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FAH337 Complete Midterm Package 29pgs

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Department
Art
Course
FAH337H1
Professor
Betsy Bennett Purvis
Semester
Winter

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FAH337 LECTURE 2 –January 13 Artistic competition in early fifteenth-Century Florence Siena VS Florence / Siena Cathedral vs. Palazzo Pubblico Long tradition of civic rivalry in Florence before the Renaissance and with other cities during the late MiddleAges.Always wanting to outdo the other city. Florence won. Siena never recovered from Black Death. Siena’s population was reduced to 20,000 people. Florence and Siena made their money through banking and commerce. Medici could not have founded the cathedral. Giovanni diAgostino, Siena’s Cathedral Replaced an earlier building dating to the ninth century CE that was believed to have stood on the site of a Roman temple dedicated to Minerva. Like the cathedrals elsewhere, it reinforced myths about the town’s most ancient origins, one factor that motivated it's use of Roman style columns and other classicizing motives. The cathedral stood at one of the regions highest topographical points and loomed over the surrounding neighborhoods. The surfaces of cathedrals, inside and out, displayed expensive marbles and other precious materials. The cathedral itself was originally designed and completed between 1215 and 1263 on the site of an earlier structure. It has the form of a Latin cross with a slightly projecting transept, a dome and a bell tower. There are black and white marble stripes on the walls and columns. It has stained class windows and mosaic floors. Inside there is a chapel of Saint John the Baptist. Scrolls, allegorical figures and biblical scenes decorate areas around and above the doors. Florence’s Cathedral Founded in 1296.Architecture for cathedral was “democratic”, streets radiated outwards from it. Building was a place for general congregation, and it’s wide nave allowed it to accommodate large gatherings. Designed after a design by Arnolfo di Cambio. Communal involvement slowed down the progress, seven decades after its beginning it was still possible to consider newly proposed models for its most basic design. The plan of the cathedral repeated the square that formed the crossing so as to generate a nave six units in length, a transept two units wide; the dome was three units high. This matched the dimension of the Solomon’s Temple. The reference to antiquity was to follow a set of divinely sanctioned proportions, as if the cathedral were a realization of God’s own deign. The ratios were so important that a Flemish composer Guillaume Dufay, incorporated them into a composition he wrote dedicated to the building. The theme of prophecy had exceptional importance at Florence Cathedral, since John the Baptist, the great prophet to whom the baptistery itself was dedicated, was also the city’s patron saint. Florence Baptistery (San Giovanni) Commissioned by the Cloth Merchants Guild. Founded in the fourth century then renovated in the eleventh and thirteenth centuries. Cathedral was important vehicle to show their prominence. Took funds to beatify the city. Looks toward the river. Only one set of doors were 1 made by Andrea even though they wanted him to create all three. Bronze doors. Famine in Florence halted decoration on baptistery in 1336 until 1401. Standing architecture of this building had been consecrated in 1059, though the Florentines believed it to be older, originating as an ancient pagan temple dedicated to the Roman god of war, Mars. Arnolfo di Cambio had proposed an octagonal crossing for the cathedral, this element of his design survived subsequent reconsiderations. Giotto and his successors insured that the Campanile and the cathedral received a variegated skin of green and white marble facing like that of the baptistery. Once of the oldest buildings in the city. Andrea Pisano, South Doors of the Florence Baptistery, 1330-36 Most impressive feature of Baptistery exterior were the bronze doors that the sculptor/architectAndrea Pisano had done for the east entrance showing scenes from the life of John the Baptist. Were used for south instead, Ghiberti replaced them with his own door dealing with the life of Christ. Ghiberti’s composition closely follows Andreas both in the general arrangement of the panels and in their internal elements. Ghiberti scaled his figures roughly consistent in size from frame to match Andreas. Ghiberti kept architecture and other non-figural elements to a minimum, using only what tradition or clarity required. In 1401 the city’s luxury cloth importers (Calimala) (who had commissioned Pisano’s doors) Florence’s most powerful guild held a competition for the production of a sequel to whatAndrea has made.Artists had to produce a single panel that had to show the Sacrifice of Isaac, the episode from Genesis wherein God commandsAbraham to kill his own son Isaac, and then he intervenes at the last moment by allowing him to slaughter a ram instead. Participants had to work with a frame of the same shape