Italian Historical Society of America Newsletter FEBRUARY 2017 BY JANICE THERESE MANCUSO VOLUME 13, NUMBER 2 Tutto Italiano Benvenuto a Tutto Italiano The Renaissance was one of the most important periods, not only in Italy’s history, but also in the history of the world. This “rebirth” began in Italy during the fourteenth century, but some accounts claim it started in the early 1200s with Frederick II, a Roman Emperor and King of Sicily, who was “well versed in languages and science, he was a patron of scholars, whom he gathered about him, from all parts of the world, at his court in Palermo.” From Con Amore: “Many agree that, as with the Middle Ages, there is no set time the Renaissance actually began. However, most do agree that the Renaissance has its roots in the Middle Ages in Florence—starting with the works of Dante Alighieri, famous for his immortal The Divine Comedy written in the early 1300s, and Giotto di Bondone, the artist credited for bringing a natural, lifelike look to European paintings.” “In the mid-1300s, poet Francesco Petrarca, known by his Latin name Petrarch, created a renewed interest in Roman and Greek culture with his writings. Around the same time his colleague, Giovanni Boccaccio, wrote Decameron. Dante, Petrarch, and Boccaccio preferred writing in Italian, rather than Latin, and set a new standard for Italian literature, bringing prominence to the Italian language. … Petrarch is considered one of the great Italian poets, surpassed only by Dante; and although historians view both Dante and Giotto as guiding forces of the Renaissance and humanism, Petrarch is said to be the first great humanist.” “This attention to the great civilizations and ancient art, and the revelation of new art forms gave rise to a desire for individualism and fostered an increased interest in the physical world. Although the spiritual world still had meaning, there was a break away from the belief that the church had complete authority over an individual’s life. Theology, philosophy, politics, exploration, science, art, architecture, writing, and fashion were now open to personal interpretation. The emphasis was on broadening an individual’s skills in all these areas, rather than specializing in just one field; and the evolution of the printing press allowed the written word to be more easily reproduced, transmitting new ideas to a wider audience.” “At the same time, commerce was flourishing in the larger cities of Italy—Venice, Milan, Florence—as well as in some of the smaller ones. … the self-ruled municipalities that formed throughout all of Italy. Some merchants were becoming quite rich, building palaces and villas, and investing in trading expeditions. With their newfound fortune they became more influential, and the more successful merchants even became tax collectors. The de’ Medici family of Florence was at the center of all this financial activity, establishing banks throughout northern Italy, several in France, and one in England—making it easier for money to circulate throughout parts of Europe.” “The Renaissance was a time of many … many great Italians—too numerous to mention all—and quite a few influential families. One, of course, was the de’ Medici family, who ruled Florence for almost 400 years and provided France with two Queens—Caterina and Marie. Another prominent family, della Robbia, also from Florence, maintained a studio for almost 100 years and were famous for their sculptured works of arts. Their technique, depicted in enameled terra cotta or faience, gave rise to the very popular style of clustered fruits known today as Della Robbia.” “No discussion of the Renaissance can be complete without mentioning some of the most famous Italians ever. These men changed the course of the world in almost all aspects of life. Leonardo da Vinci, an extraordinary genius and the ultimate Renaissance man. He combined science and art, creating for the mind and the eye. Michelangelo Buonarroti, the famed painter and sculptor who was also a poet and a philosopher. Raffaello Sanzio, known as Raphael, exquisite painter and successor to Donato Bramante as chief architect of St. Peter’s. Sandro Botticelli, Michelangelo Caravaggio, and Giovanni Bernini are other acclaimed artists of the Renaissance.” ### In his teen years, Alessandro di Mariano di Vanni Filipepi – Sandro Botticelli – learned the goldsmith’s craft and then became an art apprentice. By the time he was 25, he had his own workshop. “Even at this early date his work was characterized by a conception of the figure as if seen in low relief, drawn with clear contours, and minimizing strong contrasts of light and shadow which would indicate fully modeled forms.” His apprenticeship provided contacts with nobles, including the de’ Medici family. One of Botticelli’s early paintings, Adoration of the Magi (1475) contains portraits of several generations of the family, as well as a portrait of the artist. Botticelli was later commissioned by a de’ Medici