Giacobbe Giusti, BARTOLOMEO VENETO: Lucrezia Borgia

Giacobbe Giusti, BARTOLOMEO VENETO: Lucrezia Borgia

 

Lucrèce Borgia (Lucrezia Borgia en italien), née à Subiaco le 18 avril 1480 et morte à Ferrare le 24 juin 1519, est la fille naturelle du cardinalvalencien Roderic Borgia (futur pape Alexandre VI). Elle a marqué son époque comme protectrice des arts et des lettres. La tendance des historiens d’aujourd’hui serait plutôt de réhabiliter la mémoire de Lucrèce Borgia et de la famille Borgia, dont la « légende noire » a été véhiculée dès le xvi^e siècle par l’Église et popularisée par la pièce de théâtre Lucrèce Borgia de Victor Hugo.

https://fr.wikipedia.org/wiki/Lucr%C3%A8ce_Borgia

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Giacobbe Giusti, PINTURICCHIO: Possible portrait of Lucrezia as St. Catherine of Alexandria, in the Sala dei Santi the Borgia apartments in the Vatican

Giacobbe Giusti, PINTURICCHIO: Possible portrait of Lucrezia as St. Catherine of Alexandria, in the Sala dei Santi the Borgia apartments in the Vatican

 

 

https://en.wikipedia.org/wiki/Lucrezia_Borgia

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Giacobbe Giusti, stele di Taponecco

Giacobbe Giusti, stele di taponecco

 

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Stele Antropomorfa ritrovata in Lunigiana

https://it.wikipedia.org/wiki/Statue_stele

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Giacobbe Giusti, Santa Maria della Spina

Giacobbe Giusti, Santa Maria della Spina

 

Benutzer:StMH

Giacobbe Giusti, Santa Maria della Spina

Façade

Giacobbe Giusti, Santa Maria della Spina

The right side of the church

Santa Maria della Spina is a small church in the Italian city of Pisa. The church, erected around 1230 in the Pisan Gothic style, and enlarged after 1325,^[1] was originally known as Santa Maria di Pontenovo for the newer bridge^[2] that existed nearby, collapsed in the 15th century, and was never rebuilt.

The name of della Spina (« of the thorn ») derives from the presence of a thorn, putatively part of the crown of thorns placed on Christ during his Passion and Crucifixion. The relic was brought to this church in 1333. In 1871 the church was dismantled and rebuilt on a higher level due to dangerous infiltration of water from the Arno river. The church was altered in the process, however, and John Ruskin, who visited Pisa in 1872, was outraged about the restoration.^[3]. The church no longer houses the “thorn”. The “thorn” is now in the Chiesa di Santa Chiara, which is on show inside and can be found on Via Roma.

The church of Santa Maria della Spina has always been administered by the city,^[4] except for short interruptions in the seventeenth and eighteenth centuries when it fell to the responsibility of the local hospital.

Exterior

The church has one of the most outstanding Gothic edifices in Europe: it has a rectangular plant, with an external facing wholly composed of marble, laid in polychrome bands. The exterior appearance is marked by cusps, tympani and tabernacles, together with a complicated sculpture decoration with tarsiae, rose-windows and numerous statues from the main Pisane artists of the 14th century. These include Lupo di Francesco, Andrea Pisano with his sons Nino and Tommaso, and Giovanni di Balduccio.

The façade has two gates with lintelled arches. Among these lies the tabernacle with the statues of Madonna with the Child and two Angels, attributed to Giovanni Pisano. Two niches open in the upper part of the façade: these house the statue of Christ among the two Annunciationones, and two other angels.

The right side has also a rich decoration with cusps and thirteen statues of the Apostles and Christ, from Lupo’s workshop. The small sculptures portraying Saints and Angels over the tympani are from Nino Pisano’s workshop, while the niche in the right pillar has a Madonna with Child by Giovanni di Balduccio.

The back side has three round arches with simple windows. The tympani are decorated with the Evangelists’ symbols, intervalled by niches with the statues of the Saints Peter, Paul and John the Baptist. The high pyramid-like spires end with the statues of the Madonna with Child between two angels, by Nino Pisano.

Interior

If compared to the rich exterior, the interior appears quite simple. It has a single room, with a ceiling painted during the 19th century reconstruction. In the presbytery’s centre is one of the highest masterpieces of Gothic sculpture, the Madonna of the Rose by Andrea and Nino Pisano. On the left wall is the tabernacle in which once was the crown’s relic, by Stagio Stagi (1534). Another statue by the Pisanos, the Madonna del Latte, was once here, but has been moved to the city’s National Museum of San Matteo.

See also

• Gothic architecture in Italy

Notes

1. ^ Tanfani, Leopoldo (1871). Della Chiesa di S. Maria del Pontenovo detta della Spina e di alcuni uffici della Repubblica pisana (in Italian). Livorno: Tipografia Nistri. P. 68.
2. ^ Pontenovo means new bridge in Italian, to distinguish it from the first bridge of the town which was called Pontevecchio (Old Bridge).
3. ^ Petrecca, Mauro (2010). « Micheli Pellegrini, Vincenzo ». Dizionario Biografico degli Italiani(in Italian). Vol. 74. Treccani.
4. ^ Tanfani 1871, p. 24-5.

 Media related to Santa Maria della Spina (Pisa)at Wikimedia Commons

 

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Giacobbe Giusti, Baby Hercules strangling a snake, Capitoline Museums of Rome

Giacobbe Giusti, Baby Hercules strangling a snake,  Capitoline Museums of Rome

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Baby Hercules strangling a snake sent to kill him in his cradle (Roman marble, 2nd century CE, in the Capitoline Museums of Rome, Italy).

https://en.wikipedia.org/wiki/Hercules

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Giacobbe Giusti, Twelve Olympians

Giacobbe Giusti, Twelve Olympians

By Anonymous (Greece) – Walters Art Museum: Home page  Info about artwork, Public Domain,

Giacobbe Giusti, Twelve Olympians

Fragment of a Hellenistic relief (1st century BC–1st century AD) depicting the twelve Olympians carrying their attributes in procession; from left to right, Hestia (scepter), Hermes (winged cap and staff), Aphrodite (veiled), Ares (helmet and spear), Demeter (scepter and wheat sheaf), Hephaestus (staff), Hera (scepter), Poseidon (trident), Athena (owl and helmet), Zeus (thunderbolt and staff), Artemis (bow and quiver), Apollo (lyre), from the Walters Art Museum.^[1]

In ancient Greek religion and mythology, the twelve Olympians are the major deities of the Greek pantheon, commonly considered to be Zeus, Hera, Poseidon, Demeter, Athena, Apollo, Artemis, Ares, Aphrodite, Hephaestus, Hermes, and either Hestia or Dionysus.^[2] They were called Olympians because, according to tradition, they resided on Mount Olympus.

