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Giacobbe Giusti, Dura – Europos, Syria

Publié par GIACOBBE GIUSTI le 15 juin 2018
Publié dans: Christ and Simon-Peter walking on water. Wall painting in the baptistry of the Domus ecclesiae in Dura Europos., Churches in Syria Fresco paintings 3rd-century churches Ancient Roman buildings and structures in Syria Roman Empire art Dura-Europos Buildings and structures in Deir ez-Zor Governorate Early Christia, Dura - Europos, Syria - remains of the christian church with the western wall recently restored, Dura - Europos, Syria, Dura Europos domus ecclesiae., Dura-Europos church, Giacobbe Giusti, Dura - Europos, Syria, Oldest churches in the world Dura-Europos Lullingstone Roman Villa, another rare house-church from Roman Britain, Photo of Baptistery Diagram of Church "7 vs. 8: The Battle Over the Holy Day at Dura-Europos" Bible Review, Aug. 1996, Senza categoria, Snyder, Graydon F. (2003). Ante Pacem: Archaeological Evidence of Church Life Before Constantine. Mercer University Press. p. 128. Jump up^ The people are holy: the history and theology of Free Chu, Syria, The healing of the paralytic : wall painting in the baptistry of the domus ecclesiae in Dura Europos., The Samaritan at the well. Wall painting in the baptistry of the domus ecclesiae in Dura Europos., The Dura-Europos church (also known as the Dura-Europos house church) is the earliest identified Christian house church.[1]It is located in Dura-Europos in Syria.. Tagué : , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , . Poster un commentaire

Giacobbe Giusti, Dura – Europos, Syria

The Good Shepherd, Adam and Eve. Wall painting in the baptistry of the domus ecclesiae in Dura Europos.

 

Giacobbe Giusti, Dura – Europos, Syria

Christ and Simon-Peter walking on water. Wall painting in the baptistry of the Domus ecclesiae in Dura Europos.

Giacobbe Giusti, Dura – Europos, Syria

The healing of the paralytic : wall painting in the baptistry of the domus ecclesiae in Dura Europos.

Giacobbe Giusti, Dura – Europos, Syria

The Samaritan at the well. Wall painting in the baptistry of the domus ecclesiae in Dura Europos.

Giacobbe Giusti, Dura – Europos, Syria

Dura – Europos, Syria – remains of the christian church with the western wall recently restored

Giacobbe Giusti, Dura – Europos, Syria

The Dura-Europos house church with chapel area on right.

The Dura-Europos church (also known as the Dura-Europos house church) is the earliest identified Christian house church.[1]It is located in Dura-Europos in Syria. It is one of the earliest known Christian churches,[2] and was apparently a normal domestic house converted for worship some time between 233 and 256, when the town was abandoned after conquest by the Persians.[3] It is less famous, smaller, and more modestly decorated than the nearby Dura Europos synagogue, though there are many other similarities between them.

Although the fate of the church structure is unknown after occupation by ISIS, its famous frescos were removed after discovery and are now preserved at Yale University Art Gallery.[4]

History

The site of Dura-Europos, a former city and walled fortification, was excavated largely in the 1920s and 1930s by French and American teams. Within the archaeological site, the house church is located by the 17th tower and preserved by the same defensive fill that saved the nearby Dura-Europos synagogue.

The building consists of a house conjoined to a separate hall-like room, which functioned as the meeting room for the church. The surviving frescoes of the room serving as the baptistry are probably the most ancient Christian paintings. The « Good Shepherd« , the « Healing of the paralytic » and « Christ and Peter walking on the water » are considered the earliest depictions of Jesus Christ.[5]

A much larger fresco depicts three women (the third mostly lost) approaching a large sarcophagus. This most likely depicts the three Marys visiting Christ’s tomb.[6] There were also frescoes of Adam and Eve as well as David and Goliath. The frescoes clearly followed the Hellenistic Jewish iconographic tradition, but they are more crudely done than the paintings of the nearby Dura-Europos synagogue.[7]

Fragments of parchment scrolls with Hebrew texts have also been unearthed; they resisted meaningful translation until J.L. Teicher pointed out that they were Christian Eucharistic prayers, so closely connected with the prayers in Didache that he was able to fill lacunae in the light of the Didache text.[8]

In 1933, among fragments of text recovered from the town dump outside the Palmyrene Gate, a fragmentary text from an unknown Greek gospel harmonyaccount was unearthed. It was comparable to Tatian‘s Diatessaron, but independent of it.

