The Harbour of All This Sea and Realm Crusader to Venetian Famagusta
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Dynamic Doorways: Overdoor Sculpture in Renaissance Genoa
DYNAMIC DOORWAYS: OVERDOOR SCULPTURE IN RENAISSANCE GENOA By ©2012 MADELINE ANN RISLOW Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Sally J. Cornelison, Ph.D. ________________________________ George L. Gorse, Ph.D. ________________________________ Steven A. Epstein, Ph.D. ________________________________ Stephen H. Goddard, Ph.D. ________________________________ Anthony Corbeill, Ph.D. Date Defended: 4/6/2012 The Dissertation Committee for Madeline Ann Rislow certifies that this is the approved version of the following dissertation: DYANAMIC DOORWAYS: OVERDOOR SCULPTURE IN RENAISSANCE GENOA ________________________________ Chairperson Sally J. Cornelison, Ph.D. Date approved: 4/6/2012 ii Abstract Soprapporte—rectangular, overdoor lintels sculpted from marble or slate—were a prominent feature of both private residential and ecclesiastic portals in the Ligurian region in northwest Italy, and in particular its capital city Genoa, during the second half of the fifteenth and early sixteenth centuries. Sculpted site- or city-specific religious narratives occupy the centers of most soprapporte, and are typically framed with the coats of arms or the initials of their patrons. As this study demonstrates, soprapporte were not merely ornamental, for they acted as devotional objects and protective devices while connecting the citizens who commissioned them to -
Cultural Roots of Technology: an Interdisciplinary Study of Automated Systems from the Antiquity to the Renaissance
UNIVERSITÀ DEGLI STUDI DI MILANO FACOLTÀ DI SCIENZE MATEMATICHE, FISICHE E NATURALI DIPARTIMENTO DI INFORMATICA E COMUNICAZIONE SCUOLA DI DOTTORATO DI RICERCA IN INFORMATICA CICLO XXIII TESI DI DOTTORATO DI RICERCA CULTURAL ROOTS OF TECHNOLOGY: AN INTERDISCIPLINARY STUDY OF AUTOMATED SYSTEMS FROM THE ANTIQUITY TO THE RENAISSANCE INF/01 NADIA AMBROSETTI TUTOR: Ch. mo Prof. GIANFRANCO PRINI DIRETTORE DELLA SCUOLA: Ch. mo Prof. ERNESTO DAMIANI ANNO ACCADEMICO 2009/2010 muta cantare, insensata vivere, immobilia moveri Cassiodorus, Variae, I, 45, 10 Contents 1 Introduction .................................................................................................................................. 5 1.1 Literature Review .................................................................................................................. 5 1.1.1 Monographic Studies ..................................................................................................... 5 1.1.2 General Studies ............................................................................................................ 10 1.2 Research Question Definition ............................................................................................. 13 1.2.1 What is an Automaton? ................................................................................................ 14 1.2.2 Automata Features and Need for Classification .......................................................... 17 1.2.3 Historical Period Definition ........................................................................................ -
Refashioning Byzantium in Venice, Ca. 1200–1400 193 Holger A
San Marco, Byzantium, and the Myths of Venice Dumbarton Oaks Byzantine Symposia and Colloquia Series Editor Margaret Mullett Editorial Board John Duffy John Haldon Ioli Kalavrezou San Marco, Byzantium, and the Myths of Venice Edited by Henry Maguire and Robert S. Nelson Dumbarton Oaks Research Library and Collection Washington, D.C. © 2010 by Dumbarton Oaks Research Library and Collection Trustees for Harvard University, Washington, D.C. All rights reserved. Printed in the United States of America. 15 14 13 12 11 10 1 2 3 4 5 6 Library of Congress Cataloging-in-Publication Data San Marco, Byzantium, and the myths of Venice / edited by Henry Maguire and Robert S. Nelson. — 1st ed. p. cm. — (Dumbarton Oaks Byzantine symposia and colloquia) Includes bibliographical references and index. isbn 978-0-88402-360-9 (cloth : alk. paper) 1. Art—Political aspects—Italy—Venice. 2. Basilica di San Marco (Venice, Italy) 3. Decoration and ornament, Architectural—Italy—Venice. 