Italian Renaissance Art Exam 1

South Doors, Baptistery, Florence

-Andrea Pisano, c. 1330-36 -Depicts scenes from the life of John the Baptist, for whom the church is dedicated; believed to be an antique, classical building (but isn't) -Octagonal central plan because its a baptistery -Bronze taken from Venice, commissioned by the Calimala guild of cloth merchants; bronze expensive -Use of quatrefoil framing (French origin) Bottom two rows depict virtues like faith and hope -Inspo from late 13th century Florentine frescoes -Most important scenes placed at eye level: the baptism of Christ -Naming of the Baptist -Once born, Zacharia writes John down and is finally able to speak-- attests to the narrative clarity of Giotto's work, architectural element, swaddled babe

Tomb of Mary of Hungary

-Santa Maria Donnaregina, Naples Gagliardo Primario and Tino da Camaino c. 1325 Commissioned by Robert of Anjou -Neopolitan use of architectural framing, gothic architectural elements; tombs similar to those in Santa Croce, purchasing burial rites possible -Kariatyds support the tomb, angels pull the curtains of honor to the side -Shows the body as it was displayed following her death, like a funeral visit/ ongoing ritual -Madonna and child on top, with a figure of the kneeling Queen Mary (seen both alive and dead) -Seven sons under her, highlighting her womanly duties (esp as they relate to Marys) -Sons are featured in hierarchy of importance; saint son at the center, then bishop and kings and royalty (only sons shown, she had daughters too)

Allegory of Good Government

Ambrogio Lorenzetti, Room of the Nine (Sala della Pace), Palazzo Pubblico, Siena c. 1338-40 -Space for meetings of the Sienese council which included a secular, civic fresco cycle relaying the group's purpose through allegorical representations of concepts of good and bad government -Reminds the audience to govern well and wisely -Allegory of Good government: enthroned king is flanked by allegorical figures (labelled) -Shield with Mary makes it particularly SIenese, "CSCV" around the King's head stands for the Commune of Siena. -Figure of knowledge puppeteers justice who holds a scale -Concord/peace with a level/planing device -A rope connects all of these figures in the form of reigns whcih ultimately lead through the people to the King figure, which is the "Common good"

Allegory

An allegory is a manifest representation of an idea or construct (much like a virtue) and often are depicted using female figures

Icon/Iconic

An image representing a sacred figure or event in the ByzAntine, and later the Orthodox, church. Icons were venerated by the faithful, who believed them to have miraculous powers to transmit messages to God. -Iconic images: express or embody an intangible concept or idea

Palazzo della Signoria, Florence

Arnolfo di Cambio, c. 1299-1310 -Inspired by earlier government buildings; use of limestone and the tower are medieval -Appearance of strength and stability, fortified with bell tower -Built on the houses of the Uberti (Ghibelline) following their defeat by the Guelphs

St. Bonaventure

Author of the legenda maior, which told the detailed lives of many Saints, including Francis, from which many church decorative programs are derived

Mendicant

Beggars who take vows of chastity, poverty etc.

San Francesco, Assisi

Begun c. 1228, the same year as Francis' canonization -Upper church contains a number of frescoes, the scenes of which codify the life of Francis -Opulent church despite Francis' life of poverty, belief in plain churches. Attests to the political issues of Saints -Spirituals v. Conventuals: 2 factions of the Franciscan order. The former

Louis of Toulouse

Bishop who becomes a Saint, child of Mary of Hungary

Altarpiece of St. Francis

Bonaventura Berlinghieri c. 1235 San Francesco, Pescia -Altarpiece decoration in the first half of the 13th century looks much like this, iconic with illustrative, narrative elements -Byzantine in style, follows the tradition of depicting/creating icons; composition of a central icon with surrounding narratives -Ancona shape: rectangular body with triangular top -Francis a stern, frontal icon identified by his robes, three knots in his tied belt, and shaved head of his order. Also shown with the stigmata of Christ -Scenes around him show his miracles, i.e. him Preaching to the Birds -Narrative scenes are very stylized in form and space, flat, very Byzantine

Water gilding

Bonds gold to bole, used for larger areas of gilding

Enrico Scrovengi

Built the Scrovengi chapel as part of his privately owned palace complex

Suffering Christ (Christus Patiens)

