title: Auf den Spuren der Nazarener : Re-reading Vittoria Caldoni: Friedrich Overbeck’s "Portrait" in the Neue Pinakothek creator: Davis, Charles subject: 750 subject: Painting subject: Germany, Switzerland, Austria subject: Italy subject: Artists, Architects subject: Painting subject: Overbeck, Friedrich / Vittoria Caldoni aus Albano subject: Schnorr von Carolsfeld, Julius subject: Hess, Heinrich von subject: Nazarener subject: Caldoni, Vittoria subject: Bildnis description: The study provides a new reading of the painting of the fifteen-year-old Vittoria Caldoni (1805-1872), a Winzerstochter from Albano near Rome and the most famous Italian artist’s model of her time, by Johann Friedrich Overbeck (1789-1869). This work is now exhibited in the Neue Pinakothek (München; Inventory WAF 757; oil on canvas, 89,5 x 65,8 cm). It was commissioned in 1820/1821 by Crown Prince Ludwig of Bavaria (1786-1868), executed in Rome in 1821, and then sent to Munich at the end of 1821. The portrait may have been commissioned to satisfy the Prince’s taste for portraits of attractive females, but possibly a conflict between the Prince’s wishes and Overbeck’s conception of his art led to a mixed reception of the painting at the royal court in Munich. Always considered simply as a portrait, a re-reading of the painting seeks a meaning beyond that of a mere portrait representation, owing to several puzzling aspects of the work. Vittoria Caldoni was the daughter of a vineyard keeper and wine producer, but she is represented as a worker in the wheat fields, with the attributes of (1) the wheat field, (2) working clothes, (3) a sickle, and (4) a sack of grain. She has no attributes pertinent to the cultivation of grape vines or to wine-making. Thus arise the questions: "Why does a Winzerstochter sit before a wheat field, instead of before a vineyard, and Why does she sit before a fig tree, and not under a grape arbour?". What Overbeck has painted is not a portrait in the traditional sense. In Overbeck’s execution of his commission from the Crown Prince, it appears that his concept of portraiture was determined by his own idea of his art as a strictly Christian art and by his conception of religious painting. It has been claimed that, in his Vittoria Caldoni, Overbeck expands the genre of portraiture to include an allegorical dimension, but, rather than an allegory of summer or autumn, Vittoria Caldoni becomes a Christian allegory, cast as a "Ruth" sitting at the foot of a tree, a figure of the genesis and generations of Christ. date: 2013 type: Article type: info:eu-repo/semantics/article type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/2253/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/2253/1/Davis_Nazarener2013.pdf identifier: urn:nbn:de:bsz:16-artdok-22535 rights: info:eu-repo/semantics/openAccess language: eng title: Vasari in England: an Episode. Was Mrs. Foster a Plagiarist? with excerpts from Mrs. Jonathan Foster, Lives of the most eminent Painters, Sculptors, and Architects, translated from the Italian of Giorgio Vasari, London: Henry G. Bohn, York Street, Covent Garden, MDCCCL-MDCCCLII (FONTES 75) creator: Davis, Charles subject: 700 subject: Arts subject: Great Britain, Ireland subject: Italy subject: Artists, Architects subject: Vasari, Giorgio: Le vite de' più eccellenti architetti, pittori et sculptori italiani da Cimabue insino a' tempi nostri subject: Rezeption subject: Großbritannien subject: Geschichte 1570-1850 subject: Vasari, Giorgio: Le vite de' più eccellenti architetti, pittori et sculptori italiani da Cimabue insino a' tempi nostri subject: Übersetzung subject: Foster, Jonathan subject: Englisch description: Vasari in England: An Episode: "Was Mrs. Foster a Plagiarist?", mit Auszügen aus: Mrs. Jonathan Foster, Lives of the most eminent Painters, Sculptors, and Architects, translated from the Italian of Giorgio Vasari (Leben der hervorragendsten Maler, Bildhauer und Architekten, aus dem italienischen von Giorgio Vasari), London: Henry G. Bohn, 1850-1852, von Charles Davis. Vor dem Hintergrund der kritischen Rezeption von Giorgio Vasaris Vite in England, 1570-1850, wird die erste mehr oder weniger vollständige Übersetzung der Viten ins Englische untersucht und bewertet: Lives of the most eminent Painters, Sculptors, and Architects: Translated from the Italian of Giorgio Vasari. With notes and illustrations, chiefly selected from various commentators, by Mrs. Jonathan Foster, London: Henry G. Bohn, 1850–1852 (Bohn’s Standard Library; vol. 1: 1850. – viii, 511 pp.; vol. 2: 1851. – iv, 508 pp.; vol. 3: 1851. – iv, 526 pp.; vol. 4: 1851. – 548 pp.; vol. 5: 1852. – 580 pp.). Die Mängel von Mrs. Fosters Übersetzung waren allgemein bekannt – sowohl bei ihren Zeitgenossen als auch bei späteren Übersetzern, die sie auch kommentiert haben. Die Anmerkungen von Mrs. Foster zu den Viten, die, wie sie behauptet, sehr sorgfältig aus früheren Ausgaben ausgewählt wurden, sind in der Tat weitgehend von einer einzigen Vasari-Ausgabe abkopiert: Le Opere di Giorgio Vasari pittore e architetto aretino, Firenze: Per David Passigli e Soci, 1832-1838. In sechs Anhängen werden die folgenden in vollem Wortlaut wiedergegebenen Auszüge (Volltexte) aus der Vasari-Ausgabe von Mrs. Foster zugefügt: (1) das Vorwort der Übersetzerin, (2) die Inhaltsverzeichnisse aller 5 Bände, (3) Vasaris Brief an die bildenden Künstler, (4) die Anmerkungen Mrs. Fosters zur Vita von Michele Sanmicheli, (5) die Anmerkungen Mrs. Fosters zur Vita von Giotto di Bondone, (6) Jean Paul Richters Vorwort zu seinem Band von Notizen zu Vasari (dem Ergänzungsband zu Mrs. Fosters Übersetzung, der im Jahr 1885 herausgegeben wurde). date: 2013 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/2179/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/2179/1/Davis_Fontes75.pdf identifier: urn:nbn:de:bsz:16-artdok-21795 rights: info:eu-repo/semantics/openAccess language: eng title: Vasari in England, 2: Fra Angelico translated, 1850. Giorgio Vasari, The Life of Giovanni Angelico da Fiesole, translated from the Italian of Vasari by Giovanni Aubrey Bezzi, with Notes and Illustrations, printed for the Arundel Society, 1850 (FONTES 76) creator: Vasari, Giorgio subject: 700 subject: Arts subject: Great Britain, Ireland subject: Italy subject: Artists, Architects subject: Vasari, Giorgio / Le vite de' più eccellenti architetti, pittori et sculptori italiani da Cimabue insino a' tempi nostri subject: Rezeption subject: Großbritannien subject: Geschichte 1850 subject: Vasari, Giorgio / Le vite de' più eccellenti architetti, pittori et sculptori italiani da Cimabue insino a' tempi nostri subject: Übersetzung subject: Englisch subject: Bezzi, Giovanni Aubrey subject: Arundel Society description: Vasari in England, 2: Giorgio Vasari, The Life of Giovanni Angelico da Fiesole, translated from the Italian of Vasari by Giovanni Aubrey Bezzi, with Notes and Illustrations, printed for the Arundel Society, 1850. Die Einführung stellt wesentliche Informationen über Giovanni Aubrey Bezzis Übersetzung von Vasaris Das Leben des Fra Angelico (für die Arundel Society 1850 in London veröffentlicht) vor. Behandelt sind Bezzi, seine Mitarbeiter und die institutionellen Rahmenbedingungen für das Buch, sowie Bezzis Übersetzung, sein Kommentar zum Leben Angelicos und seine Quellen. Das Werkverzeichnis und die Bildtafel werden beschrieben; ferner wird die Übersetzung Bezzis als Ausdrucksmittel einer Künstler-Monographie im Hinblick auf die Geschichte und Vorgeschichte dieser Gattung der Kunstgeschichtsschreibung analysiert. Nach der Volltext-Transkription des Buches folgt eine Auswahl der Tafeln. Volltexte von den zwei Vasari-Viten Angelicos sind enthalten, sowie eine vergleichende Analyse der beiden Texte. Es folgt eine Diskussion über Mrs. Jonathan Fosters Übersetzung von Vasaris Angelico-Leben. Diese wurde in London gleichzeitig mit Bezzis Übersetzung oder kurz danach im selben Jahr 1850 veröffentlicht. Ein Volltext der Übersetzung Mrs. Fosters ist ebenfalls enthalten. contributor: Davis, Charles date: 2013 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/2180/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/2180/1/Davis_Fontes76.pdf identifier: urn:nbn:de:bsz:16-artdok-21807 rights: info:eu-repo/semantics/openAccess language: eng title: Carteggio Vasariano, II.: "XL or XXL?": Letters lost and found. Cavaliere Giorgio Vasari Il Giovane, "Nota di diversi Gran' Principi, et Signori che hanno scritto in diversi tempi à messer Giorgio Vasari (...)", in: Varie lettere di messer Giorgio Vasari Aretino Pittore, et Architettore, (...) raccolte dal Cavaliere Giorgio Vasari suo Nipote (...), Firenze, Biblioteca Riccardiana, Ms. Riccardiana, 2354, fol. 91r–92 v, circa 1590 (FONTES 71) subject: 700 subject: Arts subject: Italy subject: Artists, Architects subject: Vasari, Giorgio ; Vasari, Giorgio (Architekt, 1562-1625) ; Briefsammlung description: FONTES 71 präsentiert eine Volltext-Ausgabe der "Nota di diversi Gran' Principi, et Signori che hanno scritto in diversi tempi a messer Giorgio Vasari (…)" von Giorgio Vasari il Giovane (1562-1625), einem Neffen von Giorgio Vasari. Die Handschrift befindet sich am Ende des Codex Riccardiana 2354 (Biblioteca Riccardiana, Florenz). Die "Nota" wirft ein neues Licht auf den ursprünglichen Umfang des literarischen Nachlasses von Giorgio Vasari (1511-1574). Insbesondere liefert sie Rückschlüsse auf Verluste in der Briefsammlung und auf die Identität von Briefpartnern, deren Briefe an Vasari heute verschollen sind. contributor: Davis, Charles date: 2012 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/2099/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/2099/1/Davis_Fontes71.pdf identifier: urn:nbn:de:bsz:16-artdok-20998 rights: info:eu-repo/semantics/openAccess language: mul title: Cosimo Bartoli and Michelangelo. A study of the sources for Michelangelo by Bartoli with excerpts from the Ragionamenti accademici di Cosimo Bartoli gentil' humo