and size (a quatrefoil, or diamond with four projecting lobes) Aspecific number of figures and background elements may have also been requirements since the two remaining panels share similarities. Winning would guarantee a decade worth of steady work while also promising maximum visibility for his products. Lorenzo Ghiberti, Sacrifice of Isaac, 1401-1403, Florence, Bargello Museum Ghiberti had trained in a typical late medieval workshop, the son and student of another goldsmith. He wrote important early art-historical and theoretical texts and was an innovative metalworker. Ghiberti made his scene as a single piece, attaching only Abraham’s hand and a section of the rock. Thin and hollow at the back, his relief weighed less making it less costly and easier for the installers to handle. Ghiberti adopted the Thorn Pullers delicate anatomy for Isaac himself; the victim here charms the viewer in a way that Brunelleschi’s screaming child doesn’t. References Roman Sarcophagus from 1 century CE depicting a battle scene in his depiction of Isaac. Isn’t concerned with covering everything. Ghiberti creates special illusion. Won competition. Less dramatic, instead here Isaac is depicted calm looking up at angel as if he knew angel was going to come. Where Brunelleschi’s secondary figures of animals and servants, with their vigorous and difficult poses all jostle for our attention. Ghiberti produced a harmonious and easily legible composition organized around the flowing curves. 2 Filippo Brunelleschi, Sacrifice of Isaac, 1401-1403, Florence, Bargello Museum Designed individual characters in widely varying poses, then placing these in the subfields suggested by the assigned shape: an angel in the upper left arc, a ram in the projecting angle below that, servants at lower left and right. Isaac is set on an altar with a relief carved on the side, Brunelleschi may have seen ancient stone altars and imagined their ritual function, though here the device works also as a pedestal, making Isaac himself look like a statue. The figure at the lower left preoccupied with the base of his foot references The Thorn Puller in Rome, from the 1 century BCE, one of the most famous surviving sculptures from the ancient world. Brunelleschi son of local notary entered the world of sculptor as an outsider. Brunelleschi produced his relief by casting seven small objects, then soldering them together. Fills entire surface. Heavier made of multiple pieces. Brunelleschi’s biographer Antonio Manetti reported that the competition resulted in a draw, but that Brunelleschi refused the option of working in collaboration with his rival. Ghiberti himself reported that he had won the competition. Ghiberti, Baptism of Christ, from the North Doors of the Florence Baptistery, ca. 1416- 19 Ghiberti was different from his predecessor because of his interest in figural movement. Christ’s suavely curving body is symmetrically framed by sweeping arcs, formed to his right by Johns elastically outstretched right arm and extended right leg. Posture and movement both enrich the narrative and display a modern artfulness, learned in part from the study of what the figures in ancient sculptures did. Many elements seem Gothic but there are echo’s of classical figures. Ghiberti, Christ Among the Doctors from the north doors of the Florence Baptistery. 1416-19 Ghiberti also set figures in different states of motion against one another, inviting the viewer to compare them. Subtle drama of his story telling. Mary standing on the right, discovers the 12 yr old Christ, who had been missing for 3 days, disputing with the Jewish elders in the temple. Her commanding presence disrupts the symmetrical arrangement of Christ and his interlocutors; as her gaze locks with Christ, she points to herself in a gesture of maternal reproach to say “Why have you treated us like this”? Ghiberti’s North Doors of the Florence Baptistery, 1416-19 Story of Christ’s life and death runs from left to right and from bottom to top. Beginning from the bottom are the four Evangelists (Matthew, Mark, Luke, and John) who had authored the Gospels narrating Christ’s life, and four of the chief Church Fathers who had interpreted these. The reason that each of the quatrefoils in the lower two rows were dedicated to a single figure was to follow Andrea’s example. Ghiberti added vegetation around his panels and used leonine motifs instead of human heads thatAndrea Pisano had used in his earlier doors 3 Lorenzo Ghiberti, East Doors of Baptistery (the “Gates of Paradise”), 1425-1452 Florence, Orsanmichele North east corner, situated on street between the Cathedral and the Palazzo Vecchio (town hall). First used to store grain given for free to the poor later churned to church. Commercial showcase for different types of luxury products that the merchants of Florence were famous for. Has tabernacle niches filled with sculpture, The structure of the building was ordered by Florentine government in 1336 to accommodate the economic, civic and religious activities that had developed in its piazza over the course of the previous century. Orsanmichele is a contraction of Orto San