Although Hades was a major ancient Greek god, and was the brother of the first generation of Olympians (Zeus, Poseidon, Hera, Demeter, and Hestia), he resided in the underworld, far from Olympus, and thus was not usually considered to be one of the Olympians.

Besides the twelve Olympians, there were many other cultic groupings of twelve gods.

Olympians

The Olympians were a race of deities, primarily consisting of a third and fourth generation of immortal beings, worshipped as the principal gods of the Greek pantheon and so named because of their residency atop Mount Olympus. They gained their supremacy in a ten-year-long war of gods, in which Zeus led his siblings to victory over the previous generation of ruling gods, the Titans. They were a family of gods, the most important consisting of the first generation of Olympians, offspring of the Titans Cronus and Rhea: Zeus, Poseidon, Hera, Demeter and Hestia, along with the principal offspring of Zeus: Athena, Apollo, Artemis, Ares, Aphrodite,^[3] Hephaestus, Hermes, and Dionysus. Although Hades was a major deity in the Greek pantheon, and was the brother of Zeus and the other first generation of Olympians, his realm was far away from Olympus in the underworld, and thus he was not usually considered to be one of the Olympians.^[4] Olympic gods can be contrasted to chthonic gods^[5]including Hades, by mode of sacrifice, the latter receiving sacrifices in a bothros (βόθρος, « pit ») or megaron (μέγαρον, « sunken chamber »)^[6] rather than at an altar.

The canonical number of Olympian gods was twelve, but besides the (thirteen) principal Olympians listed above, there were many other residents of Olympus, who thus might be called Olympians.^[7] Heracles became a resident of Olympus after his apotheosis and married another Olympian resident Hebe.^[8] Some others who might be considered Olympians, include the Muses, the Graces, Iris, Dione, Eileithyia, the Horae, and Ganymede.^[9]

Twelve gods

Besides the twelve Olympians, there were many other various cultic groupings of twelve gods throughout ancient Greece. The earliest evidence of Greek religious practice involving twelve gods (Greek: δωδεκάθεον, dodekatheon, from δώδεκα dōdeka, « twelve » and θεοί theoi, « gods ») comes no earlier than the late sixth century BC.^[10]According to Thucydides, an altar of the twelve gods was established in the agora of Athens by the archon Pisistratus (son of Hippias, and the grandson of the tyrant Pisistratus), in c. 522 BC.^[11] The altar became the central point from which distances from Athens were measured and a place of supplication and refuge.^[12]

Olympia apparently also had an early tradition of twelve gods.^[13] The Homeric Hymn to Hermes (c. 500 BC) has the god Hermes divide a sacrifice of two cows he has stolen from Apollo, into twelve parts, on the banks of the river Alpheius(presumably at Olympia):

« Next glad-hearted Hermes dragged the rich meats he had prepared and put them on a smooth, flat stone, and divided them into twelve portions distributed by lot, making each portion wholly honorable. »^[14]

Pindar, in an ode written to be sung at Olympia c. 480 BC, has Heracles sacrificing, alongside the Alpheius, to the « twelve ruling gods »:^[15]

« He [Heracles] enclosed the Altis all around and marked it off in the open, and he made the encircling area a resting-place for feasting, honoring the stream of the Alpheus along with the twelve ruling gods. »^[16]

Another of Pindar’s Olympian odes mentions « six double altars ».^[17] Herodorus of Heraclea (c. 400 BC) also has Heracles founding a shrine at Olympia, with six pairs of gods, each pair sharing a single altar.^[18]

Many other places had cults of the twelve gods, including Delos, Chalcedon, Magnesia on the Maeander, and Leontinoi in Sicily.^[19] As with the twelve Olympians, although the number of gods was fixed at twelve, the membership varied.^[20]While the majority of the gods included as members of these other cults of twelve gods were Olympians, non-Olympians were also sometimes included. For example, Herodorus of Heraclea identified the six pairs of gods at Olympia as: Zeus and Poseidon, Hera and Athena, Hermes and Apollo, the Graces and Dionysus, Artemis and Alpheus, and Cronus and Rhea.^[21] Thus while this list includes the eight Olympians: Zeus, Poseidon, Hera, Athena, Hermes, Apollo, Artemis, and Dionysus, it also contains three clear non-Olympians: the Titan parents of the first generation of Olympians, Cronus and Rhea, and the river god Alpheius, with the status of the Graces (here apparently counted as one god) being unclear.

Plato connected « twelve gods » with the twelve months, and implies that he considered Pluto one of the twelve in proposing that the final month be devoted to him and the spirits of the dead.^[22]

The Roman poet Ennius gives the Roman equivalents (the Dii Consentes) as six male-female complements,^[23] preserving the place of Vesta (Greek Hestia), who played a crucial role in Roman religion as a state goddess maintained by the Vestals.

List

There is no single canonical list of the twelve Olympian gods. The thirteen gods and goddesses most commonly considered to be one of the twelve Olympians are listed below.

