DOCSLIB.ORG

CHAPEL and in the SASSETTI CHAPEL by Debra Louise Hintz a Thesis Submitted to the Faculty of the DEPARTMENT of ART in Partial Fu

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

The legend of St. Francis in the Bardi Chapel and in the Sassetti Chapel Item Type text; Thesis-Reproduction (electronic) Authors Hintz, Debra Louise, 1955- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 02/10/2021 11:36:31 Link to Item http://hdl.handle.net/10150/557961 THE LEGEND OF ST. FRANCIS IN THE BARDI CHAPEL AND IN THE SASSETTI CHAPEL by Debra Louise Hintz A Thesis Submitted to the Faculty of the DEPARTMENT OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN ART HISTORY In the Graduate College THE UNIVERSITY OF ARIZONA 1983 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and borrowers under rules of the Library, Brief quotations from this thesis are allowable with­ out special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgement the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. APPROVAL BY THESIS DIRECTORS This thesis has been approved on the date shown below: CM 2-0 , 1 9 0 DONALD K, /GARFIELD v Date Assistant Professor of Art History (JfM 7/ - DR, ROBER|r QUINN Date Professox of Art History ACKNOWLEDGEMENTS The author is sincerely grateful to Professor Donald Garfield under whose direction this study was conducted, for his helpful guidance, encouragement, invaluable suggestions, and the giving so unselfishly of his time. The author would also like to express appreciation to Doctor Robert Quinn for his help and encouragement throughout her entire graduate program. Finally, the author would like to give special thanks and appreciation to her parents who provided continual encouragement and moral support as well as financial assistance. iii TABLE OF CONTENTS Page LISTS OF ILLUSTRATIONS.’ooooooooooooooooeeo o o o o o o o ABSTRACTOOOQOOOOOOOOOO oooooooooooo oooo o-'oooeeooo oo ix CHAPTER eoooooo oeoooooooooeeeooeooooooooo.oeoooeoooooo 1„ FOURTEENTH CENTURY FLORENTINE SOCIETY,. o o o © o o o 1 The Founding of Mendicant Orders^oooooooooooo 3 Early Representations of St, Francis, 4 The Legend of St, Francis, Assisi,,., o o o o o o e 13 Religious Sentiment of Florentine Society 24 THE BARDI CHAPEL, SANTA CROCE ooooooooooooooooo 30 The Pictorial Proaram by Giotto ooooooooooo 32 The Stigmatization of St, Francis>00000000.oo 34 The Apparition of St. Francis at Arles...... 45 The Tr 1 a1 by Fire..... 0 0 0 0 0 0 . 0 0 0 .0 0 0 . 0 0 0 0 0 , 0 48 The Funeral of St. Francis..o............... 51 The Visions of Agostino and Bishop Guido..., 53 FIFTEENTH CENTURY FLORENTINE SOCIETY...... 56 Portraiture in Religious Art Commissions 57 THE SASSETTI CHAPEL, SANTA TRINITA.„ 0 0 0 0 0 0 0 0 0 60 Alterations in the Pictorial Program. 0 0 0 0 0 0 0 64 St. Francis Resuscitating the Notary's Son 65 Confirmation of the Franciscan Rule 0 0 0 0 0 0 0 0 72 Lorenzo di' Medici..., 0000000000000000000000 79 The Sassetti Chapel's Dual Theme o ooooooooooo 92 Tomb Sculpture in the Sassetti Chapel... 