Michele (the garden of St. Michael) the name of the piazza, which was originally the site of a small Benedictine convent dedicated to the archangel St. Michael. Situated in the heart of medieval Florence and close to the city’s two main marketplaces. Inside was a tabernacle byAndrea Orcagna, which protected a miracle-working image of the Virgin and Child, repainted by Bernardo Daddi, ca.1346-7. The building was damaged (by fire) in 1304, their was a sever famine in 1328-29, 1333 the grain market was flooded. Was rebuilt in 1336 during a brief period of prosperity when Andreas Pisano’s bronze doors for the Baptistery in 1330 were built. Andrea Pisano was probably the one to rebuild Orsanmichele into a building, which would house the communal granary and offices and residences of the city’s grain officials. The commune put the silk guild in whichAndrea Pisano as a goldsmith was also a member in charge of supervising progress. InApril 1339 the silk guild proposed that the 13 external pier surfaces of the building be decorated with tabernacles containing either a panel painting, fresco, or a sculpted figure of the patron saints of the city’s official political party, (the Parte Guelfa who controlled its government) and its guilds. The tabernacles were financed by the building funds derived from communal grain taxes. However each of the 13 guilds were responsible for the costs of decorating the tabernacles. In 1344 Orsanmichele was chosen as the site to commemorate St.Anne, upon whose feast day, the commune had liberated from the tyrant duke of Athens, Walter of Brienne. The sight of statues in niches linked Orsanmichele to the “campanile”, Giotto’s bell tower, the one other building in Florence to be decorated this way. The first 2 tabernacles to be added to the structure, those of the Wool Merchants’Guild and Silk Weaver’s Guild, had both been designed byAndrea Pisano the artist responsible for both the south baptistery doors and sculptural decorations on the campanile. 8 years after the Guelph Party and the major Florentine guilds had agreed to decorate theirs piers with statuary only 4 had been completed; the Wool Merchants guild, the Silk Weavers guild, the Doctors andApothecaries’Guild and the Judges and Notaries Guild. In 1406 the Florentine city government said that guilds had to complete the tabernacles meant for the spaces assigned to them within 10 years or give up the rights to decorate the building at all. 4 Niccolo’Lamberti, St. Luke, 1406, for the Judges and Notaries’Guild Luke holds the gospel he authored in his left hand and the pen he used to write it in his right; the winged bull, the conventional companion that allows Luke to be distinguished from the other Evangelists appeared as a relief at the bottom of the niche, looking up at the figure, while the saints name ran across the plinth below. The lower corners of the niche were occupied by shields with the six-pointed star that was the heraldic symbol of the Judges and Notaries Guild. Worked with block that was too small and worried about wasting stone. Hasn’t thought about behavior of cloth Nanni has. Luke’s drapery on his hips and breast looks like it has been folded over on itself and then ironed flat. Luke is shoeless. Lamberti and Donatello used the base to show attributes identifying their characters. The judges and notaries guild spent 100 florins in 1393 on trappings to enclose and protect its tabernacle. Nanni di Banco, St. Philip, Florence, Orsanmichele, ca. 1410-12 for the Shoemakers’ Guild Niche combined pilaster and spiral columns at the sides, inlaid red marble, gold stars behind and crowning pediment with flanking spires made it similar to that of St. Luke. Exaggerated elongated upper arms so that its proportions only look correct when viewed from below. The saint’s turned head and sharply incised eyes, rolled up slightly in their sockets, suggest his own act of focused attention. Did not hesitate to cut away large sections of material below both of Philips arms and around the shoulders and head, freeing the figures movements. Drapery seems thicker than Luke’s. Philips cloth appears to fall naturally. Showing off his feet and sandals. Lorenzo Ghiberti’s, St John the Baptist, 1410 Same patron saint of baptistery of Florence and the entire city of Florence. Way to make themselves the face of Florence. First guild to work in bronze. Looks like silk or wool fabric. 