Christ depicted as sucuumbing to his human death, sags in defeat, onlookers mourn (model behavior for visitors, devotees)

Triumphant Christ (Christus Triumphans)

Christ depicted on the crucifix as being triumphant over his own death; often with a peaceful expression, lifted physical features which do not sag from the sites of the stigmata, and may be paired with images of ascension instead of mourning -EXAMPLE: San Damiano Crucifix, c. 12th century

Dedication

Churches, spaces, rooms, chapels, etc. can all be dedicated to a saint

Crucifix

Cimabue, Santa Croce, Florence c. 1280s -Naturalistic, graceful c-curve of Christ's body is consistent with Gothic art and includes less details than the San Damiano Crucifix which came 70 years prior -CHRISTUS PATIENS: the suffering Christ, depicted with a sagging body and pained expression. Accompanied by mourning figures, which model behavior for the viewer. In this case, flanked by St. John and Mary in the terminals -Transparent loincloth emphasizes Christ's human nature and human death -Based on Byzantine icons, which were often iconic panel paintings with excessive gold and flatness.

Crucifixion

Cimabue, Upper Church, San Francesco, Assisi c. 1279, after -Two crucifixions by Cimabue in either end of the transept at Assisi -Badly damaged and colors faded -Not iconic, but narrative and anachronistic because figures (like Francis) are shown at the scene that couldn't have been there -Grieving angels cry and catch the blood of Christ, Saint Francis is at his foot. Two groups are separated by Christs body; to Christ's right are the righteous grieving (Mary Magdalene) and to his left are the "sinistra" (one man tugs Christ's loincloth) -

Calimala Guild

Cloth merchant guild that commissioned the South Doors of the San Giovanni Baptistery (Florence)

Ultramarine

Color made with lapuz lazuli from Afghanistan, same value as gold

Magistrato del Proprio

Commissions Enthroned Justice Flanked by St. Michael the Archangel and the Angel Gabriel for the Doge's palace Court of the People?

Bertoldo Stefaneschi

Commissions the Birth of the Virgin mosaic by Pietro Cavallini in Santa Maria in Trastevere

Cardinal Jean Cholet

Commissions the Last Judgment by Pietro Cavallini in Santa Cecilia of Trastevere, Rome -French

Mico Guidalotti

Commissions the chapter house Guidalotti Chapel c. 1365

Black Death

Depleted populations in Italian City stats

Entry into Jerusalem

Duccio From the Maesta Altarpiece c. 1308-11 -Christ rides on a donkey into the holy land (which looks like contemporary Siena) and is greeted by crowds of people (affinity for crowd scenes) -Love of color and line obvious in Sienese visual tradition; contouring with line, composition, creating groups of people and things with line -Rich jewel tones, mineral-based pigments used for panel painting

Maesta

Duccio di Bouninsegna c. 1308-11 -Double-sided polyptych altarpiece which functioned in relation to the rituals performed at the altar: liturgical readings, the eucharist/ raising of the Host -Iconography complements these rituals, transubstantiation of the Host literally raised to the body of Christ depicted as a child in Mary's lap -Use of mordant gilding for fine lines and striations, namely in Mary's drapery -Rich gold, tooling work, etc. drawn from the Byzantine tradition -Four men kneeling at the Patron Saints of Siena along with the Virgin Main panel on the back features scenes of the passion

Refectory

Eating space, dining hall

Terminal(s)

Ends of the crucifix, which are normally enlarged to fit some other visuals

Last Judgment

Entrance wall of the Scrovengi Chapel, Giotto, c. 1303-05 -Angels roll up the sky at the end of times, Christ divides the liturgical right and left, good and bad and sends them to heaven or hell. Donor portrait at the bottom

Andrea Dandolo

Famous doge of Venice who started and completed a number of important commissions throughout his reign, ultimately being buried in the Baptistery of San Marco

Mona Vaggia Manfredi

Female patron of the Santa Croce Refectory in Florence

Sancia of Majorca

Founder of the Poor Clares?

