DOCSLIB.ORG

INFORMATION to USERS This Manuscript Has Been Reproduced

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
INFORMATION to USERS This Manuscript Has Been Reproduced INFORMATION TO USERS This manuscript has been reproduced &om the microSlm master. UMI films the text directfy from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from aiy ^fpe of conq>uter printer. The qnali^ of this repiodQction is dqtendott open the quali^ of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedtfarough, substandard marginc, and inqtroper alignment can adverse^ affect reproduction. In the unlikely event that the author did not send UMI a complete manuscrqn and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing ffmn left to r i ^ in equal sections with small overkps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscrqn have been reproduced xerographically in this copy. Higher quali^ 6” x 9” black and white photc^r^hic prints are availablezny for photographs or illustrations ^ypearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Z eeb Road. AnnArbor. Ml 48106-1346USA 313/761-4700 800/521-0600 JUDITH IN FLORENTINE RENAISSANCE ART, 1425-1512 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Robert Marvin Knotts, B.A., M.A., Ph.D. ***** The Ohio State University 1995 Dissertation Committee: Approved by Francis L. Richardson Anne M. Morganstem O U J Ui ^ L.-K: Adviser Christine Verzar Department of History of Art DHI Number: 9526046 UMI Microform 9526046 Copyright 1995, by DMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 In the spirit of Judith, to all those ■who resist tyranny and evil in all their forms 11 ACKNOWLEDOffiNTS I should like to acknowledge the contributions of my advisor. Dr. Francis L. Richardson, to this study, and also thank the other members of my committe for their contributions. Without Dr. Richardson's corrections and editorial hand this study would have been far less accurate, and a far more difficult read, than is currently the case. I should also like to acknowledge the contribution of Professor Mathew Herban of The Ohio State University in my formation as a scholar. I learned more from him than frcsn anyone else how to approach and understand a work of art, how a work of art means, and I am greatly in his debt for his support and influence on my development as an art historian. Whatever contributions I have made in this work, or might make in future, are in no small measure a result of his efforts. Finally, I should like to thank my family and friends for their support during this long project. Without them, it would not have been possible. Ill VITA January 9, 1953 ..................... B o m - Columbus, Ohio 1975 ............................... B.A., The Ohio State Iftiiversity, Columbus, Ohio 1977 ............................... M.A. (Theatre), The Ohio State Ifiiiversity, Columbus, Ohio 1982 ............................... Ph.D. (Theatre), The Ohio State IMiversity, Columbus, Ohio 1984-1989 ........................... Graduate Teaching Associate, Department of History of Art, The Ohio State Itoiversity 1990-1994 ........................... Occasional part-time instructor. History of Art, Columbus College of Art and Design; Ohio Weslyan IMiversity; Denison University; The Ohio State University; University of Cincinnati FIELDS OF STUDY ^fejor Field: History of Art Studies in: Ancient Art: Professor Mark Fullerton Professor Howard Crane Medieval Art: Professor Anne Morganstem Professor Christine Verzar Italian Renaissance Art: Professor Anthony Melnikas Professor Francis Richardson Northem Renaissance Art: Professor Anne Morganstem Professor Nina Serrebrennikov IV 17th and 18th Century Art: Professor Barbara Haeger Professor Arlene Meyer ffodem Art: Professor Miroslava Ciszkewycz Professor Mathew Herban American Art: Professor Barbara Groseclose Asian Art: Professor Julie Andrews Professor Howard Crane Professor Yu-min Lee TABLE OF CONTENTS DEDICATION.................................................. ii ACKNOWLEDGMENTS............................................ iii VITA ....................................................... iv LIST OF P L A T E S .............................................. vii ŒIAPTER PAGE I. INTRODUCTION......................................... 1 II. JUDITH IN EARLY CHRISTIAN AND MEDIEVAL LITERATURE AND ART 44 III. JUDITH IN FLORENTINE ART, 1425-1470: THE SCULPTURAL JUDITH .............................................. 136 IV. JUDITH IN FLORENTINE ART, 1470-1512: PAINTINGS OF JUDITH .............................................. 293 V. CONCLUSION ........................................... 391 APPENDIX................................................... 400 LIST OF REFERENCES.......................................... 408 PLATES ..................................................... 417 VI LIST OF PLATES PLATE PAGE I. Lorenzo Ghiberti, Gates of Paradise, East Doors, Florence Baptistry, c. 1425-52 417 II. Ghiberti, Judith, from Gates of Paradise .......... 418 III. Donatello, Judith Beheading Holofernes, c. 1455-60 . 419 IV. Donatello, Judith Beheading H o l o f e m e s ............. 420 V. Donatello, Judith Beheading H o l o f e m e s ............. 421 VI. Donatello, "Putti Harvesting Grapes," from Judith Beheading Holofemes ............................... 422 VII. Donatello, "Putti Making Wine," frcan Judith Beheading Holofemes ............................... 423 VIII. Donatello, "Bacchanale," from Judith Beheading Holofemes ................................... 424 IX. Antonio del Pollaiuolo (attrib.), Judith, c. 1470 . 425 X. Baccio Baldini, Judith, engraving, c. 1452-70 .... 426 XI. Giovanni della Robbia, Judith, c. 1526 427 XII. Cockerell Chronicle (after Ifesolino), n.d............ 428 XIII. Cockerell Chronicle (after Masolino), detail of J u d i t h ............................................ 429 XIV. Filippo Lippi, Coronation of the Virgin, c. 1467-9 . 430 XV. Andrea Ifentegna, Judith with the Head of Holofemes (Montreal), c. 1500-05 431 XVI. Mantegna, Judith with the Head of Holofemes (Dublin), c. 1495-1500 432 vii XVII. Mantegna, Judith with the Head of Holofemes (Washington), after 1490 433 XVIII. Mantegna, Judith with the Head of Holofemes, drawing (Uffizi), 1491 434 XIX. Giovanni Antonio da Brescia, Judith, engraving, c. 1506-7 ......................................... 435 XX. Premier Engraver, Judith, engraving, c. 1497-1500 . 436 XXI. Mantegna, Judith with the Head of Holofernes, drawing (Chatsworth), 1482 437 XXII. Mantegna, Judith with the Head of Holofemes, drawing (Washington), n.d............................ 438 XXIII. Mantegna, Judith with the Head of Holofemes, drawing (Chatsworth), 1472 439 XXIV. Sandro Botticelli, Judith Returning to Bethulia (Cincinnati), c. 1470 ............................. 440 XXV. Botticelli, Landscape (Cincinnati), c. 1470 ........ 441 XXVI. Botticelli, Judith Returning to Bethulia (Uffizi), c. 1470-2 ............................... 442 XXVII. Botticelli, The Discovery of the Body of Holofemes (Uffizi), c. 1470-2 ............................... 443 XXVIII. Botticelli, Judith at the Opening of Holofemes's Tent, c. 1495 ..................................... 444 XXIX. Giuliano or Antonio da Sangallo, Judith, drawing, n.d................................................. 445 XXX. Giuliano or Antonio da Sangallo, Judith, drawing, n.d................................................. 446 XXXI. Botticelli, The Calumny of Apelles, c. 1495 ........ 447 XXXII. Botticelli, The Calumny of Apelles (detail) ........ 448 XXXIII. Botticelli, The Story of Lucretia, c. 1500-05 .... 449 XXXIV. Botticelli, The Story of Lucretia (detail) ........ 450 XXXV. Davide Ghirlandaio, Judith Returning to Bethulia, 1489 451 viii XXXVT. Domenico Ghirlandaio, The Feast of Herod (detail) . 452 XXXVII. Domenico Ghirlandaio, The Birth of St. John ( d e t a i l ) ....................................... 453 XXXVIII. Davide Ghirlandaio, ?fadonna Enthroned, mosaic, 1496 . 454 XXXIX. Jacopo del Sellajo. The Story of Judith, cassone panel, n.d. .■................................... 455 XL. Michelangelo, Judith, Sistine Chapel, 1508-12 .... 