Reexamining Raphael's Transformation Through
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Cambridge University Press 978-0-521-89520-0 - The Renaissance in Italy: A Social and Cultural History of the Rinascimento Guido Ruggiero Index More information INDEX Abel (Bible), depiction in art, 561–2 classics and, 251 , 257–8 Abortion, 129–30 clothing, depiction of, 363–4 Academies, 539–47 consensus realities and, 254–6 , 363–4 Accademia della Crusca (Academy), 541–2 culture and, 251 , 254, 257 Accolti, Bernardo, 452 Dante compared, 253 Acta Ecclesiae Mediolanenesis Eugenius IV and, 275 (Borromeo), 521 Gianfrancesco Gonzaga and, 294 Adam (Bible) on honor, 254–6 depiction in art, 561–2 Lorenzo de’ Medici and, 316 Garden of Eden and, 1–2 , 7 Ludovico Sforza and, 294 , 295 knowledge of, 260 Nicholas V and, 276 naming of things by, 221 , 261 , as painter, 294 266–7 , 423 Petrarch compared, 253 Savonarola on, 489–90 Alberti, Lionardo, 254–6 Addormentati (Academy), 541 Albert of Stade, 21 Adoration of the Christ Child (Fra Filippo Albizzi family, 299–300 Lippi), 307–8 Albornoz, Egidio, 60–1 , 157 , 166 Adoration of the Magi (Leonardo), 350 Alexander III (Pope), 39 , 41 , 270 Adoration of the Magi, The (Botticelli), Alexander the Great (Macedon), 458 , 582 345–6 , 357–9 Alexander VI (Pope) Adrian VI (Pope), 503–4 , 507–8 generally, 278 , 379 , 510 Aeschylus, 397 death of, 355 , 442 Africa (Petrarch), 225 French invasion of Italy and, 404–5 , Agathocles (Greece), 448 , 449 410–11 , 412 Age of the Beloveds, The (Andrews and “New World” and, 427 Kalpaki), 582 Piero de’ Medici and, 401 Age of marriage, 375 , 474 , 478 , 480–1 , 483 Savonarola -
Raphael's Portrait of Baldassare Castiglione (1514-16) in the Context of Il Cortegiano
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2005 Paragon/Paragone: Raphael's Portrait of Baldassare Castiglione (1514-16) in the Context of Il Cortegiano Margaret Ann Southwick Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/1547 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. O Margaret Ann Southwick 2005 All Rights Reserved PARAGONIPARAGONE: RAPHAEL'S PORTRAIT OF BALDASSARE CASTIGLIONE (1 5 14-16) IN THE CONTEXT OF IL CORTEGIANO A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Cornmonwealtli University. MARGARET ANN SOUTHWICK M.S.L.S., The Catholic University of America, 1974 B.A., Caldwell College, 1968 Director: Dr. Fredrika Jacobs Professor, Department of Art History Virginia Commonwealth University Richmond, Virginia December 2005 Acknowledgenients I would like to thank the faculty of the Department of Art History for their encouragement in pursuit of my dream, especially: Dr. Fredrika Jacobs, Director of my thesis, who helped to clarify both my thoughts and my writing; Dr. Michael Schreffler, my reader, in whose classroom I first learned to "do" art history; and, Dr. Eric Garberson, Director of Graduate Studies, who talked me out of writer's block and into action. -
Sezioni Mostra
SEZIONI MOSTRA L’esposizione è suddivisa in tre sezioni : Prima della Spina La Spina dei Borghi Cavare la “spina” a San Pietro PRIMA DELLA SPINA Tramite sculture, affreschi, disegni, dipinti e cartografie si racconterà come questo territorio passò dall’essere marginale e inospitale ad esercitare una forte attrazione urbanistica su Roma divenendone parte integrante. Escluso dal perimetro delle mura, povero e malsano a causa dei frequenti straripamenti del Tevere, questo territorio iniziò ad esercitare una forte attrazione urbanistica su Roma solo a partire dalla prima età imperiale. A seguito di interventi di bonifica furono realizzate le prime ville suburbane le più famose delle quali appartenevano ad Agrippina e Domizia. Giardini dal ricco arredo scultoreo si alternavano a costruzioni sfruttando scenograficamente la topografia dei luoghi, vicini al fiume e prossimi ai rilievi del colle Vaticano, del Monte Santo Spirito e del Gianicolo. Lungo le due strade principali che attraversavano la zona, la via Triumphalis e la via Cornelia, si addensarono diversi monumenti funerari (tra le memorie più evidenti, oggi, il mausoleo di Adriano, la necropoli vaticana – sotto la Basilica – e quella dell’Autoparco Vaticano e di S. Rosa). Se il termine “ Vaticano ” è oggi immediatamente riconducibile a San Pietro e al cristianesimo, in età imperiale ebbe una valenza fortemente pagana : quest’area ospitò infatti un luogo di culto dedicato alla dea frigia Cibele chiamato, per l’appunto, Vaticanum o Phrygianum Vaticanum frequentato ancora fin quasi alla fine del IV sec. d.C ., in compresenza e forse in contrapposizione alla nuova fede emergente, il cristianesimo. Nel corso dell’alto medioevo, intorno alla Basilica si sviluppò una vera e propria area sacra con monasteri, diaconie, chiese: burgs era il termine con cui i pellegrini germanici definivano l’agglomerato da cui “Borgo”. -
Gian Cristoforo Romano in Rome: with Some Thoughts on the Mausoleum of Halicarnassus and the Tomb of Julius II
Gian Cristoforo Romano in Rome: With some thoughts on the Mausoleum of Halicarnassus and the Tomb of Julius II Sally Hickson University of Guelph En 1505, Michel-Ange est appelé à Rome pour travailler sur le tombeau monumental du pape Jules II. Six mois plus tard, alors que Michel-Ange se trouvait à Carrare, le sculpteur et antiquaire Gian Cristoforo Romano était également appelé à Rome par Jules II. En juin 1506, un agent de la cour de Mantoue rapportait que les « premiers sculpteurs de Rome », Michel-Ange et Gian Cristoforo Romano, avaient été appelés ensemble à Rome afin d’inspecter et d’authentifier le Laocoön, récemment découvert. Que faisait Gian Cristoforo à Rome, et que faisait-il avec Michel-Ange? Pourquoi a-t-il été appelé spécifi- quement pour authentifier une statue de Rhodes. Cet essai propose l’hypothèse que Gian Cristoforo a été appelé à Rome par le pape probablement pour contribuer aux plans de son tombeau, étant donné qu’il avait travaillé sur des tombeaux monumentaux à Pavie et Crémone, avait voyagé dans le Levant et vu les ruines du Mausolée d’Halicarnasse, et qu’il était un sculpteur et un expert en antiquités reconnu. De plus, cette hypothèse renforce l’appartenance du développement du tombeau de Jules II dans le contexte anti- quaire de la Rome papale de ce temps, et montre, comme Cammy Brothers l’a avancé dans son étude des dessins architecturaux de Michel-Ange (2008), que les idées de ce dernier étaient influencées par la tradition et par ses contacts avec ses collègues artistes. -
Rodolfo Lanciani, the Ruins and Excavations of Ancient Rome, 1897, P
10/29/2010 1 Primus Adventus ad Romam Urbem Aeternam Your First Visit to Rome The Eternal City 2 Accessimus in Urbe AeternA! • Welcome, traveler! Avoiding the travails of the road, you arrived by ship at the port of Ostia; from there, you’ve had a short journey up the Via Ostiensis into Roma herself. What do you see there? 3 Quam pulchra est urbs aeterna! • What is there to see in Rome? • What are some monuments you have heard of? • How old are the buildings in Rome? • How long would it take you to see everything important? 4 Map of Roma 5 The Roman Forum • “According to the Roman legend, Romulus and Tatius, after the mediation of the Sabine women, met on the very spot where the battle had been fought, and made peace and an alliance. The spot, a low, damp, grassy field, exposed to the floods of the river Spinon, took the name of “Comitium” from the verb coire, to assemble. It is possible that, in consequence of the alliance, a road connecting the Sabine and the Roman settlements was made across these swamps; it became afterwards the Sacra Via…. 6 The Roman Forum • “…Tullus Hostilius, the third king, built a stone inclosure on the Comitium, for the meeting of the Senators, named from him Curia Hostilia; then came the state prison built by Ancus Marcius in one of the quarries (the Tullianum). The Tarquin [kings] drained the land, gave the Forum a regular (trapezoidal) shape, divided the space around its borders into building- lots, and sold them to private speculators for shops and houses, the fronts of which were to be lined with porticoes.” --Rodolfo Lanciani, The Ruins and Excavations of Ancient Rome, 1897, p. -