95 5. CONCLUSION, 0000 oooooooooooooooo 0000000000000 00 105 APPENDIX A. LIST OF FULL-PAGE MINIATURES,>0000000000 108 SELECTED BIBLIOGRAPHY oooooooooooooeooooeoooooooceooo 110 iv LIST OF ILLUSTRATIONS Figure Page 1, Berlinghieri, Bonaventura, St, Francis Altarpiece (after Frederick Hartt, History of Italian Renaissance Art, 1974), Alinari Photograph, 7 Nave of the Upper Church, Assisi (after Alastair Smartf The Assisi Problem and the Art of Giotto, 1971), Plate 1, general view 00000 .0 000000000000 14 3, The Upper Church, Assisi (after Alastair Smart, The Assisi Problem and the Art of Giotto, 1971) Plate 3a, North wall, fourth bays Scenes I™III,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, 15 4, The Upper Church, Assisi (after Alastair Smart, The Assisi Problem and the Art of Giotto, 1971) Plate 3b, North wall, third bays Scenes IV^VIo,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, 16 5, - The Upper Church, Assisi (after Alastair Smart, The Assisi Problem and the Art of Giotto, 1971) Plate 4a, North wall, second bays Scenes VII-IX,t o ooooooooo ooooooooooooooooooooo 17 6, The Upper Church, Assisi (after Alastair Smart, The Assisi Problem and the Art of Giotto, 1971), Plate 4b, North wall, first bays Scenes X-XIII oooooooooooooooo o o o o o o o 18 7, The Upper Church, Assisi (after Alastair Smart, The Assisi Problem and the Art of Giotto, 1971) Plate 5, East walls Scenes XIV-XV,ooooooooooooo 19 8 , The Upper Church, Assisi (after Alastair Smart, The Assisi Problem and the Art of Giotto, 1971) Plate 6a, South wall, first bays Scenes XVI™XIX,o,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,. 20 The Upper Church, Assisi (after Alastair Smart, The Assisi Problem and the Art of Giotto, 1971) Plate 6b, South wall, second bays j Scenes XX^XXII,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, 21 The Upper Church, Assisi (after Alastair Smart, The Assisi Problem and the Art of Giotto, 1971) Plate 7a, South wall, third bays Scenes XXIII-XXV, ©ooooooooooooooooooooo 22 v LIST OF ILLUSTRATIONS — Continued Figure Page 11. The Upper Church, Assisi (after Alastair Smart, The Assisi Problem and the Art of Giotto, 1971) Plate 7b, South wall, fourth bays Scenes XXVI-XXVIII „ o o e o o o o ooooooooooooooo 23 12. Giotto, The Stigmatization of St. Francisy Bardi Chapel in Santa Croce (after Alastair Smart, The Assisi Problem and the Art of Giottoy 1971). 00 0 000000000000,0 0000 33 13. Berlinghieriy Bonaventura, The Stigmatization of St. Francis (after Alastair Smarty The Assisi Problem and the Art - of Giotto y 1971). ooo.ooo.:. oeooo 35 14. The'Stigmatization of St. Francisy Upper Church at Assisi (after Alastair Smart, The Assisi Problem and the Art of Giotto, 1971). o... ...o.oooo oo... 39 15. Giotto, Sto Francis Renouncing- His Father and All WorIdly Goods, Bardi Chapel in Santa Croce (after Raimond Van Marie, History of Italian Painting, vol. 3, 1923). Anderson Photograph... 42 16. Giotto, Approval of the Franciscan Rule, Bardi Chapel in Santa Croce (after Raimond Van Marie, History of Italian Painting, vol. 3, 1923). Anderson Photograph. 000000000000000000000060000 44 17. Giotto, The Apparition at Arles, Bardi Chapel in Santa Croce (after Raimond Van Marie, History; of Italian Painting, vol. 3, 1923). Anderson Photograph.. 000 0 6 0 0 0 0 0 0 00000000000 0 000 0 00 00:0 46 Giotto, The Trial by Fire, Bardi Chapel in Santa Croce (after Raimond Van Marie, History of Italian Painting, vol. 3, 1923). Anderson Photograph.