tag:blogger.com,1999:blog-16053030109418777062024-03-05T08:24:24.012+00:00RoxanneRoxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.comBlogger101125tag:blogger.com,1999:blog-1605303010941877706.post-72108536783416873402020-09-24T18:31:00.005+01:002020-09-24T18:34:24.710+01:00St Mary Le Strand <p> I was fortunate enough to visit the above building for work. It is a gorgeous ecclesiastical building located in the middle of a traffic island in central London. The building in its current form has a history dating back to 1714, however the church existed prior to this in a different form and situated close by. It’s namesake dates back to at least 1222 when it was referred to as the ‘Church of the innocents’. The current church was built in conjunction with 11 others across London as part of the ‘Commission for Building Fifty New Churches’. </p><p>The architect responsible for the design was James Gibbs, an influential Scotsman. Much like his contemporaries, Gibbs embarked on a Grand Tour to observe and learn the classical style. At this point in time, we were at the very beginning of what would be a politically charged overhaul in the language employed to adorn our civic and ecclesiastical architecture: where the Palladian style, and clean, functional classicism, would reign supreme. Gibbs’ style, whilst not reflective of what would have been considered tasteful in the 1760’s, was influenced by the works of Palladio and the likes of the Villa Capra in Vicenza. Other sources of influence however could be Baroque architecture in Italy, particularly Rome. Whilst this view is well represented, the building appears to me to be very Michelangeloesque and particularly where the footprint is relatively condensed, the oversized pediments make it look like a ginormous sculptural tomb. Much like some of the mannerist work in the mid 16th-17th century in Italy. One of his major sources of influence is also stated to be Christopher Wren and whilst visually speaking you can draw comparisons with his work I like to think this is quirky and original for its location and time. However, it is worth noting that apparently the vertical massing of the building was an unintended consequence of commissioners’ interference in the design.</p><p>The building currently requires substantial work as the condition worsens. It is open on a daily basis and any donations would go a long way to securing the future of the building. Pictures below. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiToqW6VuERThkG61cn3DJI-vVoWI1ARrE2Td-faZ_FgqiqpgJMNZS3Zir_hPTAarS_ypXIVdrVnKwH-voj0W4nFRrOMdBkWwn2gfA0PDepe5XUreqRNX6vTOTECjIh2TAea2Wd8PA-McI/s2048/2D9DF8CF-323E-4D88-B7A7-0150FB8F8206.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiToqW6VuERThkG61cn3DJI-vVoWI1ARrE2Td-faZ_FgqiqpgJMNZS3Zir_hPTAarS_ypXIVdrVnKwH-voj0W4nFRrOMdBkWwn2gfA0PDepe5XUreqRNX6vTOTECjIh2TAea2Wd8PA-McI/w400-h300/2D9DF8CF-323E-4D88-B7A7-0150FB8F8206.jpeg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6f6gbjYh_wR1U9djrt8fzU6y6qBUIc5wX2dfBb8yb6WsBMIH3TMkc7exfeyvjj5vt6xcetfRX3tKSo243l7mfWi75q2_mB92chksBiUOVSsLDkr5ZbNMSHViji1hawyEP5LVsnr7K1Rs/s2048/8C485466-021B-46C2-8F1F-835B6892F3D0.jpeg" imageanchor="1" style="margin-left: 1em; 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margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLubtTLmWFrCUKpf0561coyn8dkAt7Fj2LFOgfktVAqo3HzsoxykythogNquEHVif8THKj62dQYYAxaUSdQiBGK_RWcvgQ47l_cvHCCrFEudcVauImneNwmYNNAHqWKDyyWYFiTHOe3-w/w400-h300/E51539DC-54B1-417C-BFDB-E1A4E91F9698.jpeg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO4FhhbOhPUDkDA_cxEu4VKtkd9nAL1zaUEOc8TTBqs33UgGV2ZuU-CLpk5OwBaov7m6uttWq76E5APvfLYTEKgnpqoee8mu8dtd_XzJPYtcEf6U4eoysOFIacwN_SW19yvyk0DbMJ3C4/s2048/EF091FE7-DBD6-457D-9C9D-1077C49EA99D.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1536" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiO4FhhbOhPUDkDA_cxEu4VKtkd9nAL1zaUEOc8TTBqs33UgGV2ZuU-CLpk5OwBaov7m6uttWq76E5APvfLYTEKgnpqoee8mu8dtd_XzJPYtcEf6U4eoysOFIacwN_SW19yvyk0DbMJ3C4/w300-h400/EF091FE7-DBD6-457D-9C9D-1077C49EA99D.jpeg" width="300" /></a></div><br /><p><br /></p><p><br /></p>Roxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.com0tag:blogger.com,1999:blog-1605303010941877706.post-39577840475931269742015-10-08T16:14:00.000+01:002015-10-08T16:14:14.375+01:00Asam Church, Munich<div class="separator" style="clear: both; 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Stumbled across this gem whilst trying to get out of the cold and rain in Munich last weekend. My friend and I couldn't believe how gorgeous it was. Ostentatiously and sublimely Baroque in every sense. Multiplicity of materials, colours, textures and gems - terrifyingly impressive and equally as intimidating - walls so convoluted that the space is literally moving.</div>
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Asam's Church, or otherwise known in German as <em>Asamkirche</em>, was built between the 1730s and 1760s by two brothers called Egid and Cosmas Asam (hence the name).</div>
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Originally intended for private use as a private chapel, it soon outraged local residents and was opened to the public. </div>
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The design is densely rich and faithful to the Italians and their high Baroque. It is reported that the artistic brother of the two Cosmas (who was responsible for the incredible tromp l'oeil fresco on the ceiling) travelled Italy extensively and therefore would have been influenced by what was going on there.</div>
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The church is divided in three, similar to many other holy places. This of course is alluding to the father, son and holy spirit. This was not new. Think of every single Florentine church between the years 1450 and 1550, they'll be divided into three. Think of Constantine's arch, and every subsequent triumphal arch since... divided into three. However, what made this one different, is that the divide into three was not on the exterior and therefore not immediately obvious. It was on the inside. The bottom is dark and demonising, as if to represent the seminal sin that humans share on earth. The middle is lighter and glamorous, to signify God's dignitaries on earth - the kings and emperors that he had supposedly anointed. Lastly, the ceiling, is light and beautiful and pointing upwards into the sky, to represent heaven. </div>
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<br />Roxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.com0tag:blogger.com,1999:blog-1605303010941877706.post-77120760720965155212015-10-08T15:42:00.002+01:002015-10-08T15:46:16.492+01:00Red House<div class="separator" style="clear: both; text-align: center;">
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Last week I visited Red House, in South East London. It was the home of William Morris and is the embodiment of his beliefs and attitudes towards the arts.<br />
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It was built in 1860 by architect and friend to Morris, Philip Webb. It is now maintained and owned by the National Trust who have carried out extensive restoration on the property, although only having acquired it 10 years ago.<br />
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The arts and crafts movement was borne out of the discomfort caused by the dismantlement of traditional craftsmanship and the changing face of the British landscape. These changes were caused by the ridiculous pace of change set by the industrial revolution in Victorian England. <br />
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Morris, along with the likes of Ruskin and Pugin, were deeply concerned for the future. All three men shared similar concerns. They all wrote poetry, novels and alluded to a better time in Britain's past when all craftsmanship was vernacular and society more harmonious. Morris however, had one interest in particular, above all: medieval churches. His favourite being Inglesham, a derelict, mouldy little church in the middle of Wiltshire. While his contemporary, George Gilbert Scott, was 'renovating' Britain's medieval remains and therefore distressing Morris further. <br />
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Morris' response therefore was to help establish the Society for the Protection of Ancient Buildings, alongside creating a whole new ideal for the Victorian 'Golden Age': the Arts and Crafts Movement.<br />
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The Arts and Crafts therefore had tradition at heart. Specifically the tradition of Medieval England. No machines, 'proper' craftsmanship and buildings that evoke the past that are both beautiful and considers the environment that surrounds it. The idea was not limited to just architecture though, it spread across interior design and furnishings, whilst finding its fine art equivalent in the pre-Raphaelite's. <br />
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The end result (his adored family home) is therefore a very beautiful building to look at. Although, admittedly, the Victorians created much more beautiful buildings with the help of technology in my opinion.<br />
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Nonetheless, Morris absolutely loved it. He loved it so much he actually moved his workshop from London so that he didn't have to stray so far from the area so often. There are some pictures of Morris' home below.<br />
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This sideboard is in the dining room. Arts and Crafts furniture is not always the prettiest, and is definitely an acquired taste. However if you know the reasons behind the quirkiness they immediately become a bit more charming. Furniture at this time was largely influenced by Charles Eastlake who wrote a book called 'Hints on Household Taste'. Victorians were only just beginning to understand the notion of bacteria, and how it can make you ill - although they had no real scientific way to describe it at that point and they assumed it was dust that made you poorly. Therefore furniture became larger with most open storage hidden away higher from the ground, while the base of the furniture often left a gap underneath to easily clean and dust. Also there is a wombat hiding in the top right of the dresser. Apparently a pre-Raphaelite motif that Morris liked and therefore integrated into his home.</div>
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This is a close up of one of the ceilings. Notice the tiny little guide dots, these enabled his 'less arty' friends to join in on getting the house complete, by simply painting between the dots. This is also handy in enabling conservators to easily recognise that they are doing the restoration correctly. Although, one of Morris' main issues with practices from his day was conservation - if it was his decision the house would have probably been left to rot and therefore evoke the 'golden stain of time'. </div>
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If the National Trust had heeded his advice though, what would have become of this?! So pretty. There is also a smiley face hidden up there somewhere, probably the handy work of one of his friends!</div>
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Another wombat...</div>
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I believe this was his wife's bedroom. The real wallpaper is currently being revealed under layers of paint, wallpaper and plaster from subsequent owners.</div>
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Some beautiful examples of his wallpaper. All heavily restored of course but gorgeous nonetheless. Typical of his style were the stylised images of plants and flowers. Slowly developing towards completely stylised shapes that were to define most of the first half of the 20th century in a whole host of ways (cubists, art nouveau, art deco, the Glasgow School of Art, the fauves, Italian futurism, pointillism, etc).</div>
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In what was the children's room there are books on display of his works for the grown ups (particularly his wallpaper designs), and lego and crayons for the children...</div>
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Uncovering some more secrets of the house, a mural him and his wife painted together there to the right.</div>
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Terrible photos of the exterior, although you can clearly see how it's meant to look organic and like it fits in with the countryside (that now has a lovely main road near it).</div>
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The end</div>
<br />Roxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.com0tag:blogger.com,1999:blog-1605303010941877706.post-89976379405813615782015-06-08T01:46:00.002+01:002015-06-08T01:46:34.263+01:00Torre TaviraTorre Tavira is situated in Cadiz, Andalucia, Spain. It was originally a watch tower, sat at a vantage point of 45m above sea level, but now is home to an exhibition on the <em>Camara Obscura.</em><br />
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The camara obscura represents photography and its humble beginnings. It was the stepping stone from which an image was transported onto another surface. Obviously our ancestors were yet to master how to make that image stick. Henry Fox Talbot was to later produce the Calotype method during the Victorian era but up until then it was the camara obscura that dominated the scene. <br />
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The Camara Obscura literally means the 'dark chamber', referring to the blacked out room they would be placed in in order to create a live image. This 'dark chamber' has lived on though, in the form of rooms devoted to developing photographs.<br />
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The Camara Obscura as a concept is as old as time but was a term that was only coined in the 17th century by the astronomer Kepler.<br />
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The exhibition is lead by a member of staff actually using the camara obscura. They take you through an explanation of how it works. Briefly, there are mirrors at the top of the tower that project an image onto a crater-like white bowl in a blacked out room. The mirror is connected to a lever whereby the people using it can adjust the mirror, moving it back and forth, to increase/decrease focus and to change direction. The focus blurs a lot the closer you get. The image that is projected onto the bowl is a live feed of what is going on in the street below.<br />
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The man leading the exhibition was brilliant. So much fun.<br />
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At the end you get to go up to the top and see the city of Cadiz.<br />
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Here are some pictures:<br />
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Roxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.com0tag:blogger.com,1999:blog-1605303010941877706.post-69458173046580358802015-06-08T01:22:00.000+01:002015-06-08T01:22:06.131+01:00Cadiz CathedralI visited Cadiz a few months back and had the chance to visit lots of pretty places (I wrote about our visit to the museum <a href="http://roxannejodie.blogspot.co.uk/2015_03_01_archive.html">here</a>).<br />
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One of the magnificent places that I was able to visit was the cathedral, known as<em> Catedral de Santa Cruz de Cadiz. </em><br />
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The cathedral took over a century to build because, much like all the other impressive cathedrals around Europe, no one ever had enough money. Construction began in 1722 and was completed in 1838. It is currently the seat of the diocese of both Cadiz and Ceuta, one of the two Spanish autonomous communities in northern Africa. Its importance to heritage has been acknowledged by a heritage register in Spain known as the <em>Bien de Interes Cultural, </em>meaning Heritage of Cultural Interest. You can visit the cathedral for a small price and it is well worth the money. It is situated on the aptly named Plaza del Catedral and there is a blue print of the building itself on the space in front of it. My friend tried to point it out for me but unfortunately it was hidden by the setting up of the stages for their festival over Easter!<br />
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You are offered an audio guide which comes in a handful of languages. We picked some up although listening to it all would take you hours.<br />
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The Baroque exterior. It has a look of almost every single other Spanish church or cathedral I have seen from the period. They loved a Borromini style recess and protrusion coupled with a bright and cheerful render. I think that is perhaps the most pronounced element of Spanish Baroque, the facades are airy and maximise the power of the Mediterranean sun. The effect of light on these buildings produce a sense of awe much akin to the mission of the baroque style: to impress and intimidate. The cupola's either side of the hilariously magnified pedestal on which the equally as funny tiny pediment sits remind me of Wren's St Paul's. The style is not solely baroque though, although most certainly a large quantity of it is(the exaggerated-ness of it definitely gives the building an overwhelming sense of the baroque), it also has elements of the rococo and neoclassical.</div>
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The architect responsible for the design was Vicente Acero, who also produced the designs for the cathedral in Granada. The designs were drafted almost two whole centuries after the 13th century cathedral that originally stood there had been burnt down. Like Granada's cathedral the outcome strayed slightly from the original design due to the time scale in which it was completed. This accounts for the neoclassical and rococo elements.</div>
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The cathedral contains much of its past within it, in the form of relics and such. Not only that, it also represents churches in the area, with parts of their collection having been amassed over the years from their neighbouring places of worship. <br />
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If you recall me mentioning rococo, here it is. Serpentine columns and an abundance of different materials, textures and colours used at the same time.</div>
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Two very different pulpits. The first is the kind you find in the larger, more important cathedrals and the bottom is more of a modest one that you might find in your local parish church.</div>
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The beautiful neoclassical dome strung out on pendentives. You can kind of see the netting beneath it. This netting covered almost all of the roof and if you looked close enough you could see big chunks of plaster caught in them. Really sad that its so delicate, it obviously needs a lot of attention.</div>
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The entrance into the crypt.</div>
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The photos below are of the crypt where important figures from Cadiz have been buried. Most notably Manuel de Falla, a famous composer.</div>
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Looked Dali-ish to me</div>
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Very purrdy </div>
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Will have to visit again</div>
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Roxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.com0tag:blogger.com,1999:blog-1605303010941877706.post-21578124519434129572015-06-07T23:51:00.000+01:002015-06-08T02:03:35.938+01:00Hampton Court PalaceToday I had the absolute pleasure of visiting Hampton Court Palace for the first time properly, ever. Temperatures in London soared today as well and at a blistering 17 degrees I was even able to wear SHORTS. Too hopeful of an outfit on and we were set for a good day.<br>
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Hampton Court Palace hasn't been used as an official residence since the 18th century, and has been open to visitors since the 19th century. The Palace is run by a charity called Royal Historic Palaces. RHP also run Tower of London, Banqueting House, Kensington Palace and Kew Palace. The government body that was eventually established as its protector has its roots in the Crown Lands Act of 1851. RHP were originally banded together in the late 1980's and run as a government body it did not receive charity status until 1998. Since then they have been flying solo, although leasing the palaces which technically still belong to the crown. It's a bit of a weird set up really given the crown haven't given up their ownership but have unloaded the burden, the costly maintenance and repairs of historic properties, onto a charity. I'm going to guess that the advantage lies in the fact that by law these properties are protected from being sold...much like the protection that covers English Heritage and National Trust properties. These places are protected for our enjoyment and learning forever, and safe from greedy London property developers. <br>
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RHP are evidently veterans in heritage management, having their roots as far back as when the Great Exhibition was held in Hyde Park and when Victoria was Queen. Their expertise emanates throughout, from the interpretation in the rooms right to the work that they do with local universities - to give the experience of the lifetime to would be conservators doing their studies. Paying nearly £20 a head for entry is well worth it.<br>
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Only issue is the lack of a visitor route. I believe there is one on the audio guides, but we didn't pick one up. It's a big place and you really don't want to miss anything. <br>
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I took a few photos and videos, and have shared them below.<br>
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We started with the maze, the oldest hedge maze in the UK! Planted at the beginning of the 18th century and still standing today. Not an easy feat to find the middle (we thought it'd take 5 minutes, and I bet a lot of people do) and we were reminded of our unfounded arrogance/confidence in a quote written on the interpretation board as you reach the end:<br>