Gallery

Frescoes of the baptistry

  • The Good Shepherd

  • Healing of the paralytic

  • Christ and Peter walking on water

  • Women at the tomb

  • The Samaritan Woman by the Well

See also

References

  1. Jump up^ Snyder, Graydon F. (2003). Ante Pacem: Archaeological Evidence of Church Life Before Constantine. Mercer University Press. p. 128.
  2. Jump up^ The people are holy: the history and theology of Free Church worship by Graydon F. Snyder, Doreen M. McFarlane 2005 ISBN 0-86554-952-4 page 30
  3. Jump up^ Floyd V. Filson (June 1939). « The Significance of the Early House Churches ». Journal of Biblical Literature. 58 (2): 105–112. doi:10.2307/3259855. JSTOR 3259855.
  4. Jump up^ Yale University
  5. Jump up^ Graydon F. Snyder, Ante pacem: archaeological evidence of church life before Constantine, pp. 129-134, (Mercer University Press, 2003) google books
  6. Jump up^ Yale: « Unearthing the Christian building », p.4
  7. Jump up^ F. Snyder, Ante pacem: archaeological evidence of church life before Constantine, pp. 129-134, Mercer University Press, 2003
  8. Jump up^ J.L. Teicher, « Ancient Eucharistic Prayers in Hebrew (Dura-Europos Parchment D. Pg. 25) », The Jewish Quarterly Review New Series 54.2 (October 1963), pp. 99-109

Further reading

External links

Giacobbe Giusti: BUONAMICO BUFFALMACCO: Restored 14th-century frescoes in the Camposanto complex in Pisa, Italy

Publié par GIACOBBE GIUSTI le 29 Mai 2018
Publié dans: buffalmacco, buonamico buffalmacco, Buonamico Buffalmacco, Il Giudizio finale e L'Inferno, affrescato (dettaglio), 1336-1341, Buonamico Buffalmacco, Il Giudizio finale e L'Inferno, affrescato (dettaglio), 1336-1341 (parte destra), Buonamico Buffalmacco, The Last Judgement and Hell (detail), 1336-1341, fresco, Campo Santo, Pisa, Buonamico Buffalmacco, The Triumph of Death, (detail), c. 1338-39, Buonamico Buffalmacco, The Triumph of Death, (detail, right part), Buonamico Buffalmacco, The Triumph of Death, (detail, right part), c. 1338-39, fresco, Campo Santo, Pisa, Decoration of the Camposanto in Pisa by John White: Art and Architecture in Italy 1250-1400 Pelican History of Art, Giacobbe Giusti: BUONAMICO BUFFALMACCO: Restored 14th-century frescoes in the Camposanto complex in Pisa, Italy, Medieval frescoes in the Camposanto in Pisa, Peleo Bacci, Gli affreschi di Buffalmacco scoperti nella chiesa di Badia in Firenze, "Bollettino d'arte del Ministero della P. Istruzione", V (1911); * Peleo Bacci, Bonamico Buffalmacco pittore e la c, Senza categoria, Sinopia of The Incredulity of Saint Thomas, The Triumph of Death, (detail), c. 1338-39, The Camposanto, or cemetery. Tagué : , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , . Poster un commentaire

Giacobbe Giusti: BUONAMICO BUFFALMACCO: Restored 14th-century frescoes in the Camposanto complex in Pisa, Italy

Buonamico Buffalmacco, The Triumph of Death, (detail, right part)

 

Giacobbe Giusti: BUONAMICO BUFFALMACCO: Restored 14th-century frescoes in the Camposanto complex in Pisa, Italy