10ft tall. First to be cast in one bronze piece since antiquity. Eyes and teeth have bits of silver in them to project image of elegance.At the time the statue went up it would have been the only over life-sized bronze statue in all of Florence thus announcing both the wealth and power of the Wool Merchants Guild as a guild and the new prestige of Orsanmichele as a site. He employed a method called the “lost wax technique” to make a hollow cast.After completing a full-scale design in clay, he would have covered this with a thin coat of wax, reworking details. Ghiberti and his assistant would have completed such details as the hair, beard, and animal-hide tunic with small chisels. Donatello, St. Mark, 1411-13, Florence Orsanmichele for the Linen and Weavers’Guild Donatello was Ghiberti’s apprentice. In 1411 Donatello was still at work on a group of stone figures that he had started 3 years earlier, including the life sized David, an over life-sized St. John the Evangelist, and other statues for Florence cathedral. St Mark is similar to St Philip by Nanni so one sculptor must of seen the others when they were working. Worked on a shallower piece of marble than the one Nanni had, thus it didn’t allow Donatello to make the deep 5 excavations Nanni did in order to bring folds of drapery into prominent relief. Unfinished back meant he though of it more as a relief than a round sculpture. Incised beard and fringe of his garments almost like a drawing, cuts more in certain areas to create shadows. Stands figure on a pillow the kind of product linen sellers would have been associated. Donatello like Nanni seems to have drawn especially on Roman portrait sculpture, which combined a sense of gravity with a concern for individualized likeness. Sculpture follows the model of St. Like, placing the lion that identifies the Evangelist on a panel below the figure; this detail allows him to add the pillow instead of nametag. Nanni di Banco, Four Crowned Saints, Niche of the Stonecarvers and Woodworkers’Guild, ca. 1413-14, Florence, Orsanmichele Nanni himself belonged to this guild and was interested in making a strong impression. Guild had a group of patron saints rather than a single protector; four early Christian sculptors who had been drowned for refusing to produce an idol for a pagan temple. The guild required Nanni to accommodate multiple figures in a confined space, and it may also have asked him to reuse an existing sculpture in the process the 2 from the left. This is the only statue to be finished from the back and front and it stands out. The hand that appears on the rightmost figure does not continue in an arm, though the viewer standing before the niche cannot see that this is the case. The figures were made form 3 separate blocks of stone, the two on the right were carved from a single piece. His approach allowed him to rotate the slabs to fit. To avoid an awkward central space were all other statues were positioned, Nanni cut away that section of the floor, thus his tabernacle is the only one to look like it had been conceived with an eye to the figure it would contain. The fictive cloth that drapes the back walls further reinforces the compositional integrity of figure and niche, gathering the statues into a unified group. Illustrates the labors in which the guild members engaged: building a wall, carving a column, measuring a capital, and chiseling a statue. Statue drew attention to the activities he and the people who paid him were most skilled: turning stone into art. Donatello, St George, 1415-18, for theArmorers’Guild, Florence Donatello was the first to respond to St John the Baptist and Nanni’s four crowned saints and its base relief by incorporating the idea into his sculpture. Space on bottom of niche used for narrative scene showing the act St George was most famous for, slaying a dragon and rescuing a princess. A loggia on the right and a cave to the left both diminish in perspective, creating the effect of a deep, receding space. Princess looks like she is in an illusionistic world, she appears to stand slightly behind the picture plane, even though the stone which she is made of actually projects further forward in real space than the stone that represents the building beside her. Squashed relief style. Shows sword and armor brought to a fight. Heroic and romantic story. Young champion with skintight leather across his chest, has a long neck and an expressively furrowed brow. Sculpture was later a model for later painters and sculptors to follow if they wanted to idealize the man they portrayed. Drill marks on his head indicate he used to be crowned with a victors wreath or helmet. The position of his left hand suggested he originally held a bronze sword, thus advertising its guilds products. Mixed media sculpture that skirted rules were only allowed to use marble for figure but cleverly included pieces that showcases them as metalworkers. First time we see perspectival view in sculptures. 6 Donatello, St. Louis of Toulouse, ca. 1423, commissioned by the Guelf Party for the east-side of Orsanmichele Donatello’s first large work in bronze, only bronze at Orsanmichele that was completely gilded. Cast in several pieces. Tallest and widest tabernacle housing only one statue. Sculptor was removed before 1459 because the Guelf Party thought they should not be shown at the same level as the captains of the guilds, so they sold their empty tabernacle and used the 150 florins for the completion of the ceiling and windows of its new audience hall. Eventually it was placed on the façade of Santa Croce where it was visible by the early 16 century. Donatello didn’t have a lot of experience casting bronze in a large scale. Composed of about 8 or 10 pieces put together. More luxurious piece solid gilding. Covered in gold. Visually in competition with Ghiberti in terms of material and beauty