382 Index.Qxd
405 INDEX INDEX More detailed or explanatory references (where there any many references listed), or references to an artist’s masterpiece (in cases where it is not listed by name), are given in bold. Numbers in italics are pic- ture references. Dates are given for all artists and sculptors. Saints’ names for towns are written out in full (San Gimignano); churches are listed as S. Martino, S. Agata etc. Note that artists in medieval and Renaissance Italy are often named for their parentage, provenance or occupation (Piero della Francesca = son of Francesca; Pietro da Cortona = Pietro from Cortona and Paolo Veneziano = Paolo the Venetian; Lorenzo Monaco = Lorenzo the monk). They are indexed under ther first names. A Florentine painter; 1343–77) 188 Abano Terme 109 Angelico, Fra’ (Guido di Pietro; Florentine painter; Aeneas, story of 236, 285, 310, 326, 375 c.1400–55) 186, 196, 270; (tomb of) 256 Agathocles of Syracuse 375 Angera 50 Agrate, Marco d’ (Lombard sculptor; active Angevin rulers of Naples and Sicily 312, 368 1534–71) 34 Annigoni, Pietro (painter; 1910–88) 106 Agrigento 378–79, 379 d’Annunzio, Gabriele, poet 111 Alba 24 Anselm, St 9, 355 Alba Longa, ancient city 236, 285 Anselmo da Campione (Campionese sculptor; Alban Hills 285–86 fl.1160–80) 142 Albenga 167 Antelami, Benedetto (architect, active in Parma; Alberobello 359–60, 359 c.1178–1230) 143 Alberti, Leon Battista (Florentine architect; Anthony of Padua, St 106 1404–72) 59, 60, 60, 156, 187, 188 Antinous, favourite of Hadrian 283 Albissola 167 Antonelli, Alessandro (Piedmontese -
Spoliation in Medieval Rome Dale Kinney Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History of Art Faculty Research and Scholarship History of Art 2013 Spoliation in Medieval Rome Dale Kinney Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/hart_pubs Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Custom Citation Kinney, Dale. "Spoliation in Medieval Rome." In Perspektiven der Spolienforschung: Spoliierung und Transposition. Ed. Stefan Altekamp, Carmen Marcks-Jacobs, and Peter Seiler. Boston: De Gruyter, 2013. 261-286. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/hart_pubs/70 For more information, please contact [email protected]. Topoi Perspektiven der Spolienforschung 1 Berlin Studies of the Ancient World Spoliierung und Transposition Edited by Excellence Cluster Topoi Volume 15 Herausgegeben von Stefan Altekamp Carmen Marcks-Jacobs Peter Seiler De Gruyter De Gruyter Dale Kinney Spoliation in Medieval Rome i% The study of spoliation, as opposed to spolia, is quite recent. Spoliation marks an endpoint, the termination of a buildlng's original form and purpose, whÿe archaeologists tradition- ally have been concerned with origins and with the reconstruction of ancient buildings in their pristine state. Afterlife was not of interest. Richard Krautheimer's pioneering chapters L.,,,, on the "inheritance" of ancient Rome in the middle ages are illustrated by nineteenth-cen- tury photographs, modem maps, and drawings from the late fifteenth through seventeenth centuries, all of which show spoliation as afalt accomplU Had he written the same work just a generation later, he might have included the brilliant graphics of Studio Inklink, which visualize spoliation not as a past event of indeterminate duration, but as a process with its own history and clearly delineated stages (Fig. -
Chigi Palace