< OOQOOOOOOOOOOOOOOOOOOOOOOOOOOOO OOOO 49 19. Giotto, The Death of St. Francis and the Verification of the-Stigmata, Bardi Chapel in Santa Croce (after Raimond Van Marie, History of Italian Painting, vol. 3, 1923). Anderson Photograph................. ooeoooooooooeoooo 52 vi LIST OF ILLUSTRATIONS — Continued Figure Page 20, Giotto, Visions of Brother Agostino and Bishop Guido of Assisi, Bardi Chapel in Santa Croce (after Edi Barcheschi, Giotto, 1966), Plate 144.,,,. oooo ooooooeooooeooooo 54 Ghirlandaio, Francesco Sassetti, Sassetti Chapel in Santa Trinita. Alinari Photograph.......... 62 Ghirlandaio, Nera Corsi, Sassetti Chapel in Santa Trinita. Alinari Photograph,leooooeoeeoooeooooeo 63 23. Ghirlandaio, St. Francis Resuscitates the Notary's Son, Sassetti Chapel in Santa Trinita. Alinari T ^ K o t O g r a p h ooooeooooo,oeoooooeoe‘eeoeoooc.oeoeooe 66 24. Ghirlandaio, The Approval of the Franciscan Rule, Sassetti Chapel in Santa Trinita. Alinari Photograph.. ooooo ooeo ooooooeeoeoeoooooooeooo 73 Ghirlandaio, A Preliminary Sketch for a Scene, Sassetti Chapel in Santa Trinita (after Warman Welliver, "Alterations in Ghirlandaio's Santa Trinita Frescoes." Art Quarterly, no. 3, August, 1969).... ooooooooooooeooooooooooooooooo 75 26. Ghirlandaio, detail of Approval fresco, Sassetti Chapel in Santa Trinita. Alinari Photograph... 78 27. Ghirlandaio, detail of Approval fresco, Sassetti Chapel in Santa Trinita. Alinari Photograph... 80 28. Ghirlandaio, detail of Approval fresco, Sassetti Chapel in Santa Trinita. Alinari Photograph... 81 29. Ghirlandaio, St; Francis Renouncing His Father and A11 Worldly Goods, Sassetti Chapel in Santa Trinita. Alinari Photograph,Looeoooooooooooooo 85 30. Ghirlandaio, The Trail by Fire, Sassetti Chapel in Santa Trinita. Alinari Photograph, 0000000900 87 31. Ghirlandaio, The Stigmatization of St. Francis, Sassetti Chapel in Santa Trinita. Alinari Photograph. 00 00000.00000000000000000000000000000 89 vii LIST OF ILLUSTRATIONS — Continued Figure Page Ghirlandaio, The Funeral of St. Francis arid the Verification of the Stigmata, Sassetti Chapel in Santa Trinita. Alinari Photograph. ooeee ooo 91 33. Ghirlandaio, The Prophecy of Christ's Birth by the Tiburtine Sibyl and the Heavenly Vision of Christ by Emperor Octavianus Augustus, Sassetti Chapel in Santa Trinita (after Charles de Tolnay, "Two frescoes by Domenico and Davide Ghirlandaio in Santa Trinita in Florence." Wallnaf-Richartz Jahrbuch, 1961). Plate 154... 94 34. Ghirlandaio, Adoration of the Shepherds, Sassetti Chapel in Santa Trinita. Alinari Photograph... 96 35. Giuliano da Sangallo, Francesco Sassetti's Tomb, Sassetti Chapel in Santa Trinita. Allinari Photograph.. OOQOOOOOOOOOOOOOOOOOOOOOOOO OOOOOOOO 97 36, Giuliano da Sangallo, Nera Corsi's Tomb, Sassetti Chapel in Santa Trinita. Alinari Photograph... 98 37, Giuliano da Sangallo, detail of Sassetti"s Tomb, Sassetti Chapel in Santa Trinita. Alinari Photograph... ooeoooeooeoeeooeooeooooooooeooooo 100 Giuliano da Sangallo, detail of Sassetti’s Tomb, Sassetti Chapel in Santa Trinita. Alinari Photograph,Loo 0 0 00 0 00 0000000,0 000000 0 0006 o oooooooo 101 39. Giuliano da Sangallo, Tondo of Francesco Sassetti, Sassetti Chapel in Santa Trinita. Alinari Photograph..
Recommended publications
  • Florence Next Time Contents & Introduction