Gothic

French gothic influence coexists with Byzantine tradition, both are followed at the same time but operate very differently

Quatrefoil

French inspired lobe frame, used for narrative clarity in the Andrea Pisano doors for the Florentine baptistery

Meeting at the Golden Gate

Giotto, c. 1303-05, Scrovengi Chapel, Padua -Mary and Joachim meet and exchange the good news of their pregnancy and kiss -Dilineates Giotto from his contemporaries by the impact of emotion on his work -All blues are mineral based and often fall off -Woman with the black cloak could symbolize a number of things: evil, negativity, the fact that their grandchild will die on the cross

Noli Me Tangere

Giotto, c. 1303-05, Scrovengi Chapel, Padua -Mary reaches for the revived Christ's robes but he demands she not touch him. Guards of his tomb (which is open, empty and used as a seat by two angels) are asleep and cannot see his majesty. -Growth of bushes contrasts with earlier, barren scenes and depictions of dead trees -Placed underneath the Raising of Lazarus, keeps theme of ressurection

Bole

Greasy red pigment used before gold is laid to increase intensity

Way of Salvation

Guidalotti Chapel, Santa Maria Novella, Florence Andrea Bonaiuti c. 1365-67 -Propaganda for the Dominican Order suggests the way to salvation is through adhering to Dominican ways of life -Lower corner shows the church that will be the Florence Cathedral, which comes to stand for the Church as a whole. In front of it are two groups of people clearly divided by a Pope figure on a platform with sheep (people) who are protected by black and white dogs (symbol of the Dominicans protecting Christian people, granting them salvation) -To the left are people of all religious ranks and orders, to the right are normal civilians, representatives of society -Brown wolves represent HERESY, being attacked by the dogs -St Thomas Aquinas, St John the Martyr are seen converting people and having theological arguments right behind the wolves and dogs, exemplifying the good work of the Dominican order -Above them people are stuck in temptation but some are able to escape, and go through heaven's gate, born again as children to live their lives staring at the glory of god

Gesso

Gypsum and animal hide used over clot on a panel, acting as a primer and curing the wood from expansion etc.

Enthroned Justice Flanked by St. Michael the Archangel and the Angel Gabriel

Jacobello del Fiore c. 1421 -Commissioned by Magistrato del Proprio for offices in the Doge's Palace -Civic meaning -Moves toward gothic elegance, away from Byzantine flatness -Made for a court: justice a prominent figure who can both punish and reward; she models the behavior taking place in the room (like the Lorenzetti Allegory of Good Government in the Council of the Nines, Siena) -Civic commissions

Doge

Leader of the Venitian government

Maesta

Madonna and Child

Robert of Anjou

Major commissioner and King of Naples

Sancta Sanctorum

Master Cosmatus, Lateran Palace, Rome -Lateran Palace is connected to the Church of St. Peter by the via papale -"Holy of Holies" which contains the great treasures of the Christian faith like faithful portraits of Christ, his body, etc. -Scala Santa: staircase, supposedly brought by Pilate from the holy land; used by pilgrims to look into the Sancta Sanctorum through a window -Spoglia, porphyry used -Costmati: mosaic floor creates a map of the cosmos with porphyry Vault painting: symbols of the four evangelists -French gothic influence evident in the three-lobed arches

Polyptych

Multiple panels comprise an entire work, such as an altar piece (more than three panels)

Secco

Murals, dry paintings on plaster use a binder. Ultimately less durable than frescoes

Charles II of Anjou

Named the King of the Two Sicilies (Naples) by Pope Clement IV -Frenchman, rules Siena and established the Angevin line of rulers which continues until the middle of the 15th century when the Spanish arrive -

Pulpit and detail of Christ

Nicola Pisano Siena Cathedral Commissioned 1265 -Decorative opportunity which functioned as a stand to heighten preachers delivering sermons and liturgical readings; acting as a visual accompaniment to these teachings -French and Gothic influence -High relief: not free-standing, but spacious slab-cut images, uses lighting to it's advantage. I.e. the Christ figure -Scenes of the life of Christ, mirrored throughout the artistic program of the gospels and last judgment scene -Massacre of the Innocents -Classical inspiration, especially in anatomy and drapeDry -Combined with gothic elegance, a mark in stylistic change -