Greek	Roman	Image	Functions and attributes
Zeus	Jupiter		King of the gods and ruler of Mount Olympus; god of the sky, lightning, thunder, law, order and justice. Youngest child of the Titans Cronus and Rhea. Symbols include the thunderbolt, eagle, oak tree, lion, scepter, and scales. Brother and husband of Hera, although he had many lovers, also brother of Poseidon, Hades, Demeter, and Hestia.
Hera	Juno		Queen of the gods and the goddess of marriage, women, childbirth and family. Symbols include the peacock, cuckoo, and cow. Youngest daughter of Cronus and Rhea. Wife and sister of Zeus. Being the goddess of marriage, she frequently tried to get revenge on Zeus’ lovers and their children.
Poseidon	Neptune		God of the seas, water, storms, hurricanes, earthquakes and horses. Symbols include the horse, bull, dolphin, and trident. Middle son of Cronus and Rhea. Brother of Zeus and Hades. Married to the NereidAmphitrite, although, like most male Greek gods, he had many lovers.
Demeter	Ceres		Goddess of the harvest, fertility, agriculture, nature and the seasons. She presided over grains and the fertility of the earth. Symbols include the poppy, wheat, torch, cornucopia, and pig. Middle daughter of Cronus and Rhea. Also the lover of Zeus and Poseidon, and the mother of Persephone.
Athena	Minerva		Goddess of wisdom, handicraft, and warfare.[24] Symbols include the owl and the olive tree. Daughter of Zeus and the OceanidMetis, she rose from her father’s head fully grown and in full battle armor.
Apollo/ Apollon[A]	Apollo[A]		God of light, the sun, prophecy, philosophy, truth, inspiration, poetry, music, arts, medicine, healing, and plague. Symbols include the sun, bow and arrow, lyre, swan, and mouse. Son of Zeus and Leto, and twin brother of Artemis.
Artemis	Diana		Goddess of the hunt, the wilderness, virginity, the moon, archery, childbirth, protection and plague. Symbols include the moon, horse, deer, hound, she-bear, snake, cypress tree, and bow and arrow. Daughter of Zeus and Leto and twin sister of Apollo.
Ares	Mars		God of war, violence, bloodshed and manly virtues. Symbols include the boar, serpent, dog, vulture, spear, and shield. Son of Zeus and Hera, all the other gods despised him. His Latin name, Mars, gave us the word « martial. »
Aphrodite	Venus		Goddess of love, pleasure, passion, procreation, fertility, beauty and desire. Symbols include the dove, bird, apple, bee, swan, myrtle, and rose. Daughter of Zeus and the Oceanid Dione, or perhaps born from the sea foam after Uranus‘ semen dripped into the sea after being castrated by his youngest son, Cronus, who then threw his father’s genitals into the sea. Married to Hephaestus, although she had many adulterous affairs, most notably with Ares. Her name gave us the word « aphrodisiac« , while her Latin name, Venus, gave us the word « venereal« .[B]
Hephaestus	Vulcan		Master blacksmith and craftsman of the gods; god of the forge, craftsmanship, invention, fire and volcanoes. Symbols include fire, anvil, axe, donkey, hammer, tongs, and quail. Son of Hera, either by Zeus or alone. Married to Aphrodite, though unlike most divine husbands, he was rarely ever licentious. His Latin name, Vulcan, gave us the word « volcano. »
Hermes	Mercury		Messenger of the gods; god of travel, commerce, communication, borders, eloquence, diplomacy, thieves and games. Symbols include the caduceus (staff entwined with two snakes), winged sandals and cap, stork, and tortoise (whose shell he used to invent the lyre). Son of Zeus and the nymph Maia. The second-youngest Olympian, just older than Dionysus.

Most listings include either one or the other of the following deities as one of the twelve Olympians.

Greek	Roman	Image	Functions and attributes
Hestia	Vesta		Goddess of the hearth, fire and of the right ordering of domesticity and the family; she was born into the first Olympian generation and was one of the original twelve Olympians. Some lists of the Twelve Olympians omit her in favor of Dionysus, but the speculation that she gave her throne to him in order to keep the peace seems to be modern invention. She is the first child of Cronus and Rhea, eldest sister of Hades, Demeter, Poseidon, Hera, and Zeus.
Dionysus(or Bacchus)	Bacchus		God of wine, the grape vine, fertility, festivity, ecstasy, madness and resurrection. Patron god of the art of theatre. Symbols include the grapevine, ivy, cup, tiger, panther, leopard, dolphin, goat, and pinecone. Son of Zeus and the mortal Theban princess Semele. Married to the Cretan princess Ariadne. The youngest Olympian god, as well as the only one to have a mortal mother.

Notes

1. ^{^} Romans also associated Phoebus with Helios and the sun itself,^[25][26] however, they also used the Greek name Apollon in a Latinized form Apollo.^[27]
2. ^{^} According to an alternate version of her birth, Aphrodite was born of Uranus, Zeus’ grandfather, after Cronus threw his castrated genitals into the sea. This supports the etymology of her name, « foam-born ». As such, Aphrodite would belong to the same generation as Cronus, Zeus’ father, and would be Zeus’ aunt. See the birth of Aphrodite

Genealogy

hideMajor Olympians’ family tree [28]
Uranus Gaia Uranus’ genitals Cronus Rhea ZEUS HERA POSEIDON Hades DEMETER HESTIA     a [29]      b [30] ARES HEPHAESTUS Metis ATHENA [31] Leto APOLLO ARTEMIS Maia HERMES Semele DIONYSUS Dione     a [32]      b [33] APHRODITE

• Hellenismos portal

• Dii Consentes, the Roman equivalent of the twelve Olympians
• Family tree of the Greek gods
• Interpretatio graeca, including a table of mythological equivalents
• List of Greek mythological characters
• Supreme Council of Ethnikoi Hellenes
• Hellenismos
• Olympia
• Olympians (Marvel Comics)
• Olympian Gods (DC Comics)