through expressivity. Lorenzo Ghiberti, St Matthew, 1419-23,Arte del Cambio (Bankers’Guild), Florence, Orsanmichele Ghiberti’s second sculpture for building. Space had originally been assigned to Bakers Guild but they didn’t have the money they gave the space to the Bankers Guild, which were very wealthy and powerful. Made in bronze and portrayed with text he wrote in his hand like Mark and Luke. Instead of having a relief below they limited themselves to a pair of female figures, possibly sibyls, which originally stood in place of spires on the tabernacle. Bankers more than any other profession in Florence were associated with precious metals. To outdo St John Ghiberti was told to make Matthew as large or larger than John and cast it in no more than two pieces Verrocchio. Christ and St. Thomas, made for the Merchant’s Guild, replaced Donatello’s St. Louis in the central niche on Via Calzaiuoli, 1467-1483 The Parte Guelfa low on money had sold off the tabernacle to the Merchant’s Guild the body responsible for the city’s commercial law courts, and had taken Donatello’s statue to the church of Santa Croce. Here Thomas pokes at the wounds of Christ after he has risen, to verify that he is who he seems. Words are written both on Thomas’s hem and Christ’s in response. Used ledge before niche. Figures are hollow behind to save on metal. Seen by people walking between Cathedral and city hall. 7 FAH337 LECTURE 3 –January 20 Competitive spirit in fifteenth century Rome: the case of the Sistine Chapel How to build the dome of the cathedral? The crossing/ width span for the dome was well over 140 ft. in width larger than pantheon. Largest dome until St. Peters. Had a competition to solve problem, form a community and ask for submissions. Traditional scaffolding alone would of double the budget of the dome. Brunelleschi came up with revolutionary building solution for problem of scaffolding and physical structure of dome when proposed project ppl could not understand his ideas because he wouldn’t give up all the information cuz then others could steal it. Lorenzo Ghiberti had friends in high places for bronze doors and at Orsanmichele. Brunelleschi didn’t have that kind of help and support so protective about ideas. Hollow the dome out, double shell dome that took advantage of the fact of how very thick the wall of drum were so that they could put outer wall of masonry that connected to the dome and an inner shell use the fact that it is an octagon using each of the 8 corners as a rib breaks it down into 8 sections held together almost like an umbrella. Instead of solid masonry uses stone to build series of lattice what’s left uses terracotta bricks even lighter, specially molded ones, (molds later found in closet) builds in a set of spiral stairs that move up around wider at base narrow at top, chain reinforcements as well as way to get up to dome. Built scaffolding as he went along laying the bricks, assembled disassembled assembled again, elevator shafts of scaffolding which moved along with progression of construction. Even though Brunelleschi won the competition Ghiberti was put in a position of command in the project, which pissed off Brunelleschi, so Brunelleschi pretends to be sick for a week to see if Ghiberti will get anything done which he doesn’t. Brunelleschi makes Ghiberti work on scaffolding and his section was terrible so finally he was cut out of the job but was still getting paid. Statue of Brunelleschi placed in front of cathedral. Open space between the two shells make room for the staircase Donatelo, Equestrian Monument to Gattamelata (Erasmo de Narni), 1447-53, Padua, Piazza del Santo Bare foot. Serious look in his face opposed to the other one smiling. Bronze. Gattamelata left money in his will to pay for this statue. Shows what kind of legacy he wanted to leave. From medieval past and antiquity. Hybrid costume, some aspects are contemporary gothic style armor, upper body can see classical motifs from classical roman armor. Ceremonial armor. Holds baton used to direct soldiers behind him, gesture mirrors Marcus Aurelius.Appropriating image of an ancient ruler found in antiquity. Verrocchio, Equestrian Monument of Bartolomeo Colleoni height approx. 4 m. (without base), 1481-95, Venice, Campo Santi Giovanni e Paolo Responsible for very imp battle he won for the venetians. Left money and instructions in his will to build a monument and wanted them inside the cathedrals. Imperial dominancy didn’t sit well 8 with Venetian republic. Focal point in the face. Body becomes vehicle of expression, has his chest pumped out like were about to see him charge into battle. Monument to Cangrande della Scala, 1320s, Verona Congrande is seen on his horse in jousting armor still idea of victorious warrior but different. Shown with funny little smile. Heavily military invested ruler different way of communicating sense of authority through his monument. Bonino da Campione, Funeral Monument to Bernabo` Visconti, 1363 Bonino came from noble family. Crests of family on his armor. Chivalry knight. Bonino is shown in battle armor. Antonio Pollaiuolo, Sforza Equestrian Monument, drawing, 