- Chigi Palace - English Version Traduzione di Giovanna Gallo Ancient palace of the Sixteenth century located in the heart of Rome, it was conceived by Pietro Aldobrandini, Pope Clement VII’s brother and an important representative of the Roman aristocracy. The idea of the original plan, entrusted to the Umbrian architect Bartolini from Città di Castello, was to enlarge a pre-existent block of buildings, to incorporate some more houses and to construct a single building made of three floors with the main entrance on Via del Corso. The ownership of the palace was rather unstable because it was handed several times to other Families, such as the Detis, for almost a whole century, until 1659 when it was purchased by the Chigi family, among whose members there were also some cardinals and one Pope, Alexander VII. The Chigis were rich bankers with Sienese origins and backers of the Vatican and they changed the frame of the building, that was thus named after them. At least for two centuries the palace has been the residence of some aristocratic families and, later on, it became the seat at first of the Spanish Embassy (around the second half of the XVIIIth century ), then of the Austro-Hungarian Empire, being sold at last by the Chigis themselves to the Kingdom of Italy ( Regno d’Italia ) in 1916, when it was assigned to become the seat of the Ministero delle Colonie ( Ministry of Colonial Affairs). In 1922 Benito Mussolini, both as Italian Prime Minister and Minister of Foreign Affairs, ordered to transfer there the Ministry of Foreign Affairs. -
Architectural Encounters Between Idea and Material the 1547 Frontispiece of Walther Hermann Ryff
ARCHITECTURAL ENCOUNTERS 179 Architectural Encounters between Idea and Material The 1547 Frontispiece of Walther Hermann Ryff PAUL EMMONS Virginia Tech The renaissance frontispiece is simultaneously an that presented through a combination of word and encounter between reader and author and inhabit- image the idea of its content^.^ Frontispieces thus ant and building. The idea of the book is personified are excellent visual sources to study the significance into an architectural image. Reader and author are of a text. Architects often drew frontispieces, not face-to-face even though the later is absent and the only for their own books, but also for many other book stands as a physical incarnation of the ideas subjects. The visual threshold of frontispiece for of the author. This paper will examine one notable renaissance architectural treatises was variously renaissance architectural frontispiece in Walther shown as an altar (Palladio), triumphal arch (Bar- Hermann Ryff's Architectur (1547) to reconsider the baro), curtain or veil (Bartoli), window (Vignola), relation between idea and material in architectural or pedimented entry (Scamozzi). theory and practice today. Frontispieces employed allegorical illustrations like The illustrated architectural frontispiece developed emblems. Emblems originated with the renaissance with the early printed book.' At this time, printers humanist attempt to create a modern equivalent only produced the pages and sold them tied in a to Egyptian hieroglyphs. With the rediscovery of bundle which was then taken to a separate leather Horapollo's Hieyroglyphica in the fifteenth century, worker for the book's cover. The cover represented it was thought that the esoteric picture language of the owner while the first page, the frontispiece, the Egyptians could be deciphered and numerous represented the interior of the book. -
Motherhood and the Identity Formation of Masculinities in Sixteenth-Century “Erudite Comedy”
MOTHERHOOD AND THE IDENTITY FORMATION OF MASCULINITIES IN SIXTEENTH-CENTURY “ERUDITE COMEDY” A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Yael Manes February 2010 © 2010 Yael Manes MOTHERHOOD AND THE IDENTITY FORMATION OF MASCULINITIES IN SIXTEENTH CENTURY “ERUDITE COMEDY” Yael Manes, Ph. D. Cornell University 2010 The commedia erudita (erudite comedy) is a five-act drama that is written in the vernacular and regulated by unity of time and place. It was conceived and reached its mature form in Italy during the first half of the sixteenth century. Erudite comedies were composed for audiences from the elite classes and performed in private settings. Since the plots dramatized the lives of contemporary, sixteenth-century urban dwellers, this genre of drama reflects many of the issues that preoccupied the elite classes during this period: the art of identity formation, the nature, attributes, and legitimacy of those who claim the authority to rule, and the relationship between