Strozzi Altarpiece

Ocagna (Andrea di Cione), Strozzi Chapel, Santa Maria Novella, Florence c. 1354-57 -New central figure: the adult christ, very stern, relates to the orthodoxy of the church and the judgment scenes of the chapel which are meant to be intimidating and express the serverity and importance of adhering to religious principle -St Peter shown with a key, Thomas Aquinas receiving holy book, shows Christ as disseminating power, learning. Propaganda especially for Thomas Aquinas, who was a Dominican friar; suggesting his theological writings are divinely granted -Compare with Ognissanti Maesta -No space or depth in the Strozzi altarpiece, stacked figures, no architectural or otherwise background -Mandorla of cherubs -Christs role different to suit different audiences: Christ here is authoritarian and strict as is the church that commissioned the piece

Tabernacle

Orcagna Osanmichele, Florence c. 1359 -Site of miracles performed by this painted Maesta, producing healing miracles so becomes central to intercession and pilgrimage -Expensive tabernacle is the architectural support for the painting -Marble, gilding, enamel, curtain which is closed or opened by angels to reveal the painting at select dates -Model dome of the Florence Cathedral before its actual construction; grounds the city and its patron saint, Mary -Back shows the Death and Assumption of the Virgin -On her deathbed with apostles, with Christ appearing to take newly born infant soul of Mary to heaven, also adult Mary ascending in a mandorla -Scenes of her life on the bottom

Apron

Panels flanking the sides of Christ's torso on images the crucifix

Tessera (tesserae)

Pieces of glass and stone used to form mosaics

Last Judgment

Pietro Cavallini, Santa Cecilia, Trastevere, Rome c. 1277-80 -Patron: Cardinal Jean Cholet (French) -Subject has extensive, overdetermined iconography; the ends of time represented as Christ dividing people good and evil, with destinations of heaven and hell, respectively -Altar beneath christ has the instruments of the passion and the blood of Christ is emphasized, a reminder of his sacrifice but also the possibility of redemption -Liturgical right and left, good and evil -Stern, enthroned Christ looks to the left with his right hand open-palmed in acceptance and his left hand rejecting unrepentant sinners -Below Christ are two key intercessor figures: Mary and John the Baptist -Biblical figures seated in stalls -Composition is Byzantine, styles are mixed and not mutually exclusive; but the use of a consistent light source suggests a shift in naturalism in art

Birth of the Virgin

Pietro Cavallini, Santa Maria in Trastevere, Rome c. 1290 -Commissioned by Bertoldo Stefaneschi for his own assigned church -Mosaic with scenes of the life of the Virgin along the bottom of the apse -Common scene, shows contemporary child-rearing practices and interior design (such as the attendants bringing St. Anne food and wine) -Scene of the birth of Mary, Christ's mother from St. Anne -Space constructed with architectural detail and use of tapestries which suggest there is space beyond that depicted -Departure from flat, Byzantine style

Last Supper, Tree of Life, and Four Miracle Scenes

Refectory, Santa Croce, Florence c. 1330-40, Taddeo Gaddi -Franciscan friars took their meals here, would eat with their back to this wall, mimicking the last supper scene that takes place in the lower register. (Tuscan tradition of refectories with last supper) -Complex icongraphy, initially this room reserved to Clergy -Iconography comes from Bonaventure's legenda maior -Female patronage, Mona Veggia Manfredi who likely was a widow -Experimentation with space in the last supper panel, St. John sleeps on Christ's lap, Judas alone faces the other way

Nicholas III Kneeling with SS. Paul and Peter before Christ

Sancta Sanctorum, Lateran Palace, Rome c. 1278 -DONOR PORTRAIT: Depicted giving the Lateran Palace to and enthroned Christ (hierachical scale) -These two Saints chosen bc they are the patron saints of Rome, and Nicholas' key intercessors. Peter is also the first ever Pope

Strozzi Chapel

Santa Maria Novella, Florence c. 1335 -Impressive basilica founded by the Dominican order, very orthodox -Dedicated to St. Thompas Aquinas, a Dominican Saint and theologian -Walls have images of the last judgment -Stained glass is original, shows Madonna and child and St. Thomas Aquinas

Narrative

Scenes which are not iconic but rather tell a story and has characters and spaces which interact with each other EXAMPLE: Cimabue, Crucifixion, c. 1279, Upper Church, San Francesco, Assisi