4. Art, Medieval—Italy—Venice. 5. Art, Byzantine—Influence. I. Maguire, Henry, 1943– II. Nelson, Robert S., 1947– n72.p6s26 2010 726.50945’311—dc22 2010001945 www.doaks.org/publications Designed and typeset by Barbara Haines jacket images: Frontcover, Constantinopolitan sculpture on the south side of San Marco, photo courtesy of Rob Nelson; back cover, Lorenzo Bastiani, Piazzetta de San Marco, ca. 1487, courtesy of the Museo Correr, Venice. coNteNtS plan of san marco vi acknowledgments viii Introduction 1 Henry Maguire and Robert S. Nelson 1 Disiecta membra: Ranieri Zeno, the Imitation of Constantinople, the Spolia Style, and Justice at San Marco 7 Fabio Barry 2 The History of Legends and the Legends of History: The Pilastri Acritani in Venice 63 Robert S. -
Postprint : Author's Final Peer-Reviewed Version
This item is the archived peer-reviewed author-version of: Power, infirmity and ‘disability’: five case stories on Byzantine emperors and their impairments Reference: Laes Christian.- Pow er, infirmity and ‘disability’: five case stories on Byzantine emperors and their impairments Byzantinoslavica: revue internationale des études byzantines - ISSN 0007-7712 - 77(2019), p. 211-229 To cite this reference: https://hdl.handle.net/10067/1675340151162165141 Institutional repository IRUA Power, Infirmity and ‘Disability’. Five Case Stories on Byzantine Emperors and Their Impairments* Christian LAES (Manchester–Antwerpen) Based on five case stories, this article deals with the relation between power and infirmity in the Byzantine empire. It appears that to deal with imperial imperfection practical solutions were often preferred. The idea that a healthy state needed a strong emperor was thus to a certain degree negotiable. At the same time, this study explores the subject of disability and Byzantine emperors. Accusations of impairment often were fluid and rhetorical. Though the anecdotal character of the evidence presents us with real-life evidence on living with a disability, it is primarily the rhetorical and metaphorical aspect that needs to be taken into account. Introduction: Emperors, popular media, retrospective diagnosis and history of disabilities Biographical accounts on the physical and mental health of Roman emperors trigger the attention of both popular media and a wide audience. Compared to their Roman predecessors, the Byzantine emperors do less well. For this, one may think of various reasons. On the popular level, there is distrust or disdain, which often go together with the admiration for the exquisitely lavish and refined Byzantine culture, viewed as ‘eastern’ and ‘exotic’ – that is somewhat out of the West-European focus of attention. -
“The Horrible Lady” in Istanbul: Is a Public Non-Imperial Female Portrait Possible in the Sixth Century AD?
SIRI SANDE “The Horrible Lady” in Istanbul: is a public non-Imperial female Portrait possible in the sixth Century AD? Abstract In 1963 the Archaeological Museum of Istanbul purchased a female portrait of unknown provenance. It is clearly recut from an older head. In its final version the head is late antique, but the recutting and the scarcity of compara- ble non-Imperial female portraits from this period have made a more secure dating difficult. Here the first half of the sixth century AD is proposed. This article poses two main questions: 1) Is a non-Imperial female portrait in the round possible as late as the sixth century? 2) Could a woman in a period when covered heads were the norm, have herself portrayed with uncovered hair? Among the portraits in the Archaeological Museum in Istanbul a female head called “the Horrible Lady” stands out as a hapax (FIGS. 1-3). The head, which is made from Procon- nesian marble, was purchased in Istanbul in 1963.1 Its provenance is unknown. The height of the head is 27,9 cm, height from chin to crown 22,2 cm, breadth 22,9 cm. This is roughly life size, if perhaps a bit on the small side. The head is well preserved, partly thanks to the fact that it has few protruding elements. Since the nose is almost flat, the head (minus the neck) forms a sphere, height and breadth being almost equal. As it is sculpted in the round and has life-size measurements, the head has been published as a portrait.