieval tournament and court culture. Chapter 4 examines René's influences and sources by focussing on the similarities between the form of tournament described and historic precedents related to the combat, location, participants and equipment. Chapter 5 utilises spatial and ritual theories to engage with a series of spectacles surrounding the punishment and review of the tourneyers in relation to group identity.
    [Show full text]
  • Structural Conservation of Panel Paintings: Proceedings
    PART THREE History of the Structural Conservation of Panel Paintings 188 Critical History of Panel Painting Restoration in Italy Andrea Rothe panel conservation techniques are directly related to a long history of panel construction that dates to Mantiquity and flourished from the Middle Ages to the Renaissance (see Uzielli, “Historical Overview,” herein). The ingenuity and intuition of the woodworkers of the past compensated for their lack of scientific understanding of this complex and widely diverse material. Central Italy, in particular, produced a large quantity of paintings on panel. Many of them—such as the Cimabue Crucifix in the Church of Santa Croce in Florence—were constructed to the highest standards of craftsmanship. The early woodworkers often used techniques or methods similar to those applied by modern-day restorers in treating panels—techniques such as movable crossbars (Figs. 1, 2) and coats of gesso, paint, or red lead to seal the backs of panels (Fig. 3). These sealants were probably applied as humidity barriers and protection against wood-boring insects, and panels treated in this manner have often survived better than untreated panels. The large number of panel paintings in Italian churches and muse- ums created the need for appropriate conservation work, particularly in modern times. The state-run centers of Florence and Rome have become the largest and most advanced in Italy and have generated a group of highly qualified experts in this field. The volume of panel work that has been executed in Florence far surpasses that of any other conservation center in the world. Figure 1, right Fra Angelico, Annunciation, ca.
    [Show full text]
  • The Structural Conservation of Panel Paintings
    PROCEEDINGS The Getty Conservation Institute PR Proceedings of Los Angeles OCEEDINGS a Symposium at the J. Paul The Structural Getty Museum, April 1995 Conservation of Panel Paintings The Str uctur al Conser va tion of P anel Paintings The Getty Conservation Institute The Structural Conservation of Panel Paintings Proceedings of a symposium at the J. Paul Getty Museum 24–28 April 1995 Edited by Kathleen Dardes and Andrea Rothe T G C I L A Front cover: Alessandro Allori, The Abduction of Proserpine, 1570. Detail. Oil on panel, 228.5 ϫ 348 cm. The J. Paul Getty Museum (73.PB.73), Los Angeles. Back cover and page 305: Girolamo di Benvenuto, Nativity, ca. 1500, reverse. Tempera on panel, 204 ϫ 161 cm. The J. Paul Getty Museum (54.PB.10), Los Angeles. The panel bears witness to the his- tory of its conservation: This light, modern cradle was installed in 1987, after the removal of heavy, traditional crossbars (see page 187), traces of which are still evident. Strips of aged poplar, inserted to repair cracks caused by earlier restorations, can also be seen. Page 1: Transverse surfaces of chestnut (Castanea sp.) (left) and poplar (Populus sp.) (right), showing pore structures. Page 109: Illustration showing sawyers producing veneers; from J. A. Roubo, L’art du menuisier (Paris: Académie Royale des Sciences, 1769). Page 187: Girolamo di Benvenuto, Nativity, reverse. A cumbersome, traditional cradle, installed around 1900 and removed in 1987, is shown. Tevvy Ball, Managing Editor Sylvia Tidwell, Copy Editor Anita Keys, Production Coordinator Jeffrey Cohen, Series Designer Hespenheide Design, Book Designer Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 © 1998 The J.
    [Show full text]