et accademico fiorentino, sopra alcuni luoghi difficili di Dante (Venezia: de Franceschi, 1567) and other works by Bartoli (FONTES 64) creator: Bartoli, Cosimo subject: 700 subject: Arts subject: Italy subject: Artists, Architects subject: Bartoli, Cosimo / Ragionamenti accademici sopra alcuni luoghi difficili di Dante subject: Michelangelo subject: Quelle description: FONTES 64 is a study of the sources for the life and art of Michelangelo Buonarroti written by Cosimo Bartoli (1503-1572), a Florentine humanist, translator, art theorist, and diplomat. Primarily texts from Bartoli’s "Ragionamenti accademici" (Venezia 1567) are treated. The relevant texts are quoted completely in full-text form, together with other texts taken from Bartoli’s letters to Giorgio Vasari and from other printed works by Bartoli. contributor: Davis, Charles date: 2012 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/1825/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/1825/1/Davis_Fontes64.pdf identifier: urn:nbn:de:bsz:16-artdok-18257 rights: info:eu-repo/semantics/openAccess language: eng title: Carteggio Vasariano: A letter from Carlo Serpa and twelve related documents (FONTES 70) creator: Serpa, Carlo subject: 700 subject: Arts subject: Italy subject: Artists, Architects subject: Serpa, Carlo ; Vasari, Giorgio ; Briefsammlung description: FONTES 70 presents a letter from the Bolognese prelate Carlo Serpa to Giorgio Vasari (1561) and twelve related documents that clarify the place of Serpa in the worlds of Vasari, Pietro Aretino, and Titian and also reveal his activities as an arbiter of patronage and art dealer in Rome, Florence, Venice, and, beyond the Alps, in Bavaria. These letters are considered in the context of Vasari’s literary remains, and, in particular, in the context of the historical reassembly of his "carteggio" (Briefverkehr; correspondence), first in the sixteenth to nineteenth centuries, and then with the rediscovery of the Vasari Archive by Giovanni Poggi in 1908, and its subsequent publication by Karl Frey in 1923-1930, and finally in the context of more recent developments. Ernst Steinmann’s report (1910), "Zur Publikation des Vasari-Archivs", is included as a full text. contributor: Davis, Charles date: 2012 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/2098/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/2098/1/Davis_Fontes70.pdf identifier: urn:nbn:de:bsz:16-artdok-20982 rights: info:eu-repo/semantics/openAccess language: mul title: Ernst Steinmann, Postillen (um 1931-1932), in: Ein Exemplar der Ausgabe Karl Freys von Le Vite di Michelangelo Buonarroti scritte da Giorgio Vasari e da Ascanio Condivi con aggiunte e note, Berlin 1887 (FONTES 73) creator: Steinmann, Ernst subject: 700 subject: Arts subject: Italy subject: Artists, Architects subject: Steinmann, Ernst subject: Frey, Karl subject: Randbemerkung description: Fontes 73 präsentiert die Randbemerkungen des Kunsthistorikers und Michelangelo-Forschers Ernst Steinmann (1866-1934), die sich in einem bisher unbekannten Exemplar der Ausgabe Karl Freys von Le Vite di Michelangelo Buonarroti scritte da Giorgio Vasari e da Ascanio Condivi con aggiunte e note (Berlin 1887) befinden. contributor: Davis, Charles date: 2012 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/2150/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/2150/1/Davis_Fontes73.pdf identifier: urn:nbn:de:bsz:16-artdok-21504 rights: info:eu-repo/semantics/openAccess language: ger title: Henry Wotton, The elements of architecture, London: John Bill, 1624. Part one (FONTES 68) creator: Wotton, Henry subject: 720 subject: Architecture subject: Architecture subject: Wotton, Henry / The elements of architecture description: FONTES 68 präsentiert den Architekturtraktat "Elements of Architecture" von Henry Wotton, veröffentlicht 1624 in London. "Das Werk "The Elements of Architecture" des englischen Diplomaten und Gelehrten Henry Wotton darf in vielerlei Hinsicht als die bedeutendste Architekturschrift des englischen 17. Jahrhunderts gelten. Innerhalb der englischen Geistesgeschichte stellt sie die erste intensive Auseinandersetzung mit der vitruvianischen Architekturlehre dar. Im Kontext des europäischen Schrifttums gehört sie zu der neuen Architekturkritik, die nicht von praktizierenden Architekten, sondern von architekturinteressierten Dilettanten verfasst wurde. Die Architektur wird so zum Gegendstand intellektueller Spekulation. (...) Seine Absicht besteht in der Vermittlung architektonischer Kategorien und Qualitätsstandards, die er für die kritische Urteilskraft eines gelehrten aristokratischen Laienpublikums als notwendig betrachtet". (Ruhl) Der zweite Teil des Buches ist den spezifischen Bedürfnissen des englischen Hauses gewidmet. Das Haus wird als "Theatre of Hospitality" und "kind of private Princedom" definiert. Ornament wird hier als Ausstattung des Hauses mit Skulptur und Malerei verstanden, was Wotton zum Anlass nimmt, sich kurz mit diesen auseinanderzusetzen. Unter seinem Ornament-Begriff kommt er auch auf Gartenanlagen zu sprechen, wobei er einen Kontrast zwischen Wohnhaus und Gartenanlage fordert: "For as Fabricks should be regular", so "Gardens should be irregular, or at least cast into a very wild Regularity". Indem er wiederholt die Rolle des Betrachters für den Garden betont, wird er zum theoretischen Wegbereiter des bildhaft verstandenen englischen Landschaftsgartens. (Kruft) Die "Elements of Architecture" stellt eine wichtige Ergänzung zu dem Fontes-Schwerpunkt "Architektur- und Kunsttheorie in England, 16.-18. Jh." (Fontes 7, 8, 16, 18, 51, 52, 53, 54, 56, 58) dar. contributor: Davis, Charles date: 2012 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/1870/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/1870/1/Davis_Fontes68.pdf identifier: urn:nbn:de:bsz:16-artdok-18707 rights: info:eu-repo/semantics/openAccess language: eng title: Ammannati at the Bargello creator: Davis, Charles subject: 730 subject: Plastic arts, numismatics, ceramics, metalwork subject: Italy subject: Artists, Architects subject: Sculpture subject: Ammannati, Bartolomeo subject: Florenz / Bargello subject: Ausstellung subject: Florenz <2011> date: 2011 type: Review type: info:eu-repo/semantics/review type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/1806/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/1806/1/Davis_Ammannati_at_Bargello_2011.pdf identifier: urn:nbn:de:bsz:16-artdok-18068 rights: info:eu-repo/semantics/openAccess language: eng title: Prints as sources. Ridolfo Sirigatti's marble Venus in an engraving after Stradanus. A print engraved by Hieronymus Wierix: "Amoris, en quanta vis", Venus by Ridolfo Sirigatti drawn by Johannes Stradanus (Antwerpen: Philips Galle, 1585/1590 circa)(FONTES 59) creator: Davis, Charles subject: 760 subject: Graphics arts, prints subject: Italy subject: Artists, Architects subject: Druckgraphik subject: Ästhetik subject: Quelle subject: Sirigatti, Ridolfo subject: Plastik subject: Autodidakt description: FONTES 59 examines the potential of prints as source documents for the history and theory of art. When Julius Schlosser defined "kunsthistorische Quellenkunde" in terms of the literature of art, printed images were left behind, unless they happened to belong to printed books. Most prints are composed of both images and words, and the words are often numerous. The distinction between sheets printed separately and distributed in isolation or in loosely defined sets or series ("Bildgraphik") and images printed in books ("Buckgraphik") appears a purely artificial one. Both books and prints are printed, and both are characterised by a similar mediality in which multiplication and diffusion rendered them both active and powerful forces in fostering considerations and discussions about art, that is the historical reflection upon art and works of art, which was always broader than the printed word alone. Following a consideration of the range of subject matter conveyed by prints that is relevant to the historiography of art, a neglected engraving by Hieronymus Wierix is examined as a case study for the question at hand. Wierix’s engraving after a drawing by Johannes Stradanus was published in Antwerp by Philips Galle, probably shortly before 1590. It depicts an over-lifesize marble statue of Venus and Cupid in a niche. The accompanying inscriptions provide a moralising frame for the image, and a lengthy inscription at the foot of the statue reveals that the "patron" of the print, Ridolfo Sirigatti, was also the author of the Venus. Sirigatti was one of the four interlocutors in the dialogue of Raffaello Borghini’s "Il Riposo" (Firenze 1584), a book in which Sirigatti’s now lost statue of Venus is described. Although Sirigatti is known to have been a sculptor, his hitherto identified works are very few, and the image of his Venus expands the number of his known works. The inscription at the bottom of the print contains a revealing self-characterisation of the artist which is in part determined by the topoi of the historical literature of art. Sirigatti presents himself in terms of his nobility and the nobility of the arts, of his rôles as a Cavalier of the Order of St. Stephen and as a member of the Florentine Accademia del Disegno, and of his claim to be self-taught, an autodidact, who follows nature but who has not learned from a master, a self-created artist. date: 2011 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/1354/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/1354/1/Davis_Fontes59.pdf identifier: urn:nbn:de:bsz:16-artdok-13540 rights: info:eu-repo/semantics/openAccess language: mul title: Hogarth's Analisi della bellezza of 1761, and a phantom Italian translation made in 1754. Guglielmo [William] Hogarth: L'analisi della bellezza, Livorno: Giovanni Paolo Fantechi, 1761 (FONTES 58) creator: Hogarth, William subject: 700 subject: Arts subject: Italy subject: Artists, Architects subject: Aesthetics, Art