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<em>"‘We’ll just go in here, so that you can say you’ve been, but it’s very simple. It’s absurd to call it a maze. You keep on taking the first turning to the right. We’ll just walk around for ten minutes, and then go and get some lunch.'"</em></div>
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- Jerome K</div>
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....They got very lost. They missed lunch.<br>
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We then visited the formal gardens, a short walk from the maze. Beautiful as you can probably imagine. Deck chairs scattered about with information of different monarchs written on the back of them. Such an amazing idea!! I was sat on James I, lol. This time of year brought lots of little ducks and geese being very cute - luring us near the water (we are both very clumsy but fortunately we didn't fall in).</div>
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A view of the east front of the palace. Both the east and south fronts were given their updated English Baroque face when William and Mary commissioned Sir Christopher Wren as their architect. Works took place, in stages due to a costly war, during the end of the 17th and beginning of 18th century. It is beautiful - and it is a wonderful thing that Wren did not completely destroy the Tudor palace that came before it because the red brick and Baroque elements of the palace work together beautifully. It was originally his plan to completely reface the whole palace - luckily William couldn't afford it.</div>
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Another Wren addition, a beautiful Baroque-ish colonnade lining the courtyard closest to the formal gardens. The courtyard is known as the fountain courtyard, for obvious reasons. Here you access the Royal Chapel (with the prettiest starry roof ever), its courtyard, the entrance to William III's state apartments (which lead on to Mary's state apartments) and the Georgian rooms. Looking back at it, we definitely did the visitor route backwards. It makes for a bit of a difficult read chronologically. Briefly speaking, the palace was built by a high up statesman in the court of Henry VII, Cardinal Wolsey, in 1514. Wolsey was accused by Anne Boleyn's advisors as having deliberately slowed down their efforts to get married. He was sent to Rome and ultimately charged with treason. In 1529 therefore the home he had made for himself in order to impress the King, was taken by the king himself. Henry expanded it into the red brick palace you can still see from the front entrance. The palace remained in favour with the monarchy right up until the 18th century, having survived Oliver Cromwell in 1649 and his want to destroy anything to do with the monarchy (he was advised to give it away as a present instead). The palace experienced major changes firstly during Henry's time, and then William's, with additional changes under George. </div>
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As you enter the room adjoining from the loggia outside, you are presented with William's apartments. The first picture is the amazing <em>tromp l'oeil</em> painted on the ceiling by Italian artist Antonio Verrio. The staircase lead up to the <em>piano nobile </em>and served to remind those who paid him a visit that their king was tasteful, rich, and most importantly: powerful. He spared no expense on his reputation given he had his enemies in the form of the jacobites, and evidently, he did a good job. He liked to think of himself as Alexander the Great, apparently. He must have forgotten that Alexander wouldn't have clad his palace in baroque, but classical instead - ooooops.</div>
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These two scary busts come jambs reside in the Guard room. They were sculpted in Grinling Gibbons' workshop, a man who was responsible for most of the wood carvings throughout the King's State and Privy apartments.</div>
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Coat of arms in the gable of the baroque pediments atop the doors. </div>
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This was another room clad in tromp l'eoil. There were a dozen tables laid out with different card/dice games. I learned how to play Hazard. Was loads of fun, with period music playing in the background. </div>
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This is the magnificently draped Queen's State bed, in front of wall paintings produced by James Thornhill. Just as ostentatious as the bed in the Great Chamber, known as William's 'sanctuary'. Only those privileged enough could enter. This room is an example of the privy chambers. If you look at the blue prints of many palaces they tend to extend outwards in wings. These wings would begin with big, entertaining, spaces, and retract into smaller more private rooms. There would often be a room separating the state from the private apartments too. To enter these privy spaces you'd have to be very important. If you were very lucky you could watch the monarchs be dressed in the mornings.</div>
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Period clothing was reproduced and laid out across the palace.</div>
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One of the most amazing things about the interpretation are the actors. They remain in character at all times and fill the rolls of councillors, courtesans and the kings themselves. We had this one barge past us and shout 'GET OUT THE WAY, YOUR KING IS COMING THROUGH'. We were trying to catch him on video afterwards...</div>
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The Clock Court Yard - beautifully sunny and serving wine from its wine fountain. The wine fountain has not been open to the public before and has just been fixed over the winter. It is formally opened by singing and dancing members of the Tudor court at two points during the day and actually serves wine! </div>
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The view as you come in to Henry's Kitchens from the Clock Court. It is like walking into a little village with winding streets, in the grounds of a massive palace. Really charming. <br>
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This man was one of Henry's cooks. He was telling us about the golden plated marzipan he made for the king and his court. He said that they were so rich that they were running out of ways to spend their money. One easy way appeared to be actually EATING gold. We ate some, and sure enough it had what appeared to be gold on it. I ate gold. Maybe.</div>
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A calligraphy workshop!</div>
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The kind of decoration one might expect on a fan vaulted ceiling. Really pretty, picture taken in the exhibition space currently exhibiting Henry VIII's life as a young man, his relationship with his first wife and Cardinal Wolsey.</div>
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Video of the actors during their wine fountain opening. Everyone was invited to join in and King Henry VIII even took photos with us.</div>
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The hammerbeam roof of the Great Hall and the tapestries underneath. Lots of conservation work going on with the tapestries at the minute, and there is some information on it in the room adjacent to this one. The light is making the already very delicate tapestries crumble. A new technique is being trialled to protect them. Instead of a sun blind you have to manually adjust to protect the items from direct sunlight, they have installed window visors that change from opaque to clear at the touch of a button. </div>
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An incredibly creepy painting. This depicts a servant boy during the Tudor period. This is placed in an alcove behind a pillar kind of thing and is scary when it pops out at you. They believe he might be spying on the court.</div>
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After we'd seen the gardens, William's and Mary's section and the Tudor section, we were off to the Cumberland art gallery. The rooms were designed by William Kent in 1732-34 and house part of the royal collection. There are Rembrandt's, Canaletto's, Caravaggio's and Caracci's. This is a pretty ceiling in one of the rooms just prior to the collection.<br>
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References<br>
<a href="http://www.hrp.org.uk/HamptonCourtPalace/">http://www.hrp.org.uk/HamptonCourtPalace/</a><br>
Hampton Court Palace Official GuideRoxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.com0tag:blogger.com,1999:blog-1605303010941877706.post-54337836537219939752015-03-16T17:38:00.000+00:002015-03-16T17:54:48.136+00:00Museo de Cádiz Over the last two weeks I have spent 5 days in beautiful Cádiz. Thanks to a lovely friend of mine on her year abroad I had a pretty place to stay, what was basically a tour guide, and of course, the best company.<br />
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This was my first time ever in Cádiz, but hopefully not my last. It is a tiny little place with which you feel oddly well acquainted with only after a couple of days. It is well worth a visit and whilst I was there, there was always something to do. It is a place you do not want to leave - even less so when you're sat waiting for your train to leave in the blistering sun because overnight Andalucía had transitioned into Summer!</div>
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On our first day we went to the Museum of Cádiz. This was a short walk from my friends' apartment, and an even shorter walk from where she lived before. I think what I noticed after a few days there is that you really cannot be far away from the main sights unless you are in the new town, in which case it would be a bit of an effort. Renfe trains are lovely though (describing a train as lovely is something I suspect to be very English because I have noticed everywhere has nice trains except for here) so it wouldn't be the end of the world to hop on one between the old and new parts. </div>
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Anyway, the museum was placed right where you wouldn't see it on the Plaza de Mina. The plaza is very pretty (as they all are) and according to friend/tour guide, the palm trees had been taken from Morocco or somewhere and planted on the square. It looks really diddy from the outside and we did get confused about how to get in. However, we settled with the entrace that had 'Museo de Cádiz' written above it in the end lol.</div>
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If I remember rightly, the staff do not really speak English (do not expect the Costa del Sol where every other person speaks English, bring a phrasebook!), However, there is a museum guide/leaflet/floor plan available in a few different languages at reception. </div>
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A little bit of history, according to my leaflet: Building designed in the 1830s by an architect called Juan Daura. He had remodelled what was previously a Franciscan convent into a late-neoclassical style building. By 1852, the Provincial Museum of Fine Arts had been created as an extension of the Academy of Fine Arts. This change may be due to the amounting pressure that came from the Disentailment Act of parliament made active under the leadership of Juan Alvarez Mendizabal. This act was responsible for the displacement of fine art from monasteries across the country...and they needed a home. The Disentailment Acts of the 1830s was basically part of a wider plan to secularise Spain and manage their crippling debt. The act meant that religious property (not only religious but they were clearly targeted) could be nationalised and then sold off to make some money. After this, it wasn't until 1887 until the next big event for the museum took place. The discovery of the anthropoid sarcophagus. From this point onwards the realisation of Cádiz as an archeological hotspot had been well and truly made. More things were found over the years and therefore the museum grew, and would eventually grow into the collection it is today.</div>
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The inside of the museum feels like a contemporary space with character, probably due to its 1980s renovation. White washed walls constructed into a 3-tier loggia, complete with an inside courtyard. </div>
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The ground floor hosts their archeological collection. The first couple of rooms concern themselves with pre history, so lots of archaic tools and things that were found in the caves in the area. Carry on and you will see lots eerie tombs, Roman marbles with missing heads, Roman ceramics, jewelry, hair pins, Roman armour among loads of interesting ancient artifacts. Adjacent to the Roman rooms are the Moorish rooms, with pottery, jewelry and the usual archeological loot, adorned with gorgeous arrabesque patterns and sculpted from fine materials, that the historical Moorish population of Andalucía enjoyed.</div>
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Upstairs you enter the fine art gallery. Literally a gallery, with their collection dispersed across the walls of the loggia and the odd room behind it. The collection begins with the proto renaissance, images adorned with terrifying baby Jesus' that look more like gremlins who have been fed after midnight than a little baby. Moving on, you enter the glorious Spanish renaissance, then the Baroque and Rococo. The period of time represented here was approximately the mid 15th century to the 19th century. The most impressive thing by far (in my opinion) was the amazing collection of Francisco de Zubaran. There is an entire room dedicated to the caravaggesque 17th century Spanish painter. His paintings are dark, contrasting, emotive and religious. We accidentally caused the alarm to sound a couple of times in here, don't do that, you will get followed... Another note worthy piece in here is of course their Rubens! It is tiny. It does however give their room that tells the story of the flemish influence in Spanish art credibility of the best kind. </div>
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The Zubaran Alterpiece</div>
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The Rubens!</div>
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The third and final floor is dedicated to modern art. I really enjoyed this. Modern art collections can be a bit hit and miss, but this one was enjoyable. My favourite thing ever was a modern reproduction of the evangelists. It reminded me of Jack Vettriano's portrayal of people but with a great twist: these were mobster like men bearing the message of God. Ha, amazing!</div>
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Jose Hinojo, 1997, the Evangelists.</div>
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Roxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.com0tag:blogger.com,1999:blog-1605303010941877706.post-46776001587737425022015-02-23T19:22:00.000+00:002015-02-26T14:23:07.961+00:00Late Turner: Painting Set FreeLast month I visited Tate Britain for the Late Turner Exhibition. It ran from September 2014 to January 2014 and I managed to see it on its very last weekend! Unlike the last exhibition I visited at the Tate I had to buy my own ticket because I am no longer a student (boooo). While £15 entry burned a sizeable hole in my post-student-indebted pocket, I was happy to have spent money on it.<br />
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Pictured above is Tate Britain's pocket size exhibition guide that you get for free on the door to any given exhibition, they're very cute and pocket sized. It's probably smaller than your HTC or Iphone 6 (it's probably not). This will be my point of reference for all the factual stuff. </div>
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Right, so. The exhibition space for the Tate Modern consists of 6 rooms, They are all moderately sized (except for room 4) and therefore for your £15 you get a lot of artsy things to look at. I say artsy things because curators are increasingly keen to mix things up a little bit. This is because as charity run galleries, museums and historical organisations are becoming the norm (English Heritage is becoming a charity in April!), and state run organisations are having their budgets squeezed, they can no longer rely on being kept afloat thanks to David C & Co. They need to draw in a larger audience.</div>
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You'll get the paintings that you expect from an art exhibition but alongside that you can expect diary entries, a death mask (it was morbid and we all love morbid), the artist's Palette, his Palette Knife and his glasses. These things bring an exhibition to life for me and my favourite things are always the diaries/correspondance between the artist and his friends/colleagues and whatever else. It must been an <i>artiste </i>thing to collect years worth of letters that the rest of us might consider clutter because it seems as if most exhibitions will feature letters of this kind. They are my favourite because you gather an understanding of an artists personality, in a genuine kind of way that is impossible to gather from their work. Because their work is always mindful of what it portrays. Their handwriting too, I have a thing for handwriting. It's great. </div>
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The first room is called <i>Turner After 60, Life, Work, Legacy. </i>Turner turned 60 in the 1830's. During this period of his life he was potentially the most unpopular that he had ever been and would ever be. What he had hinted at 20 years (ish?) earlier with Rain, Steam and Speed (<a href="http://roxannejodie.blogspot.co.uk/2013/08/romanticism-in-england-and-germany.html">see here</a>) had fully materialised with abstract forms and a subtle mastery of colour that he had spent decades conjouring up. I dragged my brother along with me (in exchange for supper out afterwards) and he did not like this room. He said quite simply that it didn't look as if Turner could paint. I protested, banging on about how special it is that artists were gaining this freedom to paint in this way, while insisting he was a very talented draughtsman that had CHOSEN to depict reality this way. Perhaps the Tate could have made the fact that this was a choice more obvious to their audience, so not to exclude people with no background knowledge in art? Or at the very least change the layout. I am all for chronology and starting with what was neither the end or beginning of the period being exhibited seemed a bit illogical to me.</div>
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The second room is called <i>'On the Wing' Travel and Tours 1835-45. </i>This room, I suppose, was meant to complement the first one. This room focuses on Turner's travelling after he had turned 60 and featured lots of his sketch book works as he sketched along the way. Throughout this period he visited the environmentally hostile, mountainous region of Val d'Aosta in Italy; whilst also visiting France, Luxembourg, Germany, Venice, Austria and Switzerland. He was old and frail but nevertheless went around documenting Europe and his work from this time is equally as weathered (visually not literally). The theme of this room gave these works a sense of importance in a way that the first one did not. In what was perhaps a rush to see the world in his old age his work gives off a sense of his repeated attempts to portray the scenes at his feet in a way that would satisfy him. Typically though, the vast number of sketches he produced and his erractic need to go off wandering suggested to me that he was not satisfied. Old artists are always sad, and as a romantic Turner was certainly not exempt from this. </div>
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The third room is called <i>Past and Present. </i>This room shows for the first time how Turner was not solely concerned with the illustration of landscape. Here lay his pieces that concern themselves with history, mythology and engaging with the present day and feature paintings from throughout his career. The centre piece here, for me at least, was of course Rain, Steam and Speed which has always been my favourite. However this is a painting that is usually on display to see free at the National Gallery - so that's a bit cheeky. But then again, what is a Turner exhibition without this painting? The rest seemed to have been dusted off and removed from their own archive that is mostly made up from the Turner Bequest of 1856. I wouldn't have a clue how much it would cost to keep these delicate things safe and preserved. If I was to hazard a guess, I'd say a lot. So I'll let them off!</div>
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The fourth room was called <i>Squaring the Circle: New Formats from 1840. </i>As the title of the room suggests, this space featured an innovation from Turner: A complete transformation of the canvas. Not only in the shape of the canvases themselves, but how multiple scenes could be arranged together to portray something in a more powerful manner, making use of the different planes, instead of treating the canvas as one, linear, narrative. That is to say, the foreground may not be a visual representation of what was actually in the foreground of the vision; instead, the consciousness of the figure, or a different time. This reminded me a lot of the thought behind Michelangelo's <span id="goog_288229971"></span>Doni Tondo<span id="goog_288229972"></span> (<a href="http://roxannejodie.blogspot.co.uk/2014/08/florence-2012-journal-uffizi_19.html">see here</a>). </div>
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The fifth room was called <i>That Real Sea Feeling. </i>Turner eventually owned a boat, in Kent. This is really no surprise when you enter this room. Although evidence of his fascination with the sea is evident before you enter this room - the extent at which this was the case is made obvious here. He apparently spent a lot of time down south to contemplate the sea as he approached the end of his life. He was interested in the depth of the sea, the complexity of depicting it in a truthful way, the dangers at sea, the omnipotence of the sea over land and those that dared to cross it; oddly too, he was interested in whales. A whole side of the wall was almost covered in depictions of whales! An American Sea Captain, Elisha Ely Morgan, remarked that through all of the romantic 'fog and mystery' there was a good old 'real sea feeling' in him and his work. While he could have been an old romantic searching for the meaning and life and all that, he could have equally of been just an old man enjoying his older years by the sea, loving the sea life.</div>