    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.
  • Proquest Dissertations

    Proquest Dissertations

    PANORAMA, POWER, AND HISTORY: VASARI AND STRADANO'S CITY VIEWS IN THE PALAZZO VECCHIO Pt.I by Ryan E. Gregg A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland May 2008 © 2008 Ryan E. Gregg AH Rights Reserved UMI Number: 3339721 Copyright 2008 by Gregg, Ryan E. All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 3339721 Copyright 2009 by ProQuest LLC. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 E. Eisenhower Parkway PO Box 1346 Ann Arbor, Ml 48106-1346 Abstract Painted topographical views of cities and their environs appear throughout the mid-sixteenth-century fresco decorations of the Palazzo Vecchio. This project focuses primarily on the most extensive series, those in the Quartiere di Leone X. Giorgio Vasari and his assistant Giovanni Stradano painted the five rooms of this apartment between 1556 and 1561. The city views take one of three forms in each painting: as a setting for a historical scene, as the background of an allegory, or as the subject of the view itself.
  • The Best of Renaissance Florence April 28 – May 6, 2019

    The Best of Renaissance Florence April 28 – May 6, 2019

    Alumni Travel Study From Galleries to Gardens The Best of Renaissance Florence April 28 – May 6, 2019 Featuring Study Leader Molly Bourne ’87, Professor of Art History and Coordinator of the Master’s Program in Renaissance Art at Syracuse University Florence Immerse yourself in the tranquil, elegant beauty of Italy’s grandest gardens and noble estates. Discover the beauty, drama, and creativity of the Italian Renaissance by spending a week in Florence—the “Cradle of the Renaissance”—with fellow Williams College alumni. In addition to a dazzling array of special openings, invitations into private homes, and splendid feasts of Tuscan cuisine, this tour offers the academic leadership of Molly Bourne (Williams Class of ’87), art history professor at Syracuse University Florence. From the early innovations of Giotto, Brunelleschi, and Masaccio to the grand accomplishments of Michelangelo, our itinerary will uncover the very best of Florence’s Renaissance treasury. Outside of Florence, excursions to delightful Siena and along the Piero della Francesca trail will provide perspectives on the rise of the Renaissance in Tuscany. But the program is not merely an art seminar—interactions with local food and wine experts, lunches inside beautiful private homes, meanders through stunning private gardens, and meetings with traditional artisans will complement this unforgettable journey. Study Leader MOLLY BOURNE (BA Williams ’87; PhD Harvard ’98) has taught art history at Syracuse University Florence since 1999, where she is also Coordinator of their Master’s Program in Renaissance Art History. A member of the Accademia Nazionale Virgiliana, she has also served as project researcher for the Medici Archive Project and held a fellowship at Villa I Tatti, the Harvard Center for Renaissance Studies.
  • Ikonotheka 30, 2020

    Ikonotheka 30, 2020

    IKONOTHEKA 30, 2020 Tomáš Murár insTiTuTe oF arT hisTory, czech academy oF sciences, czech republic orcid: 0000-0002-3418-1941 https://doi.org/10.31338/2657-6015ik.30.1 “A work of art is an object that necessitates contemplation”. Latency of visual studies within the Vienna School of Art History? Abstract This article investigates a research method of the so-called Vienna School of Art History, mainly its transformation by Max Dvořák around the First World War. The article suggests the possible influence of Georg Simmel’s philosophy on Dvořák in this time, evident mainly in Dvořák’s interpretation of Pieter Bruegel the Elder’s art, written by Dvořák in 1920 and published posthumously in 1921. This another view on the Vienna School of Art History is then researched in writings on Pieter Bruegel the Elder by Dvořák’s students Hans Sedlmayr and Charles de Tolnay when Tolnay extended Dvořák’s thinking and Sedlmayr challenged its premises – both Tolnay and Sedlmayr thus in the same time interpreted Bruegel’s art differently, even though they were both Dvořák’s students. The article then suggests a possible interpretative relationship of the Vienna School of Art History after its transformation by Max Dvořák with today’s approaches to art (history), mainly with the so-called visual studies. Keywords: Max Dvořák, Vienna School of Art History, Georg Simmel, Visual Studies, Charles de Tolnay, Hans Sedlmayr. Introduction In Max Dvořák’s text on the art of Pieter Bruegel the Elder, written in 1920 and published posthumously in 1921,1 a reference to Georg Simmel’s interpretation of 1 M.
  • "Nuper Rosarum Flores" and the Cathedral of Florence Author(S): Marvin Trachtenberg Source: Renaissance Quarterly, Vol