History subject: Hogarth, William / The analysis of beauty, Übersetzung subject: Italienisch subject: Geschichte 1761 description: FONTES 58 is a supplement to three previous numbers of FONTES (52, 53, 54), which treated William Hogarth’s "Analysis of Beauty". Number 58 examines the almost completely unstudied Italian translation of Hogarth’s "Analysis" published in Livorno in 1761, three years before Hogarth’s death. The name of the translator is unknown, and the identity of the "dama inglese", Diana Molineux (Molyneux), to whom the book is dedicated, remains a mystery, as do the reasons why the book was dedicated to her. She apparently did not live in Livorno, or even in Tuscany, and the publisher, Giovanni Paolo Fantechi, who writes the dedication, had never met her. Information about the printer Fantechi is assembled, and his relationship with the poet, librettist, and publisher, Marco Coltellini is examined. Full texts of the dedication and the table of contents of the "Analisi" (1761) are published. FONTES 58 also asks if an untraced Italian translation of 1754, first cited in the nineteenth century, ever actually existed and concludes that this work is most likely a bibliographical phantom. An Addendum (Nachtrag) to FONTES 58 contains a complete digital facsimile of the text of the 1761 Italian edition of Hogarth’s 'Analysis. contributor: Davis, Charles date: 2011 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/1353/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/1353/1/Davis_Fontes58_Nachtrag.pdf format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/1353/2/Davis_Fontes58.pdf identifier: urn:nbn:de:bsz:16-artdok-13535 rights: info:eu-repo/semantics/openAccess language: mul title: Two letters of Bartolomeo Ammannati: Invention and programme, Part I. Bartolomeo Ammannati: "Al Magnifico Signor mio Osservandissimo [Bartolomeo Concino (?)] (...) Di Siena agli 3 di Novembre 1559", from: Due lettere di Bartolommeo Ammannati scultore ed architetto fiorentino del secolo XVI [ed. Gaetano Milanesi], Firenze 1869 (FONTES 46) creator: Ammannati, Bartolomeo subject: 730 subject: Plastic arts, numismatics, ceramics, metalwork subject: Italy subject: Artists, Architects subject: Ammannati, Bartolomeo subject: Brief subject: Cosimo subject: Siena subject: Einzug subject: Geschichte 1560, Quelle description: FONTES 46 presents in full text form a letter of 3 November 1559 by Bartolomeo Ammannati describing the invention and programme of his apparatus for the triumphal entry of Cosimo I de’ Medici into Siena in 1560 following the ‚Guerra di Siena’. The ‚vita’ of Ammannati from Raffaello Borghini, ‚Il Riposo’ (Firenze 1584) is also included in a full text version. contributor: Davis, Charles date: 2010 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/893/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/893/1/Davis_Fontes46.pdf identifier: urn:nbn:de:bsz:16-artdok-8937 rights: info:eu-repo/semantics/openAccess language: mul title: Vincenzo Borghini: "MDLX a 28 d’ottobre, nel qual dì, Sua Eccellenza hebbe il tosone, fece l’entrata in Siena come appresso" Biblioteca Nazionale Centrale di Firenze, Ms. II. X. 100 [ca. 1560] (FONTES 50) creator: Borghini, Vincenzo subject: 700 subject: Arts subject: Borghini, Vincenzo subject: Cosimo subject: Siena subject: Einzug subject: Geschichte 1560 subject: Quelle description: FONTES 46 (Ammanati), FONTES 48 (Cirni), and FONTES 49 (Martellini) have each treated the written testimonies that document a civic festival important for the emergence and evolution of the political iconography of the Medici principate, established in 1537, an event in which architecture and images played a central rôle. This event was the triumphal entry of Cosimo de’ Medici and his family into Siena following the conclusion of the War of Siena, in 1559, and the subsequent annexation of Siena to Cosimo’s territories, laying the basis for a Tuscan State. The entry itself took place on 28 October 1560, and it was the first stop on a journey undertaken by a large part of the ducal court which led the entourage to Rome, where the Duke and his company arrived on 6 November 1560 for an extended stay. The victory over Siena represented the first and the essential consolidation of Cosimo’s territorial and dynastic ambitions, and the entry was intended to enforce the submission that followed victory and the conciliation that healed defeat, both accompanied by the celebration of a new power status enjoyed by the expanded Medici state and by the assertion of claims to a regal rank. It was the advancement of these aims that led the Duke, his family, and his court to continue on to the Rome of Pope Pius IV. If one attempts to discover and visualise the images of power that accompanied this event, it is to the extensive written sources that one must turn. The subject of FONTES 50 is the last of the known written documents that describe the entry into Siena. It is a somewhat summary description of the entry which focuses on its programmatic elements (inventions and inscriptions). It is found among the papers of Vincenzo Borghini in the Biblioteca Nazionale Centrale di Firenze (BNCF). Vincenzo Borghini (1515-1580) was the friend, confidant, and counselor of Giorgio Vasari, the luogotenente of the Accademia del Disegno, and an important artistic adviser to the Medici. Borghini’s description belongs to a manuscript which contains a collection of Borghini’s notes about various public festivals extending over many years and drawn from many places within Italy and beyond in Europe. Borghini’s description is based on information furnished to him by informants. The existence of Borghini’s collection of festival descriptions documents the crystallization of a European tradition for such events. The Siena entry of 1560 merits further study in the context of the elaboration of Medici iconics during the principate, especially during the reign of the first Medici duke, Cosimo I, a topic which has been intensively researched in the last half-century. It is an early event in the second phase of the elaboration of the "imagerie" of Medicean ideology, which began in 1555 and was already beginning to fade a few years before 1574, the year Cosimo I died. The entry into Siena thus comes at a time when the ongoing and cumulative elaboration of symbolic programmes for the Medici was still in a very active phase. contributor: Davis, Charles date: 2010 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/1021/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/1021/1/Davis_Fontes50.pdf identifier: urn:nbn:de:bsz:16-artdok-10217 rights: info:eu-repo/semantics/openAccess language: mul title: La reale entrata: invention, programme, inscriptions, and description for the entry of Cosimo de' Medici into Siena, 1560. Anton Francesco Cirni: La reale entrata dell'Eccellentissimo Signor Duca et Duchessa di Fiorenza, in Siena, con la significatione delle latine inscrittioni, e con alcuni sonetti, scritta per Anton Francesco Cirni Corso. In Roma per Antonio Blado Stampator Camerale [1560] (FONTES 48) creator: Cirni, Antonio Francesco subject: 700 subject: Arts subject: Italy subject: Artists, Architects subject: Cosimo subject: Siena subject: Einzug subject: Geschichte 1560 subject: Quelle subject: Cirni, Antonio Francesco description: Fontes 48 publishes a full text version of Anton Francesco Cirni, 'La Reale Entrata dell'Eccellentissimo Signor Duca et Duchessa di Fiorenza, in Siena' (Roma 1560). Cirni's 'Reale Entrata' is a festival book describing both the triumphal entry of Duke Cosimo I de' Medici and his Duchess Eleonora di Toledo into Siena on 28 October 1560 and the triumphal apparatus of arches, sculptures, and paintings that was created for this public civic occasion. The text is a primary document of political iconography and an early example of a festival book printed at about the same time as the event it describes. Thus the festival book become part of the event itself, serving to disseminate its content to a wider public. The booklet records the inventions, the programme, and the inscriptions presented at this symbolic event, that is, the words and images that conveyed its political and propagandistic messages. The 1560 Siena Entry was an important station in the emerging self-representation of the new Medici Principate established under Duke Cosimo I. The triumphal apparatus celebrated the victory over Siena, while proposing reconciliation with her citizens. In light of Florence's territorial expansion in Tuscany, the Medici regime's claims and aspirations to a new royal status found expression both in the entry and in Cirni's text. Cirni's rôle was not that of patron, artist, or humanist adviser. He was essentially a client of the Medici, who publicised their aims and ambitions. As he spread their fame in Rome, he also sought favour at the papal court of Pius IV. contributor: Davis, Charles date: 2010 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/983/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/983/1/Davis_Fontes48.pdf identifier: urn:nbn:de:bsz:16-artdok-9830 rights: info:eu-repo/semantics/openAccess language: mul title: Hogarth for Germany - "Made in England". Zergliederung, or the Anatomy of beauty. Wilhelm [William] Hogarth: Zergliederung der Schönheit, die schwankenden Begriffe von dem Geschmack festzusetzen. Aus dem Englischen übersetzt von Christlob Mylius. Verbesserter und vermehrter Abdruck.