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The sixth room was called <i>Last Works. </i>Finally - some chronology. These works were created in the late 40s and early 50s before his death in 1851. This room has an air of uncertainty about it because a lot of the works here have approximated dates and titles. It is believed his production declined after 1845 and many of the oil paintings displayed in this room are incomplete. His health could have dictated his preference for watercolours during this time given that they were easier to do.</div>
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All in all, I enjoyed the exhibition. Particularly how it questions the romantic notion we attach to Turner: was he actually the sad old romantic we assume him to have been? Or was he just a bit ill? Did he just really love the sea, as opposed to being attracted to it because of the romantic idea of the sublime? I also loved being able to see lots and lots of Turners. I have only ever really been able to see the handful that the National Gallery display in their permanent collection, so this was an experience I consider to be worth the money. Having said that, I wish the layout and themes were punchier and that they had a larger exhibition space for this - because it was busy! But this is why art is great. We all experience it differently. </div>
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P.S shout out to all the passive aggressive tutters out there! Briefly walking past a painting because there were hundreds of people packed into a tiny space is not a crime. I dislike that entitlement is a trait among some gallery goers who clearly resent art becoming part of our wider culture. Art will become more popular, these places will be busier, and the sacred 2 metre gap you need between yourself and the painting to comfortably fit your colossal ego may be walked through!</div>
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P.P.S I need to watch the film Turner asap.</div>
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Some pretty paintings shown in the exhibition:</div>
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Fishermen on the Lagoon, Moonlight, 1840, Tate.</div>
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Regulus, 1828, Tate.</div>
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War. The Exile and the Rock Limpet, 1842, Tate.</div>
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The Blue Rigi, Sunrise, 1842, Tate.</div>
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A Harpooned Whale, 1845, Tate.</div>
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Venice: The Interior of a Wine Shop, 1833-35, Tate.</div>
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The Departure of the Fleet, 1850, Tate.</div>
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Ancient Rome; Agrippina Landing with the Ashes of Germanicus, 1839, Tate.</div>
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Roxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.com0tag:blogger.com,1999:blog-1605303010941877706.post-22356827424300556062014-10-09T13:04:00.000+01:002014-10-09T13:04:30.264+01:00Gustave Dore's Illustrations of the AlhambraA little while ago I posted a series of prints by Gustave Dore of Victorian London which you can see <a href="http://roxannejodie.blogspot.co.uk/2014/08/gustave-dores-illustrations-of.html">here</a>; and a post on my visit to the Alhambra in June which you can find <a href="http://roxannejodie.blogspot.co.uk/2014/07/la-alhambra.html">here</a>.<br />
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I decided to write my dissertation on the Alhambra. I have had this idea in my head for a long while hence my visit there while on holiday earlier on this year, however it is only now that I am feeling the pressure of my decision - because I cannot go back on it now with only 8 weeks to go until my degree is finished (fingers crossed!!!). Living in what is basically the countryside with my nearest research library a couple of hours away I am feeling a bit stupid having chosen a subject that is barely (actually, not at all) represented in my uni library.<br />
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Regardless, I have ordered loads of books and have been looking at spending a couple of days a week at the National Art Library (at the V&A). So far I have been spending a bit of time reading the books that have already arrived and to finally get to the point I read one today that mentioned that Gustave Dore paid the Alhambra a visit and produced a series of prints!<br />
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I am currently reading 'Granada and the Alhambra' by Rafael Hierro Calleja as an introduction to the whole thing. He explains that during the 19th century the Alhambra fell into a state of disrepair. This was because those who had inhabited it and used it as their royal courts had been supporters of the Austrian claim to the throne during the succession conflict of 1700-1713. Thus, when the Bourbons came to the throne they were little pleased by their standing. To add insult to the injury, Napoleon occupied Granada for four years (1808-1812) and in the meantime destroyed parts of the complex. Therefore, despite the tour guides that make a point of showing off the restorers at work while they take you around, the Alhambra was not always looked after adequately . In fact it was not until 1870 until it was given some sort of protective status. That is almost 2 centuries of neglect. The book I am reading claims that during the 18th and 19th centuries the Alhambra was turned into 'dung heaps and taverns' that were 'occupied by the lowest social class of people' and that Gustave Dore (among others) documented this in his engravings. <br />
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The Junta de Andalucía have PDF's of Dore's book and it is from there that I have found the pictures I have uploaded below. They are part of a wider collection of his 236 engravings of Spain - from his book titled Spain. Should you want to look at it click <a href="http://www.alhambra-patronato.es/ria/handle/10514/6065">here</a>.<br />
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Taylor Lautner in the Alhambra, 200 years ago lol</div>
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Roxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.com1tag:blogger.com,1999:blog-1605303010941877706.post-25417813853743164482014-08-20T14:43:00.000+01:002014-08-20T20:49:32.999+01:00West Wycombe ParkWest Wycombe park was one of the first country estates to be taken over by the National Trust. It was handed over to them during the war in 1943. It was a curious place to visit because you get the overwhelming feeling that you are not welcome there - the staff (bar our tour guide) were all quite miserable. The house is only open from June to August while the gardens are open by themselves in April and May. In the three short months that the house is open to the public you can only visit it without a tour guide on Sundays, while Monday- Friday you can visit by appointment only and the tour is noticeably rushed. Also, you cannot take pictures and this is because the collection inside of the house is still the property of the Dashwood family. Most weird of all though was the hundreds of photos placed all around the house of the current generation of Dashwoods.<br />
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It is unlike most National Trust properties in that it is so strict. The reason for this is that way back in 1943 the National Trust was not the strong institution that it is today and the Dashwood family were able to strike a deal with the trust. Usually, the National Trust will take on an estate in the knowledge that the house is open most of the year so that a sizeable income can be made from visitors. In return, the trust will restore and conserve the exterior, interiors and furniture. However, the donor family are allowed to live alongside the estate. In my opinion, that is quite a reasonable deal - you cannot afford a home and instead of losing it forever the National Trust pays for its upkeep in return for you allowing it to be open and donating the house in its entirety to them while still being able to live somewhere on site.<br />
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However, this wasn't good enough for the Dashwoods. They insisted that the collection of furniture and interiors remain their property and that the house be open on their terms. This has made for a less than amicable relationship between the trust and the family. Personally, I am in the National Trust's corner. You cannot expect to call the shots on a house you simply cannot afford - but that is pride for you. In any case, once a house is donated to the National Trust the action cannot be revoked - not ever.<br />
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Unfortunately I do not have any pictures of the inside but I have a few notes on what we saw:<br />
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In 1698 Thomas Lewis sold the house to Samuel and Francis Dashwood and in 1706 Francis bought out Samuel's share. Money was no object for the Dashwoods and so the entire house was altered throughout time (not to mention Sir Francis splashed out £10000 on buying himself a Baronetcy). In 1708 Francis becomes a father to Francis Dashwood II. Four years later in 1712 the house was demolished and a new Queen Anne Style house was built. Sir Francis Dashwood died in 1724. The house as it is now was largely completed by 1750 under Sir Francis Dashwood II of whom changed the house that his father had built.<br />
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<u>Hall</u><br />
Francis was to go on FOUR Grand Tours throughout 20 years and would have seen a lot of classical art and architecture. His trips across the continent clearly left their mark given the fact that the first rom you enter - the hall - is built like a Roman hall. There are copies of original busts of Roman Emperors, scagliola columns and Giuseppe Borgnis walls and ceiling. What is more, there was even a hypercaust system that was discovered in the 1950's that was sadly in a state of disrepair. This Roman influence was not fully understood until 1912 when Francis III peeled off some of the paint in what was then a whitewashed hall to discover the gorgeous decoration underneath. There is also a clock in the hall that the guide was particularly proud of, it was mid 18th century and apparently the finest example of clock making in Britain.<br />
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<u>Staircase</u><br />
The staircase is to the left of the hall as you walk in. It runs all the way to the top of the building with frescoes lining the walls the entire way up. Unfortunately the view of the staircase that we got was limited (because it is shut off to the public). However from the ground floor you can see a fresco of the Goddess of Silence that is fittingly holding her index finger to her mouth and the pretty rococo plasterwork on the roof.<br />
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<u>Dining Room</u><br />
The dining room is also to the left of the building as you walk in (underneath the staircase). The walls are the work of Giuseppe Borgnis and the floors date back to the Regency period. The dining table is fairly new and was acquired when a film set brought it in to film with and the current Dashwood (Edward Dashwood) asked whether he could keep it. There is also a number of portraits that I am sure I have seen before in London at the Society of the Dilettanti. The portraits are painted with private jokes in mind and one particular one I like is the one of Sir Francis Dashwood with a glass of wine and a turban:<br />
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<u>Saloon</u></div>
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The ceiling in this room is a copy of Raphael's Council of the Gods by Borgnis. The windows are beautiful dating back to 1858 with little stained glass roundels in the lunettes. Beneath the windows are Code stone plinths - created by Code hence the name - and represent the 4 seasons. They are important because Code invented the recipe for this stone herself but lost it so the composition of the pieces are difficult to copy. Extending outwards into the room, each corner has a table with the eagle wings motifs; 2 of the 4 are original and 2 are impressive copies - the other 2 originals were sold to a gallery in Liverpool. Another pretty piece of furniture was the Chinoiserie Chippendale mirror. Portrait wise, there is a depiction of Thomas Lewis (the original owner) and Francis II <span style="text-align: center;">worshipping Venus. He is dressed like a Franciscan monk worshipping a naked deity. He had an odd sense of humour.</span></div>
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<u>Red Drawing Room</u></div>
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What I found the most interesting about the Red Drawing room was the fireplace. On the right hand side of mantlepiece there is a bell. The bell was previously attached to the servants quarters but does no longer work. The mirror above the fireplace is a beautiful rococo design and the ceiling a grostesque inspired design.</div>
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<u>Study</u></div>
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The Study has yet again another Borgnis ceiling. The room also houses a mirror that has left and since returned to the Dashwood family. It may have originally been sold for financial reasons but returned to the house when a New York art dealer recognised the Dashwood coat of arms. We know that it had not yet been sold in 1774 because the inventory of that year states that the mirror was present. This room also has architectural drawings for the house placed all over the walls. </div>
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<u>Blue Drawing Room</u></div>
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The Blue Drawing room used to be a dining room. It is based on the Palazzo Farnese in Rome and the ceiling depicts the story of <i>The Triumph of Bacchus and Ariadne -</i> which is a copy of Annibale Carraci's work of the same name (which is in the palazzo). This room also houses the oldest painting in the house: that of the virtues.</div>
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<u>Music Room</u></div>
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This is the last room in the tour before they open up the large doors in this room and send you on your way. It currently has portraits at either end of the room of the current Dashwood and his wife. The ceiling is again by Borgnis and depicts the banquet of the gods. It was here that we were told by our guide that Borgnis was supposedly murdered - because people were jealous of his success. His son had to complete the ceiling. There was also a picture of the Foundation of the Dilittanti Society and a painting of a Bird Market thought to be by Rembrandt (or was it?)</div>
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My notes a little out of order and I couldn't figure out which room I was referring to: there was a Florentine cabinet here that Francis acquired on his Grand Tour. A very large souvenir - as you do. It was made from Lapis Lazuli (an imported pigment from the middle east) and ebony and therefore probably very expensive.<br />
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This is the north side. The first side to reach completion under the revonation. It is Palladian in style - rusticated first floor, Palladian windows and a portico.</div>
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This is the south side of the building. It was the second side to be completed under the renovations of Francis Dashwood II. It is influenced by the Palazzo Chiericati Vicenza in the double tier loggia running across the facade.</div>
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This is the east side. It was the 3rd to be completed and it is not set centrally. Originally, there were bushes at either side of the portico to hide the fact that it was off-centre. The National Trust have since replanted these bushes in order to achieve that effect.</div>
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This was the 4th side to be completed in the 1770's. The west side. This portico is significant because it is the first time that a Greek source was used directly in the construction of a building. When it was finished the Dashwoods held a party where they had everyone dress up as ancient Greeks. The architect was Nicholas Revett.</div>
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This is a 'Ha-Ha' and was used in many country estates to keep the animals that were on their land away from the immediate gardens surrounding the house. It basically a steep trench with a wall.</div>
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Tower of the Winds: It is a clear Greek prototype what with the frieze (albeit not decorated according to how the Greeks would of), pyramid roof and octagonal shape. If anyone had read <i>Antiguities of Athens (1762) </i>then it is likely they would recognise this as Greek. However, on the left hand side there is a Baroque door and door frame that had been taken from the original Baroque house before Francis Dashwood II had it converted into a Palladian house.</div>
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Given the fact that Nicholas Revett did not write his book until the 60's and did not arrive at West Wycombe until the 70's, you would think that this temple therefore would be dated from the 70's onwards. However there was a document found that would suggest that this was potentially made in the 50's. Therefore, it is possible that Revett was here earlier and was already interested in Greek revival as early as the 50's.</div>
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The boat house. It was really sad to see this big beautiful space not being used by anyone. Our lecturer brought us here immediately after Chiswick so the contrast between the garden open to the public and this one was very obvious.</div>
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Much of the landscape was done by an associate of Capability Brown.</div>
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This was rebuilt in the 20th century with the help of the National Trust. Quinlan Terry modelled this on images he had seen of the original temple. It was originally built like this on a mound in response to a political rival of Dashwoods that had built his own Temple of Venus (Lord Cobden). The mound and the odd little cavity in the stone wall beneath it is meant to be a representation of female anatomy...</div>
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If you're interested in visiting West Wycombe then click <a href="http://www.westwycombeestate.co.uk/house-grounds/">here</a>. If you are given a specific time to arrive then arrive at least 15 minutes early. Do not be late, you have been warned...</div>
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<br />Roxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.com0tag:blogger.com,1999:blog-1605303010941877706.post-36169020834120479382014-08-20T01:38:00.001+01:002014-08-20T11:56:48.506+01:00Chiswick House<div class="separator" style="clear: both; text-align: center;">
Last week my classmates and I visited Chiswick House and Gardens in Hounslow, London. For info on how to get there and the opening times click <a href="http://www.chgt.org.uk/">here</a>. The building we see today is how it has looked since 1950 but before then it was much larger with protruding wings at either side. Logic would lead you to believe that if the rest of the house was damaged during air raids during the war then there would be a great impetus to conserve and repair the house but no - oh no - it was someone's bright idea to tear some (most?) of the house down. The convent in Milan where Leonardo's Last Supper is was badly hit during the war but you don't see the Italians just knocking it down, do you? Although, maybe it was fate that the house should be dismantled - given most of the property that had been on the site was gone anyway (there was a massive Jacobean house that stood beside it that was demolished in the 1780s). As luck would have it, during the demolition a part of the house that was there before the addition of the wings (by the Duke of Devonshire: the same man who tore apart the Jacobean house) was found and it has since been restored from the ground up. That is not all though, the house has had a colourful history thanks to the financial difficulties of its owners. Their inability to keep the house running meant that it has been a mental hospital and a firestation before it was sold to Middlesex Council and then taken under the wing of English Heritage and ultimately given its Grade I listed building status.</div>
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Casting aside all the alterations made throughout time, the original house was built for Lord Burlington in the 1720s in the back garden of his Jacobean House already mentioned. It was designed by Burlington himself while William Kent gave him a helping hand with the interiors and gardens. It was initially separate from the neighbouring house. However, the house (in Burlington's time) did not have any real practical rooms. There was a number of halls, galleries and so forth but no kitchen or bathroom. There was, notably, a wine cellar. The villa was obviously an entertaining space but the issue still remains: where can you eat, and more importantly where could you go to the toilet? Burlington resolved this with ease: one would walk along the garden to the neighbouring house to use the facilities that are lacking in the villa. This was probably all well and good until he remembered he was in England and therefore decided it would be best to create a room to 'link' the two houses together. This is the part of the house that was rediscovered when demolishing the Duke of Devonshire's wings (of which the architect was John White). </div>
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We came in through the car park which first takes you through a series of maze-like gardens by William Kent before it leads you here - at the side of the house:</div>