    "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.
  • 1 Santo Spirito in Florence: Brunelleschi, the Opera, the Quartiere and the Cantiere Submitted by Rocky Ruggiero to the Universi

    1 Santo Spirito in Florence: Brunelleschi, the Opera, the Quartiere and the Cantiere Submitted by Rocky Ruggiero to the Universi

    Santo Spirito in Florence: Brunelleschi, the Opera, the Quartiere and the Cantiere Submitted by Rocky Ruggiero to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Art History and Visual Culture In March 2017. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (Signature)…………………………………………………………………………….. 1 Abstract The church of Santo Spirito in Florence is universally accepted as one of the architectural works of Filippo Brunelleschi (1377-1446). It is nevertheless surprising that contrary to such buildings as San Lorenzo or the Old Sacristy, the church has received relatively little scholarly attention. Most scholarship continues to rely upon the testimony of Brunelleschi’s earliest biographer, Antonio di Tuccio Manetti, to establish an administrative and artistic initiation date for the project in the middle of Brunelleschi’s career, around 1428. Through an exhaustive analysis of the biographer’s account, and subsequent comparison to the extant documentary evidence from the period, I have been able to establish that construction actually began at a considerably later date, around 1440. It is specifically during the two and half decades after Brunelleschi’s death in 1446 that very little is known about the proceedings of the project. A largely unpublished archival source which records the machinations of the Opera (works committee) of Santo Spirito from 1446-1461, sheds considerable light on the progress of construction during this period, as well as on the role of the Opera in the realization of the church.
  • Domenico Ghirlandaio 1 Domenico Ghirlandaio

    Domenico Ghirlandaio 1 Domenico Ghirlandaio

    Domenico Ghirlandaio 1 Domenico Ghirlandaio Domenico Ghirlandaio Supposed self-portrait, from Adoration of the Magi, 1488 Birth name Domenico di Tommaso Curradi di Doffo Bigordi Born 11 January 1449Florence, Italy Died 11 January 1494 (aged 45)Florence, Italy (buried in the church of Santa Maria Novella) Nationality Italian Field Painter Movement Italian Renaissance Works Paintings in: Church of Ognissanti, Palazzo Vecchio, Santa Trinita, Tornabuoni Chapel in Florence and Sistine Chapel, Rome Domenico Ghirlandaio (1449 – 11 January 1494) was an Italian Renaissance painter from Florence. Among his many apprentices was Michelangelo. Biography Early years Ghirlandaio's full name is given as Domenico di Tommaso di Currado di Doffo Bigordi. The occupation of his father Tommaso Bigordi and his uncle Antonio in 1451 was given as "'setaiuolo a minuto,' that is, dealers of silks and related objects in small quantities." He was the eldest of six children born to Tommaso Bigordi by his first wife Mona Antonia; of these, only Domenico and his brothers and collaborators Davide and Benedetto survived childhood. Tommaso had two more children by his second wife, also named Antonia, whom he married in 1464. Domenico's half-sister Alessandra (b. 1475) married the painter Bastiano Mainardi in 1494.[1] Domenico was at first apprenticed to a jeweller or a goldsmith, most likely his own father. The nickname "Il Ghirlandaio" (garland-maker) came to Domenico from his father, a goldsmith who was famed for creating the metallic garland-like necklaces worn by Florentine women. In his father's shop, Domenico is said to have made portraits of the passers-by, and he was eventually apprenticed to Alessio Baldovinetti to study painting and mosaic.
  • A Private Chapel As Burial Space: Filippo Strozzi with Filippino Lippi and Benedetto Da Maiano in Santa Maria Novella, Florence

    A Private Chapel As Burial Space: Filippo Strozzi with Filippino Lippi and Benedetto Da Maiano in Santa Maria Novella, Florence