St. Francis Renouncing his Worldly Goods

Second scene of Bay 2 at San Francesco, depicts Francis taking his clothes off as an embarrassed clergyman tries to cover him. Across from his father who holds his robes. -Division through architecture, negative space, the reach of God's hand through the sky

Nun's Choir

Separate room behind an altar for viewing privately by Nuns, apart from regular mass and visitors

Annunciation

Simone Martini c. 1333 -Mary is visited by the Angel Gabriel who speaks "the lord is with thee," in the moment of incarnation of Christ. (Ave Gracia and a dove angled to the virgin's stomach) -Frame isn't original, predella has been lost -Two Saints with palm fronds (martyrdom) -Roundels show the prophets with scrolls which write about the coming of Christ -Gothic style over Byzantine, flat stylization is replaced with elegant line and curve -Plaid cloak of Gabriel is staple of Sienese trading

Altarpiece of St. Louis of Toulouse

Simone Martini c. 1319 Commissioned by King Robert of Anjou -Depicts Louis of Toulouse crowning Robert -Political and religious propaganda, celebrates the Angevin right to rule, especially by depicting a Saint in the family line -Compare to earlier, Byzantine altarpieces (this one is Gothic); scenes in the Predella v. surrounding the central figure -St. Louis wears mendicant Franciscan robes under his finery, displaying both his royalty and high liturgical standing -Gold punching in the mitre and orphery -Fleur de lis b/c French -Staff is an attribute of Bishops -Gothic elegance skillfully executed -Scenes in the predella show stories of his life; visiting the Pope, becoming Bishop, serving meals, dying, miracles

Chapter house

Space where mendicant/monastic communities would father to do business

Ancona

Square shape with gable on top

Baptistery

St. Marks, Venice c. 1342-54 Doge Andrea Dandolo -Not a free-standing structure, but rather part of the greater complex of San Marco, which contains the tomb of Doge Andrea Dandolo -Tomb is on the wall across from the entrance, impossible to miss -Shows effigy of the deceased, with Virgin and Child, the Crucifixion and St. John -Not Byzantine, Italian traditions of depiction

Pala d'Oro

St. Marks, Venice c. 1345 restored and embellished by Doge Andrea Dandolo -High altar for San Marco, Venice -Directly placed over Mark's tomb, only seen on feast days -Use of exquisite and expensive materials -Byzantine in style -Cloisonne enamel technique, gilding, gemstones (Byz known for talented metalurgy) -Upper register includes scenes of the passion, with Christ at the center -Framework (not original) is Gothic -

Translation of the Relics of St. Mark

St. Marks, Venice c. 1270 -Byzantine style mosaic (city is tied to Byzantine, not classical, tradition). Mark is the patron saint of the city and is seen being carried into his titular church -Sacred theft, two Venetians travel to Alexandria Egypt to retrieve these remains, on their trip it is said St Mark appeared and helped their ship through a tumultuous ship -This mosaic is in a lunette above a doorway. -Advertises richness of the city, the relics there, their patron saint -Church displayed prominently, statement of opulence -Four horses proudly displayed are spoglia from Constantinople

Dominican Order

Strict, orthodox order

Angevin

The French royal family which led Naples

Council of the Nine

The Sienese government of nine who met at the Palazzo Pubblico in Siena

Translation

The act of relocating relics from one space to another; often believed the Saint is responsible for translations

Predella

The running board or base which is the bottom support for altar pieces, often decorated

Immaculate Conception

The series of events related to the conception of the virgin Mary by her old, infertile parents Anne and Joachim

Usury

The sin of charging high interest on loans, repented by Enrico Scrovengi in the construction of the Scrovengi Chapel -Can be made up for by "indulgences" or donations which correlate to time spans in purgatory

The Dream of Pope Innocent III

Third scene of Bay 2 at San Francesco, depicts a dream of Pope Innocent III in which Francis literally holds up the church of Saint Lateran with his hands -This leads to Francis' religious order being approved by the Pope

Reliquary Bust of San Gennaro

Three French goldsmiths (Etienne Godefroyd, Guillaume de Verdelay and Milet d'Auxerre) c. 1304 Commissioned by Charles II of Anjou -Patron saint of the city, the reliquary contains Saint Gennaro's skull -Gilded silver and enamel and precious gems -Follows the tradition of portraiture, gives a vision to what is inside -Reliquaries as opportunities to revere a Saint's remains and seek intercession