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Despite having been told that the house is not particularly big (by country house standards) it is still underwhelming to see the size of it in person. The gardens are very beautiful and full of people so in general it is quite a cheery place - but - first impressions were not great. </div>
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However when you turn the corner things begin to make sense. This is thought to be the best surviving Palladian exterior in England and it is incredibly beautiful and reminds us all of the Villa Rotunda. It is not overwhelmingly decorative and that is because Lord Burlington believed a house is a reflection of the gentleman that owns it; therefore, it needs to be calm and perhaps even austere on the outside while on the inside lively and personal.</div>
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My favourite part of the facade are these staircases. I don't know why - they just are. I'm not much of a photographer so believe me when I say there is a statue of Palladio behind the staircase in the first picture while there is a statue of Inigo Jones behind the staircase in the picture directly above (I think it is that way round...). Regardless of the which way round they are, they are there to pay homage to the creator of the style that Burlington has used (Palladio) while equally claiming that English architecture is the best (Jones).</div>
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This was originally the entrance before Lord Burlington moved the road further in front of the villa (yes- he moved a road). This is a sphinx. They are the symbolic gate keepers of secrets and riddles and suggest that Lord Burlington wanted his house to be mysterious and baffle his contemporaries (which it did). In line with the secrets and mysteries idea my lecturer mentioned an article that was written about 20 years ago that entertained the possibility that Burlington was a Jacobite. For a man in his position,being found supporting the Catholic Old Pretender would be disastrous. But, the article suggests, he was keeping his wits about him and ensuring that upon a possible Catholic return he was not punished.</div>
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Palladianism was the style of a new Britain. At the beginning of the 18th century the political intrigue that denied The Old Pretender his throne had to extend far enough into culture as to consolidate the new Britain that it had created. It was the Whigs who took it upon themselves to be the government in support of George II and Lord Burlington was (supposedly) a Whig. Thanks to Colen Campbell's <i>Vitruvius Britannicus (1715-25) </i>that promotes Palladianism as the only style fit for the new king, Burlington (and others) turned their back on the Baroque style and took up the Palladian style.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvY6uRq7lfOv9TAYAKqLt2jEL76yhLreKbDB-MAp7gmc2cBRpQMQShab2wxurOPR1DlRnudfFmsULmWAxFn3QRx9TGBhryCcdClxODrnzTgH9fTKhz8YRTOVeCi-ONutmPpFFmOWObZ40/s1600/IMG_1348.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvY6uRq7lfOv9TAYAKqLt2jEL76yhLreKbDB-MAp7gmc2cBRpQMQShab2wxurOPR1DlRnudfFmsULmWAxFn3QRx9TGBhryCcdClxODrnzTgH9fTKhz8YRTOVeCi-ONutmPpFFmOWObZ40/s1600/IMG_1348.JPG" height="320" width="240" /></a></div>
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The octagonal gallery.</div>
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Gallery</div>
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The 3 pictures above are of the 'Dome Saloon'. It has some beautiful plaster work with a coeffered ceiling (although they seem to be EVERYWHERE) and a cute pattern on the floor that I liked. It was quite a small space, as is all of the house really, and it is hard to imagine any real big dinner parties happening here. It is the biggest room, or at least less narrow than the others, but still a banqueting table would not fit comfortably here. Perhaps then, it is changing trends at parties among the elite. No longer would people spend their time together all night but they'd venture off into different areas of the house to engage in different activites: cards, reading, dancing...?</div>
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This is the ceiling to the central part of the Gallery. The Gallery is made up of three small rooms. The outer two rooms are octagonal with absidal ends and a richly decorated coeffered ceiling. This room, the middle room, is rectangular. I believe it is this image that Burlington believed was by Veronese (important because he painted for Palladio). It's not.</div>
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Mythology: Burlington was part of the gang of people who began to look back to Renaissance sources and see them in light of the people who inspired them. Therefore, it is not surprising that Burlington played around with mythology in his design. He was incorporating the language of the ancients but for his own use. This here represents the origins of the Corinthian order as described by Vitruvius. If you look closely you'll see what appears to be acanthus leaves coming out of a head. The story is that a girl died and her maid places a basket on her grave from which acanthus grew. He was showing us that art and architecture was important to him and that he was no fool - he shared secrets with Vitruvius.</div>
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This ceiling is potentially by Kent. It represents the three arts.</div>
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This is the Red Velvet room. Red Velvet was seen as a good combination of colour and texture from which to hang art. The inventory says that there was an awful lot crammed in here.</div>
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Same as the Red Velvet room - but in blue. The roof represents architecture and quite fittingly Burlington used to display his drawings by Palladio that he had collected on his second Grand Tour here. </div>
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The Green velvet room.</div>
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I was given a plan of the house as it was in the 18th century and this - as per the inventory made upon Burlington's death suggested - was a bedroom. The bottom picture was the bed chamber while the top picture was the closet. Very small.</div>
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The garden is still for the most part a formal one. Although, there have been a handful of places that have been left to grow. Pretty nonetheless.</div>
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Lastly, they have a cafe and a field with loads of games on it. Including this connect 4 that I won..... (and lifesize chess but I don't know how to play it...)</div>
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XX</div>
<br />Roxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.com1tag:blogger.com,1999:blog-1605303010941877706.post-66144500553839415112014-08-19T23:06:00.001+01:002014-08-19T23:06:35.114+01:00Florence 2012 Journal: Analysis of Michelangelo's Bacchus.Michelangelo's Bacchus was originally sculpted for a high ranking cardinal called Raffaele Riario in 1496-7. However, he was unhappy with it and its eventual owner became Jacopo Glli. It is made out of marble and depicts Bacchus, the Roman God of Wine, whilst drunk. It is one of only two completed works from his time in Rome that has survived until this day (fig. 1). However, it was a very controversial piece in terms of the message it portrays, the likeness to original depictions of Bacchus and lastly, its form.<br />
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The subject matter is said to have been 'a popular subject with artists of the 16th century'.[1] However, the reception to this particular portrayal was not positive. It did not serve the correct purpose of sculpture during the 16th century. John Symmonds has suggested that this is due to the fact that it appears 'wrong in spiritual conception'; whilst also being 'brutally materialistic' in a society where it should have been 'noble or graceful'.[2] Therefore, it is not surprising that Riario was so displeased with Michelangelo's work. The spiritual conception would have been vital to the cardinal - it was important to surround himself with deities to allude to his own sense of being god like. What is more, to possess a good sculpture was as much of a status symbol as it was anything for a particular purpose. Therefore, even though 'Romans drank wine with every meal during the Renaissance', nobody wanted to admit they may ever compose themselves in the same way as Michelangelo's Bacchus.[3] With this in mind, it is indeed difficult to see who would actually have wanted to own the Bacchus as in doing so they would be portraying themselves as irresponsible and not noble at all.</div>
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Whilst Symmonds goes on to explain that 'the countenance of this figure is the most revolting mistake of the spirit and meaning of Bacchus', other art historians argue that his Bacchus is actually very truthful to classical depictions of the God, thus not a mistake in meaning or spirit.[4] One particular scholar asserts that the 'relaxed pose and natural gaze' is testament to his in depth knowledge of the classical Gods, as he had been studying the works of Greece and Rome through the works that had been 'collected by his patrons'.[5] Such knowledge is displayed in his addition of the Satyr. This shows that he was aware of the Bacchanalia - the ancient festivals or celebrations of Bacchus in which only women and Satyr's were allowed to attend.</div>
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In terms of form, Michelangelo was extremely advanced and 'approached the study of anatomy as a means of achieving greater beauty in his figures'.[6] Symmonds, who earlier had criticised the piece, here considers it in a far more positive light and casts aside the other issues he may have had with it - he summarises his findings in the following:</div>
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<i>'The arms are executed in the most perfect and manly beauty; the body is conceived with great energy, and the lines which describe the sides and thigs, and the manner in which they mingle into one another, are of the highest order of boldness and beauty.' [7]</i></div>
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<i><br /></i></div>
<div>
What Symmonds is referring to here is the naturalism Bacchus exhibits. The 'manly beauty' is the strength in the shoulders and the clear display of muscles throughout the body. This is a direct result of Michelangelo's studies in anatomy. Whilst studying, he dissected numerous dead bodies in the Santo di Spirito hospital, Florence; and as Bacchus was executed a mere 4 years later, it is clear that the acquired knowledge was fresh in his mind and applied perfectly. Also of note is the stomach - it is slightly bloated due to the wine and thus further evidnce of Michelangelo's expertise in human form.</div>
<div>
<br /></div>
<div>
In conclusion, Michelangelo may not have portrayed Bacchus in his most conventional form, and for the time it may have been an undesirable piece to own. However, for an art historian in th 21st century it is of significant value as it showcases the High Renaissance in its most truthful and unflattering yet brilliant form.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiecdSq_gEgnSBG4yBpjRtI0FnUTbuKjDmcNLsc8JLbslAm6Muoit4HGMX57aOpEqcRSxJMzitQc6yfnteSRvF-GOgIFqxYq82kseRGGFOKoB7iQZso-3TL1h2tXJ0TnvwBcRWzS3GdzKI/s1600/MI1YF00Z.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiecdSq_gEgnSBG4yBpjRtI0FnUTbuKjDmcNLsc8JLbslAm6Muoit4HGMX57aOpEqcRSxJMzitQc6yfnteSRvF-GOgIFqxYq82kseRGGFOKoB7iQZso-3TL1h2tXJ0TnvwBcRWzS3GdzKI/s1600/MI1YF00Z.jpg" height="320" width="240" /></a></div>
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<div>
[1] G. Di Cagno, <i>Michelangelo (Art Masters), </i>(Oliver Press, Minnesota, 2008), 20.</div>
<div>
[2] J. Symmonds, <i>The Life of Michelangelo </i>(Kessinger Publishing Co, Montana, 2004), 31.</div>
<div>
[3] A. Nickerson, <i>A journey into Michelangelo's Rome </i>(Roaring Forties Press, California, 2006), 38.</div>
<div>
[4] Ibid.</div>
<div>
[5] Gi Cagno, <i>op. cit</i>., 20.</div>
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[6] A. Nickerson,<i> op. cit.</i>, 38.</div>
<div>
[7] J. Symmonds, <i>op. cit</i>., 31.</div>
Roxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.com0tag:blogger.com,1999:blog-1605303010941877706.post-2746907075783553722014-08-19T22:40:00.002+01:002014-08-20T20:51:09.697+01:00Florence 2012 Journal: The Bargello<b>The Bargello</b><br />
<b><br /></b>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwcHKJltTluO7dDG8Ae1xwAxLZ571_CkcBJ0qxaMzyV-RxvhRvz8R3a404bmwPGArv5A7jZi0c8wdbBTCUxebtG6nu6F1i40cq-b9zFkacs-8iDyYO1hFCr-MHHAds6vLl0VhHO_FIwJI/s1600/Bargello.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwcHKJltTluO7dDG8Ae1xwAxLZ571_CkcBJ0qxaMzyV-RxvhRvz8R3a404bmwPGArv5A7jZi0c8wdbBTCUxebtG6nu6F1i40cq-b9zFkacs-8iDyYO1hFCr-MHHAds6vLl0VhHO_FIwJI/s1600/Bargello.jpg" height="320" width="231" /></a>The word '<i>bargello'</i> is said to derive from the Latin word <i>bargillus </i>that translates into 'fortified tower'. <br />
During the Renaissance years it was a term to describe the chief of police and their offices; the Bargello in Florence was exactly that, as well as a prison. Now, it is a national museum (pictured right).<br />
<br />
<br />
<ul>
<li><b>Salone di Donatello: </b>Donatello room.</li>
</ul>
<div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj53Jo3WwYzqm7E2_qUxjxyBDzOwiYpA5pD3YUh67sZkwPLgRL58HjzGWOCtLvQu2pFuaWQ4uDQ1rP0GdOWEHvToDgsI4_nyaFVCxIWN6gv_7uyi_HSibI-AcFG1Iq5rGYnVC5DW9KIhEs/s1600/Donatello_marble-david.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj53Jo3WwYzqm7E2_qUxjxyBDzOwiYpA5pD3YUh67sZkwPLgRL58HjzGWOCtLvQu2pFuaWQ4uDQ1rP0GdOWEHvToDgsI4_nyaFVCxIWN6gv_7uyi_HSibI-AcFG1Iq5rGYnVC5DW9KIhEs/s1600/Donatello_marble-david.jpg" height="320" width="134" /></a>The Donatello room houses both of his David and Goliath statues. The first one was cast in 1408 and the second in the 1440's. The first is made out of marble and portrays David in the classical <i>contrapposto</i> pose. He is without any weaponry but the slight opening in his fingers has lead art historians to believe that he may have originally had a bronze or leather strap in the clasp of his hand. Similarly, there is a large hole in the back -it is likely that it was where they were going to attack the statue to the facade of the cathedral in Florence. The drapery on the figure is very simplistic, however Donatello's decision to portray a heroic David in the <i>contrapposto</i> pose implies that this was Early Renaissance sculpture nonetheless. Goliath's head is at his feet and there remains two stones in his head, one of which has David's slingshot still attached.</div>
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<br /></div>
<div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaq8CXlJcsv9jzDFreU3sfpwN9WBxSiMwkF8JYyp4LM7mLe-dDnvIVftkMk4z8NcRp0FWc6EMIDBpvraVbctd8Ue-Dm6TT2j-oOKZzKDkzRlP9C1Pze1yWm8baRhuOhZ09pfg41tiv0SE/s1600/descarga+(1).jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaq8CXlJcsv9jzDFreU3sfpwN9WBxSiMwkF8JYyp4LM7mLe-dDnvIVftkMk4z8NcRp0FWc6EMIDBpvraVbctd8Ue-Dm6TT2j-oOKZzKDkzRlP9C1Pze1yWm8baRhuOhZ09pfg41tiv0SE/s1600/descarga+(1).jpg" /></a>The second David was made entirely out of bronze, with various parts covered in gilding (that has since faded away) and is once again in the <i>contrapposto </i>pose. The face of this David figure is supposedly modelled on Antinous (the lover of the Roman Emperor Hadrian) - who is claimed to possess unparalleled beauty. Furthermore, this statue was the very first naked round statue post - antiguity and thus can be seen as a far bigger indication of Renaissance than his previous statue of the same name.</div>
<div>
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<div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghpFQLhKd37p02vCE5TEjVbwAN_SxEjMXsE66kXma6HI4nP7rhVo38fy_SCfWh7Fj4sF4MRnC9VZ-GITVmJkueFLF9OCFZuCNMQ9KutAJYhZ345ufdf1KzKmpaMNiSoyqP5sHSffwtPlc/s1600/descarga+(2).jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghpFQLhKd37p02vCE5TEjVbwAN_SxEjMXsE66kXma6HI4nP7rhVo38fy_SCfWh7Fj4sF4MRnC9VZ-GITVmJkueFLF9OCFZuCNMQ9KutAJYhZ345ufdf1KzKmpaMNiSoyqP5sHSffwtPlc/s1600/descarga+(2).jpg" /></a>Another statue situated in this room is Donatello's St. George (pictured left). It was originally created in 1416-17 to sit in a niche on the facade of the church of Orsanmichele. Although completely made of marble, there is some indication that there was once some bronze components. This can be seen in the fact that George's hair is slightly flattened (indicating that a helmet was there) and his hand slightly open (once holding a sword). The period in which this was cast was during a time when Florence was occupied by Naples. Throughout this occupation it is documented that Florentine soldiers used to have conversations with this statue. Of course, he could never speak back but the indication of this is that it served as a morale booster - and in this it foreshadows Michelangelo's David and the prupose it served.</div>
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<br /></div>
<div>
Lastly, we also saw Andrea del Verrochio's take on David. It supposedly has the face of his pupil, Leonardo <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4apXDCOm8xcAwYJFJ4UjpmVFU89hG8QzUtuO-G0Fz5FGRBWn3wCejt1Jn4WjY7GmsF_QPt0giDggFsZH9Dv8tFVon7ialRijqYECewH78uOflpNwSzq2hefE6Z0m9ZcC3xN6_1Be0o-0/s1600/verrocchio_david.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4apXDCOm8xcAwYJFJ4UjpmVFU89hG8QzUtuO-G0Fz5FGRBWn3wCejt1Jn4WjY7GmsF_QPt0giDggFsZH9Dv8tFVon7ialRijqYECewH78uOflpNwSzq2hefE6Z0m9ZcC3xN6_1Be0o-0/s1600/verrocchio_david.jpg" height="303" width="320" /></a></div>
da 'Vinci, as an early teen. It is fairly similar to Donatello's in that he is also standing in the <i>contrapposto</i> pose, whilst also having been gilded (but now faded). The head of Goliath is movable, as was the rock lodged in his forehead (now missing).</div>
Roxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.com0tag:blogger.com,1999:blog-1605303010941877706.post-5212197252835577492014-08-19T22:13:00.000+01:002014-08-19T22:17:53.054+01:00Florence 2012 Journal: The Uffizi<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>The Uffizi</b><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">On the
last week of our course we visited the Uffizi for a third time. On the way to
the first room we were to visit, we momentarily passed '<i>La Tribuna'. </i>This
room is considered the successor of the Medici 'Studiolo' and therefore houses
one of their most treasured possessions - Venus de' Medici. As previously
touched upon, the Venus de'Medici was sculpted in approximately the 1st century
BC and is one of the classical 'Venus Pudica' statuettes. Its influence on the
return to naturalistic sculpture during the Renaissance is undeniable across
painting and sculpture.<o:p></o:p></span></div>
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<li class="MsoNormal"><span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="ES">Sala di Perugino e Signorelli: </span></b><span lang="ES">Perugino and Signorelli room.<o:p></o:p></span></span></li>
</ul>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>Madonna and Child, </i>Luca Signorelli, 1419. A composition consisting of three
rounds. The one in the middle is the largest while the two above are
considerably smaller. The most interesting thing about this painting is the
sophisticated portrayal of time. This is present in the middle, larger round.
The background depicts the Pagan religion before the birth of Christ, the
middle ground shows the Madonna and Child at the time of his birth whilst the
foreground foreshadows the death of Jesus Christ (this is shown by the plants
at the bottom that signify passion and pain).<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxIYYSQaekfFxY2yDoDLwJI4sZVt5Z9H1vyYmkGsc8VOUB-77WJCIjjAB7aVUoUHgxIRz1MnOqYmXwTx4z-pC3fBnFVfsIG_PHsoFD3671seisDq6FikMYaKNIhnLL_h0KNaNZCBJd7JE/s1600/descarga.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxIYYSQaekfFxY2yDoDLwJI4sZVt5Z9H1vyYmkGsc8VOUB-77WJCIjjAB7aVUoUHgxIRz1MnOqYmXwTx4z-pC3fBnFVfsIG_PHsoFD3671seisDq6FikMYaKNIhnLL_h0KNaNZCBJd7JE/s1600/descarga.jpg" height="320" width="234" /></span></a></div>
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<li class="MsoNormal"><span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="ES">Sala di
Mantegna e Corregio: </span></b><span lang="ES">Mantegna and Corregio room.<o:p></o:p></span></span></li>
</ul>
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<span style="font-family: Arial, Helvetica, sans-serif;">This room contains the works of the
pupils of Leonardo Da' Vinci. His influence can be seen across the room in
examples by Luini and Boltraffo of whom have painted to the same 'smokey'
effect that Leonardo was renowned for. Furthermore, if you were to analyse the
faces painted by the two, you would realise they are almost identical. This has
much to do with how Leonardo approached training the apprentices in his
academy, he would have them learn techniques parrot-fashion; and the
similarities in the faces are no doubt the consequence of being told to copy
from a workshop book.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">A painting we focused on was <i>Leda
& the Swan</i> by Francesco Melzi. It is believed the two (Melzi and
Leonardo) shared a relationship. The subject matter here revolves around the
story of the nymph Leda- she was pursued by Zeus but denied him on the grounds
that she only loves nature and animals. Therefore, Zeus turns into a swan to
make love with her. <o:p></o:p></span></div>
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<li class="MsoNormal"><span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="ES">Sala di
Leonardo: </span></b><span lang="ES">Leonardo room.<o:p></o:p></span></span></li>
</ul>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>Annunciation, </i>Leonardo da' Vinci, 1472.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The Annunciation by Leonardo is in a
peculiar shape in comparison to the paintings that surround it. It is
rectangular (pictured below); and this is so that it is perceived correctly by
the viewer. If you look at the painting from the right hand side, it looks
perfectly in proportion as the space extends down the rectangular canvas.