Notes

1. ^ Walters Art Museum, accession number 23.40.
2. ^ Hansen, p. 250; Burkert, pp. 125 ff.; Dowden, p. 43; Chadwick, p. 85; Müller, pp. 419 ff.; Pache, pp. 308 ff.; Thomas, p. 12; Shapiro, p. 362; Long, pp. 140–141; Morford, p. 113; Hard p. 80.
3. ^ According to Homer, Aphrodite was the daughter of Zeus (Iliad 3.374, 20.105; Odyssey 8.308, 320) and Dione (Iliad5.370–71), see Gantz, pp. 99–100. However, According to Hesiod, Theogony 183–200, Aphrodite was born from Uranus’ severed genitals, see Gantz, pp. 99–100.
4. ^ Hansen, p. 250; Morford, p. 113; Hard p. 80.
5. ^ Chadwick, p. 85.
6. ^ Dillon, p. 114.
7. ^ Ogden, pp. 2–3; Dowden, p. 43; Hansen, p. 250; Burkert, p. 125.
8. ^ Herodotus, 2.43–44.
9. ^ Just who might be called an Olympian is not entirely clear. For example Dowden, p. 43, describes Heracles, Hebe, the Muses, and the Graces as Olympians, and on p. 45, lists Iris, Dione, and Eileithyia among the Homeric Olympians, while Hansen, p. 250, describes Heracles, Hebe, the Horae, and Ganymede as notable residents of Olympus, but says they « are not ordinarily classified as Olympians ».
10. ^ Dowden, p. 43; Rutherford, p. 43;.
11. ^ Rutherford, pp. 43–44; Thucydides, 6.54.6-7.
12. ^ Gadbery, p. 447.
13. ^ Dowden, p. 43; Rutherford, p. 44; Long, pp. 58–62 (T 13), 154–157.
14. ^ Long, pp. 61–62 (T 13 G), 156–157; Homeric Hymn to Hermes, 128–129.
15. ^ Dowden, p. 43; Rutherford, p. 44; Long, pp. 59–60 (T 13 C), 154–155.
16. ^ Pindar, Olympian 10.49.
17. ^ Rutherford, p. 44; Long, pp. 58 (T 13 A), 154; Pindar, Olympian 5.5.
18. ^ Dowden, p. 43; Rutherford, p. 47; Long, pp. 58–59 (T 13 B), 154; FGrH 31 F34a-b.
19. ^ Rutherford, p. 45; Delos: Long, pp. 11, 87–90 (T 26), 182; Chaledon: Long, pp. 56–57 (T 11 D), 217–218; Magnesia on the Maeander: Long, pp. 53–54 (T 7), 221–223; Leontinoi: Long, pp. 95–96 (T 32), p. 157.
20. ^ Long, pp. 360–361, lists 54 Greek (and Roman) gods, including the thirteen Olympians mentioned above, who have been identified as members of one or more cultic groupings of twelve gods.
21. ^ Dowden, p. 43; Rutherford, p. 47; Hard, p. 81; Long, pp. 58–59 (T 13 B), 141, 154; FGrH31 F34a-b.
22. ^ Rutherford, pp. 45–46; Plato, The Laws 828 b-d
23. ^ « Greek mythology ». Encyclopedia Americana. 13. 1993. p. 431.
24. ^ Inc, Merriam-Webster (1995). Merriam-Webster’s Encyclopedia of Literature. Merriam-Webster. p. 81. ISBN 9780877790426.
25. ^ North John A., Beard Mary, Price Simon R.F. « The Religions of Imperial Rome ». Classical Mythology in English Literature: A Critical Anthology. (Cambridge University Press, 1998), p.259. ISBN 0-521-31682-0.
26. ^ Hacklin, Joseph. « The Mythology of Persia ». Asiatic Mythology (Asian Educational Services, 1994), p.38. ISBN 81-206-0920-4.
27. ^ See, for example, Ovid‘s Met. I 441, 473, II 454, 543, 598, 612, 641, XII 585, XVIII 174, 715, 631, and others.
28. ^ This chart is based upon Hesiod‘s Theogony, unless otherwise noted.
29. ^ According to Homer, Iliad 1.570–579,14.338, Odyssey 8.312, Hephaestus was apparently the son of Hera and Zeus, see Gantz, p. 74.
30. ^ According to Hesiod, Theogony 927–929, Hephaestus was produced by Hera alone, with no father, see Gantz, p. 74.
31. ^ According to Hesiod, Theogony 886–890, of Zeus’ children by his seven wives, Athena was the first to be conceived, but the last to be born; Zeus impregnated Metis then swallowed her, later Zeus himself gave birth to Athena « from his head », see Gantz, pp. 51–52, 83–84.
32. ^ According to Hesiod, Theogony 183–200, Aphrodite was born from Uranus’ severed genitals, see Gantz, pp. 99–100.
33. ^ According to Homer, Aphrodite was the daughter of Zeus (Iliad 3.374, 20.105; Odyssey 8.308, 320) and Dione (Iliad5.370–71), see Gantz, pp. 99–100.

References

• Burkert, Walter, Greek Religion, Harvard University Press, 1985. ISBN 0-674-36281-0.
• Chadwick, John, The Mycenaean World, Cambridge University Press, 1976. ISBN 9780521290371.
• Dillon, Matthew, Girls and Women in Classical Greek Religion. London: Routledge. (2002). ISBN 0415202728.
• Dowden, Ken, « Olympian Gods, Olympian Pantheon », in A Companion to Greek Religion, Daniel Ogden editor, John Wiley & Sons, 2010. ISBN 9781444334173.
• Gadbery, Laura M., « The Sanctuary of the Twelve Gods in the Athenian Agora: A Revised View », Hesperia 61 (1992), pp. 447–489.
• Gantz, Timothy, Early Greek Myth: A Guide to Literary and Artistic Sources, Johns Hopkins University Press, 1996, Two volumes: ISBN 978-0-8018-5360-9 (Vol. 1), ISBN 978-0-8018-5362-3 (Vol. 2).
• Hansen, William, William F. Hansen, Classical Mythology: A Guide to the Mythical World of the Greeks and Romans, Oxford University Press, 2005. ISBN 9780195300352.
• Hard, Robin, The Routledge Handbook of Greek Mythology: Based on H.J. Rose’s « Handbook of Greek Mythology », Psychology Press, 2004, ISBN 9780415186360. Google Books.
• Herodotus; Histories, A. D. Godley (translator), Cambridge: Harvard University Press, 1920; ISBN 0674991338. Online version at the Perseus Digital Library.
• Hesiod, Theogony, in The Homeric Hymns and Homerica with an English Translation by Hugh G. Evelyn-White, Cambridge, Massachusetts., Harvard University Press; London, William Heinemann Ltd. 1914. Online version at the Perseus Digital Library.
• Homer, The Iliad with an English Translation by A.T. Murray, Ph.D. in two volumes. Cambridge, Massachusetts., Harvard University Press; London, William Heinemann, Ltd. 1924. Online version at the Perseus Digital Library.
• Homer; The Odyssey with an English Translation by A.T. Murray, PH.D. in two volumes. Cambridge, Massachusetts., Harvard University Press; London, William Heinemann, Ltd. 1919. Online version at the Perseus Digital Library.
• Homeric Hymn to Hermes (4), in The Homeric Hymns and Homerica with an English Translation by Hugh G. Evelyn-White, Cambridge, Massachusetts., Harvard University Press; London, William Heinemann Ltd. 1914. Online version at the Perseus Digital Library.
• Long, Charlotte R., The Twelve Gods of Greece and Rome, Brill Archive, Jan 1, 1987. Google Books
• Morford, Mark P. O., Robert J. Lenardon, Classical Mythology, Eighth Edition, Oxford University Press, 2007. ISBN 978-0-19-530805-1.
• Müller, Karl Otfried, Ancient Art and Its Remains: Or, A Manual of the Archaeology of Art, translated by John Leitch, B. Quaritch, 1852.
• Ogden, Daniel « Introduction » to A Companion to Greek Religion, Daniel Ogden editor, John Wiley & Sons, 2010. ISBN 9781444334173.
• Pache, Corinne Ondine, « Gods, Greek » in The Oxford Encyclopedia of Ancient Greece and Rome, Volume 3, Oxford University Press. 2010. ISBN 9780195170726.
• Pindar, Odes, Diane Arnson Svarlien. 1990.
• Plato, Laws in Plato in Twelve Volumes, Vols. 10 & 11 translated by R.G. Bury. Cambridge, Massachusetts, Harvard University Press; London, William Heinemann Ltd. 1967 & 1968. Online version at the Perseus Digital Library
• Rutherford, Ian, « Canonizing the Pantheon: the Dodekatheon in Greek Religion and its Origins » in The Gods of Ancient Greece: Identities and Transformations, editors Jan N. Bremmer, Andrew Erskine, Edinburgh University Press 2010. ISBN 978-0748637980. Online version
• Shapiro, H. A., « Chapter 20: Olympian Gods at Home and Abroad » in A Companion to Greek Art, editors Tyler Jo Smith, Dimitris Plantzos, John Wiley & Sons, 2012. ISBN 9781118273371.
• Thomas, Edmund, « From the pantheon of the gods to the Pantheon of Rome » in Pantheons: Transformations of a Monumental Idea, editors Richard Wrigley, Matthew Craske, Ashgate Publishing, Ltd., 2004. ISBN 9780754608080.
• Thucydides, Thucydides translated into English; with introduction, marginal analysis, notes, and indices. Volume 1., Benjamin Jowett. translator. Oxford. Clarendon Press. 1881. Online version at the Perseus Digital Library.