1481-1482 Neither Pollaiuolo nor Leonardo’s was created. Tramples adversary, loaded, victorious general. Leonardo’s studies for the equestrian monument to Francesco Sforza, c.1482-93 Leonardo takes that contract fromAntonio, by writing letter introduction to duke explaining all the skills he knows. One in pen and ink similar to Marcus Aurelius made large model of horse without person and was destroyed. Sculpture was supposed to be 4 or 5 times life sized but never completed. When Leonardo lands competition has to compete with his teacher Verrocchio and his monument in Venice and also competing with antiquity. Rivalry and competition. Element of nature and studying it. Project became an obsession Antonio del Pollaiuolo, Tomb of Pope Sixtus IV, bronze, 1484-93, (Pollaiuolo worked for Cardinal Giuliano della Rovere, future Pope Julius II). Inscription below the Pope’s feet: “To Pope Sixtus IV [1471-84] of the 9 Franciscan order Prince of all memory for his learning and greatest of spirit. He kept the Turks away from Italy, increased papal authority, endowed Rome with churches, a bridge, forum, street, opened the Vatican Library to the public, celebrated the Jubilee and freed Liguria from servitude. Since he had given orders to be buried modestly and on the level ground, (nephew) Cardinal Giuliano [Della Rovere, future Pope Julius II] erected this [tomb] to his uncle of blessed memory with greater piety than expense.” Surrounding the recumbent figure of the Pope, and set on a slightly lower level, are depictions of the 7 virtues (Charity, Hope, Prudence, Fortitude, Faith, Temperance, and Justice). The concave base of the tomb is decorated with ten reliefs depicting 10 allegories of the liberal arts Philosophy, Theology, Rhetoric, Grammar,Arithmetic,Astrology, Dialectic, Geometry, Music, and Perspective). According to a miscellaneous note of costs the Sixtus tombAmounted to 5,000 ducats=cost for the purchase of the metals (copper and tin); fees paid to Pollaiuolo who was paid 25 ducats as a monthly salary for 9 years. Complexity of tomb – each peace had to be fused as a separate piece and then connected all together. Effigy of the pope in the center, four coats of arms, series of personifications allegorical figures of cardinal virtues manifestation of popes knowledge and ethical qualities. Pope was a fine theologian. Florentine Painters in Rome: The Sistine Chapel Frescoes. Baccio Pontelli, Sistine Chapel, 1477-81 Dynastic space built by pope sixtus the 4 . Julius the 2 brought in MichaelAngelo to do the ceiling.Another pope adds last judgments and another adds the frescoes on the walls. Sistine Chapel built 1479-81 btw St Peter’s basilica and the Vatican Palace. Meant to be court chapel, one of its functions was to house conclave that gathered to elect a new pope. Used for preaching, and sermons that celebrated feast days, saints and pope. Structures aim was to promote identity of Rome as a New Jerusalem, and to proclaim the descent of the papacy, through Christ and St peter, from Moses andAaron, the priestly rulers of the ancient Israelites. Engineered by Baccio Pontelli. Design is plain fortified box imitated Florence Cathedral. Only classical architectural element inside is a cornice that separates the windows from the murals below and provides captions for them. Between windows Botticelli and his workshop painted a series of portraits of sainted popes from St Peter onward, larger murals below show scenes from life of Christ and Moses. The two narratives in the Sistine chapel run in parallel on opposite walls; each incident from the life of Moses corresponds to a Gospel episode that simultaneously repeats and overturns it. Leonardo’s sketch of the hanged Pazzo conspirator, Baroncello, 1479 and Giovanni’s medal of the Pazzi Conspiracy, 1478 Sixtus the 4 involved in assassination attempt against the Medici family. The Medici had manipulated so much that they were like the ruling family of the city. Attempt on life of the two brothers was on Easter day ambushed in cathedral. Medals show this. Brothers at high altar (octagonal structure with their looming portrait heads. Juliano was stabbed to death on stairs of high altar of cathedral, Lorenzo escaped.Allies of the Medici came running to help. Some of the Pazzi managed to run and flee some were hanged. Botticelli was responsible for painting portraits of those captured and hung. Humiliation for families involved. Pope was indirectly involved gave the ok. In around 1481 the new chapel for the pope was completed wanted it to be decorated. Rome for a century and a half had been left in ruins basically cuz papacy was not in Rome. Moved papacy from Rome to France. No ppl protecting Rome. 10 Gustavo Tognetti, reconstruction drawing from 1899 of the appearance of the Sistine Chapel ca. 1483 4 artists Botticelli, Rosselli, Perugino and Luca Signorelli. Stories of Moses and life of Christ above them are short history of papacy likely starting with image of Jesus, Peter next successor then history of early Christian popes stemming from Christ and peter. Ceiling painted lapis lazuli with stars. Created before Michelangelo’s