(Berlin und Potsdam: Christian Friedrich Voß, 1754) (Excerpts/Auszüge) (FONTES 53) creator: Hogarth, William subject: 700 subject: Arts subject: Great Britain, Ireland subject: Artists, Architects subject: Aesthetics, Art History subject: Hogarth, William / The analysis of beauty description: FONTES 53 includes extensive full text extracts from the Berlin-Potsdam "Zergliederung der Schönheit" (1754): the translator’s preface, the new preface by Gotthold Ephriam Lessing, and Christlob Mylius’s translation of Hogarth’s long preface to the "Analysis". In addition there are included full texts of: (1) the dedication by Andreas Linde to Augusta of Saxe-Gotha, Dowager Princess of Wales, of the first German edition of the "Analysis of Beauty" ("Zergliederung der Schönheit", London: Linde 1754); (2) texts by Gotthold Ephriam Lessing and Christian Friedrich Voß relating to Christlob Mylius and to Hogarth’s "Analysis of Beauty" which were published in the "Berliner Privilegierte Zeitung" (7 March 1754, 30 May 1754, 25 June 1754, 1 July 1754). Among these is Lessing’s review of the "Zergliederung der Schönheit" (London 1754). contributor: Davis, Charles date: 2010 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/1218/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/1218/1/Davis_Fontes53.pdf identifier: urn:nbn:de:bsz:16-artdok-12189 rights: info:eu-repo/semantics/openAccess language: mul title: "To see with our own eyes": Hogarth between native empiricism and a theory of "beauty in form". William Hogarth: The analysis of beauty (London: Printed by John Reeves for the Author, 1753) (FONTES 52) creator: Hogarth, William subject: 700 subject: Arts subject: Great Britain, Ireland subject: Artists, Architects subject: Aesthetics, Art History subject: Hogarth, William / The analysis of beauty description: FONTES 52 contains a searchable electronic full text of the first edition of William Hogarth’s "Analysis of Beauty" (London 1753). This book represents Hogarth’s most important and most complete art theoretical statement. In this work Hogarth attempts to give the concept of beauty a new and more exact definition – to explain why objects are beautful, and thereby to provide a definite and stable foundation for "taste". The central element of Hogarth’s system is the serpentine "Line of Beauty" (or "Line of Grace"), an abstract concept of formal beauty which Hogarth attempts to illustrate and to prove by reference to many empirically observed examples drawn from nature and life. An introduction examines the treatise in terms of the contrast between Hogarth’s native empiricism and his theory of formal beauty. A summary analysis of the structure and content of the Hogarthian system is attempted. Hogarth’s arguments are mainly contained in the "book" proper (pages 1-153), while he justifes and defends his arguments in terms of tradition in his preface (pages iii-xxii). Detailed descriptions of the editions of the "Analysis" until 1914 are given, and references to later editions and translations are included, as well as citations of literature about Hogarth and his treatise. contributor: Davis, Charles date: 2010 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/1217/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/1217/1/Davis_Fontes52.pdf identifier: urn:nbn:de:bsz:16-artdok-12176 rights: info:eu-repo/semantics/openAccess language: eng title: Antonio Martellini: La solenne entrata del lo illustrissimo, et eccellentissimo Signore il Signor Duca di Fiorenza et Siena, fatta a XXVIII. d'ottobre, MDLX, in Siena (Firenze: Lorenzo Torrentino, 1560) (FONTES 49) creator: Martellini, Antonio subject: 700 subject: Arts subject: Italy subject: Iconography subject: Martellini, Antonio / La solenne entrata del lo illustrissimo, et eccellentissimo Signore il Signor Duca di Fiorenza et Siena description: FONTES 49 makes widely available a full text version of a rare, little-known, and seldom consulted work, Antonio Martellini’s La Solenne entrata dello Illustrissimo, et Eccellentissimo Signore il Signor Duca di Fiorenza et Siena, fatta a XXVIII. d’Ottobre, MDLX, in Siena (Firenze, Lorenzo Torrentino, 1560), a description of the Triumphal Entry into Siena of Duke Cosimo I de’ Medici on 28 October 1560. Antonio Martellini was a sixteenth-century letterato of Siena, about whom almost nothing is known, with the exception of the work published here. Martellini was a member of the equally mysterious Accademia dei Travagliati in Siena (founded 1550-1555). The description of the entry contained in Martellini’s book is, in some respects, more extensive and exact than that in Cirni’s (Fontes 48). Martellini’s festival description is dated the day of Cosimo’s entry into Siena. It is notable for its Sienese perspective, its accurate description, its developed architectural vocabulary, its clarity of structure, its vivid picture of Sienese society and the ducal court, and its detailed description of costume and dress. The large rôle that inscriptions played in the entry is also documented by Martellini, who includes a few inscriptions not found in Cirni, and he offers variant readings for some inscriptions. As is Anton Francesco Cirni’s description of the same entry, Martellini’s book is an important document of political iconography. The Siena Entry of 1560 has been treated in Fontes 46 and 48, and, with the publication of the full text version of Martellini, the primary sources for this entry are accessible online, providing a basis for a more penetrating study of this important occasion, a study which remains to be made. The text is indexed by inscriptions, places, persons, images, and attributes. contributor: Davis, Charles date: 2010 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/1011/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/1011/1/Davis_Fontes49.pdf identifier: urn:nbn:de:bsz:16-artdok-10111 rights: info:eu-repo/semantics/openAccess language: ger title: Giorgio Vasari e i metodi della storia dell’arte creator: Nova, Alessandro subject: 700 subject: Arts subject: Italy subject: Artists, Architects subject: Aesthetics, Art History subject: Vasari, Giorgio / Le vite de' più eccellenti architetti, pittori et sculptori italiani da Cimabue insino a' tempi nostri contributor: Burzer, Katja contributor: Davis, Charles contributor: Feser, Sabine contributor: Nova, Alessandro date: 2010 type: Book Section type: info:eu-repo/semantics/bookPart type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/5096/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/5096/1/Nova_Giorgio_Vasari_e_i_metodi_della_storia_dell_arte_2010.pdf identifier: urn:nbn:de:bsz:16-artdok-50960 rights: info:eu-repo/semantics/openAccess language: ita title: Hogarth explained for foreign markets: French Bildbeschreibungen in Berlin. (Jean-)André Rouquet: Briefe des Herrn Rouquet an einen seiner Freunde in Paris; worinn er ihm die Kupferstiche des Herrn Hogarths erklärt., in: Wilhelm [William] Hogarth, Zergliederung der Schönheit, die schwankenden Begriffe von dem Geschmack festzusetzen (...). Aus dem Englischen übersetzt von Christlob Mylius. Verbesserter und vermehrter Abdruck. (Berlin-Potsdam: Christian Friedrich Voß, 1754) (FONTES 54) creator: Rouquet, Jean André subject: 700 subject: Arts subject: Great Britain, Ireland subject: Drawing, Printmaking subject: Hogarth, William / The analysis of beauty ; Rouquet, Jean André ; Hogarth, William ; Kupferstich ; Bildbetrachtung description: FONTES 54 includes an extensive discussion of Hogarth and Rouquet and a full text version of the German translation of Rouquet’s explanatory descriptions of Hogarth’s prints (first published in French as a separate work, London 1746): "Briefe des Herrn Rouquet an einen seiner Freunde in Paris worinn er ihm die Küpferstiche des Herrn Hogarths erklärt". Lessing and Voß added these descriptions to the second German edition of Hogarth’s "Analysis of Beauty", deeming them useful for German readers as well as for French ones. The full text of a letter from Rouquet to Hogarth, dated 22 March 1753 is included. Also considered is Rouquet’s "L’État des arts en Angleterre" (Paris 1755; English translation: London 1755). contributor: Davis, Charles date: 2010 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/1219/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/1219/1/Davis_Fontes54.pdf identifier: urn:nbn:de:bsz:16-artdok-12190 rights: info:eu-repo/semantics/openAccess language: mul title: Individual and Polity in the Vita of Francesco Sansovino. Francesco Sansovino, "Al Magnifico Signor Gian Filippo Magnanini Secretario dell’Illustrissimo Signor Cornelio Bentivoglio (...) Di Venetia, alli 15. di Dicembre 1579", in: Francesco Sansovino: Del Secretario Libri VII (Venezia 1584), fols. 219 recto-222 recto (FONTES 45) creator: Sansovino, Francesco subject: 700 subject: Arts subject: Italy subject: Sansovino, Francesco subject: Individualismus subject: Gemeinwesen description: FONTES 45 presents an autobiographical letter by Francesco Sansovino published in 1584 in his "Del secretario". Sansovino is a more important writer on art than is generally recognized. contributor: Davis, Charles date: 2010 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/892/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/892/1/Davis_Fontes45.pdf identifier: urn:nbn:de:bsz:16-artdok-8929 rights: info:eu-repo/semantics/openAccess language: mul title: Vasari's Castration of Caelus. Invention and programme. Giorgio Vasari: The "Castrazione del Cielo fatta da Saturno" [1558], in: Ragionamento di Giorgio Vasari pittore Aretino fatto in Firenze sopra le invenzioni delle storie dipinte nelle stanze nuove nel Palazzo Ducale con lo illustrissimo Don Francesco De’ Medici primo genito del Duca Cosimo duca di Fiorenza, Firenze, Biblioteca della Galleria degli Uffizi (Manoscritto 11) and Cosimo Bartoli: "Castratione del Cielo", 1555, in: "Lo Zibaldone di Giorgio Vasari", Arezzo, Casa Vasari, Archivio vasariano, (Codice 31) (FONTES 47) creator: Vasari, Giorgio creator: Bartoli, Cosimo subject: 750 subject: Painting subject: Italy subject: Painting subject: Vasari, Giorgio / Castrazione del Cielo fatto da Saturno subject: Florenz / Palazzo Vecchio subject: Freskomalerei subject: Bartoli, Cosimo description: FONTES 47 publishes two sixteenth-century iconographical texts for Giorgio Vasari’s cycle of paintings in the Palazzo Vecchio in Florence: (1) Cosimo Bartoli’s "invenzione" for the Castration of