456 XLI. San Paolo fuori le Mura Bible, Judith Illustration, c. 870 457 XLII. Vienna Genesis, Rebecca and Eliazar.............. 458 XLIII. Rossano Gospels, Christ Before Pilate .............. 459 XLIV. Winchester Bible, Judith Illustration, 12th century . 460 XLV. Arsenal Bible, Judith Illustration, c. 1250-75 . 461 XLVI. Gumpert Bible, Judith Illustration, 12th century . 462 XLVII. Histoire Oiiverselle, "Nebuchadnezzar Commissioning Holofemes" [Dijon, Bibl. Municipale 562 (323), fol. 150v], c. 1250-75 463 XLVIII. Histoire IMiverselle, "Judith's Audience with H o l o f e m e s " ..................................... 464 XLIX. Judith Illustration, Munich Staatsbibliothek Clrn. 13001, fol. 121, late 11th c e n t u r y .............. 465 L. Judith Illustration, Barbarini Codex, Rome, Vat. lat. 587, 1097 ............................... 466 LI. Judith Illustration,
Load more

Recommended publications
  • The Master of the Unruly Children and His Artistic and Creative Identities
    The Master of the Unruly Children and his Artistic and Creative Identities Hannah R. Higham A Thesis Submitted to The University of Birmingham For The Degree of DOCTOR OF PHILOSOPHY Department of Art History, Film and Visual Studies School of Languages, Art History and Music College of Arts and Law The University of Birmingham May 2015 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 This thesis examines a group of terracotta sculptures attributed to an artist known as the Master of the Unruly Children. The name of this artist was coined by Wilhelm von Bode, on the occasion of his first grouping seven works featuring animated infants in Berlin and London in 1890. Due to the distinctive characteristics of his work, this personality has become a mainstay of scholarship in Renaissance sculpture which has focused on identifying the anonymous artist, despite the physical evidence which suggests the involvement of several hands. Chapter One will examine the historiography in connoisseurship from the late nineteenth century to the present and will explore the idea of the scholarly “construction” of artistic identity and issues of value and innovation that are bound up with the attribution of these works.
    [Show full text]
  • Michaelangelo's Sistine Chapel: the Exhibition
    2018- 2019 © TACOMA'S HISTORIC THEATER DISTRICT PANTAGES THEATER • RIALTO THEATER THEATER ON THE SQUARE •TACOMA ARMORY My legacy. My partner. You have dreams. Goals you want to achieve during your lifetime and a legacy you want to leave behind. The Private Bank can help. Our highly specialized and experienced wealth strategists can help you navigate the complexities of estate planning and deliver the customized solutions you need to ensure your wealth is transferred according to your wishes. To learn more, please visit unionbank.com/theprivatebank or contact: Lisa Roberts Managing Director, Private Wealth Management [email protected] 415-705-7159 Wills, trusts, foundations, and wealth planning strategies have legal, tax, accounting, and other implications. Clients should consult a legal or tax advisor. ©2018 MUFG Union Bank, N.A. All rights reserved.Member FDIC. Equal Housing Lender. Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A. unionbank.com Welcome to the 2018–19 Season The Broadway Center’s mission is to energize community through live performance. The performing arts, as the pulse of the city, radiate a vital and joyful energy and engage in the momentum of social change. With 35+ events to choose from in the 2018-19 season, we hope you’ll connect and discover remarkable and transformative experiences in the year ahead. For all upcoming events, visit www.BroadwayCenter.org. My legacy. My partner. You have dreams. Goals you want to achieve during your lifetime and a legacy you want to leave behind. The Private Bank can help. Our highly specialized and experienced wealth strategists can help you navigate the complexities of estate planning and deliver the customized solutions you need to ensure your wealth is transferred according to your wishes.