power and gender, age, and experience. The dissertation analyzes five comedies: Ludovico Ariosto’s I suppositi (1509), Niccolò Machiavelli’s Mandragola (1518) and Clizia (1525), Antonio Landi’s Il commodo (1539), and Giovan Maria Cecchi’s La stiava (1546). These plays represent and critique idealized visions of patriarchal masculinity among the elite of Renaissance Italy through an engagement with the problems that maternity and mothering present to patriarchal ideology and identity. By unpacking the ways in which patriarchal masculinity is articulated in response to the challenges of maternal femininity, this dissertation gives a rich account of the gender order and the ways in which it was being problematized during the Italian Renaissance. -
Sant'anselmo in Rome
Pius Engelbert, OSB Sant’Anselmo in Rome Sant’Anselmo in Rome College and University From the Beginnings to the Present Day Pius Engelbert, OSB Translated by Henry O’Shea, OSB LITURGICAL PRESS Collegeville, Minnesota www.litpress.org Cover design by Jodi Hendrickson. Cover images: Top: Sant’Anselmo from the North; image from the Archives of the Archabbey of Beuron. Bottom: Sant’Anselmo from the South; image from the Archives of St. Ottilien. This work was first published as Sant’Anselmo in Rom: Kolleg und Hochschule 1st German edition, Rome, 1988 2nd German edition, Sankt Ottilien, 2012 © 2015 by Order of Saint Benedict, Collegeville, Minnesota. All rights reserved. No part of this book may be reproduced in any form, by print, microfilm, microfiche, mechanical recording, photocopying, translation, or by any other means, known or yet unknown, for any purpose except brief quotations in reviews, without the previous written permission of Liturgical Press, Saint John’s Abbey, PO Box 7500, Collegeville, Minnesota 56321-7500. Printed in the United States of America. 123456789 Library of Congress Cataloging-in-Publication Data Engelbert, Pius. [Geschichte des Benediktinerkollegs St. Anselm in Rom. English] Sant’Anselmo in Rome : College and University : From the Beginnings to the Present Day / Pius Engelbert, OSB ; translated by Henry O’Shea, OSB. pages cm “1st German edition, Rome, 1988. 2nd German edition, Sankt Ottilien, 2012.” Includes bibliographical references. ISBN 978-0-8146-3713-5 — ISBN 978-0-8146-3738-8 (ebook) 1. Pontificio Ateneo S. Anselmo. I. Title. BX920.I8E5413 2015 271'.1045632—dc23 2014038326 Laudemus viros gloriosos et parentes nostros in generatione sua. -
Epigraphical Research and Historical Scholarship, 1530-1603
Epigraphical Research and Historical Scholarship, 1530-1603 William Stenhouse University College London A thesis submitted in fulfilment of the requirements of the Ph.D degree, December 2001 ProQuest Number: 10014364 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10014364 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract This thesis explores the transmission of information about classical inscriptions and their use in historical scholarship between 1530 and 1603. It aims to demonstrate that antiquarians' approach to one form of material non-narrative evidence for the ancient world reveals a developed sense of history, and that this approach can be seen as part of a more general interest in expanding the subject matter of history and the range of sources with which it was examined. It examines the milieu of the men who studied inscriptions, arguing that the training and intellectual networks of these men, as well as the need to secure patronage and the constraints of printing, were determining factors in the scholarship they undertook. It then considers the first collections of inscriptions that aimed at a comprehensive survey, and the systems of classification within these collections, to show that these allowed scholars to produce lists and series of features in the ancient world; the conventions used to record inscriptions and what scholars meant by an accurate transcription; and how these conclusions can influence our attitude to men who reconstructed or forged classical material in this period.