Caelus, and (2) Giorgio Vasari’s description of his painting based on this invention. Vasari’s "Castration of Caelus" constitutes the central work of the upper level of Vasari’s decoration in the Palazzo Vecchio, the Quartiere degli Elementi. An essay examines the consequences of the iconographical invention for the visual appearance of the painting. contributor: Davis, Charles date: 2010 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/894/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/894/1/Davis_Fontes47.pdf identifier: urn:nbn:de:bsz:16-artdok-8948 rights: info:eu-repo/semantics/openAccess language: mul title: Anonymus: “Michel Agnolo bonaroti fiorentino“, in: L’additione delle cose più memorabile accadute o fatte per l’universo mondo insino a tutto l’anno MDXXXX. Anhang zu: Giacomo Filippo Foresti da Bergamo, Supplemento delle Croniche del Reverendo Padre Frate Iacopo Philippo da Bergamo dell’ordine degli Heremitani primo autore di quello, novamente revisto, vulgarizato, corretto et emendato con somma diligentia secondo il vero testo Latino della ultima impressione fatta à Parigi (Venedig 1540) (FONTES 35) subject: 700 subject: Arts subject: Italy subject: Artists, Architects subject: Michelangelo subject: Vita description: This very early brief anonymous biographical sketch of Michelangelo is contained in a re-edition of Giacomo Filippo Foresti’s "Supplemento delle Croniche" printed in Venice by Bernardino Bindoni in May 1540. contributor: Davis, Charles date: 2009 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/786/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/786/1/Davis_Fontes35.pdf identifier: urn:nbn:de:bsz:16-artdok-7862 rights: info:eu-repo/semantics/openAccess language: mul title: Ascanio Condivi: Vita di Michelagnolo Buonarroti raccolta per Ascanio Condivi da la Ripa Transone (Rom 1553). Teil I: Volltext mit einem Vorwort und Bibliographien (FONTES 34) creator: Condivi, Ascanio subject: 700 subject: Arts subject: Italy subject: Artists, Architects subject: Condivi, Ascanio / Vita di Michelagnolo Buonarroti description: With its ‘inside’ view of Michelangelo, Ascanio Condivi’s "Vita di Michelagnolo Buonarroti raccolta per Ascanio Condivi de la Ripa Transone (Roma 1553)" is the most important of the early vite of the master. The Vita constitutes nearly an authorised biography of the master. Condivi’s Vita is also the first printed life of a living artist in a single book. The purpose of Condivi, Part I, is to present the Full Text of the "Vita di Michelagnolo Buonarroti (1553)". Part II will provide an initial introduction to the text, considering in particular the circumstances surrounding its ‘precipitous publication’ in July 1553. In successive Parts of the FONTES Condivi edition there will be presented a full introduction and analysis of the text, including indexing, commentary, and complete references to the literature. contributor: Davis, Charles date: 2009 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/714/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/714/1/Davis_Fontes34.pdf identifier: urn:nbn:de:bsz:16-artdok-7147 rights: info:eu-repo/semantics/openAccess language: mul title: A Künstlerbrief by Valerio Belli and the genre ‘Künstlerbriefe’ (FONTES 37) creator: Davis, Charles creator: Belli, Valerio subject: 700 subject: Arts subject: Italy subject: Artists, Architects subject: Belli, Valerio subject: Edelsteingraveur description: Fontes 37 considers a Künstlerbrief by Valerio Belli signed “scultore di gemme” in the context of a more general consideration of the literature genre ‘Künstlerbriefe’. date: 2009 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/789/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/789/1/Davis_Fontes37.pdf identifier: urn:nbn:de:bsz:16-artdok-7897 rights: info:eu-repo/semantics/openAccess language: mul title: Two Early Statements about Michelangelo 'not in Steinmann-Wittkower'. Auszüge aus: Niccolò Franco, Le pistole vulgari di M. Nicolo Franco (Venedig 1539) (FONTES 42) creator: Franco, Niccolò subject: 700 subject: Arts subject: Italy subject: Artists, Architects subject: Franco, Niccolò / Le pistole vulgari subject: Michelangelo subject: Briefsammlung description: "Two Early Statements about Michelangelo not in Steinmann-Wittkower" presents two extracts from Niccolò Franco’s "Pistole vulgari" (Venice 1539). FONTES 42 is No. 6 in a series of early "Sources and Documents for Michelangelo Buonarroti"; see: FONTES 12 (Paolo Giovio), FONTES 20 (Giorgio Vasari), FONTES 23 (Benedetto Varchi), FONTES 34 (Ascanio Condivi), and FONTES 35 (Anonymous, in: Giacomo Filippo Forresti). Franco’s "Pistole" of 1539 is one of the first published collections of Italian letters. Franco’s text constitutes an early example of Venetian art criticism that places Venetian artists alongside Michelangelo in the first rank of artists. Franco proposes a new triumvirate of first artists including Michelangelo, Titian, and Jacopo Sansovino. contributor: Davis, Charles date: 2009 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/840/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/840/1/Davis_Fontes42.pdf identifier: urn:nbn:de:bsz:16-artdok-8401 rights: info:eu-repo/semantics/openAccess language: mul title: Battista Pittoni, Lodovico Dolce: Imprese di diversi principi, duchi, signori, e d’altri personaggi et huomini illustri di Battista Pittoni pittore vicentino. Con alcune stanze, sonetti di Lodovico Dolce (Venedig 1602) (FONTES 33) creator: Pittoni, Giovanni Battista creator: Dolce, Lodovico subject: 700 subject: Arts subject: Italy subject: Iconography subject: Pittoni, Giovanni Battista / Imprese di diversi Principi, Duchi, Signori etc. subject: Dolce, Lodovico subject: Imprese description: The introduction treats the impresa Albums of Pittoni with regard to the question, „What is an impresa?“. There follows bibliographical information about impresa studies. Once established what an impresa is, there remain other perspectives from which to examine the impresa books of Battista Pittoni. As an introduction, the text considers a variety of topics, including the history of the impresa book; invention and illustration: the parts of Pittoni and of Dolce; Battista Pittoni and his disegno morbido; the importance of Battista Pittoni’s Imprese: beyond emblematics; Pittoni’s Imprese and the arts; artists’s imprese: Titian and Pittoni; architecture in the Imprese; Battista Pittoni and Hieronymus Cock; the decorative imagery of Battista Pittoni; and, in conclusion: the impresa book as a social medium and as a mirror of social, political, and cultural history. Following the introduction is found biographical and bibliographical information about the authors, Lodovico Dolce and Battista Pittoni, and then links to online sources for emblems and imprese. The electronic indexing (Erschliessung) of the book is accomplished by the following elements: a transcription of all of the written parts of the work in full text form; an index of impresa bearers in the 1602 edition; an index of the decorative and ornamental motives of the impresa frames; an index of the mottos of the imprese; a picture index of the imprese. contributor: Davis, Charles date: 2009 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/713/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/713/1/Davis_Fontes33.pdf identifier: urn:nbn:de:bsz:16-artdok-7136 rights: info:eu-repo/semantics/openAccess language: mul title: Francesco Sansovino as a detractor of Michelangelo? – An unnoticed biographical profile of Michelangelo between praise and blame. Auszüge aus: Francesco Sansovino, Della Cronica Universale del Mondo (Venedig 1574) (FONTES 43) creator: Sansovino, Francesco subject: 700 subject: Arts subject: Italy subject: Artists, Architects subject: Sansovino, Francesco subject: Michelangelo description: Francesco Sansovino's Italian re-edition of Giacomo Filippo Foresti's "Supplementum chronicarum" contains in its third part (“parte terza”; Venezia 1574), which consists of additions for the years 1490-1574, an unnoticed biographical profile of Michelangelo Buonarroti written by Francesco Sansovino himself. This brief report about Michelangelo belongs to a series of brief discussions and mentions of Michelangelo found over the course of three decades in Sansovino’s printed works. The text testifies to the enormous importance of Michelangelo’s achievements, but is also contains numerous criticisms of Michelangelo and his works. In part, these criticisms are similar to those found in Venetian art theoretical and critical texts, and, in part, they are a function of the artistic ambitions of Francesco's father, the sculptor and architect, Jacopo Sansovino. The text is analysed in terms of its structure and content. The novel elements are identified. A brief biography of Francesco Sansovino is followed by a selected bibliography of literature concerning him. Appendix I contains neglected texts about the painters Pordenone and Titian. Appendix II treats two mentions of Michelangelo in a related work by Francesco Sansovino, his "Cronologia del mondo" (Venezia 1582). FONTES 43 is No. 7 in a series of early "Sources and Documents for Michelangelo Buonarroti"; see: FONTES 12 (Paolo Giovio), FONTES 20 (Giorgio Vasari), FONTES 23 (Benedetto Varchi), FONTES 34 (Ascanio Condivi), and FONTES 35 (Anonymous, in: Giacomo Filippo Forresti), and FONTES 42 (Nicolò Franco). contributor: Davis, Charles date: 2009 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/841/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/841/1/Davis_Fontes43.pdf identifier: urn:nbn:de:bsz:16-artdok-8411 rights: info:eu-repo/semantics/openAccess language: mul title: Julius von Schlosser’s First Bibliography of Kunstliteratur: “Register (zugleich Gesamtbibliographie)”, in: Julius Schlosser, Die Kunstliteratur. Ein Handbuch zur Quellenkunde der neueren Kunstgeschichte (Wien 1924) (FONTES 32) creator: Schlosser, Julius von subject: 