However, if you stand at the opposite end, Mary's arm is far too long. It is
clear that wherever the painting was meant to be placed only offered a fixed
point of view from the right. This is called anamorphosis.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>Baptism of Jesus Christ, </i>Leonardo and Verrochio, 1470.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Verrochio was Leonardo's teacher and
this collaboration was supposedly where Verrochio noticed just how skilful his
pupil was when he asked him to paint an angel at Jesus' side. Leonardo's angel
shows three dimensionality so convincingly that it is widely claimed that
Verrochio vowed to never touch a painting of Leonardo's ever again, in order to
not tarnish it and undermine his skill. It is interesting that there is
mirrored glass on the underside and outer side of the robe that his angel is
holding. Furthermore, the painting was executed during the years that Verrochio
took on the commission for the statue of the doubting Thomas for the
Orsanmichele church in Florence. By consequence, his depiction of John the
Baptist has a likeness to the statue - he drew influence for both figures from
the same place. As you can imagine, the painting is full of iconography. Most
notably there is an interesting allusion to the trinity above Christ's head -
this consists of the hands of God with divine light shining down, a dove and
the plate of John the Baptist. Other features include a palm tree (meaning
sacrifice) and a bird of prey fleeing the divine light coming from above
(foreshadowing the death of Christ). Lastly, the medium was Tempera and Oil on
Panel which is typical of Leonardo.<o:p></o:p></span></div>
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<li class="MsoNormal"><span style="font-family: Arial, Helvetica, sans-serif;"><b>Sala di Michelangelo e dei Fiorentini: </b>Michelangelo and Florentine room.<o:p></o:p></span></li>
</ul>
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<span style="font-family: Arial, Helvetica, sans-serif;">Along with works from Michelangelo
himself, the room also houses works from the likes of Granacci. Granacci was
the man who recommended Michelangelo to the workshop of Ghirlandaio. In this
particular room, he is responsible for the depiction of <i>Joseph Presents
his Father and Brothers to the Pharaoh </i>(pictured below).<i> </i>It is executed in the same
shape as Leonardo's <i>Annunciation </i>to which it also serves the
same purpose. This time however, the fixed point of view is to the left.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT3l_O7igYjMscfKd2i2GHQp8FjLeN6Hz4Of0GY2Ol7Cafkg8BZvTYsbRhxZX_5eeNfdZgl7RgatkPYQNoPCmVTUweBO6ABCAklMQHLaMsBzOjpfrr6L3L8fTLNE4ejqGc5TG7-egiuIc/s1600/6152a8a4b43eed6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT3l_O7igYjMscfKd2i2GHQp8FjLeN6Hz4Of0GY2Ol7Cafkg8BZvTYsbRhxZX_5eeNfdZgl7RgatkPYQNoPCmVTUweBO6ABCAklMQHLaMsBzOjpfrr6L3L8fTLNE4ejqGc5TG7-egiuIc/s1600/6152a8a4b43eed6.jpg" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Also in this room is Michelangelo's <i>Doni
Tondo </i>(1506) (pictured right). It was commissioned by the Doni family
upon the arrival of a Doni - Strozzi baby (hence the subject matter of Madonna
and Child). The piece was moved back and forth from the ownership of the
commissioner as he initially refused to pay the price that Michelangelo had
asked for. As hinted by the word 'Tondo' (round), it is a piece comprising of a
number of smaller rounds circling the much larger round in the center. The
rounds that surround the main composition are decorated with either a)the
evangelists or b) the four doctors of the church; which of the one either one
is remains unclear as there are no attributes depicted. The uppermost round
contains the face of an adult Jesus Christ. The main part of the composition
includes time representation through the background/middle ground/foreground as
I discussed in other paintings previously. The allusion to time is constructed
in the following way: Naked, seemingly Pagan people in the background, a baby
John the Baptist in the middle-ground and the Madonna and Child in the
foreground. John the Baptist is significant in that he is often seen as the
figure who connects the Old and New Testaments. One last note on this piece is
that it shows evidence of 'Colori Cangianti' which essentially means vibrant
colours; it is often believed Michelangelo's usage of such new, innovative
colours paved the way for the mannerists to follow.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-wkk4tCtc624T_Bed5Y-JiljFxKpkfmjdtz-xysamTTLOB8ENYb1n6V4E_M5UfVaUOwVfvLS2ySqQV1dju2LX2qGCALK2iMgjbLhaFs2raRSzjH6uQN9cVnDxUfrNibA8nqXJqd2u168/s1600/Michelangelo_Buonarroti_046.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-wkk4tCtc624T_Bed5Y-JiljFxKpkfmjdtz-xysamTTLOB8ENYb1n6V4E_M5UfVaUOwVfvLS2ySqQV1dju2LX2qGCALK2iMgjbLhaFs2raRSzjH6uQN9cVnDxUfrNibA8nqXJqd2u168/s1600/Michelangelo_Buonarroti_046.jpg" height="320" width="311" /></span></a></div>
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<li class="MsoNormal"><span style="font-family: Arial, Helvetica, sans-serif;"><b><span lang="ES">Sala di
Raphael e Andrea del Sarto: </span></b><span lang="ES">Raphael and Andrea del Sarto room.<o:p></o:p></span></span></li>
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<span style="font-family: Arial, Helvetica, sans-serif;">The last room we visited was the one
containing the Uffizi's collection of Raphael Sanzio's work. First we saw the <i>Madonna
and Child </i>(1505) that uses a 'pyramid composition' of the figures
present in the painting to allude to the holy trinity. This was commissioned
for Lorenzo Nasi and was kept in his household for a long time. So much so, it
was kept in the basement of his house for such a long time that it was only
re-discovered once damaged when unearthing the contents of the area after an
earthquake had hit.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The other painting I found
interesting is the portrait of Julius II dating 1510. The original is currently
in London's National Gallery and has since influenced the likes of Titian and
Francis Bacon to portray their very own <i>'Julius II</i>'. The pope is
depicted with fine and expensive looking rings on his finger, with a precious
rock from each continent - this portrays Christianity as the religion of the
world. His expression is often read as an allusion to his wanting to take
control of the entire world, he seems slightly irritated and stubborn. However,
Raphael was the master of giving things dual meanings. While the approach of most
art historians towards his expression is plausible, the simple matter of fact
is that Julius II was toothless! Therefore, Raphael aimed to hide that.<o:p></o:p></span></div>
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Roxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.com0tag:blogger.com,1999:blog-1605303010941877706.post-69261018529484347812014-08-19T21:10:00.002+01:002014-08-19T21:12:03.265+01:00Florence 2012 Journal: An Analysis of the Iconography in Botticelli's Primavera<div class="MsoNormal">
<b><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">An Analysis of the iconography in Botticelli’s Primavera.<o:p></o:p></span></b></div>
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<br /></div>
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<span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">Botticelli’s <i>Primavera</i> is currently housed at the Uffizi Gallery
in Florence, it was painted by Sandro Botticelli in 1482. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">First of all, the figure of Venus appears in the middle of the
composition (Fig.1). She is slightly off-set into the background and bare foot.
Although the red and white flowers at her feet can be attributed to the Goddess
Flora to her right, there is also an alternative meaning. The ground being
covered in red roses is a reference to the allegory of Venus and Apollo. This
was when Venus was so in love with Apollo that she ran barefoot across a white
rose field. By consequence, the white roses had been stained with the blood
from her feet. Therefore, red roses are a traditional symbol of love as is
Venus herself. Cupid (her son) is painted above her head and helps us identify
her as Botticelli’s portrayal of Venus was not in keeping with her original
depiction. Geraldine Herbert-Brown explains that the ‘iconography of the
national myth had been modified’ and thus was the ‘transition from the erotic
to the more dignified’; she was painted as a more ‘modest Venus in a long
garment standing in a non-erotic pose’.<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[1]</span></span><!--[endif]--></span>
<o:p></o:p></span></div>
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<span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">To the right of Venus stands the Goddess Flora, as explained earlier
Botticelli portrays her transformation from Chloris to Goddess. As with Venus,
Botticelli is said to have also represented the ‘challenges for interpreting
imagery of Flora’<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[2]</span></span><!--[endif]--></span>
in that she is shown during transformation and ultimately shown as pregnant.
However, although some aspects of her imagery is less conventional, Ann B.
Shteir notes that this pregnancy displays her ’fecundity as she strews flowers
from her lap’.<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[3]</span></span><!--[endif]--></span>
As the Goddess of Flowers and the season of Spring, the flowers surrounding her
and the allusion to fertility (commonly associated with Spring) illustrates the
‘traditions of Flora within visual culture’ alongside some of Botticelli‘s
unique representations of her.<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[4]</span></span><!--[endif]--></span><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">Painted opposite are the three Graces. Typically, the three graces
represent the likes of charm, beauty and creativity. Yet again, Botticelli’s
take on the mythological figures are somewhat unique. The classical portrayal
of such is discussed in Jane Chances research on the works of Remigius of
Auxerre:<o:p></o:p></span></div>
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<br /></div>
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<i><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">Although the Graces are three, they have one name, “Carite,” and one
beauty (“unius pulchritudinis”) and are depicted nude because it is not possible
for grace to be fictitious or insincere, and as one turning away from us (“una
nobis aversa”) and two toward us (“duae nos respicientes”) because “ gratia
simpla a nobis profecta dupla solet reverti” [“a single kindness (or favour)
coming from us usually return two-fold”].<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="font-size: 12pt;">[5]</span></b></span><!--[endif]--></span></span></i><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">What is made clear from this passage is that Botticelli has stayed true
to the classical depiction of “una nobis aversa” (one of the trio with her back
turned to us) whilst straying from this in the fact that they are not
completely nude.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">Lastly, Mercury is also depicted in Primavera to the left of the graces.
He is shown turning away from the other figures. He is only identifiable by his
clothes: a robe in the style of a Roman Toga (an allusion to Mars being the
leader of the Roman army) with a helmet and sword. His iconography in this
composition is slightly confusing as he is not depicted at Venus’ side. A
possible interpretation of this could be that Botticelli had decided to allude
to Mars’ previous identity as the God of Agriculture (hence the attention being
paid to the fruit tree above).<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[6]</span></span><!--[endif]--></span><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">In conclusion, it is clear to see that while Botticelli had altered the
conventional iconography of the figures in his <i>Primavera, </i>he was by no
means uneducated in this respect. Evidence of this can be seen in the graces,
for example. The subtle positioning of the grace with her back to us was
certainly no mistake but the consequence of his in-depth knowledge of the
classical Gods. His portrayal of the Gods, Goddesses and graces therefore have
been altered in order to comply with the meaning he was trying to convey
instead of a lack of knowledge.<b><o:p></o:p></b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK0ZbQbAGXhI-k3FYwIMNHKqH5dp6xn2tUjveD7O_XLgxTEvrzRN7_YnAPrzywZGAENdGcv_vY9LqAR-xKkeVgRRbuYGzjWjvxAwAn0LrXQBIjoq-Vj7zkVXfq7BG8m75DMYWU5LWcNwg/s1600/primavera.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK0ZbQbAGXhI-k3FYwIMNHKqH5dp6xn2tUjveD7O_XLgxTEvrzRN7_YnAPrzywZGAENdGcv_vY9LqAR-xKkeVgRRbuYGzjWjvxAwAn0LrXQBIjoq-Vj7zkVXfq7BG8m75DMYWU5LWcNwg/s1600/primavera.jpg" height="248" width="320" /></a></div>
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<div id="ftn1">
<div class="MsoNormal">
<span class="FootnoteCharacters"><span lang="EN-GB" style="font-family: "Calibri","sans-serif";"><!--[if !supportFootnotes]--><span class="FootnoteCharacters"><span lang="EN-GB" style="font-size: 10pt;">[1]</span></span></span></span><span lang="EN-GB"> G.
Herbert-Brown, <i>the Studio Recordings of the Miles Davis Quintet, 1965-68 </i>(Oxford
University Press, Oxford, 1994), 84.<o:p></o:p></span></div>
</div>
<div id="ftn2">
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<span class="FootnoteCharacters"><span lang="EN-GB" style="font-family: "Calibri","sans-serif";"><!--[if !supportFootnotes]--><span class="FootnoteCharacters"><span lang="EN-GB" style="font-size: 10pt;">[2]</span></span></span></span><span lang="EN-GB"> </span><span lang="EN-GB" style="font-family: "Calibri","sans-serif"; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">A. B. Shteir, <i>Figuring it Out:
Science, Gender and Visual Culture</i>, (Dartmouth College, UK, 2006), 9.</span><span lang="EN-GB"><o:p></o:p></span></div>
</div>
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<span class="FootnoteCharacters"><span lang="EN-GB" style="font-family: "Calibri","sans-serif";"><!--[if !supportFootnotes]--><span class="FootnoteCharacters"><span lang="EN-GB" style="font-size: 10pt;">[3]</span></span><!--[endif]--></span></span><span lang="EN-GB"> </span><i><span lang="EN-GB" style="font-family: "Calibri","sans-serif"; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">Ibid</span></i><span lang="EN-GB"><o:p></o:p></span></div>
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<div id="ftn4">
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<span class="FootnoteCharacters"><span lang="EN-GB" style="font-family: "Calibri","sans-serif";"><!--[if !supportFootnotes]--><span class="FootnoteCharacters"><span lang="EN-GB" style="font-size: 10pt;">[4]</span></span><!--[endif]--></span></span><i><span lang="EN-GB"> Ibid</span></i><span lang="EN-GB"><o:p></o:p></span></div>
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<span class="FootnoteCharacters"><span lang="EN-GB" style="font-family: "Calibri","sans-serif";"><!--[if !supportFootnotes]--><span class="FootnoteCharacters"><span lang="EN-GB" style="font-size: 10pt;">[5]</span></span><!--[endif]--></span></span><span lang="EN-GB"> J. Chance, <i>Medieval
Mythography: From Roman North Africa to the School of Chartres, AD 433- 1177 v.
1,</i> (University Press of Florida, Florida, 1994), 260. The chapter from
which this passage came is titled <i>‘Remigius of Auxerre on Martianus
Capella’.</i> Remigius of Auxerre was a 10<span style="mso-text-raise: 3.0pt; position: relative; top: -3.0pt;">th</span> century Benedictine Monk who wrote prolific
commentaries on classical Greek and Latin texts. Here, Chance analyses his </span><span lang="EN-GB" style="font-family: "Calibri","sans-serif"; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">commentaries on the earlier 5<span style="mso-text-raise: 3.0pt; position: relative; top: -3.0pt;">th</span> century Pagan writer, Martianus Capella, on
his iconography of the three graces.</span><span lang="EN-GB"><o:p></o:p></span></div>
</div>
<div id="ftn6">
<div class="MsoNormal">
<span class="FootnoteCharacters"><span lang="EN-GB" style="font-family: "Calibri","sans-serif";"><!--[if !supportFootnotes]--><span class="FootnoteCharacters"><span lang="EN-GB" style="font-size: 10pt;">[6] </span></span></span></span><span lang="EN-GB">K. N. Daly, M.
Rengel, <i>Greek and Roman Mythology A-Z, </i>(Infobase Publishing, USA, 2004),
81.<o:p></o:p></span></div>
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Roxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.com0tag:blogger.com,1999:blog-1605303010941877706.post-20808132418223544522014-08-19T20:59:00.000+01:002014-08-19T21:07:11.536+01:00Florence 2012 Journal: The Uffizi<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>The Uffizi</b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The Uffizi is one of the worlds oldest
galleries, built in 1560 under Cosimo I de’ Medici; and the architect
responsible was Giorgio Vasari. Although there would have been a construction
team executing what Vasari had designed, Vasari himself did much decoration and
the most exquisite example of this would be the ceilings running along the main
hallway of the gallery (See Below). The frescoes were influenced by the
discovery of the Grotesques in Rome. The Grotesques are frescoes that were
found by archaeologists in the ‘Golden House‘ in Nero. Their name derives from
having being found in a basement - <i>a grotto</i>. The structure that stands
today was built on top of an earlier site that housed a church, therefore much
of the basement (where the toilets now are!) contain ruins. <o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: Arial, Helvetica, sans-serif;"><span lang="ES">Ÿ</span><!--[endif]--><b><i><span lang="ES">Sala di Giotto: e
del duecento</span></i></b><span lang="ES"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Giotto’s Room: and the 13<span style="mso-text-raise: 3.0pt; position: relative; top: -3.0pt;">th</span> Century.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">As you enter the Room of Giotto, you are immediately struck by three 10
ft high paintings. The one placed in the middle is by Giotto himself while the
other two are by Cimabue and Duccio.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The 3 paintings alike portray the <i>Madonna Enthroned</i>. Cimabue’s
was the first to be painted (1275), next came Duccio’s (1285) and then lastly,
Giotto’s (1305). <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Giotto’s Madonna was painted for and originally placed in the Ognissanti
church in Florence. He, as the creator of chiaroscuro, has used this technique
and it is clear to see that the use of shade is more advanced than the earlier
two, most notably in that you can tell how the drapery falls over Mary’s chest.
Furthermore, Giotto‘s gives in to the illusion of space and with the use of the
reverse one point perspective, the viewer is drawn into the picture and guided
up the stairs to the throne. Also, underneath the throne lies a vase with
flowers inside; their iconographical meaning are as follows: Red flower: Passion
of Christ, Lily: the flower that archangel Gabriel gave to Mary in the
Annunciation and white: Virginity.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Another interesting piece from Giotto in this room is his altarpiece.
The saints are only depicted from the waist upwards and this is reference to
how the rest of the church would see a priest during service. The priest parts
bread and drinks wine behind a table - you only see him from the waist upwards.
Thus, Giotto is likening the priest to the saints depicted behind him.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Cimabue’s version recalls the Romanesque churches of Medieval Florence
in his depiction of a crypt like structure underneath Mary’s throne. Here,
there are two saints underneath looking up towards the ’Queen of Paradise’.
Although Cimabue’s painting technique is considered not as true to
‘proto-renaissance’ as Giotto‘s, there is still even in the 1280’s evidence of
development in technique. Here we see it in the colour toning on the wings of
the angels and a vague attempt at offering perspective - he did not let any of
his figures ‘float’ in the same way as Duccio did, they are arranged (albeit
simply) one behind another. As with most paintings of this century, there is a
lot of gilded gold and even some glass and mirror in the halo of the Christ
child and Mary (so that it would reflect light and seemingly glimmer). <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Lastly, Duccio’s Madonna (Pictured Right) is
clearly the least advanced, however he was from</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> a Sienese school of painters
and studied the French gothic style. Henceforth, it could be argued that his
depiction (of the Christ child in particular) is the ‘sweetest‘. As I
previously touched upon, the angel figures here are not standing on ground,
they seem to be floating (but do note, it is not because they are ‘divine’ and
can fly. It is because Duccio could not extend the floor into the
background).This painting is a prime example of the so called ‘sea sick
Madonna’s’. This name derives from the fact that her face is slightly green.