    [Show full text]
  • An Examination of Paternal Influence on High-Achieving Gifted Males
    An Examination of Paternal Influence on High-Achieving Gifted Males Thomas P. Hébert Alexander R. Pagnani The University of Georgia Daniel R. Hammond The University of Kansas t he challenges facing contemporary boys are complex, highlighting the importance of positive paternal influence for young men to achieve success. this study examines the father-son relationships of 10 prominent gifted men of achievement to identify factors influencing talent development. through biographical analysis, 6 significant themes were identified: unconditional belief in son, strong work ethic, encouragement and guidance, maintaining high expectations and fostering determination, pride in son’s accomplishments, and mutual admiration and respect. implications for parents and educators of high-achieving gifted males are discussed. “My father didn’t tell me how to live; he lived and let me watch him do it.” —Clarence Kelland (Lyons & Lyons, 2002, p. 44) It is a challenging time to be a boy in this country. Such is the mes- sage heralded in today’s popular press (Sommers, 2000a; Tyre, 2006), and bookstore shelves are resplendent with recently published books calling attention to the plight of the young American male (e.g., Neu & Weinfeld, 2007). Psychologists and gender experts debate whether or not the problems faced by boys are more difficult than those facing girls (Gurian, 1996; Kindlon & Thompson, 1999; Sommers, 2000b), and educators claim that the destructive effects of society’s failure Thomas. P Hébert is professor of educational psychology in the College of Education at the University of Georgia in Athens where he teaches graduate courses in gifted education and qualitative research methods.
    [Show full text]
  • Chinese Fables and Folk Stories
    .s;^ '^ "It--::;'*-' =^-^^^H > STC) yi^n^rnit-^,; ^r^-'-,. i-^*:;- ;v^ r:| '|r rra!rg; iiHSZuBs.;:^::^: >» y>| «^ Tif" ^..^..,... Jj AMERICMJ V:B00lt> eOMI^^NY"' ;y:»T:ii;TOiriai5ia5ty..>:y:uy4»r^x<aiiua^^ nu,S i ;:;ti! !fii!i i! !!ir:i!;^ | iM,,TOwnt;;ar NY PUBLIC LIBRARY THE BRANCH LIBRARIES 3 3333 08102 9908 G258034 Digitized by the Internet Arciiive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/chinesefablesfolOOdavi CHINESE FABLES AND FOLK STORIES MARY HAYES DAVIS AND CHOW-LEUNG WITH AN INTRODUCTION BY YIN-CHWANG WANG TSEN-ZAN NEW YORK •:• CINCINNATI •: CHICAGO AMERICAN BOOKCOMPANY Copyright, 1908, by AMERICAN BOOK COMPANY Entered at Stationers' Hall, London Copyright, 1908, Tokyo Chinese Fables W. p. 13 y\9^^ PROPERTY OF THE ^ CITY OF MW YOBK G^X£y:>^c^ TO MY FRIEND MARY F. NIXON-ROULET PREFACE It requires much study of the Oriental mind to catch even brief glimpses of the secret of its mysterious charm. An open mind and the wisdom of great sympathy are conditions essential to making it at all possible. Contemplative, gentle, and metaphysical in their habit of thought, the Chinese have reflected profoundly and worked out many riddles of the universe in ways peculiarly their own. Realization of the value and need to us of a more definite knowledge of the mental processes of our Oriental brothers, increases wonder- fully as one begins to comprehend the richness, depth, and beauty of their thought, ripened as it is by the hidden processes of evolution throughout the ages. To obtain literal translations from the mental store- house of the Chinese has not been found easy of accom- plishment; but it is a more difficult, and a most elusive task to attempt to translate their fancies, to see life itself as it appears from the Chinese point of view, and to retell these impressions without losing quite all of their color and charm.