Mordant gilding

Use of glue in specific areas and then powdered or sheets of gold for refined lines

Doge's Palace

Venice c. 1340-48 -Regional diversity: looks very different from the Palazzo del Signoria -Combination of styles, not Byzantine but rather Islamic and Gothic -Very open, not fortified in the formal sense, very tall but a number of windows and entrances, even a portico entrance -Suggests stability and strength through public expression of ease and security in this way (similar message through the Palazzo del Signoria but through fortification and height, military strength embodied in the building) -City of trade, this right at the port, propagandist architecture

Fresco (buon fresco)

Water color pigments applied to wet plaster, the pigments then join the wall, incredibly durable

St. Francis of Assisi

c. 1181-1226, canonized c. 1228, founds the Franciscan Order -Very quick canonization attests to the popularity of his Mendicant order, in which he and his followers became "beggars," who refused material objects and tooks vows of poverty, chastity, and obediance. -These three pillars were symbolized in the three knots on their mendicant robes -Recieved the stigmata (marks of Christ's crucifixion) two years before his death, deemed an "Alter Christus" or second Christ

Santa Croce, Florence

c. 1294, Arnolfo di Cambio -Franciscan church, built where poor farmers were, to bring religion to the people -Cruciform plan w shallow apse and transepts, from Roman basilica forms used for civilian, governmental purposes -Less elaborate decoarative program especially due to Vasari's white washing later -Apse and high altar maintain frescoes, many tombs in the floor (burials allowed) -Gothic influence: stained glass, pointed arches, crossed vaulting -Wall used to segregate laymen from clergy and mass, gone following the Protestant reformation

San Damiano Crucifix

c. 12th century -Use of hierarchical scale makes Christ by far the most important figure; an iconic image which lacks naturalism but which represents an intangible concept -CHRISTUS TRIUMPHANS: Christ depicted as triumphant over death, he has a peaceful expression, his body doesn't dag on the cross, and it is paired with an image of his ascension in the upper terminal

Scrovengi Chapel, Padua

c. 1303-05 -Giotto, associated with Florence but travels, this is considered his masterpiece -Originally part of a palace complex, private citizen owns it but everyone could attend mass here -Built as penance for the sin of usury: charging high interests on loan -

Santa Chiara, Naples

c. 1310 Founded by Robert of Anjou and Sancia of Majorca (female poor clare) -Founded as a mixed male/female population convent -Decorative program lost -Unusual church plan, not a cross-plan but just a rectangular plan likely due to overcrowding in that area of the city -Potentially form Spanish influence of single nave churches -Nun's choir behind the apse with windows to the altar -Flat, open timber rood alas the mendicant basilicas found elsewhere

Ognissanti Madonna and Child

c. 1310-15, Giotto -Ancona Maesta (Madonna Enthroned) -Made for the umiliati order, not mendicant but monastic -"All Saints"

Triumph of Death and Last Judgment

c. 1330s Camposanto, Pisa -Pisa's religious center, cemetary -Fresco program includes the Life of Christ, Triumph of Death and Last Judgment -Episode in French literature depicted; three live men on a hunt confront three dead men they stumble upon along with others in their party (confrontation of mortality related to function of this space as a site of burial -People beg death next to a pile of corpses but he ignores them and pays attention instead to a group of figures having lunch in a covered wood, likely allegories of sin and luxury that guarantee damnation -Others escape these temptations/ take eachother away from these temptations and instead are taken into heaven -Angels and Demons represented fighting over souls -Souls leave mouths of the dead as babies

St. Francis Kneeling before the Crucifix in San Damiano

c. late 13th-early 14th cent. First scene of Bay 2 at San Francesco, depicts Francis kneeling before the Crucifix he found at a crumbling church (San Damiano) which would speak to him and inspire his order

Tempera

egg-based paint used for panel painting

Pope Nicholas III

r. 1277-80 -Works in renovation and revival, ensuring pilgrim traffic, often through patronage

Liturgy

teachings related to some holy text which expand upon these texts

Punching

treatment of applique gold, patterns and shapes (moons, flowers) impressed into the surface