http://www.artinitsplace.com/intro-photos daily 0.75 2016-09-20 https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/t/57e08bbce6f2e1f209bbb8a2/1474330751960/ Intro Photos - Page 4: Sassetti family chapel, Santa Trinità, Florence We could experience Ghirlandaio's famous Adoration of the Shepherds on the altar in the side chapel of the Sassetti family to the right of the main altar of the church of Santa Trinità—witnessing how the frescoed scene of the healing of a young boy directly above the altar was set in the Via Tornabuoni immediately in front of this very church. (Florence, painted in the 1480s) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/578262c85016e19ee3cc7445/578266e215d5db8fe5670df2/1474330751960/Sassetti+-5.jpg Intro Photos - Page 4: Sassetti family chapel, Santa Trinità, Florence We could experience Ghirlandaio's famous Adoration of the Shepherds on the altar in the side chapel of the Sassetti family to the right of the main altar of the church of Santa Trinità—witnessing how the frescoed scene of the healing of a young boy directly above the altar was set in the Via Tornabuoni immediately in front of this very church. (Florence, painted in the 1480s) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/578262c85016e19ee3cc7445/5782649bf5e2316f63dd7142/1474330935578/aiipintro-1.jpg Intro Photos - Page 4: Meeting room of the Council of the Nine Commissioned for the meeting room of the Council of Nine, that council’s legislative work— their liturgy—would have been enacted under Ambrogio Lorenzetti’s conscience-pricking gures of virtues and vices embodying the elements of the commonweal and of tyranny. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/578262c85016e19ee3cc7445/578262d95016e19ee3cc7490/1474332203439/Duomo+Apse-1.jpg Intro Photos - Page 5: Apse of the Orvieto Duomo I began wondering if maybe seeing a frescoed Life of Mary of second- ary fame and quality (like that in the apse of the Orvieto Duomo*) but still unprotected in an active church was a more fruitful and satisfying educa- tive experience than one’s allotted een minutes in the Scrovegni Chapel in Padova. (Painted by Ugolino di Prete Ilario in the 1370s-1380s) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/578262c85016e19ee3cc7445/57ad0a7af5e231ed41cdccef/1474332248019/Intro+JES+photo-1+Met+NYC+Birth+of+the+Virgin-1.JPG Intro Photos - Page 12: Altarpiece, Santa Maria della Bella, Urbino (1467) Fra Carnevale (Bartolomeo di Giovanni Corradini) Italian, born by 1416—died 1484 Urbino The Birth of the Virgin Tempera and oil on wood https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/578262c85016e19ee3cc7445/57ad0aa3bebafb7f41f69583/1474332934835/Intro+JES+photo-2+Barnett+Newman+Stations+of+the+Cross+Nat+Gallery+DC-1.JPG Intro Photos - Page 14: Barnett Newman, Stations of the Cross To progress tearfully on your knees from one to another of Barnett Newman’s Stations of the Cross in the East Wing of the National Gallery of Art would bring the guards running. (Newman's series is now displayed in the National Gallery of Art, Washington, D.C., but was first shown at the Guggenheim Museum in 1966.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/578262c85016e19ee3cc7445/57ad0b43c534a528e26880dc/1474333045119/Sassetti+-2.jpg Intro Photos - Page 17: Ghirlandaio, Sassetti family chapel [Ghirlandaio] painted the altarpiece, depicting the scene of the Adoration of baby Jesus by the shepherds, with the procession of the three Kings in the distance making their progress towards Bethlehem, and he frescoed the walls of the chapel with scenes from the life of Saint Francis. (Church of Santa Trinità, 1480s) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/578262c85016e19ee3cc7445/57ad0af7197aeae282e664e8/1473036717549/Intro+JES+photo-3+Sassetti+sarcophagus.JPG Intro Photos - Page 18: Sarcophagus, Sassetti family chapel In fact, this chapel is the burial chapel for the pater familias who funded the lease of the chapel and its decoration. The sarcophagi in niches in the side walls contain the remains of Francesco and his wife Nera Corsi. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/578262c85016e19ee3cc7445/57ad0b8f29687ffc5cbd56ce/1474333628482/Intro+JES+photo-4+Sassetti+patrons.JPG Intro Photos - Page 19: Sassetti family chapel In fact the painting’s border is permeable, reaching out to include the two figures frescoed into the walls on either side of the panel. These two figures, clearly portraits of Sassetti and his wife, gaze into the painting, as it were, kneeling in adoration of the Christ child. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/578262c85016e19ee3cc7445/57ad1346414fb5e8bfce74b7/1470960454634/ Intro Photos http://www.artinitsplace.com/chapter-1-photos daily 0.75 2016-09-21 https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/t/57e313f02e69cffe309ec257/1470958972555/ Chapter 1 Photos https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57ad0d491b631b42e05fb63c/57ad0d679f74568f3aa512ae/1470958972555/ Chapter 1 Photos https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57ad0d491b631b42e05fb63c/57ad0dcfbe6594345ac241b5/1474496838834/Brancacci-7.jpg Chapter 1 Photos - Page 28: Expulsion in the Brancacci Chapel, Florence (1420s) I enter this topic through one of the most famous artworks of the early Italian Renaissance: the painting by Masaccio of the Expulsion of Adam and Eve from the Garden of Eden.   https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57ad0d491b631b42e05fb63c/57ad0e0db8a79b5f526b24ab/1474496904680/Brancacci-41.jpg Chapter 1 Photos - Page 28: Brancacci Chapel (1420s) In its original setting in Florence, the painting is frescoed on the top half of one of the pilasters (decorative columns) that frame the entrance into the private chapel of the Brancacci family in the transept of the church of the monastic order of the Carmelites: the church of Santa Maria del Carmine. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57ad0d491b631b42e05fb63c/57ad0e59b3db2bacff939878/1474496914605/Brancacci-16.jpg Chapter 1 Photos - Page 28: Temptation of Adam and Eve, Brancacci Chapel Frescoed on the corresponding top half of the opposite pilaster is the scene of the Temptation of Adam and Eve before the Fall, painted by Masolino.   https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57ad0d491b631b42e05fb63c/57ad15decd0f687fdc5ef1ea/1474499192696/Brancacci-2.jpg Chapter 1 Photos - Page 29: Paying the Temple Tax Attentive viewers will note soon enough that the episodes selected for this cycle notably relate to money. Peter pays the temple tax with a coin found in a fish’s mouth (Matthew 17:24-27). https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57ad0d491b631b42e05fb63c/57ad1603cd0f687fdc5ef336/1474499254773/Brancacci-24.jpg Chapter 1 Photos - Page 29: Peter heals the lame man Peter heals the crippled man begging for alms, with the word, “Gold and silver have I none, but what I have I give to you; in the name of Jesus Christ of Nazareth, stand up and walk” (Acts 3:1-10). https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57ad0d491b631b42e05fb63c/57ad16276b8f5b2251268629/1474499279318/Brancacci-19.jpg Chapter 1 Photos - Page 29: Peter giving alms Ananias keels over dead as Peter rebukes him for having deceptively held back some of the money gained by the sale of a field (Acts 4:34 - 5:11). https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57ad0d491b631b42e05fb63c/57ad16146b8f5b22512685ac/1474499304525/Brancacci-18.jpg Chapter 1 Photos - Page 29: Peter, Simon Magus, Nero Peter is challenged to a power contest in front of Nero by Simon the magician, the man who had offered Peter money for the power to perform miracles granted by the Holy Spirit (Acts 8:9-24). https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57ad0d491b631b42e05fb63c/57c99a8a9de4bb3184277622/1474499568037/brancacci-16.jpg Chapter 1 Photos - Page 29: Peter in prison, and released from prison The obvious parallelism in the two scenes on the same pilasters below the Temptation and Expulsion would further suggest such a pattern of design. In fact, frescoed on the lower halves of the entrance columns are two episodes involving Peter in prison. Below the Temptation is the scene of an angel leading Peter out through an arched doorway of a building with barred windows. e scene is drawn from the episode recounted in Acts 12:5–9 of Peter’s miraculous delivery from the prison in Jerusalem where he had been placed under heavy guard by King Herod. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57ad0d491b631b42e05fb63c/57c99a779de4bb318427756e/1474499410200/brancacci-7.jpg Chapter 1 Photos - Page 30: Peter in prison, below the Expulsion Directly opposite the scene of Peter’s liberation from prison is another scene in which Peter is clearly in prison, in conversation with the figure standing outside the barred window (who turns out to be Paul). http://www.artinitsplace.com/chapter-6-photos daily 0.75 2016-09-27 https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/t/57ea43ed20099e3d1d3b8860/1474827083609/ Chapter 6 Photos - Page 101: Belltower, Florence cathedral Small scenes carved in marble relief by some of the chief sculptors of the age depict the seven virtues (the three theological virtues on the left of the row pictured and the four cardinal virtues on the right), the seven liberal arts (the Trivium and the Quadrivium), the seven planets, the worthy and essential professions, scenes from the account in Genesis of the origins of human being, and, yes, the seven sacraments. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57c43516e58c622e8b802e62/1474827083609/dsc_0487_25497825886_o.jpg Chapter 6 Photos - Page 101: Belltower, Florence cathedral Small scenes carved in marble relief by some of the chief sculptors of the age depict the seven virtues (the three theological virtues on the left of the row pictured and the four cardinal virtues on the right), the seven liberal arts (the Trivium and the Quadrivium), the seven planets, the worthy and essential professions, scenes from the account in Genesis of the origins of human being, and, yes, the seven sacraments. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57c43513ebbd1ac6f25f6f08/1474827095165/dsc_0485_25228326580_o.jpg Chapter 6 Photos - Page 101: Theological virtues The three theological virtues of faith, charity, and hope (in their order from left to right on the Belltower), emphasized in 1 Corinthians 13. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57c4351520099e1e8b3e8f14/1474827119770/dsc_0486_25431184531_o.jpg Chapter 6 Photos - Page 101: Four cardinal virtues Prudence, Justice, Temperance, Fortitude, in their order from left to right on the Belltower. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57c4351a20099e1e8b3e8f43/1474827138077/dsc_0495_25405439642_o.jpg Chapter 6 Photos - Faith https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57c43519e58c622e8b802e6d/1473379181515/dsc_0494_25156412429_o.jpg Chapter 6 Photos - Love https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57c4351920099e1e8b3e8f23/1473379194163/dsc_0493_25405437772_o.jpg Chapter 6 Photos - Hope https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57c4351820099e1e8b3e8f20/1473379210434/dsc_0492_24893410414_o.jpg Chapter 6 Photos - Prudence https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57c4351ae58c622e8b802e8b/1473379225979/dsc_04900_25524174025_o.jpg Chapter 6 Photos - Justice https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57c4351a20099e1e8b3e8f46/1473379238705/dsc_04899_25524173405_o.jpg Chapter 6 Photos - Temperance https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57c4351720099e1e8b3e8f1d/1473379253086/dsc_0488_25228332850_o.jpg Chapter 6 Photos - Fortitude (or Courage) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57c43513e58c622e8b802e4e/1474827197275/Belltower+Liberal+Arts+JES.JPG Chapter 6 Photos - page 101: The Seven Liberal Arts Astronomy, Music, Geometry, Grammar, Rhetoric, Logic, and Arithmetic https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57b632a8d482e99dbebdb2de/1471558514933/Belltower+medallions+virtues-1.jpg Chapter 6 Photos - Belltower medallions Virtues 1 https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57b633c29de4bb6c5c0b885b/1474827286439/Belltower+medallions+sacraments-1.jpg Chapter 6 Photos - Page 101: The Seven Sacraments depicted on the Belltower (Arranged in the Museum of the Works of the Cathedral in the same order as on the Belltower: from left to right, Baptism, Confession, Marriage, Holy Orders ...) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57b633c99de4bb6c5c0b889a/1474827314015/Belltower+medallions+sacraments-2.jpg Chapter 6 Photos - Page 101: The Seven Sacraments on the Belltower (Holy Orders, Confirmation, Holy Communion, Annointing of the Dying, arranged in the Museum of the Works of the Cathedral according to their order on the Belltower) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57b634ddf7e0abfaa2b760a4/1474827382142/FraAngelico+Benchback-1.jpg Chapter 6 Photos - Page 103: The Last Judgment, Fra Angelico (1420s) One is a painting of the Last Judgment on a wood panel about a meter and a half wide, with curved scalloping along the top that might be found on a piece of furniture. And that’s exactly what it was. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57b634e6f7e0abfaa2b760ec/1474827426509/FraAngelico+chest-1.jpg Chapter 6 Photos - Page 103: Painted chest for gifts of silver, Fra Angelico ... a set of large square and rectangular panels, each containing smaller panels painted with scenes from the life of Christ. One can imagine the large panels as the sides of an enormous chest—and so they once were. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57b634efe58c62b613f5d463/1474827457860/FraAngelico+chest-2.jpg Chapter 6 Photos - Page 103: Scenes from the Life of Christ decorating the cabinet Piero de Medici, chief patron of the order in the mid-fifteenth century, commissioned Fra Angelico to paint the movable shutters of an enormous cabinet built to safeguard precious objects crafted in silver, offerings of pious visitors who flocked to the Florentine church of Santissima Annunziata ... https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57b634f9e58c62b613f5d4b5/1474827477918/FraAngelico+chest+detail-1.jpg Chapter 6 Photos - Page 104: Detail of Fra Angelico's cabinet Fra Angelico decorated this Armadio degli Argenti with small scenes from the life of Christ. Written across the bottom of each small square panel is the source-text of the episode in the Gospels, and across the top a reference to a passage from the Old Testament that prophetically prefigures the event. (The events in this photograph are the Flight into Egypt, and the Massacre of the Innocents.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57b63502e58c62b613f5d508/1474827512786/FraAngelico+chest+detail-2.jpg Chapter 6 Photos - Page 104: A panel depicting the Annunciation Written across the bottom of each small square panel is the source-text of the episode in the Gospels, and across the top a reference to a passage from the Old Testament that prophetically prefigures the event ... The reference in the scene of the Annunciation, for instance, is Isaiah’s prophecy, “Behold, a Virgin shall conceive and bear a son, and his name shall be called Immanuel” (7:14). https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57c436bd9de4bb0a96de3e23/1474827666644/Altar+side+chapel+Sta+Trinit%C3%A0+JES.JPG Chapter 6 Photos - Page 105: Annunciation by Lorenzo Monaco (1420s) in the chapel of the Bartolini-Salimbeni family Along with the elements of intricate design-work in wood or stone or enameled glass or mosaic bestowed on altars themselves, the altar typically served as the base (or physical reference point) for a painted panel—the altarpiece—that served as the backdrop of the actions performed at the altar. (Here, a side chapel in the church of Santa Trinità in Florence; photograph by the author.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57b635ade58c62b613f5db73/1474827730067/Sasseti+major-1.jpg Chapter 6 Photos - Page 106: Ghirlandaio's altarpiece of the Adoration of the Shepherds (1485), Sassetti Chapel In the Sassetti chapel altarpiece, Ghirlandaio has represented the manger as a Roman sarcophagus, resonant with several overlapping meanings, one of which is to remind us that this baby will be crucified and buried before he rises from the tomb. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57b635b55016e15ef504b42e/1474827784825/Medici+chapel+altar-1.jpg Chapter 6 Photos - Page 106: Adoration of the Infant Jesus, chapel in the Medici Palace, Florence The scene of the Nativity on the altar of the private chapel of the Medici family seems deliberately dark and empty, the baby Jesus lying alone on the ground with no one but his parents nearby. (Painted by Filippo Lippi in the 1450s; a copy is now in the chapel) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57b635be5016e15ef504b4cc/1474827856472/Pontormo+deposition+-1.jpg Chapter 6 Photos - Page 106: Deposition by Pontormo, Church of Santa Felicità in Florence (1528) Altarpieces depicting the Deposition—the lowering of the dead Jesus from the Cross to prepare the body for burial—heighten the resonance for the communicant between the host (the consecrated wafer of bread) and the dead body sacrificed for us ... https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57b635c05016e15ef504b4cf/1474827908329/Santa+Trinita+trinity-1.jpg Chapter 6 Photos - Page 106: Church of Santa Trinità, Florence, altarpiece depicting the Trinity The altarpiece on the high altar of Santa Trinità in Florence is a visual representation of the Trinity (unsurprisingly), with God the Father holding up the cross bearing the Son, with the Holy Spirit as dove descending from Father to Son. (Painted by Mariotto di Nardo, 1416) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57b6366ac534a53e72023e46/1474827943028/Siena+baptismal+fount+-1.jpg Chapter 6 Photos - Page 107: The Baptismal font in the Baptistry of the Siena cathedral An example well worth discussion is the baptismal font in the baptistery of Siena, notable for how not one but five prominent artists accepted commissions in the late 1420s to contribute to the series of panels cast in bronze relief that surround the font. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57b63672f5e2312e03ec68dd/1474828025172/Siena+baptismal+fount+cropped-1.jpg Chapter 6 Photos - Page 108-109: Elegant statues representing the Virtues on the Baptismal Font Focus on a single panel such as Donatello’s is likely to inhibit an informed perception of the hexagonal form of this baptismal font. The shape is highlighted by six elegant statues of female figures placed between the panels at the angles of the hexagon, each representing one of six virtues. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57c43733be6594ea1c7c4fd0/1474970605014/%231b+Pistoia+Giovanni+Sant%27Andrea+AnnucNativ.JPG Chapter 6 Photos - Page 113: Giovanni Pisano, Pulpit in the church of Sant'Andrea, Pistoia (1301) In one notable pulpit sculpted by Giovanni Pisano for the church of Sant’Andrea in Pistoia, its liturgical function is highlighted by the small statues placed at the angles between the panels. These statues depict the figure of the Deacon along with the figures of the Evangelists and Epistle-writers. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57c437352994ca285173659b/1474970359237/%231c+Pistoia+Giovanni+Sant%27Andrea+Deacon.JPG Chapter 6 Photos - Page 113: Pulpit in the church of Sant'Andrea, Pistoia These statues depict the figure of the Deacon along with the figures of the Evangelists and Epistle-writers. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57c43736f7e0ab69ed2a2e19/1474828611296/%231d+Pistoia+Giovanni+Sant%27Andrea+LukeLeft.JPG Chapter 6 Photos - Page 113: Pulpit by Giovanni Pisano, Sant'Andrea, Pistoia These statues depict the figure of the Deacon along with the figures of the Evangelists and Epistle-writers. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b632736a49637ae96f1517/57b6367eff7c50cc367720a9/1474970345981/Pisano+pulpit+-2.JPG..JPG Chapter 6 Photos - Page 113: Baptistry in Pisa, with font, pulpit and altar The first of these commissions was the pulpit in the Baptistry in the cathedral complex in Pisa, completed by Nicola Pisano around 1260, hexagonal in form. http://www.artinitsplace.com/chapter-2-photos daily 0.75 2016-09-22 https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/t/57e3213703596ee89c0e6047/1474499971265/ Chapter 2 Photos - Page 33: Raphael door frame (around 1508) On one of these walls, dedicated to the theme of the theology of the sacrament, Raphael integrated into the actual doorframe a painted ledge used by one of the figures in the painting to peer around for a better view of the Host displayed on the altar. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b619e69f745606fedb779e/1474499971265/Rafael+theology+door-1.jpg Chapter 2 Photos - Page 33: Raphael door frame (around 1508) On one of these walls, dedicated to the theme of the theology of the sacrament, Raphael integrated into the actual doorframe a painted ledge used by one of the figures in the painting to peer around for a better view of the Host displayed on the altar. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61a05e4fcb51fed97a614/1474500538487/Monte+Oliveto-22.jpg Chapter 2 Photos - Page 33: Monte Oliveto Maggiore (around 1500) The painter Sodoma made use of a window awkwardly piercing one of the arched panels by placing the figure of God at the top of the window-surround. (The window was originally on an outside wall, allowing the sunlight to shine through brightly.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61a119f745606fedb79a5/1474500581160/San+Brizio+Christ+window-1.jpg Chapter 2 Photos - Page 34: San Brizio Chapel Window below Christ By painting the shadows cast by the figures on the side walls (notably in the scene of the Resurrection of the Dead) so that the shadows seem to be made by the light shining from the window, Signorelli creates a visual experience of both window and Christ as the source of light. By ingenuity of design, the artist, we might say, makes the architectural fact answerable to the painted scene. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61a1b9f745606fedb7a16/1474500604032/San+Brizio+resurrection+shadows-1.jpg Chapter 2 Photos - Page 34: San Brizio Chapel shadows on side walls By painting the shadows cast by the figures on the side walls (notably in the scene of the Resurrection of the Dead) so that the shadows seem to be made by the light shining from the window, Signorelli creates a visual experience of both window and Christ as the source of light. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61a623e00be5c9d451dd9/1474500659171/San+Brizio+ceiling+triangles-1.jpg Chapter 2 Photos - Page 34: Triangles in the ceiling of the San Brizio Chapel These patterns of triangles-in-fours running the length of the ceiling lent themselves to thematic groupings of fours. (In the half of the ceiling above the entrance to the chapel -- on the right half of this photograph -- four groups of the Church Triumphant are labeled: the Patriarchs, the Martyrs, the Virgins, the Doctors of the Church.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61ad6bebafbf83868cbb2/1474500708526/Siena+Baptistry+Ceiling-1.jpg Chapter 2 Photos - Page 34: Ceiling of the Baptistry in the Siena Duomo In the frescoed ceiling of the baptistry of the Siena cathedral ... each clause of the Apostles Creed is illustrated in one of the triangular sections created by the ribs of the vaulting, each containing the same figure with the word Credo (“I believe”) coming from his mouth. The scene visible in this photograph illustrates the clause, "He descended into hell ..." (These sections of the ceiling were painted by the Sienese painter Lorenzo di Pietro, known as Vecchietta, in the 1450s.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61aeb6b8f5bb02794c88c/1474500750456/Siena+Baptistry+ceiling+-2.JPG Chapter 2 Photos - Page 34: Siena Baptistry Ceiling, Apostles Creed (Four more clauses from the Apostles Creed are depicted in the four triangles in this section of the vault.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61b1fbebafbf83868cea8/1474500875791/Chapel+Holy+Coporal+Ceiling-1.jpg Chapter 2 Photos - Page 35: Chapel of the Holy Corporal, Orvieto Duomo Frescoed in the four sections of the vault directly over the altar are four Old Testament episodes concerning sacred meals: Abraham’s offering of bread and wine to Melchisedek, Abraham’s meal with the three angelic messengers, the provision of manna during the Exodus from Egypt to the Promised Land, and the bread brought by the raven that sustained Elijah in the wilderness. (The frescoes in this chapel were painted in the years around 1350 principally by the Orvietano artist Ugolino di Prete Ilario.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61b68bebafbf83868d20f/1474500998527/Duomo+apse-1.jpg Chapter 2 Photos - Page 36: The apse of the Orvieto Duomo The Orvieto Duomo, for example, is dedicated to the Virgin Mary, and its apse is decorated with an entire cycle of episodes from the life of Mary, arranged to rise from the walls to the vault above. (The apse was frescoed by Ugolino di Prete Ilario between 1370 and 1384). https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61b7c6b8f5bb02794cfa5/1474501058231/Duomo+apse-2.jpg Chapter 2 Photos - Page 36: Apse of the Orvieto Duomo Scenes from both the Scriptures and the legendary apocryphal narratives include her presence at Pentecost, her death and Assumption into heaven, and her Crowning at the hands of her Son—the scenes depicted in the vaulting at the culminating point of the church. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61b866b8f5bb02794d04e/1474501201009/Piero+Legend-1.jpg Chapter 2 Photos - Page 36: Legend of the Holy Cross in San Francesco, Arezzo Piero della Francesca’s frescoed cycle of the Legend of the Holy Cross was commissioned for the apse of the church of the Franciscan convent in Arezzo. (Painted, with interruptions, in the 1450s and 1460s.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61be5579fb3d4d99efac4/1474501241514/Florence+Baptistery-1.jpg Chapter 2 Photos - Page 38: The Baptistry in Florence The baptistry in Florence is one of the oldest public buildings in the city, constructed in its present form in the 11th century. Its striking form as an octagon is typical of early Christian baptisteries ... https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61bf16b8f5bb02794d55e/1474501582045/Florence+Baptistery-2.jpg Chapter 2 Photos - Page 38: Mosaic ceiling inside the Florence Baptistry The entire ceiling inside is covered by an immense programme of mosaics, created in the 13th century, whose narratives unfold against a background of gold. The commanding central figure, located over the altar, is that of Christ exercising Judgment. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61bff6b8f5bb02794d661/1474501620798/Florence+Baptistery-3.jpg Chapter 2 Photos - Page 38: mosaic ceiling inside the Florence Baptistry Four concentric strips of scenes that circle the rest of the ceiling narrate the stories of Creation and Fall in Genesis; of Joseph, sold by his envious brothers to traders only to rise to become the right hand man of the Pharaoh; of the life of Christ beginning with Mary’s youth; and, in the outermost ring, the life of John the Baptist. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61c6d414fb556f6dada58/1474501803332/Baptistry+pisano-1.jpg Chapter 2 Photos - Page 39: The doors of the Baptistry in Florence All three sets of doors for the baptistry in Florence are notable master- works of storytelling bas-relief cast in bronze. The creation of the doors began in the 1330s when Andrea Pisano was commissioned to create a new set of doors for the east side of the baptistry with the traditional subject: scenes from the life of John the Baptist. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61c9a414fb556f6dadc5a/1474501834458/Baptistry+ghiberti+-1.jpg Chapter 2 Photos - Page 40: Second set of doors for the Florence Baptistry Sixty years later in 1401, the cloth-finishers guild in charge of the upkeep and decoration of the Baptistry announced a competition among artists skilled in bronze-casting for a new set of doors to be installed on the east side of the Baptistry. ... It took Lorenzo Ghiberti [the winner of the commission] twenty-one years to complete the project, creating scenes from the life of Christ ... https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61c9f5016e1b55cf40f10/1474501892979/Baptistry+ghiberti-2.jpg Chapter 2 Photos - Page 40: Second set of doors for the Baptistry (This set of Ghiberti's scenes from the Life of Christ are found in the newly-renovated Museum of the Works of the Cathedral [Museo dell'Opera del Duomo, curated by the museum director, Monsignor Timothy Verdon], revealing their original splendor. Compare this photograph with the previous one, showing the same scenes on the doors in situ.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61cc3414fb556f6dade8d/1474502025691/Baptistry+paradise-1.jpg Chapter 2 Photos - Page 40: The third set of doors on the Baptistry With [Ghiberti's first set of] doors acclaimed by all, bringing honor to Florence, the Calimala guild kept Ghiberti on the payroll to produce yet another set of doors, those that Michelangelo would consider worthy to serve as “the gates of Paradise" (and not finished until 1452). https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61d64440243590afe83a5/1474502124658/Duomo+facade+top-1+copy.jpg Chapter 2 Photos - Page 41: The upper portion of the Orvieto Duomo Facade The façade of the Duomo in Orvieto is marked by several notable elements. (The main decoration of the façade occured in several phases from the 1310s to the 1350s, with the completion of the mosaic panels on the top half lasting into the next century.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61d7e440243590afe8515/1474502212036/Duomo+facade+bottom-1.jpg Chapter 2 Photos - Page 41: The Façade of the Orvieto Duomo https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61dab440243590afe871a/1474502231158/Duomo+facade+mosaic-1.jpg Chapter 2 Photos - Page 41: mosaic decoration on the columns Complex geometric patterns in mosaic decorate even the columns and piers. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61dc7440243590afe882f/1474502257514/Duomo+facade+beasts+-1.jpg Chapter 2 Photos - Page 41: the symbols of the Four Evangelists Extending dramatically from the façade are four bronze statues of the creatures traditionally taken to represent the four evangelists (the eagle of John, the bull of Luke, the lion of Mark, the angel-man of Matthew, drawn from the images in Ezekiel 1:10 and Revelations 4:6-7). https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61de2440243590afe89d6/1474502277206/Duomo+facade+beasts+cropped-1.jpg Chapter 2 Photos - Page 42: The Eagle of St. John & the Bull of St. Luke The outstretched talons of the Eagle seem ready to pluck the one standing below. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61e16440243590afe8c74/1474502298964/Duomo+facade+tent-1.jpg Chapter 2 Photos - Page 42: Madonna and Child over the central Doors Placed in the arch immediately above the main portal is a marble statue of the Virgin Mary, with her child Jesus on her lap, revealed yet enclosed by a bronze-cast pavilion whose curtains are pulled back by three angels in either side. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61e20c534a57897b57edd/1474502407271/Duomo+facade+top+detail-1.jpg Chapter 2 Photos - Page 42: Scenes in mosaic from the life of Mary The architectural elements of the upper zone of the façade serve as frames for a series of scenes from Mary’s life. ... Created in mosaic against a gold ground, these scenes become almost blindingly splendid when struck by the sun’s rays in late afternoon. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61e67440243590afe90ac/1474502451580/Duomo+facade+panels-1.jpg Chapter 2 Photos - Page 42: Panels in bas-relief carved in marble In the lower zone, punctuating the entire width of the façade at ground level and framing the three doors, four wide marble pilasters are in carved in bas-relief with scenes from scriptural narrative from Creation to Last Judgment. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61e84440243590afe9235/1474502484038/Duomo+facade+genesis-1.jpg Chapter 2 Photos - Page 42: Scenes from Genesis on the left panel On the left-most pilaster are scenes from the first chapters of Genesis: the story of the Creation (with God shaping the figure of Adam like a sculptor in clay, their two faces identical), the Temptation and Fall and Expulsion of Adam and Eve, concluding with Cain’s murder of his brother Abel. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61eb3440243590afe9497/1474502591150/Duomo+facade+genesis+detail-1.jpg Chapter 2 Photos - Page 42: The Temptation of Adam & Eve https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61ec7c534a57897b58642/1474502933894/Duomo+facade+christ-1.jpg Chapter 2 Photos - Page 43: Scenes from the Life of Christ on the third panel On the third panel (to the right side of the central door) are 16 readily identifiable scenes from the life of Christ ... https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b61967f5e23166ce614c20/57b61f17440243590afe99bc/1474502967480/Duomo+facade+last+judgement-1.jpg Chapter 2 Photos - Page 43: The Last Judgment on the right-most panel And finally, the rightmost pilaster is carved with the Last Judgment: the general resurrection of the dead from their tombs, the Saved ascending towards Christ enthroned in majesty at the top of the panel, those who rejected Christ herded by demons downwards to the place of wailing and gnashing of teeth. http://www.artinitsplace.com/chapter-9-photo daily 0.75 2016-09-26 https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/t/57e8f93ecd0f68ae05f597d3/1474885490760/ Chapter 9 Photos - Page 154: Gethsemane and Mary & Martha The main episode is that of Jesus praying in the Garden of Gethsemane on the night before his Crucifixion. This scene takes up only the left side of the painting. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b63fa72e69cf4320c77b98/57b63fe19f7456cc1c290db5/1474885490760/Gethsemane+%26+Mary+Martha-1.jpg Chapter 9 Photos - Page 154: Gethsemane and Mary & Martha The main episode is that of Jesus praying in the Garden of Gethsemane on the night before his Crucifixion. This scene takes up only the left side of the painting. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b63fa72e69cf4320c77b98/57b63fec03596e554807b19b/1474885612396/SMN+chapter+harrowing-1.jpg Chapter 9 Photos - Page 161: Santa Maria Novella Chapter House Harrowing [The Harrowing of Hell] takes up the bottom right corner of the immense Crucifixion frescoed by Andrea da Firenze in the chapter house of the Dominican monastery of Santa Maria Novella in Florence. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b63fa72e69cf4320c77b98/57b63ffb03596e554807b20b/1474885729672/San+Brizio+orpheus-1.jpg Chapter 9 Photos - Page 164: The story of Orpheus in the San Brizio Chapel, Orvieto Duomo Attentiveness to such parallel stories ... is relevant for understanding the art in places like the San Brizio Chapel in the Orvieto Duomo where several of these classical descents into the Underworld, including Orpheus’s failure to bring back Eurydice, are depicted directly beneath Signorelli’s fresco of the Damned being herded into Hell. (In this small painting, Signorelli depicts Orpheus charming Pluto with his singing.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b63fa72e69cf4320c77b98/57b6400d03596e554807b28d/1474885743706/San+Brizio+orpheus-2.jpg Chapter 9 Photos - Page 164: Orpheus looks back (In this second small painting, Orpheus looks back to see if Eurydice is still behind him, but thereby breaking the condition set by Pluto.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b63fa72e69cf4320c77b98/57b6401203596e554807b2cd/1474885758116/San+Brizio+damned-1.jpg Chapter 9 Photos - Page 164: The story of Orpheus, below the gathering of the damned ... Orpheus’s failure to bring back Eurydice [is] depicted directly beneath Signorelli’s fresco of the Damned being herded into Hell. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b63fa72e69cf4320c77b98/57b6401903596e554807b320/1474885802206/Donatello+magadalen-1.jpg Chapter 9 Photos - Page 166: Donatello's sculpture of Mary Magdalene (1450s) Donatello’s Mary Magdalene, for instance, carved in wood in the 1450s for a place among the sculptures in the Baptistry, is clearly the Magadalene of the hagiographic literature, not the Gospels. Her gaunt features and sunken eyes, her only clothing the never-cut hair once used to wash and dry the feet of her Lord, indicates the penitent Magdalene supposed to have lived the final years of her life as a hermitess ... (The sculpture is now one of the featured works of art in the newly-refurbished Museum of the Works of the Cathedral in Florence.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b63fa72e69cf4320c77b98/57b6401b03596e554807b326/1474885855454/San+Brizio+Dante+purgatorio-1.jpg Chapter 9 Photos - Page 168: Scenes from Dante's Purgatorio in the San Brizio Chapel In the lower more decorative zone, Signorelli imitates bas-relief sculptural medallions in small paintings that depict scenes from classical literature. The largest stretch of such reverse ekphrasis is the group of eleven medallions illustrating the first eleven cantos of Dante’s Purgatorio. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b63fa72e69cf4320c77b98/57b6402503596e554807b37d/1474885870579/San+Brizio+Dante+purgatorio-2.jpg Chapter 9 Photos - Page 168: Scenes from Dante's Purgatorio in the San Brizio Chapel The largest stretch of such reverse ekphrasis is the group of eleven medallions illustrating the first eleven cantos of Dante’s Purgatorio. (The first four cantos are illustrated in the four circular medallions surrounding a portrait of Dante himself.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b63fa72e69cf4320c77b98/57b6403603596e554807b3ef/1474885891689/San+Brizio+Dante+purgatorio-3.jpg Chapter 9 Photos - Page 168: Scenes from Purgatorio (here, from Canto 2) (This medallion depicts two episodes from Canto 2, in the foreground the Angel-ferryman who arrives with a boatload of souls, and, in the background, Cato rebuking Dante and the others for wasting time listening to a musician-friend of Dante's.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b63fa72e69cf4320c77b98/57b6404003596e554807b438/1474885921384/San+Brizio+Dante+purgatorio-4.jpg Chapter 9 Photos - Page 168: Scenes from Purgatorio, cantos 9-11 (Cantos 9, 10, and 11 of Dante's Purgatorio illustrated in three medallions on the altar wall.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b63fa72e69cf4320c77b98/57b6405003596e554807b4e2/1474885950194/San+Brizio+Dante+purgatorio-5.jpg Chapter 9 Photos - Page 168: Scenes from Purgatorio, here Canto 10 The tenth canto includes one of the most famous examples of ekphrasis in European literature: Dante’s poetic description of the work of art of God himself, who carves the cliff-face of one section of Mount Purgatory with bas-relief scenes of exemplars of the virtue of humility (the Virgin Mary, King David, and a figure from the classical world, Emperor Trajan). http://www.artinitsplace.com/chapter-5-photos daily 0.75 2016-09-25 https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/t/57e81140ff7c5055bd0d35e9/1474826458959/ Chapter 5 Photos - Page 86: The Virtues of Good Government in the Siena town hall Magnanimity is one of six key virtues deemed indispensable for the common-weal of Siena, as expressed visually in the fresco cycle of Good and Bad Government that surrounded the members of the Council of Nine when they met together. (Painted by Ambrogio Lorenzetti in the late 1330s in the town hall, Siena; in this photograph, the viewer can see the identifying caption "MAGNANIMITAS" directly over the head of the figure just to the right of the central male figure representing the Comune of Siena) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b6311b46c3c468cf997209/57b6313646c3c468cf9972ec/1474826458959/Good+govt+magnanimity-1.jpg Chapter 5 Photos - Page 86: The Virtues of Good Government in the Siena town hall Magnanimity is one of six key virtues deemed indispensable for the common-weal of Siena, as expressed visually in the fresco cycle of Good and Bad Government that surrounded the members of the Council of Nine when they met together. (Painted by Ambrogio Lorenzetti in the late 1330s in the town hall, Siena; in this photograph, the viewer can see the identifying caption "MAGNANIMITAS" directly over the head of the figure just to the right of the central male figure representing the Comune of Siena) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b6311b46c3c468cf997209/57b63186893fc004c0017c92/1474826560264/Greco+doors+cropped-1.jpg Chapter 5 Photos - Page 90: Emilio Greco, Doors, Orvieto Duomo The work of art most recently created for the Orvieto Duomo are the main doors, cast in bronze relief in the 1960s by Emilio Greco, representing the seven acts of mercy. http://www.artinitsplace.com/chapter-8-photos daily 0.75 2016-09-26 https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/t/57e8f6b2b3db2b1dd126b18c/1474885129444/ Chapter 8 Photos - Page 147: San Brizio Chapel, damned soul escaping (Signorelli, early 1500s) This “spilling out” of the action into the space of the viewer is exactly the effect of the big scenes up on the middle register of the San Brizio Chapel, when, for example, a hell-bent figure tries to sneak out of the frame of the painting onto the ledge, only to be yanked back by the hair by a guardian demon. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b63c29e6f2e1c4e53c2e27/57b63c53b3db2bc3d14d4d2d/1474885129444/San+Brizio+damned+soul+yanked-1.jpg Chapter 8 Photos - Page 147: San Brizio Chapel, damned soul escaping (Signorelli, early 1500s) This “spilling out” of the action into the space of the viewer is exactly the effect of the big scenes up on the middle register of the San Brizio Chapel, when, for example, a hell-bent figure tries to sneak out of the frame of the painting onto the ledge, only to be yanked back by the hair by a guardian demon. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b63c29e6f2e1c4e53c2e27/57b63c5a197aea37f856dad3/1474885150153/San+Brizio+souls+fleeing-1.jpg Chapter 8 Photos - Page 147: San Brizio Chapel, Souls Fleeing The people subject to the fiery blasts of the angels of destruction at the End of the World try to escape from the fictive space into the actual space of the chapel. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b63c29e6f2e1c4e53c2e27/57b63c62197aea37f856db26/1474885178774/San+Brizio+angel+wings-1.jpg Chapter 8 Photos - Page 147: San Brizio Chapel, Angel Wings But the angel’s wings overlap the painted ribs of the vaulting, placing her in “our space.” Her gesture includes those in the chapel; the painting on the wall becomes a permeable membrane between this world and the next. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b63c29e6f2e1c4e53c2e27/57b63c6a197aea37f856db61/1474885227186/Sassetti+raised+boy-1.jpg Chapter 8 Photos - Page 148: Sassetti Chapel, Boy raised to life The scene frescoed immediately above the altar depicts a little boy being raised to new life through the intercession of Saint Francis. The carefully rendered background of this scene is obviously and exactly that of the street in front of the church, with façade of the church itself on the right, Santa Trinità bridge straight ahead, the Palazzo Spini Feroni on the left (now home of the Ferragamo fashion family), from a window in which the little boy is falling. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b63c29e6f2e1c4e53c2e27/57b63c75197aea37f856dbc1/1474885269721/Dominicans+in+cells-1.jpg Chapter 8 Photos - Page 149: Dominicans praying in their cells; Dominicans praying in the paintings Another example is found in the cells of the dormitory in Monastery San Marco, where the painters in Fra Angelico’s workshop have included figures in Dominican habit in the paintings on the walls. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b63c29e6f2e1c4e53c2e27/57b63c81197aea37f856dc65/1474885284660/Dominicans+in+cells-2.jpg Chapter 8 Photos - Page 149: Dominicans praying in their cells The gestures and attitudes of the friars in the paintings model the demeanor of devotion for the friars living in the cells. In fact, one scholar [William Hood] has pointed out a precise correlation between the various postures of prayer depicted in the cell frescoes and the nine “modes of prayer” described in an illustrated manual of prayer—De modo Orandi—based on Saint Dominic’s own practice. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b63c29e6f2e1c4e53c2e27/57b63c89197aea37f856dc93/1474885298930/Dominicans+in+cells-3.jpg Chapter 8 Photos - Page 149: Dominicans praying in their cells http://www.artinitsplace.com/chapter-10 daily 0.75 2016-09-25 https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/t/57e864425016e1b28d2fee65/1474846709150/ Chapter 10 Photos - Page 181: Cloister of Monte Oliveto Maggiore: three water scenes (Sodoma, around 1500) ... on the second side of the cloister, there’s a section of three episodes that all have to do with water. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b641d76a49637ae96fb14c/57b64205b8a79bba7385c354/1474846709150/Monte+Oliveto+3+water+scenes-1.jpg Chapter 10 Photos - Page 181: Cloister of Monte Oliveto Maggiore: three water scenes (Sodoma, around 1500) ... on the second side of the cloister, there’s a section of three episodes that all have to do with water. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b641d76a49637ae96fb14c/57b64215725e25ff4d9edc41/1474846746060/Water+-1.JPG Chapter 10 Photos - Page 181: Benedict's prayer: water springs from the rocks In the first, Benedict responds to the complaint of several monks that their monastery, high on the side of the mountain, has no source of water and it’s a great labor to descend every day to the lake in the valley to fetch water. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b641d76a49637ae96fb14c/57b6421b725e25ff4d9edc78/1474846762087/Water+-2.JPG Chapter 10 Photos - Page 181: Benedict restores the iron hoe The next episode concerns a laborer referred to as the “Goth” from the tribes in the north, not a monk but a faithful and beloved member of the community who one day is clearing away the briars along the lake to make fruitful soil when the head of his hoe flies off the handle and into the lake. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b641d76a49637ae96fb14c/57b6421f725e25ff4d9edca4/1474846774019/Water+-3JPG.JPG Chapter 10 Photos - Page 181: Obedient to Benedict, Maurus runs across the water The third episode occurs in the lake. The young monk Placidus loses his footing while filling a pail with water, and is drowning in the lake. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b641d76a49637ae96fb14c/57b64223725e25ff4d9edcc6/1474846798252/Brancacci-2.jpg Chapter 10 Photos - Page 182: Brancacci Chapel, The Tribute Money, Masaccio (1420s) For example, in the panel commonly labeled as “The Tribute Money” in the Brancacci Chapel, Masaccio includes three episodes from the story of Jesus’s encounter with the collector of the temple tax (told in Matthew 17:24-27). https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b641d76a49637ae96fb14c/57c438bdcd0f6844bcd51f83/1474846864196/%231b+Pistoia+Giovanni+Sant%27Andrea+AnnucNativ.JPG Chapter 10 Photos - Page 183: Giovanni Pisano, Pulpit in the church of Sant'Andrea, Pistoia (1301) ... in the Pistoia pulpit, the first panel contains the three episodes of the Annunciation, the Nativity, and the Adoration of the Shepherds. (Photograph by the author) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b641d76a49637ae96fb14c/57c43903414fb59d81999960/1474846901948/%231c+Pistoia+Giovanni+Sant%27Andrea+Deacon.JPG Chapter 10 Photos - Page 183: Pulpit in Sant'Andrea, Pistoia When looking up at the panel from that point of view, the inaugural scene of the Annunciation comes perfectly into focus, with Mary drawing her hand to her breast in response to Gabriel’s announcement that she will bear the Son of God. (Photograph by the author) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b641d76a49637ae96fb14c/57b64230b8a79bba7385c4ae/1474846927537/Giberti+paradise+creation+and+fall-1.jpg Chapter 10 Photos - Page 183: Ghiberti, Scenes from Genesis on the East Doors of the Florence Baptistry The panel at the top left of the door deals with the Creation and Fall, packing a lot into the space. The scenes, in every possible gradient of relief, follow no regular pattern of movement. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b641d76a49637ae96fb14c/57b64237b8a79bba7385c4e2/1474846959373/Giberti+paradise+noah-1.jpg Chapter 10 Photos - Page 184: Ghiberti, Scenes from the story of Noah, East Doors, Baptistry In the panel given to the story of Noah and the Ark, the three episodes depicted on the panel all occur after the flood. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b641d76a49637ae96fb14c/57b642e9ff7c50cc3677a506/1474847054813/SMN+chapter+learning+-1.jpg Chapter 10 Photos - Page 185: The Chapter House of Santa Maria Novella, Florence (Andrea da Firenze, 1360s) St. Thomas Aquinas defeats or confounds the basic forms of heresies represented in the heretics at his feet; we can also turn to historical figures such as Tubalcain and Euclid as the primitive founders of the liberal arts now ensconced in the curriculum. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b641d76a49637ae96fb14c/57b642f8d482e99dbebe5923/1474847087022/SMN+chapter+crucifixion+-1.jpg Chapter 10 Photos - Page 185: The Chapter House of Santa Maria Novella However, the adjacent and central wall does tell a story, that of the Crucifixion, with episodes that begin at the lower left corner with Jesus’s Triumphal Entry into Jerusalem on Palm Sunday and concludes in the lower right corner with Christ’s Harrowing of Hell before he makes his resurrected appearance above ground, so to speak. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b641d76a49637ae96fb14c/57b64309d482e99dbebe59cd/1474847116599/Rafael+philosophy+cropped-1.jpg Chapter 10 Photos - Page 185: The library of Pope Julius II ("The School of Athens"), painted by Raphael around 1510 Rather, the complex arrangement of figures unfolding from the central figures of Plato (finger pointing up to the realm of the ideal forms) and Aristotle (palm down towards the material world in which ideas are actualized) dramatizes not a narrative but a theme ... https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b641d76a49637ae96fb14c/57c4396bc534a5ae55e1961f/1474847246633/Flor+Bapt+2virtues+Pisano+JES.JPG Chapter 10 Photos - Page 188: Scenes from the life of John the Baptist, Florence Baptistry (Andrea Pisano, 1330s) We noted that the four cardinal virtues and the three theological virtues plus Humility are placed at the base of scenes from the life of John the Baptist on the earliest set of doors created for the baptistry in Florence. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b641d76a49637ae96fb14c/57c4396db8a79b45b42945c2/1474847262178/Flor+Bapt+Humilitas+PIsano+JES.JPG Chapter 10 Photos - Page 188: Humility, on the south doors of the Florence Baptistry (Humility added to the three theological virtues of Faith, Hope, and Love) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b641d76a49637ae96fb14c/57c43a339de4bb0a96de5828/1474847366211/Siena+baptismal+fount+-1.jpg Chapter 10 Photos - Page 188: Virtues on the Baptismal font in the Baptistry of Siena Elegant statues of six female figures representing the seven cardinal and theological virtues minus Temperance are placed at the corners of the hexagonal baptismal font in Siena. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b641d76a49637ae96fb14c/57b6441ff7e0abfaa2b81119/1474847429885/Scrovegni+virtues-1.jpg Chapter 10 Photos - Page 188: The Scrovegni Chapel in Padova, painted by Giotto in the early 1300s Giotto’s narratives of the Virgin Mary and Jesus frescoed on the walls of the Scrovegni family chapel in Padova includes, with labels, the virtues and vices lining the decorative level at eye-level; the three theological and four cardinal on the right side, with their opposites on the left. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b641d76a49637ae96fb14c/57b6431bd482e99dbebe5a94/1474847462462/Scrovegni+fortitude-1.jpg Chapter 10 Photos - Page 188: Fortitude in the Scrovegni Chapel Foolishness is opposite Prudence; Fortitude opposite Inconstancy; Temperance to Wrath; Justice to Injustice; Faith to Infidelity; Love to Envy; Hope to Desperation. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b641d76a49637ae96fb14c/57b64320d482e99dbebe5ad0/1474847473343/Scrovegni+inconstancy-1.jpg Chapter 10 Photos - Page 188: Inconstancy https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b641d76a49637ae96fb14c/57b64324d482e99dbebe5ad8/1474847482748/Scrovegni+wrath-1.jpg Chapter 10 Photos - Page 188: Wrath https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b641d76a49637ae96fb14c/57b64332ff7c50cc3677a7af/1474847493116/Scrovegni+envy-1.jpg Chapter 10 Photos - Page 188: Envy https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b641d76a49637ae96fb14c/57b644ecf5e2312e03ecfcf9/1474847570198/Scrovegni+caiphas-1.jpg Chapter 10 Photos - Page 188: Caiaphas the high priest rending his robe The figure of Caiaphas, for instance, rends his robe identically to how the figure of Wrath rips open his garment, suggesting (perhaps) that his righteous indignation at Jesus’s blasphemy can be understood as unrighteous anger against God for sending a Messiah so unsuitably like that imagined by Isaiah and the prophets. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b641d76a49637ae96fb14c/57b644f9f5e2312e03ecfd99/1474847810147/Gvt+virtues-1.jpg Chapter 10 Photos - Page 188: Allegory of Good Government, Siena Town Hall (Ambrogio Lorenzetti, 1330s) In the Allegory of Good and Bad Government in the Siena town hall, the virtues and vices relevant for civic ill- or well-being are placed not in the decorative bottom level but form the very stuff of the main scenes on the wall, where the four cardinal virtues plus Peace and Magnanimity stand opposite the features of Tyranny: Deceit, Cruelty, Fraud, Furor, Division, and War. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b641d76a49637ae96fb14c/57b644fe8419c25fa8a8fc93/1474847710174/Gvt+vices-1.jpg Chapter 10 Photos - Page 188: Allegory of Bad Government, Siena Town Hall In the Allegory of Good and Bad Government in the Siena town hall, the virtues and vices relevant for civic ill- or well-being are placed not in the decorative bottom level but form the very stuff of the main scenes on the wall, where the four cardinal virtues plus Peace and Magnanimity stand opposite the features of Tyranny: Deceit, Cruelty, Fraud, Furor, Division, and War. http://www.artinitsplace.com/chapter-7-photos daily 0.75 2017-05-09 https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/t/59122155db29d6f6b999327f/1474833066347/ Chapter 7 Photos - Page 120: Chapel in the Medici palace, the Old King (painted by Benozzo Gozzoli around 1460) One of the Kings is featured on each wall, and, following an ancient tradition that they represent the three ages of man, the oldest one leads the way ... (But why do we see only the front half of the Magi's horse? Because later owners of the Palazzo took a chunk out of the corner of the chapel to make room for a grand staircase! The left side of the scene of the Elder Magi is now awkwardly attached to the panel just out of sight in this photograph.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b637d26b8f5b7739ce72df/57b6380437c581c30a63fdd6/1474833066347/Medici+chapel+old+magi-1.jpg Chapter 7 Photos - Page 120: Chapel in the Medici palace, the Old King (painted by Benozzo Gozzoli around 1460) One of the Kings is featured on each wall, and, following an ancient tradition that they represent the three ages of man, the oldest one leads the way ... (But why do we see only the front half of the Magi's horse? Because later owners of the Palazzo took a chunk out of the corner of the chapel to make room for a grand staircase! The left side of the scene of the Elder Magi is now awkwardly attached to the panel just out of sight in this photograph.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b637d26b8f5b7739ce72df/57b6380d29687fe9342496c3/1474833094085/Medici+chapel+middle-1.jpg Chapter 7 Photos - Page 120: Chapel in the Medici palace, Middle-aged king One of the Kings is featured on each wall ... the middle-aged king comes second (on the rear wall of the chapel) ... https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b637d26b8f5b7739ce72df/57b638ddebbd1a48387abffe/1474833109978/Medici+chapel+young-1.jpg Chapter 7 Photos - Page 120: Chapel in the Medici palace, Young king and the young king takes his place at the rear. He is followed by an enormous company of folk, dressed in contemporary garb, with many clearly identifiable portraits, including three generations of the Medici family (Cosimo, his son Piero, his son Lorenzo). https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b637d26b8f5b7739ce72df/57b6382129687fe9342497dd/1474833178074/Corporal+chapel+triangles+eucharist-1.jpg Chapter 7 Photos - Page 121: The Chapel of the Holy Corporal in the Orvieto Duomo, ceiling above the altar Old Testament “meals” long interpreted in Catholic tradition as prefiguring the Last Supper and Holy Communion are illustrated in the four triangular sections of the ceiling immediately above the altar. Abraham makes his offering of wheat and wine with Melchisedek .... Abraham hosts the three angels for dinner under the Oaks of Mamre ... God provides manna to the Israelites in the desert. God sends a raven to provide food for Elijah waiting in the desert for God to act. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b637d26b8f5b7739ce72df/57b6382f29687fe93424988a/1474848018594/Corporal+chapel+aquinas-1.jpg Chapter 7 Photos - Page 122: The Chapel of the Holy Corporal, Thomas Aquinas before Pope Urban IV Depictions of Aquinas before the pope and of his presentation of the finished text, are among the scenes frescoed on the wall of the Chapel. (The principal painter of the frescoed decoration was local artist Ugolino di Prete Ilario around 1360.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b637d26b8f5b7739ce72df/57b6396ab8a79bba73856b22/1474848060463/Corporal+chapel+bolsena-1.jpg Chapter 7 Photos - Page 123: The Chapel of the Holy Corporal, wall to right of altar By the 1360s the local painter Ugolino di Prete Ilario had completed the commission to decorate the chapel with scenes from the same narrative (and with scenes from other so-called Eucharistic miracles frescoed on the opposite wall). https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b637d26b8f5b7739ce72df/57b63975b8a79bba73856bb1/1474848075402/Corporal+chapel+miracles-1.jpg Chapter 7 Photos - Page 123: The Chapel of the Holy Corporal, wall to left of altar ... and with scenes from other so-called Eucharistic miracles frescoed on the opposite wall. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b637d26b8f5b7739ce72df/57b63981b8a79bba73856bfd/1494360405955/Sheba+rapt-1.jpg Chapter 7 Photos - Page 126: Legend of the Holy Cross, Queen of Sheba beholds the wood of the cross In his depiction of the Queen of Sheba kneeling before a large yet ordinary looking trunk-sized beam of wood placed across a stream to serve as a footbridge, hands folded in prayer, Piero evokes a sense that she is beholding that beam according to its past and its future, its destiny of bearing the savior of the world. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b637d26b8f5b7739ce72df/57b63983b8a79bba73856c07/1474848722583/Helena+rapt-1.jpg Chapter 7 Photos - Page 126: The Legend of the Holy Cross, Empress Helena beholds the true cross When the Empress Helena bows in rapt adoration as one of the three dug- up crosses, passed over the body of a man on his way to be buried, raises the man to new life, the subtle tilt of her head indicates a gaze that sees the power of the cross making its way backward and forward through the vast reaches of history, mainly underground, not seen because it was not looked for. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b637d26b8f5b7739ce72df/57b63985b8a79bba73856c32/1474848759155/Slovenly+workmen-1.jpg Chapter 7 Photos - Page 128: The Legend of the Holy Cross, the slovenly workmen The slovenly appearance of Solomon’s workmen undertaking the bothersome work of digging a hole for a worthless tree—the socks of one down at his ankles, his underpants barely covering his private parts, vine leaves on the head of another indicating the morning-after hangover—highlights their blindness to the unbearable value of this log destined to bear the Savior of the world. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b637d26b8f5b7739ce72df/57b63987b8a79bba73856c39/1474848813111/Snappy+jew+-1.jpg Chapter 7 Photos - Page 128: Legend of the Holy Cross, the Jew raised from the dry well If the grave diggers are an unkempt mess, Piero has clothed the Jew who can tell Helena where to dig up the True Cross in his Sunday best, appropriate for the occasion even if he is being pulled up after spending six days in a dry well. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b637d26b8f5b7739ce72df/57b63a3c3e00be226450d137/1474848839175/Constantine+tiny+cross-1.jpg Chapter 7 Photos - Page 128: Legend of the Holy Cross, Constantine defeats Maxentius The scene on the lower part of the right wall depicts Emperor Constantine’s bloodless defeat of his rival Maxentius. At the head of his processing troops, Constantine holds out a tiny cross, framed at the exact center of the panel against a serene landscape in the background, a river running through it, trees in the meadow. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b637d26b8f5b7739ce72df/57b63a4eb8a79bba738573b7/1474848923684/Chosroes+chaos-1.jpg Chapter 7 Photos - Page 128: Legend of the Holy Cross, Heraclius defeats Chosroes The scene depicted directly opposite on the left wall offers a stark contrast in design. The battle to defeat the grossly-pagan Persian emperor Chosroes is a chaotic mass of wild movement. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b637d26b8f5b7739ce72df/57b63a56b8a79bba7385740a/1474848942536/Chosroes+canopy-1.jpg Chapter 7 Photos - Page 128: Legend of the Holy Cross, execution of Chosroes Compressed against the right side of the panel is the staging of Chosroes’ own egocentric posing as the God the Father of a false and blasphemous Trinity—a sort of inverse anti-liturgy with a black rooster substituting for the dove of the Holy Spirit and the stolen Cross set up next to his throne. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b637d26b8f5b7739ce72df/57b63a63b8a79bba73857493/1474849007588/FraAngelico+Cricifixion+Cosmos+Damian-1.jpg Chapter 7 Photos - Page 129: Crucifixion in the Chapter House of Monastery San Marco Hence the reason for these two saints being placed on the left-side of Fra Angelico’s wall-sized Crucifixion in the chapter room of Monastery San Marco, whose renovation was underwritten by Cosimo. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b637d26b8f5b7739ce72df/57b63b04725e25ff4d9e9780/1474849108911/Orsanmichele+statues+luke-1.JPG Chapter 7 Photos - Page 131: Sculptures in the niches around Orsanmichele, Saint Mark by Donatello (1411) Hence the exterior is not only a sort of liturgical procession of saints, but a gallery of sculptural works from the great masters: Donatello’s St. Mark (commissioned by the linen-makers guild) ... [This caption corrects the mistaken identification of the figure in the text as St. Luke.] https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b637d26b8f5b7739ce72df/57b63b0c725e25ff4d9e97c2/1474849130121/Orsanmichele+statues+saint+george-1.JPG Chapter 7 Photos - Page 131: Sculptures around Orsanmichele, bronze copy of Donatello's Saint George (1416) [Donatello's] St. George (patron saint of the armorers guild). [The statue now installed in the niche along the north flank of Orsanmichele is of a bronze copy of the original, now in the Museum of the Works of the Duomo.] https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b637d26b8f5b7739ce72df/57b63b10725e25ff4d9e97f9/1474849148750/Orsanmichele+statues+four+marytrs.JPG Chapter 7 Photos - Page 131: Statues around Orsanmichele, the Four Martyrs by Nanni di Banco (1408) ... the Four Crowned Martyrs of the stone-carvers guild (so-called because they were executed during the Diocletian persecutions for refusing to sculpt idols for the temple) ... https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b637d26b8f5b7739ce72df/57b63b16725e25ff4d9e9832/1474849231084/Gaede+7+Virtues+Uffizi.jpeg Chapter 7 Photos - Page 131: Uffizi Gallery, Seven Virtues, commissioned to Piero del Pollaiolo (1470) Art-tourists sure to visit the Uffizi Gallery in Florence will admire the line of tall panel paintings of women with allegorical trappings representing the seven virtues, six painted by Piero del Pollaiolo, with Botticelli completing the set with his depiction of Fortitude. Few take notice that the paintings were commissioned by the Merchants Guild as the decoration in the judicial court where financial irregularities or violations of business ethics would have been adjudicated. (Photograph by Judy Gaede) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b637d26b8f5b7739ce72df/57b63b1e725e25ff4d9e9897/1474849377448/San+marco+annunciation+cell-1.jpg Chapter 7 Photos - Page 134: Monastery San Marco, Annunciation in one of the friars' cells An Annunciation in one of the cells parallels the large Annunciation at the top of the stairs. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b637d26b8f5b7739ce72df/57b63b2820099ebf80b2ead6/1474849397148/San+marco+annunciation+-1.jpg Chapter 7 Photos - Page 134: Annunciation, Monastery San Marco, Fra Angelico (late 1440s) An Annunciation in one of the cells parallels the large Annunciation at the top of the stairs. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b637d26b8f5b7739ce72df/57b63b31e6f2e1c4e53c2474/1474849427262/San+marco+cosimo+cell-1.jpg Chapter 7 Photos - Page 134: Monastery San Marco, Adoration of the Magi in the private cell for Cosimo de Medici The cell reserved for Cosimo de Medici’s monastic retreats features the Adoration of the Magi. [Scholars now attribute the fresco in Cosimo de Medici's private cell to Benozzo Gozzoli, an assistant to Fra Angelico in the enormous work of decorating Monastery San Marco, and the artist in charge of the decoration of the private chapel in the Medici Palazzo with the procession of the Magi to worship the infant Jesus.) http://www.artinitsplace.com/chapter-3-photos daily 0.75 2016-09-25 https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/t/57e7b36abebafba4112a7dab/1474714558304/ Chapter 3 Photos - Page 63: Last Supper San Marco Cell Fra Angelico and his workshop assistants painted small frescoes in each cell of the dormitory that wraps around three sides of the cloister. The Last Supper in one of them covers much of the wall whose window looks out over the cloister. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b6246ee3df2897e523a535/1474714558304/Last+Supper+San+Marco+Cell-1.jpg Chapter 3 Photos - Page 63: Last Supper San Marco Cell Fra Angelico and his workshop assistants painted small frescoes in each cell of the dormitory that wraps around three sides of the cloister. The Last Supper in one of them covers much of the wall whose window looks out over the cloister. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b62476893fc03e2f7d3012/1474714575823/Last+Supper+San+Marco+Cell+Window-1.jpg Chapter 3 Photos - Page 63: Last Supper San Marco window in cell The windows painted in the wall of the Upper Room are identical to and in perfect visual continuity with the actual window in the room and with the windows across the cloister directly visible through the actual window in the cell. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b62479e3df2897e523a5ef/1474714596231/Last+Supper+Refectory-1.jpg Chapter 3 Photos - Page 64: Last Supper Refectory Ghirlandaio Just down the stairs from Fra Angelico’s small Last Supper is another Last Supper, this one frescoed by Domenico Ghirlandaio on the end-wall of the friars’ dining hall. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b62486893fc03e2f7d30dc/1474714637011/Ghirlandaio+Last+Supper+Ognisanti-+1.JPG Chapter 3 Photos - Page 64: Last Supper Ognissanti Ghirlandaio A quick look at photographs of these two Last Suppers gives the impression that they are almost identical, surely following the same template. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b6248b893fc03e2f7d3120/1474714740976/Brancacci-34.jpg Chapter 3 Photos - Page 64: The Temptation in the Brancacci Chapel, Church of the Carmine, Florence The Temptation and Expulsion are depicted in the top half of the pillars—Adam and Eve in and out of Eden. (Here is the Temptation, painted by Masolino in the 1420s.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b625c8414fb556f6db5de7/1474714824688/Brancacci-33.jpg Chapter 3 Photos - Page 64: The Expulsion in the Brancacci Chapel, Church of the Carmine, Florence The Temptation and Expulsion are depicted in the top half of the pillars—Adam and Eve in and out of Eden. (Here is the Expulsion, painted by Masaccio in the 1420s.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b625d0d2b857eb6d57adf5/1474714837953/Brancacci-26.jpg Chapter 3 Photos - Page 64: Peter liberated from prison, Brancacci Chapel Directly below them, but reversing the order of in-and-out, are scenes of Peter inside prison and being let of prison. Together, the scenes introduce the visual matter of the chapel’s decoration, and also introduce the likely visual pattern of parallelism between scenes on opposite walls throughout the chapel. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b625d6d2b857eb6d57ae4c/1474714850692/Brancacci-30.jpg Chapter 3 Photos - Page 64: Peter in Prison, Brancacci Chapel Directly below [the Temptation and Expulsion], but reversing the order of in-and-out, are scenes of Peter inside prison and being let of prison. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b62692d482e9d6d8926960/1474715030298/Brancacci-1.jpg Chapter 3 Photos - Page 65: Peter raising the son of Theophilus, Brancacci Chapel Given the training of that period’s eye to look back and forth, or almost instinctively to compare the endpoints of symmetrical or chiasmus patterns, we may suppose that most people in the 1420s would have quickly spotted the parallels in the two large scenes that ll the lower level of the side walls in the Brancacci Chapel. Depicted on the left side (facing the altar) is the scene of Peter raising Theophilus’s son ... https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b626c6d482e9d6d8926cb4/1474715046352/Brancacci-11.jpg Chapter 3 Photos - Page 65: Peter and Simon the magician before Nero, Brancacci Chapel ... and on the right [side of the chapel] the contest of power between Peter and Simon Magus (the magician mentioned in Acts chapter 8 as offering to buy the spiritual power he envies in Peter) before Nero. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b626d2414fb556f6db7176/1474715263203/Brancacci-38.jpg Chapter 3 Photos - Page 66: Peter Crucified, Brancacci Chapel The parallel disposition of the sequence places Peter’s crucifixion directly opposite his enthronement. Nothing remarkably sophisticated or arcane is required of the viewer to observe the thematic inversions of Peter’s two rewards. The image of Peter crucified upside down serves as a sort of visual concentration of all the moments of upside-down-ness in the fresco. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b626e9414fb556f6db7316/1474715408659/Brancacci+-38b.jpg Chapter 3 Photos - Page 66: Peter honored by Theophilus, Brancacci Chapel The parallel disposition of the sequence places Peter’s crucifixion directly opposite his enthronement. Nothing remarkably sophisticated or arcane is required of the viewer to observe the thematic inversions of Peter’s two rewards. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b626f1414fb556f6db736f/1474715430592/Brancacci-2.jpg Chapter 3 Photos - Page 66: The dispute over the temple tax, Brancacci Chapel The scene on the top of the left wall, directly above the Raising of Theophilus’s Son, is drawn from the episode in Matthew 17 concerning the obligation of paying the temple tax, The Tribute Money [as this panel is conventionally titled by art historians]. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b62c405016e15ef5044d71/1474715501776/Brancacci-10.jpg Chapter 3 Photos - Page 67: Peter heals the lame man and raises Tabith from the dead, Brancacci Chapel On the left is the healing of the crippled man described in Acts 3:1-10, to whose begging for money at the door of the temple in Jerusalem Peter responds, “Silver and gold have I none; but such as I have give I thee: In the name of Jesus Christ of Nazareth rise up and walk.” On the right side of the panel is a depiction of Peter’s raising Tabitha from the dead in an upper room of a house in Joppa, recounted in Acts 9:36-41. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b62c54ebbd1a48387a3c68/1474715788322/Brancacci-23.jpg Chapter 3 Photos - Page 67: Center stage between the Healing and the Raising from the Dead, Brancacci Yet precisely in this center Masaccio has placed two elegant men dressed in the highest and most expensive fashion of the time, one with a cloak and the other with a hat made from the sort of richly brocaded silk purveyed by the Brancacci. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b62c6b5016e15ef504505e/1474715712482/Defeat+of+Chosroes+-1.jpg Chapter 3 Photos - Page 69: The Defeat of Chosroes, San Francesco, Arezzo (Piero della Francesca, 1450s-1460s) Two battle scenes are placed across from each another on the bottom layer on the walls. Yet through another convex/concave pairing like the one we saw in Masaccio’s Expulsion, a chaotic mass of soldiers and horses overfills the center of the left panel, ... https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b62c765016e15ef5045150/1474801824001/Defeat+of+Maxentius-1.jpg Chapter 3 Photos - Page 69: The Defeat of Maxentius ... while on the right panel, the two warring factions are separated by a serene meadow through which the river recedes deeply into the distance. Highlighted against the visual background of the meadow, Constantine holds up a small white cross at whose power the enemy takes flight. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b62d0d579fb39bc09ced83/1474801845196/Queen+of+Sheba-1.jpg Chapter 3 Photos - Page 69: The Queen of Sheba adores the beam and meets Solomon The panels directly above the battle scenes feature the two great women of the narrative: the Queen of Sheba (in the era before Christ) and Empress Helena, mother of Constantine, after the era of Christ. The panels mirror each other in arrangement. Each panel depicts two episodes; each episode is given half of the space, one episode in the countryside, the other in a setting defined by architectural elements. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b62d179f7456cc1c284c12/1474801876083/Empress+Helena-1.jpg Chapter 3 Photos - Page 69: Empress Helena finds and adores the Cross The panels directly above the battle scenes feature the two great women of the narrative: the Queen of Sheba (in the era before Christ) and Empress Helena, mother of Constantine, after the era of Christ. The panels mirror each other in arrangement. Each panel depicts two episodes; each episode is given half of the space, one episode in the countryside, the other in a setting defined by architectural elements. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b62d25579fb39bc09ceedb/1474801901764/Return+of+Cross-1.jpg Chapter 3 Photos - Page 69: The Return of the Cross to Jerusalem Both frescoes painted on the arched areas at the top of each wall are visually punctuated by trees. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b62d2c9f7456cc1c284d0b/1474801921984/Death+of+Adam-1.jpg Chapter 3 Photos - Page 69: The Death of Adam Both frescoes painted on the arched areas at the top of each wall are visually punctuated by trees. (The image of the great tree in the Garden of Eden has been damaged by eroding plaster, and the bright green foliage that certainly covered the tree has fallen off because the leaves were painted a secco, that is, were painted on top of the plaster after it had dried -- and hence were on the plaster rather than in the plaster.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b62d9ad2b857afcf595577/1474802517351/Death+of+Adam+Cropped-1.jpg Chapter 3 Photos - Page 71: The Death of Adam The initial episode is narrated at the top of the right wall: the scenes of the death of Adam and of the angel telling Seth that healing will come but not for many, many years. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b62da29f7456cc1c2852f3/1474802528418/Sheba+and+Solomon-1.jpg Chapter 3 Photos - Page 71: The Queen of Sheba and King Solomon ... check out whether the story follows one of those typical patterns of arrangement, namely, a big U-pattern of “reading” down one wall and up the opposite. A quick glance at the second panel down: yes, the next stage of the story, scenes concerning King Solomon and the Queen of Sheba. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b62dadd2b857afcf5956c5/1474802538255/Return+of+Cross+Cropped-1.jpg Chapter 3 Photos - Page 71: The Return of the Cross Confirm the pattern by looking at the top of the left side wall. Yes, clearly the concluding episode of the return of the stolen cross to Jerusalem. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b62e27b3db2bc3d14cbeca/1474802191250/Burial+Cross+Beam-1.jpg Chapter 3 Photos - Page 71: Burying the Cross Beam We begin to glance about, hunting for the next scene. We find it: the men burying the beam at Solomon’s order, but over on the altar wall on the same level as the Solomon and Sheba scenes. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b62e2e9f7456cc1c28599c/1474802230964/Annunciation-1.jpg Chapter 3 Photos - Page 71: The Annunciation The beam itself, raised at a 45-degree angle by the laborers struggling to slide it down into the pit, points diagonally down and to our left, perhaps directing our eyes to a scene on the opposite side of the east-wall window: clearly that of the Annunciation. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b62e3e9f7456cc1c285af0/1474802252576/Dream+of+Constantine-1.jpg Chapter 3 Photos - Page 71: The Dream of Constantine Their parallel right-angle structure links the Annunciation with another annunciation, that of the angel appearing to Constantine in a dream with a cross in hand, back across to the right side of the window (an episode occurring 300 years later). https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b62e489f7456cc1c285b5f/1474802286841/Judas+raised+from+well-1.jpg Chapter 3 Photos - Page 71: Judas lifted from the well Then back to the left and up a level to the scene of the Jew who knows where the Cross is buried being drawn out of the dry well, now ready to divulge the information to the Empress Helena. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b62ef5893fc004c0016178/1474802310586/Helena+finding+cross-1.jpg Chapter 3 Photos - Page 71: Empress Helena finding the True Cross Then straight around the corner to Helena’s finding of the Cross https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b62439d2b857eb6d579574/57b62eff893fc004c00161ec/1474802322454/Defeat+of+Chosroes+cropped-1.jpg Chapter 3 Photos - Page 71: The Defeat of Chosroes Then down to the Christian emperor Heraclius defeating (two centuries later) the wicked king Chosroes, who had stolen the Cross from Jerusalem. http://www.artinitsplace.com/chapter-4-photos daily 0.75 2016-09-25 https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/t/57e80f02be6594ead49d354d/1474825972692/ Chapter 4 Photos - Page 77: Duccio's Maesta (now in the Cathedral Museum of Siena) In 1311, the local Sienese artist Duccio completed a commission begun three years earlier on an enormous painting of the Virgin Mary seated on an elaborately decorated throne-like chair, with young Jesus sitting upright on her lap, and surrounded by a company of saints. (Photograph by Michael Bruner) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b63018ff7c50cc3676dd92/57b6304e725e25ff4d9e2fcc/1474825972692/Duccio+Maest%C3%A0+Michael+Bruner.jpg Chapter 4 Photos - Page 77: Duccio's Maesta (now in the Cathedral Museum of Siena) In 1311, the local Sienese artist Duccio completed a commission begun three years earlier on an enormous painting of the Virgin Mary seated on an elaborately decorated throne-like chair, with young Jesus sitting upright on her lap, and surrounded by a company of saints. (Photograph by Michael Bruner) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b63018ff7c50cc3676dd92/57c4337e1b631b53bef1bdd9/1474825986578/Duccio+Maest%C3%A0+Holy+Week+panel+Bruner.jpg Chapter 4 Photos - Page 78: The back panel of the Maesta The back of this panel was painted with the story of Christ’s Passion and Resurrection, from the Triumphal Entry into Jerusalem to his meeting with the two disciples on the road to Emmaus, in no fewer than 26 individual scenes. (Photograph by Michael Bruner) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b63018ff7c50cc3676dd92/57b6304c9f7456cc1c2872e6/1471557783784/Duccio+Maesta+front-1.jpg Chapter 4 Photos - Duccio Maesta front 1 http://www.artinitsplace.com/chapter-11-photos daily 0.75 2017-05-09 https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/t/591222d75016e10933261fd3/1475025067198/ Chapter 11 Photos - Page 200: San Marco chapter house pelican ... an image of the pelican is found in the painted border above Fra Angelico’s frescoed Crucifixion in the chapter house of the Dominican Monastery San Marco in Florence. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b645748419c25fa8a90062/57b645b1b3db2bc3d14da5e7/1475025067198/San+marco+pelican-1.jpg Chapter 11 Photos - Page 200: San Marco chapter house pelican ... an image of the pelican is found in the painted border above Fra Angelico’s frescoed Crucifixion in the chapter house of the Dominican Monastery San Marco in Florence. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b645748419c25fa8a90062/57b645b8b3db2bc3d14da652/1475025598195/Santa+Croce+Pelican+Refectory-1.JPG Chapter 11 Photos - Page 200: Santa Croce refectory pelican Across town in the refectory of the Franciscan church of Santa Croce, the pelican has built her nest on top of the cross itself. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b645748419c25fa8a90062/57b645bfb3db2bc3d14da685/1475025611079/Santa+Croce+Pelican+Sacristy-1.JPG Chapter 11 Photos - Page 200: Santa Croce sacristy pelican The same image is found in the border above the Crucifixion in the sacristy. And in the border immediately below the cross? A small image of the Sacrifice of Isaac. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b645748419c25fa8a90062/57b645e29de4bb6c5c0c38f0/1475025322558/Dominicans+in+cells-1.jpg Chapter 11 Photos - Page 211: Dominican friars in the frescoes illustrating postures of prayer Tropological devotion in these scenes is highlighted even further by the regular inclusion of a Dominican friar meditating inside the scene itself as a sort of model for the friar in the cell. (William Hood is the chief scholar who has shown that this corridor of the dormitory was occupied by the novice friars, and that the gestures of the Dominican friars painted below the crucifix illustrate the positions of prayer in a treatise of prayer attributed to Saint Dominic.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b645748419c25fa8a90062/57b645f19de4bb6c5c0c395f/1475025335451/Dominicans+in+cells-2.jpg Chapter 11 Photos - Page 211: Another posture of prayer modeled by the friar in the painting https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b645748419c25fa8a90062/57b645f89de4bb6c5c0c39c9/1475025345513/Dominicans+in+cells-3.jpg Chapter 11 Photos - Page 211: Another posture of meditation and prayer https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b645748419c25fa8a90062/57b645ff9de4bb6c5c0c3a1b/1494360791333/Cosimo%27s+Magi+whole.jpeg Chapter 11 Photos - Page 211-212: Cosimo de Medici's cell with fresco of the Adoration of the Magi Frescoed on the wall of the inner room is the Adoration of the Magi, set in a simple rugged desert landscape, a scene in stark contrast with the exotic countryside frescoed on the walls of the family chapel in their palazzo down the street, where the Magi, splendidly dressed and accompanied by an enormous entourage, process ceremonially around the walls. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b645748419c25fa8a90062/57b646079de4bb6c5c0c3a4e/1475025788356/San+marco+cosimo+anteroom-1.jpg Chapter 11 Photos - Page 212: The anteroom to Cosimo's cell in Monastery San Marco Except that the painter Fra Angelico has made a name-change in the gold halos. Instead of “John,” the writing around the halo of the beloved disciple is “Cosmas,” Cosimo. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b645748419c25fa8a90062/57b6460e9de4bb6c5c0c3aa5/1475025863034/Piero+arezzo+jerusalem-1.jpg Chapter 11 Photos - Page 212: Legend of the Holy Cross, scene of the Finding of the Cross (Piero della Francesca) In the scene from the Legend of the Holy Cross where Empress Helena watches as the three crosses are dug up, the city depicted by Piero della Francesca in the background must be identified (in the story) as Jerusalem—but it clearly represents contemporary Arezzo https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b645748419c25fa8a90062/57b646129de4bb6c5c0c3ab1/1475025941670/Sassetti+approval+rule-1.jpg Chapter 11 Photos - Page 215: Scene of the Approval of the Rule, Sassetti Chapel (Ghirlandaio) No one could not have noticed the presence of Mr. Sassetti’s boss and patron, Lorenzo de Medici, standing at Sassetti’s side in the scene of the Approval of the Rule of St. Francis, or, even more visually peculiar, the presence of the sons of Lorenzo ascending a staircase with their tutor Angelo Poliziano in the very foreground. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b645748419c25fa8a90062/57b646169de4bb6c5c0c3ad9/1475025991695/Brancacci-10.jpg Chapter 11 Photos - Page 215: Healing of the lame man and Raising of Tabitha, Brancacci Chapel (Masaccio) Another possibility is to understand this painting—or Masaccio’s painting of the two well-dressed men strolling between the healed crippled man and the resurrected cloth maker—as a sort of moral litmus test for anyone looking at it. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b645748419c25fa8a90062/57b6461d9de4bb6c5c0c3b2f/1475026103230/Siena+duomo+facade+top-1.jpg Chapter 11 Photos - Page 217: Façade of the cathedral of Siena, the Crowning of the Virgin (in mosaic) The mosaic scene in the highest pinnacle of the façade of the Duomo in Siena depicts the Coronation of the Virgin. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b645748419c25fa8a90062/57b646239de4bb6c5c0c3b75/1475026118015/Duomo+facade+top-1+copy.jpg Chapter 11 Photos - Page 217: Façade of the cathedral in Orvieto, the Crowning of the Virgin (mosaic) In the Orvieto Duomo, also dedicated to the Virgin, the same upward movement towards Mary’s Crowning is exhibited in both the mosaics on the façade and in the fresco cycle in the apse behind the altar. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b645748419c25fa8a90062/57b6462a9de4bb6c5c0c3bb3/1475026159822/Orvieto+duomo+apse+top+half-1.jpg Chapter 11 Photos - Page 217: Scenes from the life of Mary in the cathedral of Orvieto The scenes on the East wall, directly behind the altar, present in upward movement the Angel announcing to Mary her impending death; the death of Mary; the apostles taking the Virgin to her sepulcher; Christ awakening Mary and taking her to heaven; Mary elevated to heaven in the presence of the disciples; the Assumption of Mary under the central arch, and her Coronation in the vaulting above. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b645748419c25fa8a90062/57b6462f9de4bb6c5c0c3bd6/1475026186891/Baptisry+florence+inside+-1.jpg Chapter 11 Photos - Page 218: Ceiling in the Baptistry of Florence (mosaic) The narratives-in-mosaic in the ceiling of the Florence Baptistry—stories from Genesis, of Joseph in Egypt, of the life of Christ—revolve around the focal point of the Last Judgment high above the altar on the East side. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b645748419c25fa8a90062/57b6463c9de4bb6c5c0c3c5d/1475026266998/Baptisry+florence+inside+-2.jpg Chapter 11 Photos - Page 218: Last Judgment in the Baptistry of Florence The narratives-in-mosaic in the ceiling of the Florence Baptistry ... revolve around the focal point of the Last Judgment high above the altar on the East side. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b645748419c25fa8a90062/57b6464a9de4bb6c5c0c3db1/1475026345090/Duomo+facade+last+judgement-1.jpg Chapter 11 Photos - Page 218: Last Judgment on the façade of the Orvieto Duomo The grand narrative of salvation that stretches from left to right across the four panels on the façade of the Orvieto Duomo begins with the Creation and Fall. The second and third panels, framing the central portal, present the prophecies of a coming Messiah and the life of that Incarnate One from the Annunciation of his birth to his Resurrection. The fourth panel concludes the story with the Last Judgment. http://www.artinitsplace.com/conclusion-photos daily 0.75 2016-09-27 https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/t/57ea72c1d2b857708a30b980/1474982425009/ Conclusion Photos - Page 222: Commissioned wall mural in the new Science center And yet a couple years ago at my own institution, two graduating art majors (Anna Taylor and Garrett Ames-Ledbetter, both alumni of the semester program in Orvieto that provided the seedbed for this book) drafted a proposal for a series of wall murals for the new Science Center on campus. (Photograph by the author) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b85db3893fc01e070d8e82/57ea6e8d6a4963ef7ae2a831/1474982425009/IMG_1456.JPG Conclusion Photos - Page 222: Commissioned wall mural in the new Science center And yet a couple years ago at my own institution, two graduating art majors (Anna Taylor and Garrett Ames-Ledbetter, both alumni of the semester program in Orvieto that provided the seedbed for this book) drafted a proposal for a series of wall murals for the new Science Center on campus. (Photograph by the author) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b85db3893fc01e070d8e82/57ea6e91c534a507f6a8f1b5/1474982437566/IMG_1460.JPG Conclusion Photos - Page 223: Wall mural in new Science Center Each of these combined figurative and abstract elements which, together, set into almost cosmic play the fundamental patterns at work in each science. The mural has since been put in its place in the community. After all, most sectors of the community contributed to its making. (Photograph by the author) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57b85db3893fc01e070d8e82/57ea6e8d3e00be230d2f3aa7/1474982593990/image001.png Conclusion Photos - Page 223: Riven Tree, Bruce Herman (2016), Duke Divinity School, Durham, NC Finally, as I write this conclusion, my friend Bruce Herman has arrived at the Divinity School of Duke University to take up a commission to paint a Resurrection in one of the chapels. Having earned the appreciation of the dean for his theologically rich and visually complex treatments of the Passion, Herman was given the challenge to apply the same skill and sensibility to the mystery of the Lord’s Resurrection. (Photograph courtesy of Dan Train) http://www.artinitsplace.com/chapter-3-photos-b daily 0.75 2016-09-25 https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/t/57e81bf6197aea5186e31382/1474802365064/ Chapter 3 Photos (B) - Page 71: The Return of the Cross to Jerusalem Then a final jump of the eyes two levels up to the Exaltation of the Cross upon its return to Jerusalem—the concluding episode of the Legend. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57c43e42197aeab7de629115/57b62f0af7e0abfaa2b7242f/1474802365064/Return+of+Cross-1.jpg Chapter 3 Photos (B) - Page 71: The Return of the Cross to Jerusalem Then a final jump of the eyes two levels up to the Exaltation of the Cross upon its return to Jerusalem—the concluding episode of the Legend. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57c43e42197aeab7de629115/57c43e61197aeab7de629246/1472478885318/ Chapter 3 Photos (B) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57c43e42197aeab7de629115/57b62f15f7e0abfaa2b724af/1474829302142/Apse+with+cross-1.jpg Chapter 3 Photos (B) - Page 71: The Apse behind the suspended Cross The Legend of the True Cross unfolds in the space behind the altar, above which hangs a stupendous cross. http://www.artinitsplace.com/chapter-6-photos-b daily 0.75 2016-09-25 https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/t/57e81b5659cc68725d6283b3/1474828902080/ Chapter 6 Photos (B) - Page 113: Pulpit in the Pisa Baptistry, Nicola Pisano (around 1260) The five available panels (the sixth being the entrance from the stairwell into the pulpit) depict the Annunciation, the Nativity, and the Adoration of the Shepherds all squeezed into the first panel, followed by separate panels depicting the Adoration of the Magi, the Presentation of baby Jesus in the Temple. (Photograph by the author) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57c441c1ebbd1ac6f25fe3a3/57c437392994ca28517365bf/1474828902080/%232b+Pisa+Nicola+Baptistry+AnnuncNativSheph.JPG Chapter 6 Photos (B) - Page 113: Pulpit in the Pisa Baptistry, Nicola Pisano (around 1260) The five available panels (the sixth being the entrance from the stairwell into the pulpit) depict the Annunciation, the Nativity, and the Adoration of the Shepherds all squeezed into the first panel, followed by separate panels depicting the Adoration of the Magi, the Presentation of baby Jesus in the Temple. (Photograph by the author) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57c441c1ebbd1ac6f25fe3a3/57c43739f7e0ab69ed2a2e44/1474828964804/%233a+Siena+both+Duomo.JPG Chapter 6 Photos (B) - Page 113: Pulpit in the Siena Duomo, Nicola Pisano In Nicola Pisano’s next commission—the pulpit for the Siena cathedral—his son Giovanni assisted in the work. (Photograph by the author) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57c441c1ebbd1ac6f25fe3a3/57e81a9c5149bf1558d0516d/1473558019571/%233a+Siena+both+Duomo.JPG Chapter 6 Photos (B) - Page 13: Pulpit in the Siena Duomo, Nicola Pisano In Nicola Pisano’s next commission—the pulpit for the Siena cathedral—his son Giovanni assisted in the work. (Photograph by the author) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57c441c1ebbd1ac6f25fe3a3/57c4373b2994ca28517365e7/1474829010839/%233b+Siena+both+Duomo+pulpit+2+panels.JPG