The reason for this is pre 20<span style="mso-text-raise: 2.0pt; position: relative; top: -2.0pt;">th</span> century
restoration and preservation techniques. The technique in particular that is
responsible for this is Lime Soda cleaning. At first, the results were a
success, until they had realised that even when the Soda is washed away, the
residue still bites at the egg tempera; therefore the green undercoat of painting
is revealed. <o:p></o:p></span><br />
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Senese</i></b><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">14<span style="mso-text-raise: 3.0pt; position: relative; top: -3.0pt;">th</span> century Sienese painters<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Here we saw the works of Ambrogio Lorenzetti (<i>Presentation in Temple</i>)
and Simone Martini (<i>Annunciation</i>). <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Lorenzetti’s piece is known to have been ’new’ Gothic art because of its
use of both rounded and pointed arches, which in iconography represents both
the old and new testament. The perspective of this painting isn’t particularly
skilful but Lorenzetti has knowingly painted such bold, big characters in the
foreground that it goes without notice.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Simone Martini’s <i>Annunciation</i> (1333) depicts the archangel
Gabriel saying ‘Hail Mary, God is with you’. He holds an olive branch to
signify peace, as upon arrival her expression is visibly frightened. Martini’s
painting technique has been influenced by French art hence the pink cheeks and
soft faces. <o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: Arial, Helvetica, sans-serif;">Ÿ<!--[endif]--><b><i>Sala del Gotico
Internazionale</i></b><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">International Gothic room.<span lang="EN-GB"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Gentile de Fabriano‘s 1423 <i>Adoration of the Kings (Pictured Left) </i>was
painted alongside early Renaissance art. While the likes of Brunelleschi were
researching mathematics in order to produce perfect art, Fabriano remained old
fashioned. However, while it is old fashioned and covered in gold leaf, he
offers a lot of movement in the background, and landscape. Therefore we say that
this style, international gothic, was simply to boast the commissioners wealth
and status - it doesn’t necessarily lack skill.
<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: Arial, Helvetica, sans-serif;">Ÿ<!--[endif]--><b><i>Sala di Primo
Rinascimento</i></b><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Early Renaissance room.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This room features the <i>Battle of san Romano</i>, by Paulo Uccello.
Uccello was active under Cosimo de’ Medici in the 15<span style="mso-text-raise: 2.0pt; position: relative; top: -2.0pt;">th</span> century. This painting had pride of place in
the Palazzo Medici in the bedroom of Lorenzo the Magnificent. It portrays a
fight with the Sienese people and its main function is to fuel patriotism. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Domenico Veneziano is also among the painters represented here.
Veneziano was infamously believed to have been murdered by Andrea del Castagno
- it was only proved recently that the latter died before him and thus that is
not possible. The culprit for this misinformation is Giorgio Vasari and his
sometimes not so reliable <i>Lives</i>. His <i>Mary and Child (1447) </i>depicts
St. Francis, Madonna and Child, St Zanobi, St. John the Baptist and St.
Lucy. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Lastly to be discussed from this room is the <i>Human Trinity</i> which
is St. Anna, Mary and Christ child. This was a collaboration between Masolino
and Massacio. These names are their given nicknames, in fact they are both
called Thomas and these names characterise their painting technique. Masolino’s
nick name means little Tom, and makes reference to the soft, pretty faces he
paints; Massacio on the other hand means ‘Big, Ugly Tom’ and the faces he draws
are as implied. In the trinity, Masolino
paints the faces of the angels while the latter paints the trinity and
controversially depicts St. Ana as old.<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: Arial, Helvetica, sans-serif;">Ÿ<!--[endif]--><b>Sala Di Fillipo
Lippi</b><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>Duke and Duchess of Urbino, </i>1473 by Pierro della Francesca. The Man shown
here is not drawn in three quarter profile (the norm) but in full profile. This
is believed to be a subtle indication from the artist that he was disliked
among the public - his allegiances during fighting were dependent on who paid
him the most money and was therefore considered disloyal. The Duchess is
painted very pale because she was dead when it was painted. The piece is
painted recto en verso and therefore has two sides. The back side (verso) shows
cardinal virtues being drawn by white horses (behind the Duke) while brown
horses are pulling along the theological values at the back of the depiction of
the Duchess.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg83-XXr3LU3zQjQJ2MeSs6XfPszU21KNlmN3aRzY0adg67FJGjlVEWegk1NI7Y7U2bLQw3Rqu7ogdUGt7ZrU3UWpsQd0TXrme240NX-EciVg-PuUfHXyPJGnzQffzvrMNx8l-vY7fTbU4/s1600/UFFIZI+4.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg83-XXr3LU3zQjQJ2MeSs6XfPszU21KNlmN3aRzY0adg67FJGjlVEWegk1NI7Y7U2bLQw3Rqu7ogdUGt7ZrU3UWpsQd0TXrme240NX-EciVg-PuUfHXyPJGnzQffzvrMNx8l-vY7fTbU4/s1600/UFFIZI+4.jpg" height="320" width="219" /></span></a><span style="font-family: Arial, Helvetica, sans-serif;"><i>Adoration of the Magi</i>, 1496 by Fillipo
Lippi recalls some elements from Leonardo Da Vinci’s <i>Adoration</i> such as <i>horror
vacui </i>- the fear of space (usually used in mannerist paintings); and <i>morti
mentali </i>or ‘state of mind’ that shows a variation of expression on faces
and in the posture of figures.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>Madonna and child with two angels </i>(Pictured Right) also by
Lippi shows an attractive Mary that is modelled on a nun he knew and fell in
love with. Her gesture represents humility and is a typical pose of friars,
monks and nuns.<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: Arial, Helvetica, sans-serif;"><span lang="ES">Ÿ</span><!--[endif]--><b><span lang="ES">Sala di Antonio e
Piero del Pollaiuolo</span></b><span lang="ES"><o:p></o:p></span></span></div>
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<span lang="ES"><span style="font-family: Arial, Helvetica, sans-serif;">Antonio and Piero del Pollaiolo room.<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Antonio’s two actions of Hercules were part of a wider series of
paintings commissioned by the Medici.
The Medici commissioned and owned a lot of art work with the subject matter
being something other than Christianity. This is because they would have liked
everybody else to identify them with beauty and intelligence . <o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: Arial, Helvetica, sans-serif;">Ÿ<!--[endif]--><b>Sala di
Botticelli</b><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Botticelli room.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>Birth of Venus </i>(1486): The Venus
figure was based on a Roman statue in the house of Medici. At either side of
Venus Botticelli has portrayed the following: Zephyr the God of Wind with the
nymph he transformed into a Goddess (to the left) and a beautiful mistress from
Portovenere (to the right). Zephyr is effectively ‘blowing’ Venus to the shore
of Portovenere. <i><o:p></o:p></i></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i>Pallas and the centaur </i>(1482): Shows a centaur preparing his bow and
arrow to attack while Pallas controls his violent passion and dissuades him
from doing so. Her role as the ‘controller‘ echoes the power of the Medici as
their symbol of intertwined rings are painted on her clothes.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfqEfxoMXqKcP_4-VKzPXohOft9tZeDKgHT-hjLc4ndOE1LQteo_urGGw3L8_ORN9YoutWIrkTRP_XH6TeKjUCyGwY1x1aqOdAY3s37AKwB0vl5S8WM0xgmFM2GxAF8DtLz_JoiIX-ZQE/s1600/uffizi+5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfqEfxoMXqKcP_4-VKzPXohOft9tZeDKgHT-hjLc4ndOE1LQteo_urGGw3L8_ORN9YoutWIrkTRP_XH6TeKjUCyGwY1x1aqOdAY3s37AKwB0vl5S8WM0xgmFM2GxAF8DtLz_JoiIX-ZQE/s1600/uffizi+5.jpg" height="200" width="320" /></span></a><span style="font-family: Arial, Helvetica, sans-serif;"><i>Primavera (</i>1482): Botticelli’s Primavera was the first in the trio of paintings
that I have discussed. They were commissioned by Lorenzo the Magnificent in
order to pass on to his cousin as a wedding gift. Primavera shows a beautiful
Venus in the middle of the composition while her son, Cupid, is above and
blindfolded while aiming for somewhere with a burning arrow (we can assume this
was aimed at the couple to be married). To the right of Venus, you can also see
Chloris and her transformation from nymph to Goddess, with Zephyr at her side.
She is seen emerging from the woodlands with flowers erupting for her mouth and
then almost falling into her Goddess form (See Left). <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">As a trio, the messages to the couple of whom would acquire them were:
recreate, avoid infidelity and to get married in the Spring.</span><span style="font-family: Calibri, sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
Roxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.com0tag:blogger.com,1999:blog-1605303010941877706.post-11513645734498261652014-08-19T20:46:00.001+01:002014-08-19T21:15:53.153+01:00Florence 2012 Journal: Analysis of the New Sacristy<div class="MsoNormal">
<b><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri;">Further analysis of the
New Sacristy in San Lorenzo</span></b><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri;">The new Sacristy in the
Capella Medicee of San Lorenzo as already explained, serves a triple function
and was left unfinished. Although the Medici’s didn’t have the extent of power
they would have liked after the death of the two Dukes buried here, they were
still considered nobles. Thus, they called upon Michelangelo (his works were
clearly that of a status symbol) to execute their New Sacristy. Their belief
was that time may well pass, but fame will not. <o:p></o:p></span></div>
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<span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri;">Michelangelo had originally
planned for a mausoleum type structure to occupy the space. The Duke of
Nemours, Duke of Urbino, Lorenzo the Great and his brother were to be placed at
either side of the square tomb monument in the middle of the room. <o:p></o:p></span></div>
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<span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri;">As it stands now, the
tombs of Lorenzo and his brother are situated opposite the altar. The Duke of
Nemours and Duke of Urbino are placed at either side of the room. Although the
wall space in the middle never reached completion and is therefore plain,
Michelangelo was in keeping with the wishes of the Medici in that Lorenzo
and his brother are placed underneath the patron saints of the house of Medici
(St. Cosmus and St. Damien). This serves as an allusion to the former acting as
family patrons themselves, which also explains their placement directly
opposite the altar and either side of the Virgin Mary.<o:p></o:p></span></div>
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<span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri;">If facing the altar, the
tomb of Giuliano or otherwise known the Duke of Nemours is situated on the
right (Fig. 2). He was famously fond of Leonardo Da Vinci and was the brother
of Pope Leo X. His statue on top of the tomb shows him with a weapon in hand,
referring to his ‘active role’ that is contrasted with Lorenzo’s tomb statue
showing his ‘passive role’ (mentioned below). The other statues placed directly
on top of the sarcophagus portray day and night; the night figurine is shown
with a mask and owl to her side and the day figure has its back turned to us
and as claimed by Umberto Baldini, ‘</span><span lang="EN-GB" style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: Calibri;">the
figure is believed to derive from the Belvedere Torso<i>’</i> (Fig. 3). <span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-size: 12pt;">[1]</span></span><!--[endif]--></span></span><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri;">Opposite from Giuliano
stands the tomb of Lorenzo, the Duke of Urbino. (Fig. 1). He was the nephew of
the Duke of Nemours. Lorenzo’s statue is contemplative and depicts him as
resting his elbow on what is believed to be a money box; scholars believe this
implies his role as a guardian and portrays him the more passive of the two
Dukes. Like Giuliano’s wall tomb, there are also two statues placed in a
similar way atop the sarcophagus. These two however, represent dawn and
twilight. Their iconography is not concrete, however what was found in the <i>Archivio
Buonarroti </i>seems to consolidate the belief that they are in fact dawn and
twilight. In studying this document which is presumably a plan for the tomb,
John Pope-Hennessey concluded that: ‘below running across the sheet, in the
positions occupied by the Allegories, is a conversation between the Times of
Day of the Sarcophagus’.<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[2]</span></span><!--[endif]--></span> In
simple terms, Michelangelo had written ‘times of day’, or something to that
effect, on top of the sarcophagus in the plan. Now considering that the subject
matter of both ‘night’ and ‘day’ had already been used on the other tomb, it is
a natural assumption that the remaining two statues would therefore be ‘dawn’
and ‘dusk’. While it is arguable that they could have well been the same, it is
unlikely because Vasari notes that Michelangelo ‘wished for all parts of the
world‘ to be depicted in the New Sacristy.<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[3]</span></span><!--[endif]--></span>
Therefore, it is feasible to assume that the ’Times of Day’ statues make the
following set: Dawn, Day, Dusk, Night. Rather than: ‘Day, Night, Day, Night’.<o:p></o:p></span></div>
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<span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri;">By 1519 the Duke of
Urbino (1492-1519) and Duke of Nemours (1479-1516) had both died. With these
deaths, the so called ’opportunity’ for the Medici to obtain Papal power
dwindled. They no longer had the two Dukes of whom were close to the Pope. Luckily
however, before their death the Medici’s made use of their position in
persuading the Pope to reinstate the position of their family in Florence in
1512. <o:p></o:p></span></div>
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<span class="FootnoteCharacters"><span lang="EN-GB" style="font-family: "Calibri","sans-serif";"><!--[if !supportFootnotes]--><span class="FootnoteCharacters"><span lang="EN-GB" style="font-size: 10pt;">[1] </span></span></span></span><span lang="EN-GB">U. Baldini, <i>The
Sculpture of Michelangelo </i>(Rizzoli International Publications, 1984), 56. The
Belvedere Torso is a limbless and headless Classical statue, believed to date
around 2 AD. It is signed by an unknown Athenian sculpture ’Apollonios Son of
Nestor’. The comparison between the ‘day’ figure and the Belvedere torso is
made because Michelangelo was known to be very impressed and intrigued by this
piece.<o:p></o:p></span></div>
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<span class="FootnoteCharacters"><span lang="EN-GB" style="font-family: "Calibri","sans-serif";"><!--[if !supportFootnotes]--><span class="FootnoteCharacters"><span lang="EN-GB" style="font-size: 10pt;">[2]</span></span><!--[endif]--></span></span><span lang="EN-GB"> </span><span lang="EN-GB" style="font-family: "Calibri","sans-serif"; mso-bidi-font-family: Calibri;">E.
Balas, <i>Michelangelo’s Medici Chapel: A New Interpretation (Memoirs of the
American Philosophical Society),</i> (Amer Philosophical Society, 1995), 72.</span><span lang="EN-GB"><o:p></o:p></span></div>
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<span class="FootnoteCharacters"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="FootnoteCharacters"><span lang="EN-GB" style="font-size: 10pt;"><span style="font-family: Calibri, sans-serif;">[3]</span> </span></span></span></span><span lang="EN-GB" style="font-family: "Calibri","sans-serif"; mso-bidi-font-family: Calibri;">E.
Balas, <i>Michelangelo’s Medici Chapel: A New Interpretation (Memoirs of the
American Philosophical Society),</i> (Amer Philosophical Society, 1995), 70.</span><span lang="EN-GB"><o:p></o:p></span></div>
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Roxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.com0tag:blogger.com,1999:blog-1605303010941877706.post-31954289848919717892014-08-19T20:43:00.002+01:002014-08-19T20:43:15.296+01:00Florence Journal 2012: Michelangelo and La Accademia<div class="MsoNormal">
<b><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri;">Michelangelo and La Accademia</span></b><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri;">The Accademia is a
gallery in Florence that</span><span lang="EN-GB" style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri;"> </span><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri;">we visited for a second time during our sixth week here. The Accademia
is renowned for the David that was crafted at the hands of Michelangelo but
also has many of his other, albeit unfinished, works.<o:p></o:p></span></div>
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<span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri;">The David, you will
notice, is covered with wires to monitor the effect of movement around it as it
is fairly fragile. This is because it spent 300 years exposed to the elements
and in this time was struck by lightning and had his toe hammered off in the
1540’s. Although so carefully looked after because it is considered a
masterpiece, it does have its faults. For example, the legs are slightly out of
proportion and there is a crevice in his upper back where Michelangelo had
simply run out of marble.<o:p></o:p></span></div>
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<span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri;">Michelangelo was known to
work ‘into the stone’. Therefore, pushing the material back as he carved an
image out of it. He always began a sculpture from the edge of the stone (unlike
Donatello, who also did a portrayal of David during his career, who began his
work from the center of the stone). This can be seen from the unfinished pieces
from the 1503 commission in which Michelangelo was asked to sculpted the 12
disciples (one pictured below). This was never finished as he was bombarded with commissions
following the success of his David - he didn’t have enough time! <o:p></o:p></span></div>
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<span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri;">Another attribute
specific to Michelangelo was his ‘Infinito concept’. It does not mean
unfinished per se, but rather that you must complete the rest in your own mind
with your own experience. Evidence of this lies in the inscription of his
completed Pieta that reads ‘work in progress’.<o:p></o:p></span></div>
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Roxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.com0tag:blogger.com,1999:blog-1605303010941877706.post-29326134817092462932014-08-19T20:39:00.001+01:002014-08-19T20:39:39.491+01:00Florence 2012 Journal: Palazzo Vecchio<div class="MsoNormal">
<b><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri;">Palazzo Vecchio</span></b><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri;">The name of this
government building in Florence means the ‘Old Palace’. It was given this name
when Duke Cosimo 1<sup>st</sup> changed the residency of the Medici from here
to the Palazzo Pitti. It overlooks the Piazza de la Signoria and was extended
under the Medici’s following the Republics short-lived rule.<o:p></o:p></span></div>
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<span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri;">Among the many impressive
rooms of the palace is the Hall of 500. Originally built for the republic until
Cosimo took over and commissioned it to be revamped. One of the main features
of the room is the elaborate fresco cycle by Vasari and his workshop. There are
numerous scenes with the horses and fighting men that have clearly been
inspired by the Battle of Anghari fresco that is now hidden underneath.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi16Z6sMua-IDqC7QJ03OYSX1Sj_GID7tg08Ck-ZAZWGOhi2Yw-FqXS2P9B5R6FULRFL5v12EMVF95cXOckfGYNN_uUuEiUGIpd2tNylC3gbI_-XxuL4W9VkQ25XrDk2xiLzY7AXGs66XI/s1600/palazzo+vecchio.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi16Z6sMua-IDqC7QJ03OYSX1Sj_GID7tg08Ck-ZAZWGOhi2Yw-FqXS2P9B5R6FULRFL5v12EMVF95cXOckfGYNN_uUuEiUGIpd2tNylC3gbI_-XxuL4W9VkQ25XrDk2xiLzY7AXGs66XI/s1600/palazzo+vecchio.jpg" height="320" width="240" /></a><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri;">The now hidden Battle of
Anghiari has been the target of much research. One research team in particular,
independent of the OPA, found evidence that the scene underneath Vasari’s
fresco (opposite the entrance from the stairs) was in fact done by Leonardo.