    [Show full text]
  • Impronte D'arte
    Impronte d’Arte [Traces of Art] Comune di Forlì ImproImpronten d’Arte d’TracesArt of Art e Ufficio Informazione e Accoglienza Turistica Piazzetta della Misura, 5 - 47121 Forlì Tel. +39.0543.712.435 Fax +39.0543.712.755 e-mail: [email protected] www.turismoforlivese.it URP - Informagiovani Piazzetta della Misura, 5 - 47121 Forlì Tel. +39.0543.712.444/5 Fax +39.0543.712.450 e-mail: [email protected] [email protected] www.comune.forli.fc.it www.informagiovani.comune.forli.fc.it Impronte d’arte Fonti bibliografiche Traces of art Bibliographic sources Pubblicazione a cura dell’Unità Servizi Informativi (IAT-URP-Informagiovani) - Comune di Forlì AA.VV., Cara, vecchia città. Published by Unità Servizi Informativi (IAT-URP-Informagiovani) - Comune di Forlì Percorsi attraverso vie, chiese e palazzi di Forlì, Comune di Forlì, Forlì 1989 AA.VV., Benvenuti a Forlì, Comune di Forlì, Forlì 1990 AA.VV., La Provincia di Forlì-Cesena, Guide d’Italia, Touring Club italiano, Milano 2003 Archivio fotografico/photographs: Archivio Fotografico Unità Servizi Informativi e Ufficio E. Caruso, Forlì, Città e cittadini tra Ottocento e Novecento, I° vol., Edizione Girasole, Forlì 1990 Informazione e Accoglienza Turistica del Comune di Forlì, Archivio Fotografico Ufficio Stampa A. Colombi Ferretti, L. Prati (a cura di), Francesco Menzocchi, Forlì 1502-1574, Comune di Forlì Comune di Forlì, Archivio Fotografico Istituti Culturali del Comune di Forlì, Foto Giorgio Liverani, e Edisai srl, Ferrara 2003 Archivio Fotografico Provincia di Forlì-Cesena. A. Fabbri, Percorsi nella città, Provincia di Forlì-Cesena, Assessorato al Turismo, Forlì, ristampa giugno 2003 In copertina/cover images: Palazzo Orsi Mangelli, Particolare Rocca di Ravaldino, Monumento M.
    [Show full text]
  • The Queen of Sheba Visits Solomon
    General Church Paper f the Seventh-day Adventists JUNE 29, 1978 The queen of Sheba visits Solomon See article op, page 10 THIS WEEK Re mew Contents Veronica Morrish of Greenbelt, membership (see also "SAD General Articles Pages 3-12 Maryland, learned to build a new Passes 400,000 Membership Columns attitude for herself. In "The Mark," p. 19). For the Younger Set 9 Garment of Praise" (p. 4), Mrs. The index of articles, authors, %IF For this Generation 14 Morrish, who teaches preschool and subjects that we publish 128th Year of Continuous Publication children in her home, describes twice yearly begins on page 27. Focus on Education 15 EDITOR Family Living 13 how she recovered faith in God This index has proved to be a Kenneth H. Wood From the Editors 15 and expelled her hatred for those valuable aid to many researchers. ASSOCIATE EDITORS Newsfront 17-26 who so maliciously wronged her. Art and photo credits: J. J. Blanco, Don F. Neufeld News Notes On page 6 the REVIEW editor Cover, Herbert Rudeen; p. 3, ASSISTANT EDITOR 25 Jocelyn Fay Index 27-31 continues his report on the trip he Gene Ahrens; p. 4, Tom Dun- and his wife, Miriam Wood, bebin; p. 9, Harold Munson; p. ASSISTANT TO THE EDITOR Back Page 32 Eugene F. Durand made recently to South America, 10, Gert Busch; p. 11, NASA; ADMINISTRATIVE SECRETARY In her darkness and despair a division that has just surpassed all other photos, courtesy of the Corinne Russ following her husband's murder, the 400,000 mark in church respective authors.
    [Show full text]
  • The Evolution of Hollywood's Representation of Arabs Before 9/11: the Relationship Between Political Events and the Notion of 'O
    Networking Knowledge: Journal of the MeCCSA Postgraduate Network, Vol 1, No 2 (2007) ARTICLE The evolution of Hollywood's representation of Arabs before 9/11: the relationship between political events and the notion of 'Otherness' SULAIMAN ARTI, Loughborough University ABSTRACT This article will deliberate on the political motives behind the stereotypical image of Arabs in Hollywood in the period before 9/11. Hollywood has always played a propagandist as well as a limitative role for the American imperial project, especially, in the Middle East. This study suggests that the evolution of this representation has been profoundly influenced by political events such as the creation of Israel, the Iranian Islamic revolution and the demise of the Soviet Union. Hollywood’s presentation of Arabs through a distinctive lens allows America, through Hollywood, to present the Middle East as ‘alien’ and so helps to make it an acceptable area for the exercise of American power. The interpretations of Hollywood’s representation of Middle Easterners involve different, often contradictory, types of image. They also suggest that the intensification of the Arabs’ stereotypical image over the last century from ‘comic villains’ to ‘foreign devils’ did not occur in a vacuum but, certainly, with the intertwinement of both political and cultural interests in the region. It is believed that this was motivated indirectly by U.S imperial objectives. KEYWORDS Imperialism, Propaganda, Hollywood, Arabs, Politics and Others. Introduction The Middle East has long been ubiquitous in American cultural rhetoric; topics featuring Arabs and Muslims appear in various American media including discussions, news coverage and, most accessibly and influentially, in films and television entertainment programmes.