 

https://en.wikipedia.org/wiki/Twelve_Olympians

http://www.giacobbegiusti.com

Giacobbe Giusti, Thessaloniki Archaeological Museum

 

Giacobbe Giusti, Thessaloniki Archaeological Museum

User:Evilemperorzorg

 

Giacobbe Giusti, Thessaloniki Archaeological Museum

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Giacobbe Giusti, Thessaloniki Archaeological Museum

Tilemahos Efthimiadis

 

 

Giacobbe Giusti, Thessaloniki Archaeological Museum

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Giacobbe Giusti, Thessaloniki Archaeological Museum

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Giacobbe Giusti, Thessaloniki Archaeological Museum

Tilemahos Efthimiadis

Giacobbe Giusti, Thessaloniki Archaeological Museum

An exterior view
Established	1912
Location	M. Andronikou 6, GR-54621, Thessaloniki, Central Macedonia, Greece
Coordinates	40°37′30″N 22°57′14″ECoordinates: 40°37′30″N 22°57′14″E
Type	Archaeological
Director	Polyxeni Adam-Veleni
Website	« A Museum for All ». Archaeological Museum of Thessaloniki. 2017.

The Archaeological Museum of Thessaloniki(Greek: Αρχαιολογικό Μουσείο Θεσσαλονίκης) is a museum in Thessaloniki, Central Macedonia, Greece. It holds and interprets artifacts from the Prehistoric, Archaic, Classical, Hellenistic and Roman periods, mostly from the city of Thessaloniki but also from the region of Macedonia in general.

The building and the exhibitions

Giacobbe Giusti, Thessaloniki Archaeological Museum

Interior

The museum is housed in a building designed by architect Patroklos Karantinos and is an example of the modern architectural trends of Greece. Built in 1962, the museum had a new wing added to it in 1980, in which the findings from Vergina were displayed, up until 1997. In 2001 and 2004, in the run-up to the 2004 Athens Olympics, the museum was extensively renovated and its permanent exhibits reorganized.

Giacobbe Giusti, Thessaloniki Archaeological Museum

The statue of Harpocrates (Roman era).

The central rooms hold exhibits from the archaeological excavations conducted in Thessaloniki and the broader area of Macedonia. The new wing hosts two exhibitions: The Gold of Macedon, with artefacts from the cemeteries of Sindos, Agia Paraskevi, Nea Filadelfia, Makrygialos, Derveni, Lete, Serres, and Evropos; and The Thessaloniki Area in Prehistory, with material from prehistoric settlements, dating from the Neolithic to the Early and Late Bronze Age.

At present, the collection of Archaic to Late Roman sculptures from Thessaloniki and Macedonia in general is displayed in the central section of the museum. They illustrate the history of Thessaloniki from prehistoric times to Late Antiquity. These rooms display architectural members from an Ionic temple of the 6th century BC, sculptures of all periods from Macedonia, exhibits from the excavations in the palace complex built by Galerius in the Thessaloniki city centre, a reconstruction of the façade of the Macedonian tomb in Agia Paraskevi, with genuine architectural members, and finds (mainly gold artefacts) of the Archaic and Classical periods from the Sindos cemetery. In all these rooms, certain important exhibits have been singled out and further information about them is given to help visitors appreciate the importance of each exhibit and of the area and the period from which it comes.

Apart from its permanent displays, the Archaeological Museum also hosts major temporary and thematic exhibitions. In the Manolis Andronikos Room, for instance, there is an exhibition titled The Coins of Macedonia from the 6th Century to 148 BC, with examples of coins that were circulating in Macedonia in that period. A showcase in the lobby of the museum displays some finds from the excavation of the Neolithic settlement at Makrygialos in Pieria, accompanied by information about the progress of the excavation.

In the new wing, the Gold of Macedon exhibition includes finds from numerous excavations in Central Macedonia. Taking the history of gold as its central theme, it presents the culture of Macedonia from the 6th century BC to 148 BC, discussing the use of gold (jewellery, sartorial decoration, gilding of objects and vessels, coins), the technology of the manufacture of gold jewellery, and the techniques of gold mining. There are also numerous finds from cemeteries, and their role in burial customs is described.

The Thessaloniki in Prehistory exhibition aims to recreate a picture of the Thermaic Gulf littoral before the city of Thessaloniki was built. It presents the first excavations, which were carried out during the First World War by British and French troops, and finds from the most important prehistoric settlements in the area (Thermi, Vassilika, Stavroupoli, Oraiokastro, Assiros, Toumba, and Kastana) divided into three chronological groups (Neolithic, and Early and Late Bronze Age).^[1]

Discovery of possible original statue of Alexander

On 26 February 2010, Greek authorities arrested two men found in illegal possession of various antiquities, including a bronze statue of Alexander, which is possibly a work of Lysippos. If confirmed, this would make it the first original work of Lysippos ever discovered. The statue is currently being examined at the laboratory of the Archaeological Museum of Thessaloniki, which is expected to confirm or deny its authenticity.^[2][3]

Notable exhibits

Giacobbe Giusti, Thessaloniki Archaeological Museum

Fragments of a marble sarcophagus depicting the Caledonian boar-hunt.

