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DAWN of the RENAISSANCE JANUARY, APRIL, SEPTEMBER 2018 This course covers the dramatic awakening of Italian art during the thirteenth and fourteenth centuries, particularly in the vibrant, independent city republics of Tuscany. Against a backdrop of rapid economic growth, turbulent political change, famine and war, artists including Cimabue, Arnolfo di Cambio, Giotto, Andrea Pisano, Duccio, Simone Martini and Ambrogio Lorenzetti skilfully catered to new contemporary religious, cultural and political aspirations, forging a new style and marking the beginning of the dominant figurative tradition in Western European art. This course includes on-site visits to the Baptistery of San Giovanni, the church of San Miniato al Monte, the Palazzo Davanzati, the church of the Ognissanti, the church of Santa Maria Novella, the church of Orsanmichele, the Museo dell’Opera del Duomo and the church of Santa Croce. “I enjoyed the course sessions and appreciated the informed, engaging lectures and the helpful handouts. It was a joy to attend the sessions!” M.S. – UK The British Institute of Florence Lungarno Guicciardini 9, Florence, Italy [email protected] / +39.05526778268 www.britishinstitute.it € 750 FULL ENROLMENT HoASAM.18.03.06.HoA.2 € 50 D AWN of the RENAISSANCE PER SESSION 2018 SAMPLE PROGRAMME MON Lecture: When, Where and How did the Renaissance Begin? 15:00-16:30 TUE Lecture: The Baptistery & the Piazza del Duomo 15:00-16:30 WED Visit: The Museo dell’Opera del Duomo 15:00-16:30 THU Lecture: The Church of San Miniato al Monte 15:00-16:30 SAT Visit: Symbols and Symbolism in Gothic Art 10:00-11:30 MON Lecture: Marble and Bronze Sculpture 15:00-16:30 TUE Lecture: Tempera and Fresco Painting 15:00-16:30 WED Visit: Guelf and Ghibelline Historical Walk 15:00-16:30 THU Visit: Cimabue, Giotto and the Birth of Modern Painting 15:00-16:30 SAT Visit: Palazzo Davanzati 10:00-11:30 MON Lecture: The Church of Santa Maria Novella 15:00-16:30 TUE Lecture: The Case of Giotto’s Ognissanti Crucifix 15:00-16:30 WED Lecture: Domus Dei: Building the Gothic Cathedral 15:00-16:30 THU Lecture: Art, Politics and Pestilence in Siena’s Golden Age 15:00-16:30 FRI Lecture: Popular Religion in Late Medieval Florence 15:00-16:30 MON Lecture: The Church of Orsanmichele 15:00-16:30 TUE Lecture: Introduction to Italian Literature 15:00-16:30 WED Visit: Guido Riccio: A Consideration of Authenticity 15:00-16:30 THU Visit: The Church of Santa Croce 15:00-16:30 FRI Lecture: Florence from the Plague to the Ciompi Rebellion 15:00-16:30 GIOTTO, Baroncelli Polyptych (1334) Tempera on wood, Santa Croce, FLORENCE .