    A PRIVATE CHAPEL AS BURIAL SPACE 215 A Private Chapel as Burial Space: Filippo Strozzi with Filippino Lippi and Benedetto da Maiano in Santa Maria Novella, Florence ITO Takuma Keywords: Renaissance art, Medieval art, private chapels, funeral monu- ments, fresco painting Introduction Chapel decoration as burial space in Renaissance Florence had two dis- tinct tendencies, apparently opposing but not necessarily mutually exclu- sive. On the one hand, there was a growing demand for spatial coherence in religious buildings, especially in churches newly built in the Renaissance style, such as San Lorenzo and Santo Spirito. Chapels in these churches indeed generally entailed commissioning a few choice objects, such as an altarpiece or a painted window, and the funeral monuments were rather modest, comprised in many cases only of simple tomb-slabs. Chapels with a greater degree of spatial independence, on the other hand, permitted the patrons to develop highly personalized burial settings. One such example is the Sagrestia Vecchia in San Lorenzo, where Cosimo de’ Medici had a sarcophagus installed under the table at the center of the space as a funeral monument for his parents. In traditional gothic churches, too, family cha- . See for example E. Capretti, “La cappella e l’altare: evoluzione di un rapporto,” in C. Acidini Luchinat ed., La chiesa e il convento di Santo Spirito a Firenze (Florence, 996), 229-238. Research Fellow of the Japan Society for the Promotion of Science 216 pels, especially those in transepts, were decorated with lesser regard for the cohesion and unity of the church structures, and often involved sumptuous funeral monuments.
  • Bruegel in Black and White Three Grisailles Reunited 2 Bruegel in Black and White Three Grisailles Reunited

    Bruegel in Black and White Three Grisailles Reunited 2 Bruegel in Black and White Three Grisailles Reunited

    Bruegel in Black and White Three Grisailles Reunited 2 Bruegel in Black and White Three Grisailles Reunited Karen Serres with contributions by Dominique Allart, Ruth Bubb, Aviva Burnstock, Christina Currie and Alice Tate-Harte First published to accompany Bruegel in Black and White: Three Grisailles Reunited The Courtauld Gallery, London, 4 February – 8 May 2016 The Courtauld Gallery is supported by the Higher Education Funding Council for England (hefce) Copyright © 2016 Texts copyright © the authors All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any storage or retrieval system, without the prior permission in writing from the copyright holder and publisher. isbn 978 1 907372 94 0 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Produced by Paul Holberton publishing 89 Borough High Street, London se1 1nl www.paul-holberton.net Designed by Laura Parker www.parkerinc.co.uk Printing by Gomer Press, Llandysul front cover and page 7: Christ and the Woman Taken in Adultery (cat. 3), detail frontispiece: Three Soldiers, 1568 (cat. 8), detail page 8: The Death of the Virgin, c. 1562–65 (cat. 1), detail contributors to the catalogue da Dominique Allart ab Aviva Burnstock rb Ruth Bubb cc Christina Currie ks Karen Serres at-h Alice Tate-Harte Foreword This focused exhibition brings together for the first At the National Trust, special thanks are due to David time Pieter Bruegel the Elder’s three surviving grisaille Taylor, Christine Sitwell, Fernanda Torrente and the staff paintings and considers them alongside closely related at Upton House.
  • Celebrating the City: the Image of Florence As Shaped Through the Arts

    Celebrating the City: the Image of Florence As Shaped Through the Arts

    “Nothing more beautiful or wonderful than Florence can be found anywhere in the world.” - Leonardo Bruni, “Panegyric to the City of Florence” (1403) “I was in a sort of ecstasy from the idea of being in Florence.” - Stendahl, Naples and Florence: A Journey from Milan to Reggio (1817) “Historic Florence is an incubus on its present population.” - Mary McCarthy, The Stones of Florence (1956) “It’s hard for other people to realize just how easily we Florentines live with the past in our hearts and minds because it surrounds us in a very real way. To most people, the Renaissance is a few paintings on a gallery wall; to us it is more than an environment - it’s an entire culture, a way of life.” - Franco Zeffirelli Celebrating the City: the image of Florence as shaped through the arts ACM Florence Fall, 2010 Celebrating the City, page 2 Celebrating the City: the image of Florence as shaped through the arts ACM Florence Fall, 2010 The citizens of renaissance Florence proclaimed the power, wealth and piety of their city through the arts, and left a rich cultural heritage that still surrounds Florence with a unique and compelling mystique. This course will examine the circumstances that fostered such a flowering of the arts, the works that were particularly created to promote the status and beauty of the city, and the reaction of past and present Florentines to their extraordinary home. In keeping with the ACM Florence program‟s goal of helping students to “read a city”, we will frequently use site visits as our classroom.
  • Last Judgment” Habent Sua Fata Libelli