700 subject: Arts subject: Aesthetics, Art History subject: Schlosser, Julius von / Die Kunstliteratur subject: Bibliographie description: FONTES presents sources and documents for the early modern history of art, together with commentaries and illustrations. Included are not only the kinds of texts contained in Julius von Schlosser’s classic Die Kunstliteratur, but also other categories of texts such as antiquarian literature, manuscript texts from archives and libraries, poetry, excerpts from lexica and encylopedic works, as well as commentaries and volumes of prints illustrating collections, pattern books, didactic works for art instruction, and other similar material. Thus FONTES will attempt to expand Schlosser’s canon of sources which has constituted the universe of the historical literature of art and to map comprehensively, and in a pan-European perspective, the complexity and the diversity of the theoretical and practical consideration of the artistic process. The Kunstliteratur of Schlosser (Vienna 1924) set itself, first of all, the task of comprehensively exploring the literary sources of the history of art, aiming then at least to describe and to report them bibliographically.Thus Schlosser produced the first modern tendentially complete bibliography of Kunstliteratur. About the index to his Kunstliteratur (“Register”) he wrote: “As a general bibliography (Gesamtbibliographie), the Register (Index) is intended to represent a synopsis of the source literature of the history of art.“. This Register is the subject of the present study. It provides a synoptic overview of Schlosser’s corpus of the historic literature of art, a corpus which constitutes and remains the point of departure for futher attempts to register, index, and expand this body of literature. contributor: Davis, Charles date: 2009 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/707/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/707/1/Davis_Fontes32.pdf identifier: urn:nbn:de:bsz:16-artdok-7077 rights: info:eu-repo/semantics/openAccess language: ger title: Francis Bacon: Of Building, Essay 45, aus: Francis Bacon: The Essayes or Counsels, Civill and Morall, of Francis Lo. Verulam, Viscount St. Alban (London: Printed by Iohn Haviland for Hanna Barret, 1625) (FONTES 16) creator: Bacon, Francis subject: 720 subject: Architecture subject: Artists, Architects subject: Aesthetics, Art History subject: Bacon, Francis / Of building subject: Architekturtheorie description: Together with 'The Elements of Achitecture' by Henry Wotton (1624), Francis Bacon’s essay 'Of Building' (1625, no. 45) constitutes the earliest significant statement of architectural thought both in printed form and in English. With his opening sentence, “A house is to live in, and not to look on”, Bacon gives expression to a new functionalist and empiricist position that anticipates architectural theories of modern times. Bacon discusses the site of the house (“seat”), and he proposes a verbal model for a “princely palace”. This building is placed within a row of symmetrical courtyards and in a landscape garden. A glossary of technical and archaic terms and words is provided, in addition to: (1) a brief discussion of architectural publications in England before 1625, (2) a biography of Bacon, (3) a brief treatment of Bacon’s utopia, The New Atlantis (1627), (4) a summary bibliography of literature about Bacon and his writings. Full texts are provided of (1) Bacon’s dedication of his Essays in 1625 to the Duke of Buckingham, (2) Bacon’s essay, 'Of Plantations', (3) his essay, ‘Of Beauty’. (The essay, 'Of Gardens', will be the subject of a subsequent number of FONTES.) The full text of Bacon’s 'Of Building' is complemented by an index of ‘notable things’. An anthology of commentaries to Bacon’s 'Of Building' provides excerpts from the critical literature in English and German. contributor: Davis, Charles date: 2008 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/609/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/609/1/Davis_Fontes16.pdf identifier: urn:nbn:de:bsz:16-artdok-6098 rights: info:eu-repo/semantics/openAccess language: mul title: Francis Bacon: Of Gardens, Essay 46, aus: Francis Bacon, The Essayes or Counsels, Civill and Morall, of Francis Lo. Verulam, Viscount St. Alban (London: Printed by Iohn Haviland for Hanna Barret, 1625) (FONTES 18) creator: Bacon, Francis subject: 720 subject: Architecture subject: Great Britain, Ireland subject: Architecture subject: Artists, Architects subject: Bacon, Francis / Of gardens subject: Gartenkunst description: Together with 'The Elements of Achitecture' by Henry Wotton (1624), Francis Bacon’s essay 'Of Gardens' (1625, no. 45) constitutes the earliest genuinely significant statement about the Garden and its form and functioning which was both in printed form and in English. Bacon proposes a plan or plot for the “princely garden”, partly in words with verbal prescriptions and partly with a draught or plan with which he gives the dimensions and layout of the garden. A glossary of technical and archaic terms and words is provided, in addition to: (1) a brief discussion of garden literature in England before 1625, (2) a biography of Bacon, (3) a summary bibliography of literature about Bacon and his writings. Full texts are provided of (1) Bacon’s dedication of his Essays in 1625 to the Duke of Buckingham and (2) Bacon’s essay, 'Of Gardens’. (Bacon’s essay, 'Of Building', was the subject of FONTES 16; http://archiv.ub.uni-heidelberg.de/artdok/volltexte/2008/609/) An anthology of commentaries to Bacon’s 'Of Gardens' provides excerpts from the critical literature in English and German. Also included are extracts from the essay ‘Of Gardens’ in a German translation. contributor: Davis, Charles date: 2008 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/617/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/617/1/Davis_Fontes18.pdf identifier: urn:nbn:de:bsz:16-artdok-6177 rights: info:eu-repo/semantics/openAccess language: mul title: Lucio Fauno: “Alli lettori”, in: Delle antichità della citta di Roma, raccolte e scritte da M. Lucio Fauno con somma brevità, et ordine, con quanto gli Antichi ò Moderni scritto ne hanno, Libri V. (Venezia 1548) (FONTES 13) creator: Fauno, Lucio subject: 700 subject: Arts subject: Fauno, Lucio subject: Rom / Forum Romanum subject: Fauno, Lucio / Delle antichita della citta di Roma / Alli lettori description: At the end of his book, 'Delle antichità della città di Roma' (Venezia 1548), the author, Lucio Fauno, appends a postscript in which he addresses his readers (“Alli Lettori”) concerning a then bitter controversy about the correct location of the Roman Forum. In contrast to a widely-held view that located the Forum between the Capitoline Hill and the Arch of Titus, Pirro Ligorio, and his friends, Gabriele Faerno and Benedetto Egio, advocated a position that relocated the Forum between the Capitoline Hill and the Palatine. This contradicted the prevailing consensus, as it was established in the Topographia Antiquae Romae (1534) of Bartolomeo Marliani. Fauno’s arguments refute the Ligorian postion, in defence of his own description of Roman topography provided in his book of the Antichità di Roma. In the course of time Ligorio’s relocation of the Forum proved to be wrong. In the discussion of ‘Lucio Fauno’, it is shown that this name is a pseudonym for the writer and antiquarian, Giovanni Tarcagnota of Gaeta (d. 1566). contributor: Davis, Margaret Daly contributor: Davis, Charles date: 2008 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/580/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/580/1/Daly_Davis_Davis_Fontes13.pdf identifier: urn:nbn:de:bsz:16-artdok-5804 rights: info:eu-repo/semantics/openAccess language: eng title: Balthazar Gerbier: A Brief Discourse concerning the three chief Principles of Magnificent Building. Viz. Solidity, Conveniency, and Ornament (London 1662) (FONTES 7) creator: Gerbier, Balthazar subject: 720 subject: Architecture subject: Architecture subject: Aesthetics, Art History subject: Gerbier, Balthazar / A brief discourse concerning the three chief principles of magnificent building subject: Architekturtheorie description: A Brief Discourse concerning the three chief Principles of Magnificent Building (1662) is the first of the two architectural treatises by Balthazar Gerbier which he printed soon after his return to England in 1660. The second treatise, Counsel and Advise to all Builders, followed one year later in 1663. Both works are still in the tradition of Alvise Cornaro and Henry Wotton, and others who followed them, pragmatic and empirical in orientation, and witten more for patrons, for men of the ordinary kind, and for executing supervisors, builders, and workmen than for elevated architects. contributor: Davis, Charles date: 2008 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/448/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/448/1/Davis_Fontes7.pdf identifier: urn:nbn:de:bsz:16-artdok-4484 rights: info:eu-repo/semantics/openAccess language: eng title: Balthazar Gerbier: Counsel and Advise to all Builders; For the Choice of their Surveyours, Clarks of their Works, Bricklayers, Masons, Carpenters, and other Workmen therein concerned. As also, In respect of their Works, Materials and Rates thereof. Together with several Epistles to Eminent Persons, who may be Concerned in Building (London 1663) (FONTES 8) creator: Gerbier, Balthazar subject: 720 subject: Architecture subject: Architecture subject: Aesthetics, Art History subject: Gerbier, Balthazar / Counsel and advice to all builders subject: Architekturtheorie description: Counsel and Advise to all Builders of 1663 is the first of the two architectural treatises by Balthazar Gerbier which he printed soon after his return to England in 1660. The first treatise, A Brief Discourse concerning the three chief Principles of Magnificent Building (FONTES 7), was