Chapter 6 Photos (B) - Page 113: Pulpit in the Duomo, Siena The seven panels available on this octagonal pulpit depict, respectively, the Visitation of Mary and her cousin Elizabeth along with the Nativity; the Journey and Adoration of the Magi; the Presentation of baby Jesus in the Temple and the Flight into Egypt; the Massacre of the Innocents ... and finally the Crucifixion and the Last Judgment. (Photograph by the author) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57c441c1ebbd1ac6f25fe3a3/57c4373b2994ca28517365eb/1474829060027/%234a+Pisa+Giovanni+Duomo.JPG Chapter 6 Photos (B) - Page 113: Pulpit in the Duomo of Pisa by Giovanni Pisano After his father’s death, Giovanni Pisano came into his own, first completing the pulpit in the church of Sant’Andrea in Pistoia in 1301, and then the monumental circular pulpit in the cathedral of Pisa during the following decade. (Photograph by the author) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57c441c1ebbd1ac6f25fe3a3/57c4373cf7e0ab69ed2a2e4d/1474829103320/%234b+Pisa+Giovanni+Duomo+girlphoto.JPG Chapter 6 Photos (B) - Page 113: Pulpit by Giovanni Pisano, Duomo of Pisa ... the monumental circular pulpit in the cathedral of Pisa during the following decade. (Photograph by the author) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57c441c1ebbd1ac6f25fe3a3/57b6367cff7c50cc367720a3/1474829142961/Pisano+pulpit+-1.JPG.JPG Chapter 6 Photos (B) - Page 113: Pulpit in the Pisa Duomo, detail (Photograph by the author) http://www.artinitsplace.com/chapter-2-photos-b daily 0.75 2016-09-22 https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/t/57e3290fcd0f682593effe8b/1474503042213/ Chapter 2 Photos (B) - Page 44: The Central Portal created in the 1960s Interestingly, the most recent element of the cathedral decoration—the enormous central doors commissioned in the 1960s from Emilio Greco—maintains the focus on a Word made flesh. The subject of these bronze relief panels is that of the seven works of corporal mercy: feeding the hungry, giving drink to the thirsty, clothing the naked, providing shelter for the homeless, caring for the sick, visiting those in prison, burying the dead. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57cf6be9440243d64e90cda8/57b61f4a440243590afe9caf/1474503042213/Greco+doors-1.jpg Chapter 2 Photos (B) - Page 44: The Central Portal created in the 1960s Interestingly, the most recent element of the cathedral decoration—the enormous central doors commissioned in the 1960s from Emilio Greco—maintains the focus on a Word made flesh. The subject of these bronze relief panels is that of the seven works of corporal mercy: feeding the hungry, giving drink to the thirsty, clothing the naked, providing shelter for the homeless, caring for the sick, visiting those in prison, burying the dead. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57cf6be9440243d64e90cda8/57b61f5ac534a57897b58dcb/1474503197647/Sasseti-1.jpg Chapter 2 Photos (B) - Page 45: Private family chapels such as that of the Sassetti Among these [masterworks of the Renaissance found in private family chapels] are a number of the artworks featured in the discussions in this book, such as the altarpiece and frescoes by Domenico Ghirlandaio in the private chapel of the Sassetti family in the monastery church of the Vallombrosian order (painted in the 1480s). https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57cf6be9440243d64e90cda8/57b61f68c534a57897b58e41/1474503247377/Brancacci-1.jpg Chapter 2 Photos (B) - Page 45: Private family chapels such as the Brancacci ... and Masaccio’s and Masolino’s frescoes in the private chapel of the Brancacci family in the monastery church of the Carmelite order in Florence. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57cf6be9440243d64e90cda8/57b61fb7440243590afea300/1474503484243/Mont+Oliveto+cloister-1.jpg Chapter 2 Photos (B) - Page 47: The Cloister in the Abbey of Monte Oliveto ... the artists Sodoma and Luca Signorelli shared in the commission to fresco scenes from the vastly influential biography of Benedict written around 600 (less than a century after Benedict’s death) by Pope Gregory the Great. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57cf6be9440243d64e90cda8/57b61fcdc534a57897b592bb/1474503622363/Monte+Oliveto-17.jpg Chapter 2 Photos (B) - Page 48: Monte Oliveto, discerning the poisoned wine The miracles are there in the frescoed cloister of Monte Oliveto. But Sodoma’s and Signorelli’s visual narrative focuses not so much on the melodrama of the action as on the character of the people involved. ... Making the sign of the cross, [Benedict] breaks a goblet of poisoned wine offered him by a group of monks who are resisting the yoke of the disciplined life under his care. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57cf6be9440243d64e90cda8/57b61fd9c534a57897b59344/1474503642371/The+False+Totilla+Monte+Oliveto.jpg Chapter 2 Photos (B) - Page 48: Monte Oliveto, discerning the false Totilla A similar action occurs in the side of the cloister painted by Signorelli when Benedict discerns the false identity of a “double” sent by Totilla, king of the Goths, to test the man of God. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57cf6be9440243d64e90cda8/57b6203e440243590afeaab4/1474503708724/Last+Supper-1.jpg Chapter 2 Photos (B) - Page 49: conventional design of Last Suppers Most of us have been habituated (if only by countless reproductions of Leonardo da Vinci’s famous composition) to the conventional pictorial arrangement of the Last Supper. The disciples are arranged on the outer side of the table, Jesus sits in the center, with Judas very often seated alone on the opposite side of the table. (The Last Supper in this photograph is that of Domenico Ghirlandaio, frescoed in the dining hall of Monastery San Marco in Florence, in the 1490s.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57cf6be9440243d64e90cda8/57b62095440243590afeaf0e/1474503859462/SMN+chapter+crucifixion+-1.jpg Chapter 2 Photos (B) - Page 50: Chapter House in Santa Maria Novella, Florence The chapter house in the Dominican monastery of Santa Maria Novella in Florence exemplifies the pattern. Each of the four walls in this large cube of a hall takes up a key theme. Entering from the cloister, one faces the Crucifixion, a scene with additional resonance for the Dominican order—the “order of preachers”—for whom St. Paul’s “we preach Christ Crucified” gives the marching orders. (Painted in the 1360s by Andrea di Bonaiuto, sometimes referred to as Andrea da Firenze) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57cf6be9440243d64e90cda8/57b620a8c534a57897b59db3/1474503914461/SMN+chapter+learning+0.jpg Chapter 2 Photos (B) - Page 51: Chapter house in Santa Maria Novella The defining work of the Dominicans is as preachers and teachers; their mission is to defend the faithful against the attacks of heretics. Hence the aptness of the decoration on one wall, where the entire educational program necessary to fulfill their calling is laid out in diagrammatic fashion—a sort of visual course catalog, one might say, for what we would think of a Seminary education nowadays. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57cf6be9440243d64e90cda8/57b620bcc534a57897b59eae/1474503987375/SMN+chapter+allegory-1.jpg Chapter 2 Photos (B) - Page 51: Chapter House of Santa Maria Novella On the opposite wall is an allegorical narrative of the vocation of the Dominicans, of putting that education into practice. Modern scholars still fuss over the interpretation of various aspects, but the gist is clear enough ... https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57cf6be9440243d64e90cda8/57b6214b20099e9522291148/1474504273796/Lorenzetti+good+bad+govt-1.jpg Chapter 2 Photos (B) - Page 56: Sala dei Nove (council room of the Nine) in the Town Hall of Siena The programme of the frescoes in the meeting room of the Nine unfolds in two mirroring sequences around three of the four walls of the council chamber. (Painted in the 1330s by Ambrogio Lorenzetti) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57cf6be9440243d64e90cda8/57b6215520099e95222911da/1474504328052/Lorenzetti+government+allegory-1.jpg Chapter 2 Photos (B) - Page 56: The pictorial analysis of good and bad government in the Sala dei Nove, Siena Town Hall ... the meeting room of the Nine unfolds in two mirroring sequences around three of the four walls of the council chamber. (The photograph indicates the corner that serves as the hinge point, from which the depiction of Good and Bad Government unfolds in parallel A-B-C sequences of Virtues (and Vices), then of townscapes, then of landscapes.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57cf6be9440243d64e90cda8/57b6215d20099e952229126c/1474504465752/Lorenzetti+good+town+country-1.jpg Chapter 2 Photos (B) - Page 57: Town and country of a well-governed city The long wall adjacent to this allegorical presentation of the virtues of good government presents the wholesome effects of such good governing for the sake of the common good, first, inside the walls of the city and then in the countryside governed by the Comune ... https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57cf6be9440243d64e90cda8/57b62213be6594a76e052fe2/1474504624411/Siena+Side+Room-1.jpg Chapter 2 Photos (B) - Page 58: Piccolomini Library in the Siena cathedral The painter Pinturicchio was commissioned to fresco the walls with scenes from Pius’s life. (Painted in the early 1500s, commissioned by Pius II's nephew Cardinal Francesco Todeschini-Piccolomini to house his uncle's valuable library of manuscripts.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57cf6be9440243d64e90cda8/57b62220f5e23166ce61bb8b/1474504741632/Rafael+philosophy-1.jpg Chapter 2 Photos (B) - Page 59: Pope Julius's library, frescoed by Raphael around 1510 The frescoed decoration of the ceiling and the four walls can be understood to serve the very useful purpose as a sort of visual card catalog for the four main sections of the Pontif’s collection: theology, literature, law, and philosophy. (Here is the wall given to Philosophy, the so-called "School of Athens.") https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57cf6be9440243d64e90cda8/57b62232f5e23166ce61bc85/1474504834218/Rafael+theology-1.jpg Chapter 2 Photos (B) - Page 59: The Theology wall, so-called the Disputà The complex ideas developed visually in the mural of the great intellects of ancient Greece are apprehended only in relation to the opposite wall—that of theology, where the focus (and perspectival focal point) is on the wafer of the Host displayed on the altar, the Eucharist as the sacrament of the real presence of the invisible God in the visible person of Christ. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57cf6be9440243d64e90cda8/57b6223ff5e23166ce61bd73/1474504865203/Rafael+ceiling+A%26E-1.jpg Chapter 2 Photos (B) - Page 59: Adam & Eve, between Law and Theology (In the ceiling are figures representing Philosophy, Theology, Literature and Law. In this photograph, the scene of the Temptation and Fall is appropriately located in the corner between Law -- or Justice -- and Theology.) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57cf6be9440243d64e90cda8/57b62251f5e23166ce61bed9/1474504878401/Rafael+poetry-1.jpg Chapter 2 Photos (B) - Page 59: Mount Parnassus, the mountain of the great poets https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57cf6be9440243d64e90cda8/57b62263f5e23166ce61bfdf/1473294938394/Rafael+law-1.jpg Chapter 2 Photos (B) - Page 25: The Cardinal Virtues Above the wall devoted to Justice are the figures (from left to right) of Fortitude, Prudence, and Temperance, thus completing the set of the four cardinal virtues, christianized from classical tradition. https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57cf6be9440243d64e90cda8/57b6234303596e8e91b7db5a/1474504957439/Siena+Fountain-3.jpg Chapter 2 Photos (B) - Page 60: The Fountain in the central piazza of Siena Siena’s Fonte Gaia, carved by the greatest Sienese sculptor of his generation, Jacopo della Quercia, stands at the apex of the scallop-shell-shaped piazza in town center that slopes down to its focal point in the town hall at the bottom center-point. (Created around 1420) https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/57cf6be9440243d64e90cda8/57b6234e59cc68a69c4e614f/1474504975378/Siena+Fountain+kids+-1.JPG Chapter 2 Photos (B) - Page 60: Fonte Gaia, Siena The series of bas-relief panels placed in niches around the sides provide daily reminders for the gathered citizens both of the legendary civic origins of their city ... and of the origin of their toil in the Temptation, Fall, and Expulsion from Eden of our first parents Adam and Eve. http://www.artinitsplace.com/home-1 daily 1.0 2021-01-18 https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/t/5773d9e73e00be0a4e485fb6/1467210220307/1457189880233.jpeg Home http://www.artinitsplace.com/introduction daily 0.75 2016-09-27 http://www.artinitsplace.com/architecture daily 0.75 2016-09-09 http://www.artinitsplace.com/narrative daily 0.75 2016-09-02 http://www.artinitsplace.com/liturgy daily 0.75 2016-09-09 http://www.artinitsplace.com/conclusion daily 0.75 2016-09-27 http://www.artinitsplace.com/new-page daily 0.75 2021-01-14 http://www.artinitsplace.com/new-page-1 daily 0.75 2016-12-22 http://www.artinitsplace.com/further-reading daily 0.75 2016-09-11 http://www.artinitsplace.com/about-the-author daily 0.75 2021-01-20 https://static1.squarespace.com/static/56d0c18b1d07c07cfd281c47/t/57ea56b9e6f2e14e6db2ba8a/1474975427550/IMG_1396.jpg About the Author