• Derveni krater
• The statue of Harpocrates (2nd century AD)
• The Head of Serapis (2nd century BC)
• Bronze helmet and gold mask (cemetery of Sindos, end of 6th century BC)
• Marble door (Macedonia tomb of Agia Paraskevi)
• Copy of « Unveiling » Aphrodite (421/420 BC)
• Gold medals (250–225 BC)
• Inlaid floors (mosaic)
• Gold diadems, gold disks and gold Medusaheads (350-325 BC)
• Derveni Papyrus (end of 5th century BC)

Gallery

Giacobbe Giusti, Thessaloniki Archaeological Museum

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  Red figure pottery (4th BC)

   

Giacobbe Giusti, Thessaloniki Archaeological Museum

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  Facade of an ancient Macedonian tomb (4th BC); 6.5m long, 4m wide and 4.8m high

   

Giacobbe Giusti, Thessaloniki Archaeological Museum

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  Inscription reading: « To Queen Thessalonike, (Daughter) of Philip »

   

Giacobbe Giusti, Thessaloniki Archaeological Museum

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  Restored parts from the Temple of Aphrodite, located in Thessaloniki, almost completely buried

   

Giacobbe Giusti, Thessaloniki Archaeological Museum

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  Gold diadem consisting of 8 lyre-shaped sections, decorated with acanthus leaves, tendrills and palmettes (320-300 BC)

   

Giacobbe Giusti, Thessaloniki Archaeological Museum

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  The Derveni krater (vase for mixing wine and water)

   

Giacobbe Giusti, Thessaloniki Archaeological Museum

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  Macedonian coins

   

Giacobbe Giusti, Thessaloniki Archaeological Museum

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  Exhibition of the « Gold of Macedon »

   

Giacobbe Giusti, Thessaloniki Archaeological Museum

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  Macedonian helmet

   

 

• Giacobbe Giusti, Thessaloniki Archaeological Museum

   

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  Another golden wreath

   

Giacobbe Giusti, Thessaloniki Archaeological Museum

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  Bronze calyx krater

   

  Giacobbe Giusti, Thessaloniki Archaeological Museum

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  Bronze figurines of Hermes and Heracles

   

   

Giacobbe Giusti, Thessaloniki Archaeological Museum

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  Votaive plaque (1st BC)

   

Giacobbe Giusti, Thessaloniki Archaeological Museum

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  Marble statue of Augustus (Roman period)

   

Giacobbe Giusti, Thessaloniki Archaeological Museum

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  Epona, patroness of horses. Celtic goddess, may have been introduced in Thessaloniki by Galerius

   

   

Giacobbe Giusti, Thessaloniki Archaeological Museum

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  Funerary relief depicting a family (1st AD)

   

   

Giacobbe Giusti, Thessaloniki Archaeological Museum

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  Philosopher (150-60 AD)

   

Giacobbe Giusti, Thessaloniki Archaeological Museum

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  Marble statue of Dionysus (2nd AD)

   

 

Giacobbe Giusti, Thessaloniki Archaeological Museum

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  Head thought to be a portrait of Alexander The Great (175-200 AD)

   

 

Giacobbe Giusti, Thessaloniki Archaeological Museum

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  Dionysiac composition (200-250 AD)

   

 

Giacobbe Giusti, Thessaloniki Archaeological Museum

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  Head of an old man (3rd AD)

   

Giacobbe Giusti, Thessaloniki Archaeological Museum

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  Mosaic depicting « Winter » (3rd AD)

 

• List of museums in Greece

References

 

1. ^ Museums of Macedonia web site
2. ^ « Αγαλμα του Μεγάλου Αλεξάνδρου βρέθηκε στην κατοχή αρχαιοκαπήλων ». In.gr.
3. ^ e-go.gr, Pegasus Interactive. « Αγαλμα – έκπληξη στα χέρια των αρχαιοκάπηλων ». ethnos.gr. Archived from the original on 4 March 2010. Retrieved 23 July 2016.

 

https://en.wikipedia.org/wiki/Archaeological_Museum_of_Thessaloniki

http://www.giacobbegiusti.com

Giacobbe Giusti, The Bargello

Giacobbe Giusti, The Bargello

 

Giacobbe Giusti, The Bargello

Creating User:Vuvueffino

 

Giacobbe Giusti, The Bargello

Creating User:Marzocco58

 

The Bargello, also known as the Palazzo del Bargello, Museo Nazionale del Bargello, or Palazzo del Popolo(Palace of the People), is a former barracks and prison, now an art museum, in Florence, Italy.

Terminology

The word bargello appears to come from the late Latin bargillus (from Gothic bargi and German burg), meaning « castle » or « fortified tower ». During the Italian Middle Ages it was the name given to a military captain in charge of keeping peace and justice (hence « Captain of justice ») during riots and uproars. In Florence he was usually hired from a foreign city to prevent any appearance of favoritism on the part of the Captain. The position could be compared with that of a current Chief of police. The name Bargello was extended to the building which was the office of the captain.

The palace

Giacobbe Giusti, The Bargello

Stairs and inner courtyard.

Giacobbe Giusti, The Bargello

Inner courtyard.

Construction began in 1255. The palace was built to house first the Capitano del Popolo and later, in 1261, the ‘podestà‘, the highest magistrate of the Florence City Council. This Palazzo del Podestà, as it was originally called, is the oldest public building in Florence. This austere crenellated building served as model for the construction of the Palazzo Vecchio. In 1574, the Medici dispensed with the function of the Podestà and housed the bargello, the police chief of Florence, in this building, hence its name.^[1] It was employed as a prison; executions took place in the Bargello’s yard until they were abolished by Grand Duke Peter Leopold in 1786, but it remained the headquarters of the Florentine police until 1859. When Leopold II, Holy Roman Emperor Peter Leopold was exiled, the makeshift Governor of Tuscany decided that the Bargello should no longer be a jail, and it then became a national museum.

The original two-storey structure was built alongside the Volognana Tower in 1256. The third storey, which can be identified by the smaller blocks used to construct it, was added after the fire of 1323. The building is designed around an open courtyard with an external staircase leading to the second floor. An open well is found in the centre of the courtyard.^[1]

The Bargello opened as a national museum (Museo Nazionale del Bargello) in 1865,^[1]displaying the largest Italian collection of gothicand Renaissance sculptures (14–17th century).