printed the year before, in 1562. Gerbier’s Counsel and Advise to all Builders represents an extension of and completion of the earlier Brief Discourse. In 1664, both works were printed together in a single book under the title, The First and Second Part of Counsel and Advice to all Builders (...), London 1664. Both works are still in the tradition of Alvise Cornaro and Henry Wotton, and others who followed them, pragmatic and empirical in orientation, and written more for patrons, for men of the ordinary kind, and for executing supervisors, builders, and workmen than for elevated architects. The introductory text gives an outline account of the two treatises, with greater emphasis devoted to the Counsel and Advise, and analyses their structure and content. The character of the treatises is defined in light of their content, and their originality is isolated through a specific reading of Gerbier’s intentions in treating of the realization of buildings. In particular, the unusually detailed definition of the rôle of the Clerk-of-the-Works emerges as a distinctive feature of Gerbier’s discussion of building. Gerbier’s emphasis lies in the technical, practical, material, and economic-and-financial aspects of building. In his treatise there may be discerned perhaps unique testimonies concerning the economics of building and the world of work in the building trades. contributor: Davis, Charles date: 2008 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/546/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/546/1/Davis_Fontes8.pdf identifier: urn:nbn:de:bsz:16-artdok-5460 rights: info:eu-repo/semantics/openAccess language: eng title: Paolo Giovio: Michaelis Angeli vita (um 1527) (FONTES 12) creator: Giovio, Paolo subject: 700 subject: Arts subject: Italy subject: Artists, Architects subject: Michelangelo subject: Biographie subject: Giovio, Paolo / Michaelis Angeli vita description: The brief 'Michaelis Angeli vita' (ca. 1527) of Paolo Giovio (1483-1552) is the earliest biography of Michelangelo Buonarroti (1475-1564). In accord with the concerns of humanist art historiography, it awards the first place to Michelangelo among the ranks of artists in the two arts of painting and sculpture in marble. Giovio’s reservations about Michelangelo are addressed, first, to the artist’s character and, second, to his failure to establish an artistic succession. The second complex of criticisms reflects the humanist tradition of art history as a genealogy of masters and pupils, which reflected ancient writings on art. As aids to understanding Giovio’s Latin text, German, Italian, and English versions of the text are provided, as well as an outline analysis of the structure and content of the text. contributor: Davis, Charles date: 2008 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/579/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/579/1/Davis_Fontes12.pdf identifier: urn:nbn:de:bsz:16-artdok-5799 rights: info:eu-repo/semantics/openAccess language: eng title: La statua di Giulio III a Perugia: stile, committenza e politica creator: Nova, Alessandro subject: 730 subject: Plastic arts, numismatics, ceramics, metalwork subject: Italy subject: Artists, Architects subject: Sculpture subject: Danti, Vincenzo subject: Julius III. contributor: Davis, Charles contributor: Paolozzi Strozzi, Beatrice date: 2008 type: Book Section type: info:eu-repo/semantics/bookPart type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/5091/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/5091/1/Nova_La_statua_di_Giulio_III_a_Perugia_2008.pdf identifier: urn:nbn:de:bsz:16-artdok-50917 rights: info:eu-repo/semantics/openAccess language: ita title: Benedetto Varchi: Orazione funerale di Messer Benedetto Varchi fatta, e recitata da lui pubblicamente nell'essequie di Michelagnolo Buonarroti in Firenze nella chiesa di San Lorenzo (Florenz 1564) (FONTES 23) creator: Varchi, Benedetto subject: 700 subject: Arts subject: Italy subject: Artists, Architects subject: Varchi, Benedetto / Orazione funerale di m. Benedetto Varchi fatta, e recitata da lui pubblicamente nell'esequie di Michelagnolo Buonarroti in Firenze, nella chiesa di San Lorenzo subject: Michelangelo subject: Biographie description: Sources and Documents for Michelangelo Buonarroti, No. 3. Alongside the Lives of Michelangelo by Giorgio Vasari (1550, 1568) and by Ascanio Condivi (1553), the ‚Orazione funerale’ (1564) of Benedetto Varchi represents the third contemporary ‘Vita’ of the artist. Compared to the Lives by Vasari and Condivi, the ‘Vita’ by Varchi is distinguished by its straightforward and clear structure and style. At the same time the text belongs to a group of writings which were published at the time of Michelangelo’s death and which celebrate him as a divine artist. contributor: Davis, Charles date: 2008 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/643/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/643/1/Davis_Fontes23.pdf identifier: urn:nbn:de:bsz:16-artdok-6431 rights: info:eu-repo/semantics/openAccess language: mul title: Giorgio Vasari: "Allo Illustre, e Molto Magnifico M. Alessandro De' Medici (...)", Firenze, 6 February 1568, fol. [2]r, in: Vita Del Gran Michelagnolo Buonarroti. Scritta da M. Giorgio Vasari, Scrttore & Architetto Aretino. Con le sue Magnifiche Essequie stategli fatte in Fiorenza. Dall' Achademia Del Disegno (Florenz 1568). (FONTES 20) creator: Vasari, Giorgio subject: 700 subject: Arts subject: Italy subject: Michelangelo subject: Biographie subject: Vasari, Giorgio / Le vite de' più eccellenti architetti, pittori et sculptori italiani da Cimabue insino a' tempi nostri subject: Leo subject: Dedikation description: FONTES 20 publishes the dedication letter of Giorgio Vasari (2.02.1568) of the Vita del Gran Michelagnolo to Alessandro di Ottaviano de' Medici, the future Pope Leo XI, of Vasari's extract of his vita of Michelangelo from his Lives of the artists (1568). contributor: Davis, Charles date: 2008 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/639/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/639/1/Davis_Fontes20add.pdf format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/639/2/Davis_Fontes20.pdf identifier: urn:nbn:de:bsz:16-artdok-6398 rights: info:eu-repo/semantics/openAccess language: mul title: Giorgio Vasari: Descrizione dell’apparato fatto nel Tempio di S. Giovanni di Fiorenza per lo battesimo della Signora prima figliuola dell’Illustrissimo, et Eccellentissimo S. Principe di Fiorenza, et Siena Don Francesco Medici,e della Serenissima Reina Giovanna D’Austria (Florenz 1568) (FONTES 6) creator: Vasari, Giorgio subject: 700 subject: Arts subject: Italy subject: Vasari, Giorgio subject: Florenz / Baptisterium subject: Festdekoration subject: Borghini, Vincenzo description: Der hier vorgestellte Text, die 'Descrizione dell’apparato fatto nel Tempio di S. Giovanni di Fiorenza per lo battesimo della Signora prima figliuola dell’Illustrissimo, et Eccellentissimo S. Principe di Fiorenza, et Siena Don Francesco Medici, e della Serenissima Reina Giovanna D’Austria' (Florenz: Giunti 1568), ist die gedruckte Beschreibung einer Festdekoration; er wurde von Vasari gleichzeitig mit den Feierlichkeiten am 29. Februar 1568 (nach Florentiner Zeitrechnung noch 1567) veröffentlicht. Die 'Descrizione' beschreibt minutiös die Festdekoration Vasaris für die Taufe des erstgeborenen Kindes von Francesco I. de’ Medici und Giovanna d’Austria, seiner Gemahlin. Die Feier fand in San Giovanni, dem Baptisterium von Florenz, unter Anwesenheit zahlreicher Prominenz und eines großen allgemeinen Publikums statt. Die malerische Ausstattung des Innenraumes des Baptisterium folgt einer für die Zeit typischen ikonografischen Erfindung (‚invenzione’), entwickelt ein gängiges Programm. Es stammt von einem engen Freund und Berater Vasaris, Don Vincenzo Borghini. contributor: Davis, Charles date: 2008 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/425/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/425/1/Davis_Fontes6.pdf identifier: urn:nbn:de:bsz:16-artdok-4255 rights: info:eu-repo/semantics/openAccess language: ger title: Cappella Bernabò Chiesa di San Giovanni Crisostomo, Venice. The account books of the ‘Fabbrica’ 1499-1507 (FONTES 2) subject: 720 subject: Architecture subject: Italy subject: Architecture subject: Venedig / San Giovanni Crisostomo / Cappella Bernabò subject: Rechnungsbuch subject: Geschichte 1499-1597 description: Ediert werden zwei im Jahr 2001 vom Herausgeber wiedergefundene Rechnungsbücher zu Bau- und Ausstattungsgeschichte der Cappella Bernabò in S. Giovanni Crisostomo zu Venedig. Ergänzt werden die beiden Dokumente um mehrere Register, einen Glossar und einen tabellarischen Anhang, der vor allem die finanziellen Transaktionen und Aspekte dieser Quellen erläutert. Die beiden Rechnungsbücher oder quaderni zur Kapelle bieten auf weiten Strecken die einzigen Zeugnisse für den Neubau der Kirche von S. Giovanni Crisostomo in den Jahren um 1500. Im größeren Kontext Venedigs und der Wende zum 16. Jahrhundert gesehen, bieten sie eine außergewöhnlich vollständige Dokumentation zu einem einzelnen Bauprojekt, zu den finanziellen Vorgehensweisen der verantwortlichen fabbrica und zur Struktur des ausführenden cantiere. contributor: Davis, Charles date: 2007 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/384/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/384/1/Davis_Fontes2.pdf identifier: urn:nbn:de:bsz:16-artdok-3848 rights: info:eu-repo/semantics/openAccess language: mul title: Titian, 'A singular friend' creator: Davis, Charles subject: 750 subject: Painting subject: Italy subject: Painting subject: Vecellio, Tiziano / Ritratto del singolare amico di Tiziano subject: Mantova Benavides, Marco description: Gegenstand des Aufsatzes ist das Bildnis eines Edelmannes in San Francisco (jetzt Palace of the Legion of Honor) von Tiziano Vecellio. Der Dargestellter hält einen Brief mit der Adresse "D. Titiano Vecellio singolare amico". Dadurch wird zum Thema des Bildes, die Freundschaft des Dargestellten mit dem Künstler Tizian. Das Bild selbst wird zu einem humanistichen Kommentar über die Einzigartigkeit von Tizian und seiner Kunst -- "singolare", "unico" und "solo" -- Tizian wie der Maler Apelles. Der dargestellte Edelmann wird mit dem Paduaner Marco Mantova Benavides (1484-1582), Professor des Jurisprudenz, Sammler, Auftraggeber und Freund von Tizian, identifiziert. Andere Bildnisse des Marco Mantova Benavides -- von Giovanni dal Cavino, Jacob Zagar, Lodovico Leoni, 'Martinus Bergomensis', Enea Vico u.a. -- werden auch behandelt. In einem 'Postscriptum' wird gezeigt, dass das Wappen von Mantova Benavides identisch ist, mit dem Wappen des Emblems Nr. 159 von Andrea Alciati: "Amicitia etiam post mortem durans". Errata corrige: v.a. Seite 293, Zeile 6: "additions" = "editions" publisher: Dietmar Klinger Verlag contributor: Augustyn, Wolfgang contributor: Leuschner, Eckhard date: 2007 type: Book Section type: info:eu-repo/semantics/bookPart type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/393/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/393/1/Davis_Titian_2007.pdf identifier: urn:nbn:de:bsz:16-artdok-3936 rights: info:eu-repo/semantics/openAccess language: eng title: Byzantine relief icons in Venice and along the Adriatic coast: orants and other images of the Mother of God creator: Davis, Charles subject: 730 subject: Plastic arts, numismatics, ceramics, metalwork subject: Italy subject: Sculpture subject: Byzantinisches Reich subject: Relief subject: Mariendarstellung subject: Adriaküste subject: Geschichte 1000-1400, Venedig description: Der Beitrag bietet eine monographische Darstellung des Themas 'Byzantinische Reliefikonen in Venedig und an der adriatischen Küste: Maria Orans und andere Darstellungen der Gottesmutter – Form, Aufstellung, Funktion, Rezeption'. Mittelpunkt der Studie bilden die Reliefikonen der Basilika von San Marco in Venedig. Sie werden in einem einleitenden Kapitel besprochen, mit Überlegungen zur Form, zeitlichen Anordnung und Reihenfolge (Serialcharakter), Aufstellung an der Außenkirchen und im Innenraum der Kirche, Funktion, und Rezeption (in zeitlichen sowie in betrachterbezogenen Zusammenhängen). Zwei Fälle (die so genannten Madonnen "della Grazia" und "del Bacio") werden eingehend behandelt. Anhang I fasst die Geschichte der wenig bekannten und kaum erforschten Reliefikonen ('Maria Orans') der Bernabò-Kapelle in der Kirche San Giovanni Crisostomo in Venedig zusammen. Anhang II ("Handlist") mit rund 45 Katalogeintragungen, bildet ein Verzeichnis aller byzantinischer Reliefikonen in Venedig und im adriatischen Raum, wobei die einzelnen Ikonen beschreibend erfasst sind, einschließlich annähernd vollständige Literaturhinweise. Diese Materialsammlung beabsichtigt, der weiteren Erforschung der Reliefikonen zu dienen. Gegendstand vom Anhang III ist die "Madonna orante" in Messina (Museo Regionale). Die Tafeln (1-42) bilden eine Bildanthologie nicht fotographischer Bildquellen zu dieser Gattung. Fotographische Abbildungen befinden sich in einer kürzeren Fassung der Studie (Fs. J. Poeschke, Münster: Rhema Verlag, 2006/2007). Der Beitrag darf unverändert weitergegeben und zum Download zur Verfügung gestellt werden. publisher: FondamentaArte date: 2006 type: Book type: info:eu-repo/semantics/book type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/270/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/270/1/Davis_2006.pdf identifier: urn:nbn:de:bsz:16-artdok-2707 rights: info:eu-repo/semantics/openAccess language: eng title: Architecture and light: Vincenzo Scamozzi's statuary installation in the chiesetta of the Palazzo Ducale in Venice creator: Davis, Charles subject: 720 subject: Architecture subject: Italy subject: Architecture subject: Scamozzi, Vincenzo subject: Venedig / Dogenpalast subject: Architektur subject: Licht subject: Scamozzi, Vincenzo / L' idea dell'architettura universale description: Trotz der offensichtlichen Bedeutung des Themas ‚Architektur und Licht’, wird dieses bisher in der Architekturgeschichte vernachlässigt. Es gibt keine übergreifende Behandlung, die dem Buch von Wolfgang Schöne, Über das Licht in der Malerei (Berlin 1954), vergleichbar wäre. Der vorliegende Essay beschäftigt sich mit dem Thema des Lichts in der Renaissance bzw. der vorbarocken Architektur Italiens, das in einem Fallstudium des Architekten und Architekturtheoretikers der Spätrenaissance, Vincenzo Scamozzi, erläutert wird. In seiner Idea dell’architettura universale (1615) widmet Scamozzi diesem Problem ausführliche theoretische Überlegungen, die bis zum diesem Zeitpunkt fast beispiellos in der Architekturtheorie erscheinen (vgl. Lomazzo). In seinem Traktat definiert Scamozzi eine systematische Typologie von sechs unterschiedlichen Arten architektonischer Beleuchtung. Die Beschäftigung mit Licht kennzeichnete ebenfalls von Anfang an das ausgeführte architektonische Werk des Künstlers (Venedig, San Salvatore, Kuppelbeleuchtung; gestochene Vedute der Diokletianenthermen [1580], oft mit Rücksicht auf das Beleuchtungs-System des römischen Pantheons, schon von Serlio analysiert; vgl. ferner Venedig: Santa Maria della Celestia und San Nicolò da Tolentino; Padua: San Gaetano). Die künstlerische Aufgabe, die Beleuchtung statuarischer Werke in einem architektonisch gestalteten Raum zu lösen, wird am Beispiel der reich gegliederten Statuennische in der Chiesetta des Dogenpalastes in Venedig (als Gehäuse für die sogenannte ‚Madonna di San Marco’ von Jacopo Sansovino) ausführlich erläutert. Scamozzis Entwurf verdankt dem sogenannten‚Serliana’-Fenster, wesentliches, dies gilt besonders für die Statuennische. Dort werden die Motive der Fenstergruppe als eine sansovineske ‚serliana contratta’ verwendet (vgl. die Fenster des ‚piano nobile’ der Libreria Sansoviniana in Venedig). Die ‚ricerca di luce’ des Scamozzi erscheint als Vorläufer der ‚architettura di luce’ des römischen Barock. Abschließend wird in dem Aufsatz ein Rückblick auf Peruzzi, Serlio und Francesco di Giorgio gegeben, hier wird versucht mögliche Wurzeln der Lichtregie Scamozzis aufzuzeigen. date: 2002 type: Article type: info:eu-repo/semantics/article type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/273/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/273/1/Davis_Architecture_and_light_2002.pdf identifier: urn:nbn:de:bsz:16-artdok-2730 rights: info:eu-repo/semantics/openAccess language: eng title: "Proibito firmare!": la figura artistica-professionale di Niccolò Tribolo in un saggio-recensione degli Atti di un Convegno dell’anno 2000 creator: Davis, Charles subject: 730 subject: Plastic arts, numismatics, ceramics, metalwork subject: Italy subject: Artists, Architects subject: Tribolo, Il description: Auf der Grundlage der Vasari-Biographie von Niccolò Tribolo (1568) wird der Florentiner Künstler (1497-1550) meistens in erster Linie als Bildhauer gesehen. Der Artikel „Proibito firmare!“ berichtet über eine Tribolo gewidmete Konferenz im Jahr 2000 („Niccolò Tribolo tra arte, architettura e paesaggio“, Poggio a Caiano, 10-11 November 2000). Die Beiträge liefern ein neues Bild von Tribolo als Künstler (Niccolò Tribolo tra arte, architettura e paesaggio, hrsg. von Elisabetta Pieri und Luigi Zangheri, Signa/Firenze 2001, 213 pp.). Tribolo hatte ein sehr viel komplexeres und vielseitigeres Feld von beruflichen Tätigkeiten als des einen bloßen Bildhauers. Unter seinen vielen professionellen Rollen wirkte diese "anderer" Tribolo als Architekt, Bauingenieur sowie Wasserbau-Ingenieur, Gestalter von Gartenanlagen und Brunnen, Architekt von Feierlichkeiten des Staates, Topograph, Brückenbauer, Inspektor der Kanalisation, und diese sind nur ein Teil seiner vielen professionellen Rollen. Das allgemein akzeptierte Bild von der Kunst Tribolos wird durch die Berücksichtigung einiger etwas vernachlässigten Aspekte seiner Arbeit wie zum Beispiel seine Auseinandersetzung mit den michelangelesken Themen ‚Vase’, ‚Maske’ und ‚Herm’ erweitert. Eine englische Übersetzung des italienischen Textes ist auch enthalten, sowie eine kurze Biographie von Tribolo mit umfangreichen Zitaten aus Vasaris ‚Vita’. Bibliographische Notizen geben Hinweise auf die wichtigste Literatur über Tribolo vor dem Jahr 2000 und weitere Zitate beziehen sich auf spätere Veröffentlichungen. Das offizielle Programm der Konferenz 2000 ist beigefügt. date: 2002 type: Article type: info:eu-repo/semantics/article type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/1099/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/1099/1/Davis_Proibito_firmare_2002.pdf identifier: urn:nbn:de:bsz:16-artdok-10999 rights: info:eu-repo/semantics/openAccess language: mul title: Luigi Vagnetti (ed.): 2000 anni di Vitruvio. Luigi Vagnetti: Prospettiva creator: Davis, Charles subject: 720 subject: Architecture subject: Artists, Architects subject: Vagnetti, Luigi subject: Vitruvius subject: Perspektive subject: Rezension description: The review, here reprinted in a full text version, discusses two books by Luigi Vagnetti published in 1978 and 1979. The first book, 2000 anni di Vitruvio, constitutes a complete bibliography of editions of Vitruvius’ treatise on architecture, with commentary and analysis. The second book, Prospettiva, is also a bibliographical work, listing and discussing perspective treatises and studies of perspective. The review considers the tradition of illustrations to editions of Vitruvius’ text and the relationship between perspective and architecture. date: 1980 type: Review type: info:eu-repo/semantics/review type: NonPeerReviewed identifier: https://archiv.ub.uni-heidelberg.de/artdok/1110/ format: application/pdf identifier: https://archiv.ub.uni-heidelberg.de/artdokhttps://archiv.ub.uni-heidelberg.de/artdok/1110/1/Davis_Vagnetti_Rezensionen_1980.pdf identifier: urn:nbn:de:bsz:16-artdok-11101 rights: info:eu-repo/semantics/openAccess language: eng