    [Show full text]
  • Sources of Donatello's Pulpits in San Lorenzo Revival and Freedom of Choice in the Early Renaissance*
    ! " #$ % ! &'()*+',)+"- )'+./.#')+.012 3 3 %! ! 34http://www.jstor.org/stable/3047811 ! +565.67552+*+5 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org THE SOURCES OF DONATELLO'S PULPITS IN SAN LORENZO REVIVAL AND FREEDOM OF CHOICE IN THE EARLY RENAISSANCE* IRVING LAVIN HE bronze pulpits executed by Donatello for the church of San Lorenzo in Florence T confront the investigator with something of a paradox.1 They stand today on either side of Brunelleschi's nave in the last bay toward the crossing.• The one on the left side (facing the altar, see text fig.) contains six scenes of Christ's earthly Passion, from the Agony in the Garden through the Entombment (Fig.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Neoplatonism and the Visual Arts at the Time of Marsiuo Ficino
    NEOPLATONISM AND THE VISUAL ARTS AT THE TIME OF MARSIUO FICINO Francis Ames-Lewis Over the past fifty years or so, debate on the issue of the significance of Florentine Neoplatonic philosophy, and of Ficino's philosophical ideas in particular, for the visual arts in his time has primarily revolved around paintings produced for members of the Medici family, and most particularly two of Botticelli's great panel-paintings in the Uffizi, the Pallas and the Centaur and the Primavera. This debate reached its height around 1960 when Edgar Wind and Erwin Panofsky proposed variations on the classic Neoplatonic reading, Ernst Gom­ brich's celebrated article of 1945.1 Gombrich understood the Primavera in the light of a letter from Marsilio Ficino to Lorenzo di Pierfrancesco de' Medici, second cousin to Lorenzo the Magnificent, in which Venus is equated with the concept of humanitas. However, this does not really help to elucidate the meaning of the Venus who stands at the centre of the Primavera. Moreover, Gombrich's hypothesis was further compromised by his unsatisfactory attempt to identify the figures and their interrelationships in the light of the Golden Ass of Apuleius, which in its somewhat coarse character does not well match the lyrical, pastoral quality of Botticelli's pictorial treatment. In 1958 Edgar Wind suggested, citing Ficino at frequent inter­ vals, that the two groups on either side of Venus may represent two consecutive phases of one consistent Platonic theory of love. 2 Since Vasari had seen the Primavera and the Birth of Venus hanging in the villa of Castello, which then belonged to the heirs of Lorenzo di Pierfrancesco de' Medici, Erwin Panofsky proposed in 1960 that they were pendants (despite the fact that one is on panel and the other on canvas), both painted for Lorenzo di Pierfrancesco, the first 1 E.