The pigments they found were typical of Leonardo and have never been attributed
to any other artist. The technique to find this was with an endoscope. It was
the only method approved by the mayor of Florence. The research was largely
restricted in that they were only allowed to inject the endoscope in 5
different holes. These areas were chosen by the mayor as the areas had already
been tampered with. Unfortunately, these prescribed holes were not near the
inscription of ’Cerca Trova’ (He who looks for it shall find it), which is
often believed to be a hint to the location of the original Leonardo - left
behind by Vasari’s t</span><span style="font-family: Calibri, sans-serif; font-size: 12pt;">eam. The research team had previously asked to be
granted permission to use the non-invasive method of ‘Backscattering Neutronico’.
However, this technique involves the use of fissionable neutrons and fears
arose surrounding its safety; therefore, it was not given the go ahead.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMeB_BPFr89m3Re7eqosm8HG-tFg4EdIAns9EuCPua4GQnJCOZ10QjcqnZfWbAe6FvsbnXhacX0daZTh6qudtAJCWT4R7IZYzju9FxWUsU6wkBGvNpstOH5IlTsqrVDbCURvK42weU5Yc/s1600/hall+of+500.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMeB_BPFr89m3Re7eqosm8HG-tFg4EdIAns9EuCPua4GQnJCOZ10QjcqnZfWbAe6FvsbnXhacX0daZTh6qudtAJCWT4R7IZYzju9FxWUsU6wkBGvNpstOH5IlTsqrVDbCURvK42weU5Yc/s1600/hall+of+500.jpg" height="240" width="320" /></a><span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri;">Vasari’s intervention in
the original Hall of 500 (Pictured Left, with Palazzo Vecchio Above) includes
raising the height of the room, as with the entire building. He also covered a
number of windows with plaster and redirected the course of the original
staircase. We know this because of a number of written sources such as Giorgio
Vasari’s ‘Le Vite de’ Pui’ Eccelenti Pittori’. But also because of the likes of
Ultrasounds and Infrared Reflectograms which are able to signify areas with
more air infiltration.<o:p></o:p></span></div>
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<span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri;">Other areas within the
Palazzo Vecchio of note are the two Studiolo’s that home expensive, valuable
items and quite often fine jewellery. They are fairly small and are in the
shape of a treasure box to allude to it being a ‘chamber of miracles’.<b><o:p></o:p></b></span></div>
Roxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.com0tag:blogger.com,1999:blog-1605303010941877706.post-66170054839291586122014-08-19T20:34:00.000+01:002014-08-19T20:34:54.653+01:00Florence 2012 Journal: Capella Medicee<div class="MsoNormal" style="text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Capella Medicee</b><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The Capella Medicee
consists of Michelangelo‘s 16<sup>th</sup> century ‘New Sacristy’ and the 17<sup>th</sup>
century ‘Chapel of Princes’. They are later additions to the original church of
San Lorenzo that was erected in the 15<sup>th</sup> century at the hands of
Brunelleschi. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The New Sacristy is
dedicated to St. Mary and<span lang="EN-GB"> </span>she is thusly depicted opposite the altar. Michelangelo’s depiction of a
breastfeeding Mary is highly unusual. The room also has a further two
functions, one being where a priest would get ready and the other a tomb space.
This triple function is emphasised in the three separate parts of the walls in
the room. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Michelangelo has
evidently incorporated Romanesque ideas into the design. Most notably he is
influenced by Brunelleschi<span lang="EN-GB"> </span>with the dome and colour scheme of white and grey. However, although he
has drawn influences from elsewhere, they are not without his own twist. The
dome, for example, is hanging on pendentives (see picture) instead of the
octagonal ‘umbrella’ shape that was employed by Brunelleschi. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The chapel also has a
Coffered ceiling, clearly inspiration taken from Rome and the Pantheon. This is
probably no mistake, as the Medici held themselves in high esteem whilst also
having ties with the Papacy in Rome. However, the New Sacristy has been left
unfinished and is not what Michelangelo had envisioned. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The Chapel of the Princes
is located opposite the main nave of San Lorenzo (hence importance) and has the
Old Sacristy to the left and the New Sacristy to the right. Each tomb of each
prince has a niche above in which a bust in situated with very idealised
features. It is octagonal in shape which not only conveys the belief in
resurrection but in this case also alludes to the sense of the eternal power of
the Medici’s.<o:p></o:p></span></div>
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Roxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.com0tag:blogger.com,1999:blog-1605303010941877706.post-82224741945646210442014-08-19T20:28:00.000+01:002014-08-19T20:30:16.320+01:00Florence 2012 Journal: Comparing the two Pulpits of the Baptistery in Pisa and Cathedral in Siena<div class="MsoNormal">
<b><span style="font-family: Arial, Helvetica, sans-serif;">Comparing the two Pulpits
of the <span style="font-size: small;">Baptistery in Pisa and Cathedral
in Siena.<o:p></o:p></span></span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The Pulpit in the
Baptistery of Pisa was completed in 1260 and the Pulpit in Siena’s cathedral
followed five years later and was eventually completed in 1268. Nicola Pisano
was Pivotal in the sculpting of them both. However, Pisano’s son Giovanni,
assisted him in the latter along with a possible relative of Alnorfo Di Cambio.
As with most Pulpits, they have both been moved around in their respective
locations. Furthermore, they both depict the conventional scenes of the life of
Christ. Namely the Annunciation, the Adoration of the Magi, the Slaughter of
the Innocents, the Crucifixion and the Last Judgement.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The earlier Pulpit (Fig.
2) was among the first to step away from what was typical for their form. It
was built at a time when the Gothic style had been introduced by the Pisan
Cardinal as a ‘fashionable’ style. You can see this in the ‘bushy capitals’
which are a supposed ’Gothic variation of the Corinthian capital’.<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[1]</span><!--[endif]--></span> <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Furthermore, Pisano also
incorporates classical elements into his work. This can be seen across both
Pulpits, in Fig. 2 with the naked classical figure (believed to be Hercules)
and in Fig. 1 with the naked bodies in the Last Judgement scene. Conversely,
such influences are most notably found in the form of Roman Sarcophagi. In
fact, in the ‘Adoration of the Magi’ scene, St. Mary is depicted with a temple above
her head - this is identical to a depiction found on a sarcophagus in the
Camposanto (Fig. 2). What is more, it is asserted by Fred Kleiner that if you
were to alter the dimensions of the panels slightly, then they would have been
akin in form to Roman Sarcophagi.<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[2]</span><!--[endif]--></span> This is
all an allusion to Pisa as the ‘New Rome’ as they were reproducing exact
replicas in some cases of classical sculpture. The historian Christopher
Klenhenz puts it in the following terms:<o:p></o:p></span></div>
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<i><span style="font-family: Arial, Helvetica, sans-serif;">‘This hexagonal Pulpit is
decorated with scenes from the life of Christ that are characterized by
classical forms; like the inscriptions on the face of the Cathedral, these
forms connect the work to the popular theme of Pisa as new Rome’. <span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b>[3]</b></span><!--[endif]--></span><o:p></o:p></span></i></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">However, while he did
begin to use new elements he did also continue in Medieval tradition somewhat
in that the bottom of the columns are supported by lions (there is one lion
breastfeeding so we can only assume Pisano wanted to depict a lioness but did
so wrongly as it has a mane). Their inclusion alongside new, innovative
elements, could be because the lions were so symbolically important. Their
importance derives from folklore that states
a lion will breathe into the open mouths of his cubs and give them
vision which is an allusion to Resurrection. This feature was also carried
forward for the later Pulpit in Siena; (Fig.1) but in contrast to the earlier
pulpit, the latter lioness is depicted correctly. This could be either testament to Pisano’s
improvement as an artist or the involvement of others; Charles Norton asserts
the former saying that the ‘<span lang="EN-GB">Sienese pulpit
shows the advance that Niccola had made in the six years since the Pisan pulpit
was completed’.<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB">[4]</span></span><!--[endif]--></span></span><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Considering the two
Pulpits had were made under the same man, and not even a decade apart, they are
bound to be similar. However, I believe the new generation of artists (in the
form of his son, Giovanni) meant that the style of the latter Pulpit in Siena
was developing akin to Proto - Renaissance sculpture. It was evidently not
completely what we consider ‘Renaissance’ today but the development is evident.
In my opinion, the Sienese Pulpit bridged the difficulties Nicola had with
space and depth with the almost ease at which Giovanni achieved those very
elements in his Pulpit in the Cathedral at Pisa at the beginning of the 14<sup>th</sup>
century.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXGNke6GCemck1h-4L2uiB1TY4EuF-KOoYug2NLM2luWyw4o85eeH256pX4tA-SfbnMSvBTV1oi51AfZwLPBof_8AKo0IcvfJXf95Q2NDrfRgqpWVF-gXWjYsdmKlHBZ02ExmlMEDuFzw/s1600/pulpits.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXGNke6GCemck1h-4L2uiB1TY4EuF-KOoYug2NLM2luWyw4o85eeH256pX4tA-SfbnMSvBTV1oi51AfZwLPBof_8AKo0IcvfJXf95Q2NDrfRgqpWVF-gXWjYsdmKlHBZ02ExmlMEDuFzw/s1600/pulpits.jpg" height="321" width="400" /></a></div>
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<div id="ftn1">
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<span style="font-family: Arial, Helvetica, sans-serif;"><span class="FootnoteCharacters"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="FootnoteCharacters"><span lang="EN-GB">[1] </span></span></span></span>C. Mamiya, F. Kleiner, <i>Gardner’s Art Through the
Ages, Western Perspective</i>, (Wadsworth Publishing Co Inc; 12<sup>th</sup> Revised Edition, 2005),
406.<span lang="EN-GB"><o:p></o:p></span></span></div>
</div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span class="FootnoteCharacters"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="FootnoteCharacters"><span lang="EN-GB">[2]</span></span></span></span><span lang="EN-GB"> </span><i><span lang="EN-GB">Ibid.</span></i><span lang="EN-GB"><o:p></o:p></span></span></div>
</div>
<div id="ftn3">
<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><span class="FootnoteCharacters"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="FootnoteCharacters"><span lang="EN-GB">[3] </span></span></span></span><span lang="EN-GB">C.
Klenhenz<i>, Medieval Italy: An Encyclopedia: 002 </i></span><i>The Routledge Encyclopaedias of the middle ages </i>(Routledge, 2003), 906.<span lang="EN-GB"><o:p></o:p></span></span></div>
</div>
<div id="ftn4">
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<span style="font-family: Arial, Helvetica, sans-serif;"><span class="FootnoteCharacters"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="FootnoteCharacters"><span lang="EN-GB">[4] </span></span></span></span><span lang="EN-GB">C.
Norton, <i>Historical Studies of Church Building </i></span><i>in the Middle Ages: Venice, Siena, Florence 1902</i> (Kessinger Publication, 2003), 132.</span></div>
</div>
</div>
Roxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.com0tag:blogger.com,1999:blog-1605303010941877706.post-59333452674536245432014-08-19T20:21:00.000+01:002014-08-19T20:29:20.129+01:00Florence 2012 Journal: Siena<div class="MsoNormal">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>Siena</b><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">On the 9<sup>th</sup> of
November we visited Siena.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The Palazzo Publico is
situated in the Piazza del Campo: a shell shaped Piazza with 9 fragments. These
fragments represent each of the 9 contrade (districts) of Siena that were
present during its contruction in 1297. Its original purpose was to seat the
house of 9, the mayor and the house of justice. It is built on a hill with a 30
metre decline from the north side to the south side of the palace and thus the
ground is acknowledged to be insecure. Therefore the bottom of the building is
made in stone, while the upper part is<span lang="EN-GB"> </span>far lighter and built with bricks to keep the delicate ground underneath
from collapsing. Opposite the Palazzo is the fountain that is used to water the
horses during the biannual horse race held there.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY2Ab2bhi8BR_oLTopbjeOnTxAJS51emiLedeRuqQSuJpaTFn42G1g1baeOldwhllChZ79EB4OSlu1pP4uh8lEGjCMimBbyQ4HdXRDS2WkEXvGOFTRr2xwdKglHDSq_e0NdfJLaE4vCCE/s1600/siena+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY2Ab2bhi8BR_oLTopbjeOnTxAJS51emiLedeRuqQSuJpaTFn42G1g1baeOldwhllChZ79EB4OSlu1pP4uh8lEGjCMimBbyQ4HdXRDS2WkEXvGOFTRr2xwdKglHDSq_e0NdfJLaE4vCCE/s1600/siena+1.jpg" height="240" width="320" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">It was paid for by one
of the two major parties at the time: the Guelphs. They supported the Papacy
unlike the other party, the <span style="background-color: white; line-height: 18.200000762939453px;">Ghibellines</span>, who supported the merchants. We know
this because of the flat dentals (tourettes that look like teeth - pictured above)
used on the building. The Guelphs were known to build flat ones whilst rounded
dentals are attributed to the Ghibellines.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The right side of the
palace (with the tower) is where the seat of the Mayor is, the middle is used
for the government (originally the House of 9) and to the right is where the
seat of justice is located. The tower, ‘Torre del Mangia’ is the latest
addition built in 1338-48. The name means ‘Tower of the Eater’ and derives from
the character of its first Guardian - Giovanni di Balduccio. Infamously known for ‘eating’ all of that he
earned!<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Inside you can find the
Fresco by Simone Martini in the Sala del Mappamondo (the World Map Room). It is
slightly damaged due to water infiltration from the lodger located above, the
salt content of the wall and the humidity from below. There is also evidence of
the blue background peeling off but this is because the Lapis Lazuli (blue
pigment) was applied in secco and therefore is likely to peel. It was completed
in 1315 and had to be restored only 6 years later because of the problems
mentioned beforehand. The room in which
it is located is called as it is because opposite the Maesta used to be a large
rotating map of the world. The ability to rotate it has resulted in circular
marks left behind on the wall.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The following room has a
panoramic fresco by Ambrogio Lorenzetti depicting the ‘Good and Bad Government‘. It shows
the strife caused by the previous ‘bad government’ then evolves into a
harmonious depiction of the Sienese countryside under the new ‘Good
Government’.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwD0a-5ios7muVAEudDwNsIUr1vaPW3l6OVUuqFcAPKaupvj39-VlTozGPlIMV0dEP7E-Fmh1lWTGspYP2ATKnJpkX07DZKBjqpaD6T490ry2WdNu_3gH5t6fEoUKgdBnDsPZih8yAyjw/s1600/siena+3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwD0a-5ios7muVAEudDwNsIUr1vaPW3l6OVUuqFcAPKaupvj39-VlTozGPlIMV0dEP7E-Fmh1lWTGspYP2ATKnJpkX07DZKBjqpaD6T490ry2WdNu_3gH5t6fEoUKgdBnDsPZih8yAyjw/s1600/siena+3.jpg" height="240" width="320" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Siena’s cathedral was completed in the 13<sup>th</sup>
century and was rebuilt on an earlier site. There were plans to extend it
ambitiously. However, the Black Death in the 1340’s meant that the work had to
be put on hold. Once the Plague had passed on, the Sienese realised that there
were fatal errors in what had already been built and that the insecure ground
(as mentioned earlier) would not be able to support the structure. Therefore,
work was never resumed and all that can be seen now are the outer walls of what
was to become the new nave (See Left), to the right of the front façade.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnlrB1zbmVA1Sha_zrwZqXrDn1bQtn_QvL8M9-eu9Ulj4Zj7sLm7kti2evZzxUPiRq85O6Y8rVBP6hXsMyD6pn1OAYI9F4Q3fWypxjKUGnGviwzrT-u-oWpzOseNYwsoWha-N9qAwbilM/s1600/siena+4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnlrB1zbmVA1Sha_zrwZqXrDn1bQtn_QvL8M9-eu9Ulj4Zj7sLm7kti2evZzxUPiRq85O6Y8rVBP6hXsMyD6pn1OAYI9F4Q3fWypxjKUGnGviwzrT-u-oWpzOseNYwsoWha-N9qAwbilM/s1600/siena+4.jpg" height="240" width="320" /></span></a><span style="font-family: Arial, Helvetica, sans-serif;">The main Façade of the
Cathedral took nearly 100 years to complete. It is said to have been created in
two stages - the first stage of its construction was completed<span lang="EN-GB"> </span>up to the Lunettes and the second was from the Lunettes upwards. The
first stage began in the 1280’s and stopped abruptly in 1317. The majority of
the work done was completed according to Giovanni Pisano’s (Nicola’s son)
plans. The second stage was not completed until the least 1360-70’s and was
fairly in keeping with Pisano’s plans. However, the new architect Giovanni di
Cecco had to modify Pisano’s plans somewhat in order to accommodate for the
OPA’s desire for the façade to be raised.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Therefore, the Cathedral
is a combination of Sienese Romanesque (that looked towards Classical
Antiguity) and the French Gothic style (Di Cecco’s influence). For example, the
columns at either side begin in the traditional Romanesque style only to
transform into Pinnacles as they reach the height of the façade, a typical feature in Gothic architecture. Another thing
to note are the black and white stripes not only seen on/inside of the Cathedral
but throughout Siena too, they are the official colours of Siena.</span><span style="font-family: Calibri, sans-serif; font-size: 12pt;"><o:p></o:p></span></div>
Roxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.com0tag:blogger.com,1999:blog-1605303010941877706.post-5678743989896854402014-08-19T19:55:00.003+01:002014-08-19T19:55:51.367+01:00Florence 2012 Journal: Pisa and Pistoia<span style="font-family: Arial, Helvetica, sans-serif;">Pisa & Pistoia</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">On the 5th of November we visited Pisa via Pistoia. During our time in the latter we saw the Romanesque church called ‘San Giovanni Afuera la Citta’ (St. John Outside of the City).</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">The church (below) is slightly more influenced by Pisan architecture than that of Florence. Notice the aqueduct arcades that are decorated with rhombuses‘ on the underside. Although this is a feature found briefly on the façade of Santa Maria Novella and San Miato al Monte, it is far more prominent in the Pisan Piazza dei Miracoli (in fact, the Leaning Tower of Pisa, the cathedral and Baptistery are all completely covered in these arcades - pictured below).</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKrksZtvGiHDOBZZbBELTkf5UoNHf3hU5x8bE57JXY9vecCa78wcIokHFmgb-uzA37Uyvy60gomk0xnXcrR6cDR1OPuMTuZWlAQGfA1QSwxdNtGa1O99A2z6Y011fIV3qtv4GzTBBF1l4/s1600/pisa1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKrksZtvGiHDOBZZbBELTkf5UoNHf3hU5x8bE57JXY9vecCa78wcIokHFmgb-uzA37Uyvy60gomk0xnXcrR6cDR1OPuMTuZWlAQGfA1QSwxdNtGa1O99A2z6Y011fIV3qtv4GzTBBF1l4/s1600/pisa1.jpg" height="320" width="240" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH_MnvenVz-UK3YW_N1iJv6sUZXkTIAlrFPxP715elKIa2GpkTf1veBBHvC2Vmx2RnhZxZ6xOKhLT2Hn-iGvYq1Zqppqh6Y8xb380_IEcuMnEIpt5klfuGw9-Ci8VkoXZLkv3F4tJ9k7k/s1600/pisa+4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH_MnvenVz-UK3YW_N1iJv6sUZXkTIAlrFPxP715elKIa2GpkTf1veBBHvC2Vmx2RnhZxZ6xOKhLT2Hn-iGvYq1Zqppqh6Y8xb380_IEcuMnEIpt5klfuGw9-Ci8VkoXZLkv3F4tJ9k7k/s1600/pisa+4.jpg" height="320" width="240" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Once in Pisa, we visited the Baptistery. It began construction in 1152 and was finished by 1363. The chief architect was initially Diotisalvi, later replaced by Nicola Pisano (who is responsible for the Pulpit inside). It is circular in shape and alludes to the belief in Resurrection while it also has a double shell construction on the roof. The inner roof credited to Diotisalvi is a pyramid shape; and Pisano’s roof is the outer shape that we see with the Cupola sat on top. The result of this structure is that the acoustics are perfect and on our visit we were lucky enough to see a demonstration from one of the curators!</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmviXybNCvnsphegW08R8S2dFb90oH2FtENn9rs4y2vSXw8YoKUHq-Suw78SLC30S39TDVXbHCCbSp3opgxdJOSAUYZKsBRaH9CcP6dimrw_g1hlVTofLSwLUczfbpbeC7U-U5OHSmju0/s1600/pisa3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmviXybNCvnsphegW08R8S2dFb90oH2FtENn9rs4y2vSXw8YoKUHq-Suw78SLC30S39TDVXbHCCbSp3opgxdJOSAUYZKsBRaH9CcP6dimrw_g1hlVTofLSwLUczfbpbeC7U-U5OHSmju0/s1600/pisa3.jpg" height="320" width="240" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Next we saw the cemetery: ‘Camposanto’ (Holy Field -1278). It was built by the same architect that oversaw the construction of the Leaning Tower, Giovanni di Simone. It is supposedly built around the ’Holy Soil’ that was plundered from Golgatha during the crusades (11th-13th century AD), hence its name. It is an oblong shaped cloister and thus stylistically Gothic. However, it is not entirely original due to the fact that it had to be rebuilt (albeit rebuilt identical to what stood before) after it was bombed by the allies in 1944.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Pisa’s Cathedral (Santa Maria Assunta) began construction in 1064 under the architect Buscheto. It is a prime example of Pisan Romanesque and the façade was built by a prominent artist from that era called Rainaldo. In keeping with Pisa trying to be the ‘New Rome’, they imitated the columns of the Pantheon. In doing so they made the columns out of one singular slab of rock - which is very impressive craftsmanship. The coffered ceiling is a 16th Century Medici addition following a fire that had damaged the previous roof.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsWJynEjLAH-JUZGc98tlkgS1UJV5FtUa4E023FXhHUArFgQ8Ma5HDr2L3sZFC6Jx2JBpBgxgp13ncTV9hWLGE6TRcrKe1wzCylmZnwi9cierd_CZM6GwMROg5oKo_Px2oWHz2ur54vbk/s1600/pisa2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsWJynEjLAH-JUZGc98tlkgS1UJV5FtUa4E023FXhHUArFgQ8Ma5HDr2L3sZFC6Jx2JBpBgxgp13ncTV9hWLGE6TRcrKe1wzCylmZnwi9cierd_CZM6GwMROg5oKo_Px2oWHz2ur54vbk/s1600/pisa2.jpg" height="240" width="320" /></a></div>
<br />Roxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.com0tag:blogger.com,1999:blog-1605303010941877706.post-57311640369270985242014-08-19T19:35:00.000+01:002014-08-19T19:53:48.675+01:00Florence 2012 Journal: Analysis of the fresco cycle in the Capella Maggiore at Santa Maria Novella<div class="MsoNormal">
<b><span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; line-height: 115%;">Analysis of the fresco cycle in the Capella
Maggiore at Santa Maria Novella<o:p></o:p></span></b></div>
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<b><span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; line-height: 115%;"><br /></span></b></div>
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<span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; line-height: 115%;">The
Capella Maggiore of Santa Maria Novella is called the Tornabuoni Chapel. It is
renowned for its fresco cycle depicting the life of the Virgin Mary on the left
hand side of the wall and the life of St. John the Baptist to the right hand
side. The fresco was painted by Domenico Ghirlandaio and his workshop in the
late 15<sup>th</sup> century.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; line-height: 115%;">There
are 9 scenes from the life of the Virgin. The scenes read left to right, bottom
to top whist the 5<sup>th</sup> scene is situated in the middle row of the
central wall towards the left. The second from last scene is painted in the
lunette at the top whilst the last scene is in the lunette of the central wall.