Art collection

The museum houses masterpieces by Michelangelo, such as his Bacchus, Pitti Tondo(or Madonna and Child), Brutus and David-Apollo.^[2] Its collection includes Donatello‘s Davidand St. George Tabernacle^[3] , Vincenzo Gemito‘s Pescatore (« fisherboy »),^[4] Jacopo Sansovino‘s Bacchus,^[2] Giambologna‘s Architecture^[5] and his Mercury^[2] and many works from the Della Robbiafamily.^[3][6][7][8] Benvenuto Cellini is represented with his bronze bust of Cosimo I.^[2] There are a few works from the Baroque period, notably Gianlorenzo Bernini‘s 1636-7 Bust of Costanza Bonarelli.

The museum also has a fine collection of ceramics (maiolica), textile, tapestries, ivory, silver, armour and coins. The formerly lost right-hand panel of the Franks Casket is held by the museum. It also features the competing designs for The Sacrifice of Isaac (Sacrificio di Isacco) that were made by Lorenzo Ghiberti^[3] and Filippo Brunelleschi^[3] to win the contest for the second set of doors of the Florence Baptistery (1401).

Honolulu Hale‘s interior courtyard, staircase, and open ceiling were modeled after the Bargello.^[9]

The Islamic Hall at the Bargello was set up in 1982 by Marco Spallanzani and Giovanni Curatolaat the direction of Paola Barocchi and Giovanna Gaeta Bertelà, then the director.^[10]

Gallery

Giacobbe Giusti, The Bargello

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  Lorenzo Ghiberti‘s Isaac’s Sacrifice.

   

 

Giacobbe Giusti, The Bargello

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  Bust, (Niccolo da Uzzano).

   

   

Giacobbe Giusti, The Bargello

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  Bust of Christ, (Tullio Lombardo).

   

 

Giacobbe Giusti, The Bargello

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  Bust of Pietro Melllini(Benedetto da Maiano).

   

Giacobbe Giusti, The Bargello

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  Coronation of Ferdinand II of Aragon.

   

 

Giacobbe Giusti, The Bargello

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  Musicians from program for Coronation of Ferdinand II, (Benedetto da Maiano).

   

Giacobbe Giusti, The Bargello

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  Anghiari Battle, Giovan Francesco Rustici after Leonardo da Vinci

   

 

Giacobbe Giusti, The Bargello

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  Madonna di Santa Maria Nuova–Luca della Robbia

   

 

Giacobbe Giusti, The Bargello

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  Crucifix attributed to Michelangelo.

   

 

Giacobbe Giusti, The Bargello

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  Empress Ariane(Byzantine).

   

 

 

Giacobbe Giusti, The Bargello

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  St George, (Donatello).

   

Giacobbe Giusti, The Bargello

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  David, (Donatello).

   

Giacobbe Giusti, The Bargello

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  Bacchus, (Michelangelo).

   

 

Giacobbe Giusti, The Bargello

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  Architettura, (Giambologna).

   

Giacobbe Giusti, The Bargello

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  Bust of Costanza Bonarelli, (Bernini).

   

Giacobbe Giusti, The Bargello

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  Il Pescatorello (little fisher boy), Vincenzo Gemito

References

1. ^ Jump up to:^abc Zucconi, Guido (1995). Florence: An Architectural Guide (November 2001 Reprint ed.). San Giovanni Lupatoto, Verona, Italy: Arsenale Editrice. p. 38. ISBN88-7743-147-4.
2. ^ Jump up to:^abcd « Sala di Michelangelo e della scultura del Cinquecento ». Bargello National Museum. Ministry of Cultural Heritage. Archived from the original on June 6, 2006. Retrieved July 24,2006.
3. ^ Jump up to:^abcd « Salone di Donatello e della Scultura del Quattrocento ». Bargello National Museum. Ministry of Cultural Heritage. Archived from the original on June 6, 2006. Retrieved July 24,2006.
4. ^ « Il Cortile ». Bargello National Museum. Ministry of Cultural Heritage. Archived from the original on June 6, 2006. Retrieved July 24,2006.
5. ^ « Verone ». Bargello National Museum. Ministry of Cultural Heritage. Archived from the original on June 6, 2006. Retrieved July 24,2006.
6. ^ « Cappella di Maria Maddalena e Sagrestia ». Bargello National Museum. Ministry of Cultural Heritage. Archived from the original on June 6, 2006. Retrieved July 24, 2006.
7. ^ « Sala di Giovanni della Robbia ». Bargello National Museum. Ministry of Cultural Heritage. Archived from the original on June 6, 2006. Retrieved July 24, 2006.
8. ^ « Sala di Andrea della Robbia ». Bargello National Museum. Ministry of Cultural Heritage. Archived from the original on June 6, 2006. Retrieved July 24, 2006.
9. ^ « Historic Honolulu (The Capitol District) ». City and County of Honolulu. October 10, 2003. Archived from the original on November 19, 2004. Retrieved July 24, 2006.
10. ^ « A Firenze in mostra l’arte islamica – TgTourism ». http://www.tgtourism.tv (in Italian). Retrieved 2018-10-06.

https://en.wikipedia.org/wiki/Bargello

http://www.giacobbegiusti.com

Giacobbe Giusti, Olivuccio di Ciccarello

Giacobbe Giusti, Olivuccio di Ciccarello

Dare conforto ai carcerati (Pinacoteca Vaticana).

Utente:Giorgio Eusebio Petetti

 

Giacobbe Giusti, Olivuccio di Ciccarello

Dare da bere agli assetati (Pinacoteca Vaticana).

 

Giacobbe Giusti, Olivuccio di Ciccarello

Dare da mangiare agli affamati (Pinacoteca Vaticana).

 

Giacobbe Giusti, Olivuccio di Ciccarello

Vestire gli ignudi (Pinacoteca Vaticana).

 

Giacobbe Giusti, Olivuccio di Ciccarello

Dare conforto agli ammalati (Pinacoteca Vaticana).

 

Giacobbe Giusti, Olivuccio di Ciccarello

Seppellire i morti (Pinacoteca Vaticana).

 

Giacobbe Giusti, Olivuccio di Ciccarello

Incoronazione della Vergine, Pinacoteca Podesti, Ancona.

Pietro Zampetti, Pittura nelle Marche

Giacobbe Giusti, Olivuccio di Ciccarello

Œuvres de miséricorde (ensevelir les morts), Musées du Vatican.

Naissance	1365 Camerino
Décès	1439 Ancône
Activité	Peintre

Olivuccio di Ciccarello (Camerino, av. 1388 – 1439) est un peintre italien qui fut actif entre la fin du xiv^e et le début du xv^e siècle.