    [Show full text]
  • The Life of Michelangelo Buonarroti by John Addington Symonds</H1>
    The Life of Michelangelo Buonarroti by John Addington Symonds The Life of Michelangelo Buonarroti by John Addington Symonds Produced by Ted Garvin, Keith M. Eckrich and PG Distributed Proofreaders THE LIFE OF MICHELANGELO BUONARROTI By JOHN ADDINGTON SYMONDS TO THE CAVALIERE GUIDO BIAGI, DOCTOR IN LETTERS, PREFECT OF THE MEDICEO-LAURENTIAN LIBRARY, ETC., ETC. I DEDICATE THIS WORK ON MICHELANGELO IN RESPECT FOR HIS SCHOLARSHIP AND LEARNING ADMIRATION OF HIS TUSCAN STYLE AND GRATEFUL ACKNOWLEDGMENT OF HIS GENEROUS ASSISTANCE CONTENTS CHAPTER page 1 / 658 I. BIRTH, BOYHOOD, YOUTH AT FLORENCE, DOWN TO LORENZO DE' MEDICI'S DEATH. 1475-1492. II. FIRST VISITS TO BOLOGNA AND ROME--THE MADONNA DELLA FEBBRE AND OTHER WORKS IN MARBLE. 1492-1501. III. RESIDENCE IN FLORENCE--THE DAVID. 1501-1505. IV. JULIUS II. CALLS MICHELANGELO TO ROME--PROJECT FOR THE POPE'S TOMB--THE REBUILDING OF S. PETER'S--FLIGHT FROM ROME--CARTOON FOR THE BATTLE OF PISA. 1505, 1506. V. SECOND VISIT TO BOLOGNA--THE BRONZE STATUE OF JULIUS II--PAINTING OF THE SISTINE VAULT. 1506-1512. VI. ON MICHELANGELO AS DRAUGHTSMAN, PAINTER, SCULPTOR. VII. LEO X. PLANS FOR THE CHURCH OF S. LORENZO AT FLORENCE--MICHELANGELO'S LIFE AT CARRARA. 1513-1521. VIII. ADRIAN VI AND CLEMENT VII--THE SACRISTY AND LIBRARY OF S. LORENZO. 1521-1526. page 2 / 658 IX. SACK OF ROME AND SIEGE OF FLORENCE--MICHELANGELO'S FLIGHT TO VENICE--HIS RELATIONS TO THE MEDICI. 1527-1534. X. ON MICHELANGELO AS ARCHITECT. XI. FINAL SETTLEMENT IN ROME--PAUL III.--THE LAST JUDGMENT AND THE PAOLINE CHAPEL--THE TOMB OF JULIUS.
    [Show full text]
  • Calendar of the Order of Preachers
    CALENDAR OF THE ORDER OF PREACHERS JANUARY The Holy Name of Jesus 1 2 3 Blessed Stephana Quinzani, virgin 4 St. Zedislava of Lemberk, lay Dominican & mother, Obligatory memorial 5 6 7 Saint Raymond of Pennafort, priest Obligatory memorial 8 9 10 Blessed Gonsalvo of Amarante, priest; Blessed Ana Monteagudo, virgin 11 Blessed Bernard Scammacca, priest 12 13 14 15 16 17 18 Saint Margaret of Hungary, virgin Obligatory memorial 19 Blessed Andrew of Peschiera, priest 20 21 22 Blessed Antony della Chiesa, priest 23 Blessed Henry Suso, priest 24 25 26 27 Blessed Marcolino de Forlí, priest 28 Saint Thomas Aquinas, priest and doctor of the Church Feast 29 Blessed Villana de' Botti, matron 30 31 Page 1. Section Five: Hagiography FEBRUARY 1 2 3 Blessed Peter of Ruffia, priest and martyr; Blessed Antony of Pavonio, priest and martyr; Blessed Bartholomeo of Cerverio, priest and martyr 4 Saint Catherine de' Ricci, virgin Obligatory memorial Ash Wednesday does not occur before this date. 5 6 7 Anniversary of Deceased Parents 8 9 10 11 12 Blessed Reginald of Orléans, priest Optional memorial 13 Blessed Jordan of Saxony, priest Obligatory memorial 14 15 16 Blessed Nicholas of Paglia, priest 17 18 Blessed John of Fiesole [Fra Angelico], priest Optional memorial 19 Blessed Alvaro of Córdoba, priest 20 Blessed Christopher of Milan, priest 21 22 23 24 Blessed Constantius of Fabriano, priest 25 26 27 28 29 Page 2. Section Five: Hagiography MARCH 1 2 3 4 5 6 7 8 9 10 Ash Wednesday does not occur after this date. 11 12 13 14 15 16 17 18 19 20 21 22 Easter does not occur before this date.
    [Show full text]