creation on the building Detail of Anacletus, Third Pope / Side wall of Sistine chapel showing three registers with scenes from the Life of Moses left: Signorelli's LastActs and Death of Moses; right: Botticelli's Punishment of Corah and the Sons ofAaron. Sixtus hoped that by hiring a number of masters, he would see his chapel completed sooner rather than later. Bottom was meant to look like tapestries.All of them signed up for one contract not four. Cooperation as part of what they needed to do to get work done. Reason 4 were brought down was more likely due to finishing the work quicker rather than competing. Finished them between 5-6 months. One side of the chapel displayed the life of Moses and the other side of the life of Christ. One side of the Old Testament and the other side the New Testament. Cosimo Rosselli, TheAdoration of the Golden Calf, 1481-82, south wall, Sistine Chapel Moses receiving the 10 commandments from God on Mount Sinai. Legislator breaks the tablets he has just received having descended from the mountain and witnessed the Israelites dancing around a golden calf. Moses ppl are shown as contemporary Europeans have violated one of Gods first laws “idolizing the calf” and so the top right corner shows their punishment. Subject matter form Old Testament stories of life of Moses and New Testament life of Christ one wall dedicated to mosses other to Christ. shows their punishment. While Moses has gone up others are worried what’s going on he must have died so they turn to pagan religion to worship golden cow representing a different god. Left side authority of god as a foil against outside bounds of Judaic law on the right. painting abt authority of word of God and Mosses as figure chosen by God to communicate Gods will through the 10 commandments. The sleeping youth is Joshua, who had accompanied Moses on his climb. In the left half of the picture Moses and Joshua have returned and Moses is showing the tablets to the people. In the adjacent scene he smashes them to the ground, for he has discovered that in his absence the Israelites, spurred on byAaron, have been worshipping the golden calf, depicted in the center. The idolaters are being put to death in the background on the right. In the corresponding spot on the left side of the picture there are people standing in front of their tents Cosimo Rosselli, Christ’s Sermon on the Mount, 1481- 82, Sistine Chapel North wall. Corresponding gospel picture to the adoration of the golden calf. Critical commentary on the commandments Moses received. Similar landscape from other 11 painting. Listeners kneel praying suggesting Christ occupies the role given not only to Moses but also to the idol on the other wall. Seen from across the adoration of the golden calf. Institution of the evangelical law by Christ (Christ is healing the leper in the bottom left) The twelve disciples huddle close together behind Christ and to the right. Farther back we see them approaching with their master. Perugino, The Circumcision of the Son of Moses, 1481, 82, Sistine Chapel Faces Christ’s Sermon on the Mount. Painted at same time. Depicts a prefigurative moment in the life of Moses that occurred during his return to Egypt with his wife Zipporah and family to deliver the Israelites from captivity. God had earlier instituted the covenant of circumcision, distinguishing the Israelites from other people yet Moses hadn’t performed this on his son. Confronted by an angel with a sword, Moses is saved by his wife who does thethuty herself with a sharp stone. Event witnessed by a circle of men distinguished by 15 century costume and strongly particularized facial features. Entertaining scene; ape on back of a camel.Acartoon was used only for the bottom portion while the rest was free hand. Institution of the Circumcision to distinguish the Israelites from other people The painting shows Moses (dressing in yellow and green as in the other frescoes of the cycle) leaving for Egypt, after he had been exiled from Midian. In the center, an angel asks him to circumcise nd his 2 son Eliezer (scene on the right), as a sign of the alliance between Yahweh and the Israelites Pietro Perugino, The Baptism of Christ, 1481-82, Sistine Chapel Moment in which divine nature of Christ was first revealed (appears in alignment with God the Father and the dove of the Holy Spirit). Historical figures from the Gospel, a group of ppl in contemporary Italian dress, along with one who is dressed as a Byzantine Greek, witness and discuss the new right of purification and initiation. 