Histoire

Olivuccio di Ciccarello est un élément de premier plan de l’école picturale tardo-gothique qui a œuvré dans la ville d’Ancône entre le xiv^e et le xv^e siècle.

Ses œuvres sont conservées à Ancône et dans les Marches (Macerata Feltria, Camerino, Recanati, Fermo, Urbino, Mondavio), d’autres au Vatican, à Strasbourg (Musée des beaux-arts – Saint François), Cambridge, Stockholm, Baltimore, Cleveland.

Une de ses plus importantes œuvres, aujourd’hui perdue, est l’Adorazione dei Magi, commissionnée en 1429 par le duc de MilanPhilippe Marie Visconti pour la Sainte Maison de Lorette.

Attribution des œuvres avant 2002 sous le nom de Carlo da Camerino

En 2002, à l’occasion de l’exposition Quattrocento marchigiano à Camerino, le chercheur Matteo Mazzalupi a fait une nouvelle interprétation de l’écrit daté de 1396, sur une peinture sur boisconservé dans l’église San Michele Arcangelo à Macerata Feltria : ALV……DECI..CARELLU DA CAMERINO PIN… en ALVUCCIU DE CICCARELLU DA CAMERINO PINXIT, attribuant finalement la peinture au peintre Olivuccio di Ciccarello da Camerino.

Ainsi à partir de 2002, toutes les œuvres attribuées antérieurement à Carlo da Camerinoont été rendues a Olivuccio di Ciccarello da Camerino ce qui laisse supposer un accord unanime sur la nouvelle attribution.

Œuvres

• Saint François d’Assise, Strasbourg, Musée des Beaux-Arts¹
• Œuvres de miséricorde, tempera sur bois, (1410-1420), Rome, Pinacothèque vaticane(de Ancône, église de la Miséricorde)
• Crucifixion, Zagreb, Galerie Grossmayer, autrefois généralement attribué à l’École de Ancône
• Couronnement de la Vierge, Stockholm, Musée national
• Neuf anges et deux saints, Cambridge, Musée Fitzwilliam
• Vierge d’humilité, trois archanges, douze apôtres, et la tentation d’Ève Cleveland, Musée d’Art
• Triptyque, Baltimore, Musée d’Art Walter
• Annonciation, Urbin, Galerie nationale des Marches
• Vierge à l’Enfant (1400), tempera sur bois, Mondavio.
• Crucifix (1396), église S.Michele Arcangelo, Macerata Feltria.
• Dormitio Virginis, tempera sur bois de 113 × 170 cm, Pinacothèque civique Francesco Podesti, Ancône.
• Vierge d’humilité, avec les anges, tempera sur bois de 73 × 51 cm, Pinacothèque civique Francesco Podesti, Ancône.
• Circoncision, tempera sur bois, Pinacothèque civique Francesco Podesti, Ancône.

Bibliographie

• Andrea De Marchi, Pittori a Camerino nel Quattrocento, éditeur Federico Motta, pour la Banca delle Marche, 2002.
• Andrea De Marchi, Maria Giannatiempo, Il Quattrocento a Camerino, Luce e prospettiva nel cuore della Marca, éditeur Federico Motta.

Sources

• (it) Cet article est partiellement ou en totalité issu de l’article de Wikipédia en italien intitulé « Olivuccio di Ciccarello » (voir la liste des auteurs).

https://it.wikipedia.org/wiki/Olivuccio_di_Ciccarello

http://www.giacobbegiusti.com

 

Giacobbe Giusti, Museo dell’Opera del Duomo (Siena)

Giacobbe Giusti, Museo dell’Opera del Duomo (Siena)

 

Il Salone con la vetrata di Duccio

User:Joanbanjo

 

Giacobbe Giusti, Museo dell’Opera del Duomo (Siena)

Duccio, Maestà del Duomo di Siena

 

Giacobbe Giusti, Museo dell’Opera del Duomo (Siena)

Pietro Lorenzetti, Natività della Vergine

 

Giacobbe Giusti, Museo dell’Opera del Duomo (Siena)

Maestro di Tressa; Madonna_with_child. Museo dell’Opera del Duomo di Siena. 1250s

 

Giacobbe Giusti, Museo dell’Opera del Duomo (Siena)

 

Beccafuni, San Paolo in trono, 1515 circa

 

Giacobbe Giusti, Museo dell’Opera del Duomo (Siena)

Sala dei Paramenti

User:Sailko

 

Giacobbe Giusti, Museo dell’Opera del Duomo (Siena)

 

Established	1879
Coordinates	43.3177°N 11.3296°ECoordinates: 43.3177°N 11.3296°E
Website	operaduomo.siena.it/museo.htm

The Museo dell’Opera del Duomois an art museum in Siena, in Tuscany in central Italy. It houses works of art and architectural fragments that were formerly in, or a part of, the Duomo of Siena. These include a number of Italian Gothicsculptures by Giovanni Pisano and his school from the façade of the cathedral; the Maestà of Duccio di Boninsegna, which was the altarpiece from about 1311 until 1505^[1]:519 or 1506;^[2]:221 and works by Ambrogio and Pietro Lorenzetti. There are also works moved to the museum from other churches in the area, such as the Madonna of Duccio brought from the Pieve di Santa Cecilia [it] at Crevole in the comuneof Murlo.^[1]:519

Opere

Maestro di Tressa

• Madonna dagli occhi grossi, 1225 circa

Duccio di Buoninsegna

• Vetrata del Duomo di Siena, 1287-1288
• Madonna di Crevole, 1283-1284 circa
• Maestà del Duomo di Siena, 1308-1311

Pietro Lorenzetti

• Natività della Vergine, 1335-1342
• Cristo risorto, 1336-1337

Donatello

• Madonna del Perdono, 1457-1459

Domenico Beccafumi

• San Paolo in trono, 1515 circa

References

1. ^ Jump up to:^a b Alta Macadam (1978). Northern Italy: from the Alps to Rome. Blue Guide. London: Ernest Benn Limited. ISBN 0510016030.
2. ^ Alessandro Bagnoli, Roberto Bartalini, Luciano Bellosi, Michel Laclotte (2003). Duccio: alle origini della pittura senese [Siena, Santa Maria della Scala – Museo dell’Opera del Duomo, 4 ottobre 2003 – 11 gennaio 2004] (exhibition catalogue, in Italian). Milano: Silvana Editoriale. ISBN 8882154831.

https://en.wikipedia.org/wiki/Museo_dell%27Opera_del_Duomo_(Siena)

http://www.giacobbegiusti.com