The scenes begin at the expulsion of Joachim from the temple. The remaining 8
scenes tell the stories of the following: Mary’s Nativity, Presentation of Mary
at the Temple, Marriage of the Virgin, Annunciation, Nativity of Christ,
Slaughter of the Innocents, Assumption of the Virgin and lastly, the Coronation
of the Virgin.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; line-height: 115%;"><br /></span></div>
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<span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; line-height: 115%;">Facing
opposite, the life of St. John the Baptist reads in the same way and similarly
has the 5<sup>th</sup> scene painted in the middle row of the right hand side
of the central wall whilst the 8<sup>th</sup> scene is painted in a lunette.
The scenes are: The Apparition of the Angel to Zechariah, Visitation, Birth of
St. John, Zechariah Writing His Son’s Name, St. John in the Desert, St. John
preaching, Baptism of Jesus Christ and Herod’s banquet.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; line-height: 115%;">The
central wall is mainly covered by the stained glass windows. However as already
discussed, the lunette at the top depicts the coronation of the virgin and the
middle row of either side tells a scene from the lives of the two saints. The
remaining 4 scenes are St. Dominic Tests Books in the Fire, The Martyrdom of
St. Peter, Giovanni Tornabuoni (the son of Domenic) and lastly his wife,
Francesca Pitti.<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="line-height: 115%;">[1]</span></span><a href="https://d.docs.live.net/aede227a405533ea/Documents/ART%20HISTORY/Week%201%5eJ2%5eJ3%5eJ4%20journal%20(REVISITED).docx#_ftn1" name="_ftnref1" title=""><!--[endif]--></a></span><o:p></o:p></span></div>
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<span lang="EN-GB" style="line-height: 115%;"><span class="MsoFootnoteReference"><span class="MsoFootnoteReference" style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></span></div>
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<span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; line-height: 115%;">There
is an abundance of painted bronze, expensive jewellery and extensive decoration
painted throughout the fresco cycle. Much of the bronze decorations and
decorations on the pilasters (the ones found in the scene of Mary’s birth) are
believed to be copies from pictures in the workshop books from Tornabuoni’s
workshop. The copies were carried out by the less experienced in his workshop,
in order for them to practice. The art historian Carol Frick also notes that
the expensive jewellery painted in the fresco cycle were family air looms of
the patrons and served as an example of their wealth<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="line-height: 115%;">[2]</span></span><!--[endif]--></span>.
This ties in with the assertions made by Jill Burke, who stated that, the
patrons of whom were awarded rights over the chapel where done so if they were
to provide ‘honourable decoration for the space’. Although this would refer
mainly to the ‘ornament, books and other expenses’<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="line-height: 115%;">[3]</span></span><!--[endif]--></span>
it is also clearly a reference to the depictions of valuable ornaments and
jewellery in the fresco cycle itself.<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; line-height: 115%;"><br /></span></div>
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<span lang="EN-GB" style="font-family: Arial, Helvetica, sans-serif; line-height: 115%;">Although
one would assume that the main purpose of this chapel is wholly religious,
Florence was very conscious of the fact that is was ‘renowned for power and
wealth, for its victories, for its arts and its buildings’ and ‘enjoyed great
prosperity’<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="line-height: 115%;">[4]</span></span><!--[endif]--></span>.
Conclusively, this chapel like many others exemplify the power of the city and
the patrons of the church and it is feasible to assume that the churches
themselves were where the Florentines boasted their wealth the most. <o:p></o:p></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div>
<!--[if !supportFootnotes]--><span style="font-family: Arial, Helvetica, sans-serif;"><br clear="all" /></span>
<hr align="left" size="1" width="33%" />
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<div id="ftn1">
<div class="MsoFootnoteText">
<span style="font-family: Arial, Helvetica, sans-serif;"><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="line-height: 115%;">[1]</span></span><!--[endif]--></span></span><span lang="EN-GB"> D. O’Leary, <i>Harmony and
Ritualistic Allusion in the Tornabuoni Chapel in Santa Maria Novella</i>, (University
of Michigan, 1983)</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="line-height: 115%;">[2]</span></span></span>
G. Brucker, <i>Florence: the Golden Age
1138-1737</i> (University of California Press, 1998), 55.<span class="MsoFootnoteReference"> </span></span></div>
<div class="MsoFootnoteText">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB"><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="line-height: 115%;">[3]</span></span><!--[endif]--></span>
</span><span lang="EN-GB">C. Frick the, </span><span lang="EN-GB">Dressing
Renaissance Florence: Families, Fortunes, and Fine Clothing (John Hopkins University Press, 2005), 271.</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB" style="line-height: 115%;">[4]</span></span></span></span><span lang="EN-GB"> J. Burke, <i>Changing Patrons:
Social Identity and the Visual Arts in Renaissance Florence</i>, (Pensylvannia
State University Press, 2004), 123</span></span><span style="font-family: Arial, Helvetica, sans-serif;">.</span></div>
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Roxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.com0tag:blogger.com,1999:blog-1605303010941877706.post-64845952697168014272014-08-19T19:29:00.000+01:002014-08-19T19:29:45.814+01:00Florence 2012 Journal: Santa Maria Novella<div class="MsoNormal">
<b><span lang="EN-GB" style="line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;">Santa Maria Novella<o:p></o:p></span></span></b></div>
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<b><span lang="EN-GB" style="line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></b></div>
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<span lang="EN-GB" style="line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;">Santa
Maria Novella was built as the city’s most important Dominican church and is
largely Gothic in style. The facade was completed by Leon Battista Alberti in
1470 and was paid for by some of the most affluent families of Florence at the
time. The name translates to the ‘new’ St. Mary; this is because the Dominican
order who took hold of the church in the 13<sup>th</sup> century wanted to
build over the earlier 9<sup>th</sup> century oratory, Santa Maria delle Vigne.
<o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQm9N8BNQqJrFQ4474yrKKjpmn9pcNtdy8T2eginaEkclvDuATTdTA62L-66mrlsZwvgQW-on7e8B9_pNymMhiWMMDXI7Ddckhmh3v2d99drFgILKzJdabRp2IF6QE8vbMzJqlXPR5PW4/s1600/santa+maria+novella.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQm9N8BNQqJrFQ4474yrKKjpmn9pcNtdy8T2eginaEkclvDuATTdTA62L-66mrlsZwvgQW-on7e8B9_pNymMhiWMMDXI7Ddckhmh3v2d99drFgILKzJdabRp2IF6QE8vbMzJqlXPR5PW4/s1600/santa+maria+novella.jpg" height="240" width="320" /></span></a></div>
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<span lang="EN-GB" style="line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;">The
layout of the church is a Dominican tau shaped cross. As with Santa Croce,
there are 16<sup>th</sup> century altars that were an addition from Vasari,
although they are far less imposing than those at Santa Croce. An example of
this is the fact that Vasari deliberately avoided covering an earlier fresco on
the wall. Instead, he built an altar structure around the painting (this has
now been removed and only the fresco remains).<o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEC4o82Nbx4kvgjFbqvrpSRc9n44-3txMp3r_nkFbSXwuRbgFlb6J2midh3p7gmezga2c5mV6hzOcxTDFcBEYIG_ab_M-F0t59urjPjg7ASUoYrQMCfzrhlnYTr4fASDLLbToIvWuOJkg/s1600/massacio+trinity.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEC4o82Nbx4kvgjFbqvrpSRc9n44-3txMp3r_nkFbSXwuRbgFlb6J2midh3p7gmezga2c5mV6hzOcxTDFcBEYIG_ab_M-F0t59urjPjg7ASUoYrQMCfzrhlnYTr4fASDLLbToIvWuOJkg/s1600/massacio+trinity.jpg" height="320" width="146" /></span></a></div>
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</w:wrap></v:imagedata></span></v:fill></v:shape><span lang="EN-GB" style="line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;">The fresco
(above) was by Masaccio and depicts the holy trinity (1425). There are
evident influences from Brunelleschi here in the depiction of coffers. As we
know, Brunelleschi had studied the pantheon in order to build the dome (started
in 1420 and completed in 1436) in Santa Maria del Fiore.<o:p></o:p></span></span></div>
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<span lang="EN-GB" style="line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;">There
are also notable features that suggest an influence from the Northern
Renaissance. Firstly, the kneeling figures is something thought to be derived
for a Dutch school but more importantly from the Netherlands came the idea of playing
with death. At the bottom of the image, there is a skeleton, (a Memento Mori
(reminder of death)) with an inscription that translates ‘I was that what you
are and you will be that what I am now’. <o:p></o:p></span></span></div>
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<span lang="EN-GB" style="line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;">A
similar example of a painting that warns us that we will be ‘how they are’ is an
early 16<sup>th</sup> century painting by Giorgione, with an elderly, toothless
woman pointing inwards to herself. This was based on a poem by the late Lorenzo
the Great (died 1492) about a young beautiful girl and the race to get married
before she was too old.<o:p></o:p></span></span></div>
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</span></span></div>
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<span lang="EN-GB" style="line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;">Returning
to the painting by Masaccio, there are four spectators in the scene. Two remain
outside, likely to be the commissioners, and the two people either side of
Christ are Mary and St John the Evangelist. Mary is seemingly detached from
Christ’s death as she shows no sorrow and points us towards her son on the
cross. This is usually interpreted to mean that Mary is already aware of the
fact that he will resurrect and is therefore not upset. <o:p></o:p></span></span></div>
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<span lang="EN-GB" style="line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB" style="line-height: 115%;"></span></span></div>
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<span lang="EN-GB" style="line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;">This
painting is largely in one point perspective. Note how the people in front of
Christ are not bigger, and that everything behind him gives a sense that they
are receding. However, there is one exception: God the father. He is too large;
by the rules of one point perspective he should be receding into the background
as are the people in the foreground in order to make Christ the centre of
attention. This bending of the rules is testament to how important God the
father was – he must always be represented as the most important.<o:p></o:p></span></span></div>
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<span lang="EN-GB" style="line-height: 115%;"><span lang="EN-GB" style="line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;">Another
important piece of art that the church has is Giotto’s crucifix that has just
been restored. The crucifix bears the innovative depiction of Christ’s belly
(usually painted in three unnatural sections in the byzantine manner. See Right),
that portrays the genuine effects of crucifixion on the belly. When someone is
crucified, the lower abdomen appears hollow because the stomach rises up higher
in the body and crushes the lungs.</span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj48N-4766Aw1i4zgRp9hN4WADEDdg0uGL4IL4RimeDhJNREL28Cq-ffxshSM8KD8Bt43idpnildrlphGQ1o5uaDD3rHDByDFTX3N9CY9RG8PmoON6i3n2Pm1PmnoRVcdIXX2c4g-3Ex8/s1600/giotto+crucifix.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj48N-4766Aw1i4zgRp9hN4WADEDdg0uGL4IL4RimeDhJNREL28Cq-ffxshSM8KD8Bt43idpnildrlphGQ1o5uaDD3rHDByDFTX3N9CY9RG8PmoON6i3n2Pm1PmnoRVcdIXX2c4g-3Ex8/s1600/giotto+crucifix.jpg" height="320" width="244" /></span></a></div>
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<span lang="EN-GB" style="line-height: 115%;"><span lang="EN-GB" style="line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;">Giotto’s
crucifix (above) is on top of a rock formation at the bottom. Christ is
painted as bleeding from his Stigmata; the blood is shown to be covering the
rock underneath. If looked at closely, the very bottom of the rock has a slight
niche where you can see a tiny skull. This represents Adam from the story of
Genesis and follows the legend that Christ was killed on top of Adam’s burial
ground in Golgotha and that Christ is dying to repent the sins that are
seminally present in everyone because of the fall of Adam and Eve.</span></span></span></div>
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<span lang="EN-GB" style="line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;">As
mentioned earlier, rich families helped fund the build of the church and
therefore have their own respective chapels. One of the families who helped
fund the church was the Strozzi. Their chapel is to the left of the Capella
Maggiore and it is decorated with frescoes with an altar piece in the middle.
The subject matter of the chapel is the Last Judgement. The right wall depicts
paradise, the middle wall purgatory whilst the last wall is a depiction of
hell. There are a number of inscriptions that are derived from Dante’s Divine
Comedy. The frescoes were completed by Andrea and Nardo di Cione and Niccolo Di
Tommaso in 1360. The altar piece is slightly regressive in sophistication for
its time because tt was made shortly after the Black Death. Therefore a handful
of artists who knew the new techniques were gone whilst the ones who remained
believed that the Black Death was caused by the less holy depictions of saints
in art work. Finally, as with many altarpieces, this needs to remain in the
chapel for the iconography to make sense. For example, the Predella of the altar
piece where the devil and angels fight for the souls of the dead would not make
contextual sense if sat in a museum.</span><span style="font-size: small;"><o:p></o:p></span></span></div>
Roxanne Jodiehttp://www.blogger.com/profile/12747632083085519624noreply@blogger.com0