12 Inclusion of a Greek signifies importance of consensus btw members of different religious traditions. Upper body of Christ was painted by a different painter than the legs below the loincloth. Institution of Baptism, the first of the sacraments; through Baptism, Christians are cleansed from the original sin. Scene follows a symmetrical pattern, typical of Perugino. In the center is the Jordan River flowing towards the observer and reaching the feet of Jesus and John, who is baptizing the former. Adove, symbol of the Holy Spirit, descends from the sky; it is sent by God. Landscape includes a symbolic view of Rome, recognizable by a triumphal arch, the Coliseum and the Pantheon. Botticelli, Punishment of Corah and the Sons ofAaron, 1481-82, Sistine Chapel, Vatican Opposite The Charge to Peter. Rarely depicted story of religious transgression from the Book of Numbers. Comprises 3 episodes and reads from right to left, begins with Corah inciting the Levites to rise up and challenge Moses andAaron. Moses responds by proposing that he and Corah offer competing offerings to God, to see how the Lord responds. At the left, the earth opens and swallows the Levites, and Moses gesture indicates that it was through him, with God’s backing, that they were cast down. The whole drama takes place in front of a crumbling triumphal arch, a ruin that is itself a counter-image to Perugino’s perfect city across the way. Inscription on arch- “no one can assume the honor unless he is called by God, as Aaron was”. Two sons who did not challenge their father are raised. Punishments to those who challenge gods ordain. Aaron dressed as a pope with papal tiara. On the right-hand side, the revolt of the Jews against Moses is related, Moses portrayed as an old man with a long white beard, clothed in a yellow robe and an olive-green cloak. Irritated by the various trials through which their emigration from Egypt was putting them, the Jews demanded that Moses be dismissed. They wanted a new leader, one who would take them back to Egypt, and they threatened to stone Moses; however, Joshua placed himself protectively between them and Moses. The fresco thus holds a warning that God's punishment will fall upon those who oppose God's appointed leaders. This warning also contained a contemporary political reference through the portrayal ofAaron in the fresco, depicted wearing the triple-ringed tiara of the Pope and thus characterized as the papal predecessor. It was a warning to those questioning the ultimate authority of the Pope over the Church. (CUT DOWN) Perugino’s, The Charge to Peter, 1481-82, In Sistine Chapel, Vatican.An icon of Renaissance utopian idealism in its sublime symmetry and monumental architecture, illustrates Christ’s words from Matthew: “You are Peter, the Rock, and on this rock I will build my church…I will give you the keys to the kingdom of heaven.” Scene traditionally used to justify the authority of the popes as the successors to Peter. Scene is staged against a centrally planned, domed church that looked like 13 the modern building in Italy, flanked by two triumphal arches. Jesus hands key to Peter. Investment of authority. Moses typologically paired with Christ.Aaron paired with St. Peter. Hand picked successor, second pope. Jesus is leader; Peter is first high priest in the same way thatAaron was. Luca Signorelli, Testament and Death of Moses, 1482-3, Sistine Chapel, Vatican In the bottom left Moses hands over his rod to Joshua, in the center he is shown descending Mount Nebo with Joshua by his side and Moses dies in the midst of his people, who lament over him in the top left. Fresco depicts the last episodes in the life of Moses. On the right sits the 120 year-old Moses on a rise, holding his staff and with golden rays circling his head. He sings the “Song of Moses” at God's command. At Moses's feet stands theArk of the Covenant, opened to show the jar of manna inside and the two tablets of the law. In the left half of the picture Joshua is appointed Moses's successor. Joshua kneels before Moses, who gives him his staff. In the center of the background we see Moses being led by the angel of the Lord up Mount Nebo, from which he will be able to look across to the Promised Land that by the will of God he will never enter.At the foot of the mountain we see him again, turning toward the left. His death is depicted in the background, where the children of Israel mourned him for 30 days. Cosimo Rosselli, Last Supper, 1482-3, Sistine Chapel Narrative story of last supper. Connection of covenant, see foreground with pitcher that would have water one that had wine another object box used for… and a little platter on which Eucharist would be served. Mass and communion. This scene is not so eventful as the other frescoes of the cycle, but the highlighted chalice standing on the table in front of Christ emphasizes the fact that we are seeing the institution of the sacrament of the Eucharist and, accordingly, a symbol of the New Covenant between God and mankind. Three "window" paintings in the background show Christ Praying on the Mount of Olives, theArrest of Christ and the Crucifixion. Alittle dog appears here standing on its hind legs to the left and again in theAdoration of the Golden Calf burring its way out through the lower frame of the fresco. Leonardo, Last Supper, 1494-8, Milan, Santa Maria delle Grazie In churches dining hall. Belonged to a cycle of decorations including a Crucifixion on the opposite wall with a portrait of Ludovico and his family.Above the scene of Christ and his Apostles, Leonardo painted large images of the Sforza family arms, giving its members a presence in that history too. Le
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