to paint La Primavera (c. 1478). [Click cancel to access web page.] In 1480, Botticelli and three other artists were summoned by Pope Sixtus IV to travel to Rome to paint the walls of the Sistine Chapel. The theme, decided by the Pope, focused on the continuity of the Old and New Testaments. Botticelli painted three frescos – Trials of Moses, Temptation of Christ, and Punishment of Korah – and several papal portraits. When he returned to Florence in 1482, his artwork included many paintings with religious subjects; but one of his most well know paintings The Birth of Venus (c.1484- 1486) was of a mythical theme. During the 1480s, Botticelli also painted numerous frescos in churches. In the late 1490s, Botticelli was influenced by religious zealot Girolamo Savonarola, who preached against owning “the luxuries of the world.” Botticelli’s paintings became somber, as reflected in The Mystical Nativity (c. 1500). Savonarola called for “silken clothes and musical instruments, carpets and editions of the Decamerone (a 14th century book filled with lewd tales of love), sweet cakes and painting with partly nude figures” to be “piled on to a huge pyramid and set alight” – a “bonfire of the vanities.” Some sources note that Botticelli burned many of his paintings; others cite that he just stopped painting. Botticelli died in 1510. He requested his burial in Chiesa di Ognissanti (Church of All Saints), in Florence; at the feet of Simonetta Vespucci. Simonetta was the wife of Marco Vespucci, who was a cousin of Amerigo Vespucci, America’s namesake. She was known for her beauty and is said to have been the model for several of Botticelli’s paintings, including La Primavera and The Birth of Venus. This year, “the largest and most important Botticelli exhibition ever seen in the United States” is at the Muscarelle Museum of Art in Williamsburg, Virginia until April 5th. The exhibit “explores the dramatic changes in the artist’s style and subject matter—from poetic depictions of classical gods and goddesses to austere sacred themes— reflecting the shifting political and religious climate of Florence during his lifetime.” Also included are pieces by his contemporaries. From April 15th to July 9th, Botticelli and the Search for the Divine: Florentine Painting from the Medici to the Bonfire of the Vanities will be at the Museum of Fine Arts Boston, the exhibit’s only other venue. Art History News (Botticelli and the Search for the Divine; October, 2016) History of the Renaissance The Sistine Chapel Frescoes Botticelli Room at the Uffizi Botticelli (In Italian) Shaking Up Italy’s Most Popular Museum (NYT, August 2016) Our Lady of Loreto Update The fight continues to save Our Lady of Loreto Church, the National Italian Church designed and built by Italian immigrants from 1906 to 1908 in Brooklyn, New York. A 2010 post in City Room, Blogging From the Five Boroughs notes, “The cast-stone building was designed by an architect, Adriano Armezzani, and erected by builders, Antonio and Gaetano Federici, who were Italian immigrants. … the church’s Roman Renaissance style reflected both a pride in Italian architectural traditions and the desire of new immigrants to showcase the high aesthetic standards and craftsmanship for which they wanted to be known.” The church was closed in 2009, and shortly after a group of Italian Americans formed to protect the church from demolition. Over the years, the group has enlarged to include support from community leaders from other cultures, as well as Italian organizations, Italian historians and historical societies, landmark preservation organizations, public officials, and national and Italian publications. The Brownsville Cultural Coalition, formed by those who live in surrounding areas, wants to use the church as an arts and cultural center “where Dance, Theater, Live Concerts, Opera, Lectures & ALL kinds of cultural & charitable programming can take place, & Movies & Video can be MADE as well as SHOWN...” The community lacks adequate building space to hold events and preserving the church as an historic landmark will also help with funds to restore the building. The Roman Catholic Diocese of Brooklyn/Catholic Charities owns the church, and for some reason, prefers to let it deteriorate, known as “demolition by neglect” rather than work with local neighborhoods and supporters to preserve the historic building and turn it into a vibrant community activity center. The Bishop and Monsignor have refused to even meet with community leaders. This past December, after attending a presentation about preserving the historic church, New York State Senator Tony Avella, a proponent of saving historic buildings, added his support to the project. Earlier this month, he sent letters to the Diocese and to one councilmember, who is not supporting the community, in an attempt to resolve the issue. If you have not already done so, sign the petition to save Our Lady of Loreto Church, here; and pass this link to others.