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Orsanmichele and the History and Preservation of the Civic Monument
Orsanmichele and the History and Preservation of the Civic Monument Edited by CARL BRANDON STREHLKE National Gallery of Art, Washington Distributed by Yale University Press New Haven and London Contents vii Preface ELIZABETH CROPPER ix Foreword CRISTINA ACI DI N I i Introduction CARL BRANDON STREHLKE 7 "Degno templo e tabernacol santo": Remembering and Renewing Orsanmichele DIANE FINIELLO ZERVAS 2i Orsanmichele before and after the Niche Sculptures: Making Decisions about Art in Renaissance Florence CARL BRANDON STREHLKE 3 5 Designing Orsanmichele: The Rediscovered Rule MARIA TERESA BARTOLI 53 Andrea Pisano's Saint Stephen and the Genesis of Monumental Sculpture at Orsanmichele ENRICA NERI LUSANNA 75 Giovanni di Balduccio at Orsanmichele: The Tabernacle of the Virgin before Andrea Orcagna FRANCESCO CAGLIOTI iii The Limestone Tracery in the Arches of the Original Grain Loggia of Orsanmichele in Florence GERT KREYTENBERG 125 The Trecento Sculptures in the Exterior Tabernacles at Orsanmichele ALESSANDRA GRIFFO 139 If Monuments Could Sing: Image, Song, and Civic Devotion inside Orsanmichele BLAKE WILSON 1 69 Orsanmichele: The Birthplace of Modern Sculpture ARTUR ROSENAUER 179 Restoration of the Statues in the Exterior Niches at Orsanmichele ANNAMARIA GIUSTI 187 The Fat Stonecarver MARY BERGSTEIN 197 Saint Peter of Orsanmichele LUCIANO BELLOSI 2 i 3 A More "Modern" Ghiberti: The Saint Matthew for Orsanmichele ELEONORA LUCIANO 243 Ghiberti's Saint Matthew and Roman Bronze Statuary: Technical Investigations during Restoration EDILBERTO FORMIGLI 257 Predella and Prontezza: On the Expression of Donatello's Saint George ARJAN R. DE KOOMEN 279 Scientific Investigations of the Bronze and Marble Statues of Orsanmichele MAURO MATTEINI 289 Words on an Image: Francesco da Sangallo's Sant'Anna Metterza for Orsanmichele COLIN EISLER WITH THE COLLABORATION OF ABBEY KORNFELD AND ALISON REBECCA W.
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Contents Inhalt
34 Rome, Pantheon, c. 120 A.D. Contents 34 Rome, Temple of Minerva Medica, c. 300 A.D. 35 Rome, Calidarium, Thermae of Caracalla, 211-217 A.D. Inhalt 35 Trier (Germany), Porta Nigra, c. 300 A.D. 36 NTmes (France), Pont du Gard, c. 15 B.C. 37 Rome, Arch of Constantine, 315 A.D. (Plan and elevation 1:800, Elevation 1:200) 38-47 Early Christian Basilicas and Baptisteries Frühchristliche Basiliken und Baptisterien 8- 9 Introduction by Ogden Hannaford 40 Rome, Basilica of Constantine, 310-13 41 Rome, San Pietro (Old Cathedral), 324 42 Ravenna, Sant' Apollinare Nuovo, c. 430-526 10-19 Great Buildings of Egypt, Mesopotamia and Persia 42 Ravenna, Sant'Apollinare in Classe, 534-549 Grosse Bauten Ägyptens, Mesopotamiens und Persiens 43 Rome, Sant' Agnese Fuori Le Mura, 7th cent. 43 Rome, San Clemente, 1084-1108 12 Giza (Egypt), Site Plan (Scale 1:5000) 44 Rome, Santa Costanza, c. 350 13 Giza, Pyramid of Cheops, c. 2550 B.C. (1:800) 44 Rome, Baptistery of Constantine (Lateran), 430-440 14 Karnak (Egypt), Site Plan, 1550-942 B.C. (1:5000) 44 Nocera (Italy), Baptistery, 450 15 Abu-Simbel (Egypt), Great Temple of Ramesses II, c. 1250 B.C. 45 Ravenna, Orthodox Baptistery, c. 450 (1:800, 1:200) 15 Mycenae (Greece), Treasury of Atreus, c. 1350 B.C. 16 Medinet Habu (Egypt), Funerary Temple of Ramesses II, c. 1175 B.C. 17 Edfu (Egypt), Great Temple of Horus, 237-57 B.C. 46-53 Byzantine Central and Cross-domed Churches 18 Khorsabad (Iraq), Palace of Sargon, 721 B.C.
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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.
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To Be Visited in Florence
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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.
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Casva Center for Advanced Study in the Visual Arts
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