    Last Judgment” Habent Sua Fata Libelli

    Sun Symbolism and Cosmology in Michelangelo’s “Last Judgment” Habent sua fata libelli SIXTEENTH CENTURY ESSAYS &STUDIES SERIES General Editor RAYMON D A. MENTZER Montana State University—Bozeman EDITORIAL BOARD OF SIXTEENTH CENTURY ESSAYS &STUDIES ELAINE BEILIN MARY B. MCKINLEY Framingham State College University of Virginia MIRIAM USHER CHRISMAN HELEN NADER University of Massachusetts—Amherst University of Arizona BARBARA B. DIEFENDORF CHARLES G. NAUERT Boston University University of Missiouri, Colmubia PAULA FINDLEN THEODORE K. RABB Stanford University Princeton University SCOTT H.HENDRIX MAX REINHART Princeton Theological Seminary University of Georgia JANE CAMPBELL HUTCHISON JOHN D. ROTH University of Wisconsin—Madison Goshen College CHRISTIANE JOOST-GAUGIER ROBERT V. S CHNUCKER University of New Mexico Truman State University, emeritus ROBERT M. KINGDON NICHOLAS TERPSTRA University of Wisconsin, Emeritus University of Toronto ROGER MANNING MERRY WIESNER-HANKS Cleveland State University University of Wisconsin–Milwaukee Copyright © 2000 Truman State University Press, Kirksville, MO 63501 www2.truman.edu/tsup All rights reserved Printed in the United States of America Library of Congress Cataloging-in-Publication Data Shrimplin, Valerie Sun-symbolism and cosmology in Michelangelo’s Last Judgment / by Valerie Shrimplin. p. cm. — (Sixteenth century essays & studies ; v. 46) Based on the author’s thesis (doctoral—University of the Witwatersrand, Johannesburg, 1991). Includes bibliographical references and index. ISBN 0-943549-65-5 (Alk. paper) 1. Michelangelo Buonarroti, 1475–1564. Last Judgment. 2. Michelangelo Buonarroti, 1475–1564 Themes, motives. 3. Cosmology in art. 4. Symbolism in art. 5. Judgment Day in art. I. Title. II. Series. ND623.B9 A69 2000 759.5—dc 21 98-006646 CIP Cover: Teresa Wheeler, Truman State University designer Composition: BookComp, Inc.
  • In the Art of Sandro Botticelli And

    In the Art of Sandro Botticelli And

    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE ANTIQUITY AND THE SISTINE SOJOURN (1481-1482) IN THE ART OF SANDRO BOTTICELLI AND DOMENICO GHIRLANDAIO Volume 1 A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art by Max Calvin Marmor May, 1982 ~ • I The Thesis of Max Calvin Marmor is approved: anne L. Trabold, Ph.D. California State University, Northridge i i This thesis is dedicated to the immortal words of Ibn Abad Sina "Seek not gold in shallow vessels!" (Contra Alchemia, Praefatio) iii ACKNOWLEDGEMENTS Thanks are due my thesis committee for allowing a maverick to go his own way. Without their contributions, this experience would not have been what it has been. More could be said on this score but, to quote the Devil (whose advice I should have followed from the outset): "Mach es kurz! Am Juengsten Tag ist's nur ein F--z!" So I'll "make it short." I owe special thanks to Dr. Birgitta Wohl, who initially persuaded me that higher education is worthwhile; who expressed unfailing interest in my ideas and progress; and who, throughout, has provided a unique living example of wide learning and humanistic scholarship. Finally, this thesis could not have been written without the ever prompt, ever courteous services of the CSUN Library Inter-Library Loan Department. Thanks to Charlotte (in her many roles}, to Misha and their myriad elves, who, for an unconscionably long time, made every day Christmas! iv CONTENTS Page LIST 01'' FIGURES . vii ABSTRACT . ix Chapter INTRODUCTION: CONTEXT AND CRISIS IN THE REVIVAL OF ANTIQUITY.