Buonamico Buffalmacco, The Last Judgement and Hell (detail), 1336-1341, fresco, Campo Santo, Pisa

 

Giacobbe Giusti: BUONAMICO BUFFALMACCO: Restored 14th-century frescoes in the Camposanto complex in Pisa, Italy

Buonamico Buffalmacco, The Triumph of Death, (detail), c. 1338-39

Giacobbe Giusti: BUONAMICO BUFFALMACCO: Restored 14th-century frescoes in the Camposanto complex in Pisa, Italy

Buonamico Buffalmacco, Il Giudizio finale e L’Inferno, affrescato (dettaglio), 1336-1341 (parte destra)

Giacobbe Giusti: BUONAMICO BUFFALMACCO: Restored 14th-century frescoes in the Camposanto complex in Pisa, Italy

Medieval frescoes in the Camposanto in Pisa

 

 

Giacobbe Giusti: BUONAMICO BUFFALMACCO: Restored 14th-century frescoes in the Camposanto complex in Pisa, Italy

 

Buonamico Buffalmacco, Il Giudizio finale e L’Inferno, affrescato (dettaglio), 1336-1341

 

Giacobbe Giusti: BUONAMICO BUFFALMACCO: Restored 14th-century frescoes in the Camposanto complex in Pisa, Italy

Buonamico Buffalmacco, Il Giudizio finale e L’Inferno, affrescato (dettaglio), 1336-1341 (parte destra)

Giacobbe Giusti: BUONAMICO BUFFALMACCO: Restored 14th-century frescoes in the Camposanto complex in Pisa, Italy

Sinopia of The Incredulity of Saint Thomas

Giacobbe Giusti: BUONAMICO BUFFALMACCO: Restored 14th-century frescoes in the Camposanto complex in Pisa, Italy

Medieval frescoes in the Camposanto in Pisa

 

Giacobbe Giusti: BUONAMICO BUFFALMACCO: Restored 14th-century frescoes in the Camposanto complex in Pisa, Italy

Medieval frescoes in the Camposanto in Pisa

 

Giacobbe Giusti: BUONAMICO BUFFALMACCO: Restored 14th-century frescoes in the Camposanto complex in Pisa, Italy

Medieval frescoes in the Camposanto in Pisa

 

Giacobbe Giusti: BUONAMICO BUFFALMACCO: Restored 14th-century frescoes in the Camposanto complex in Pisa, Italy

Buonamico Buffalmacco, The Triumph of Death, (detail, left part), c. 1338-39, fresco, Campo Santo, Pisa

Giacobbe Giusti: BUONAMICO BUFFALMACCO: Restored 14th-century frescoes in the Camposanto complex in Pisa, Italy

Medieval frescoes in the Camposanto in Pisa

 

Giacobbe Giusti: BUONAMICO BUFFALMACCO: Restored 14th-century frescoes in the Camposanto complex in Pisa, Italy

Medieval frescoes in the Camposanto in Pisa

 

Giacobbe Giusti: BUONAMICO BUFFALMACCO: Restored 14th-century frescoes in the Camposanto complex in Pisa, Italy

Buonamico Buffalmacco, The Triumph of Death, (detail), c. 1338-39, fresco, Campo Santo, Pisa

 

Giacobbe Giusti: BUONAMICO BUFFALMACCO: Restored 14th-century frescoes in the Camposanto complex in Pisa, Italy

Buonamico Buffalmacco, The Triumph of Death, (detail, right part), c. 1338-39, fresco, Campo Santo, Pisa

Giacobbe Giusti: BUONAMICO BUFFALMACCO: Restored 14th-century frescoes in the Camposanto complex in Pisa, Italy

Medieval frescoes in the Camposanto in Pisa

 

Giacobbe Giusti: BUONAMICO BUFFALMACCO: Restored 14th-century frescoes in the Camposanto complex in Pisa, Italy

Medieval frescoes in the Camposanto in Pisa

 

Wikipedia: The Campo Santo, also known as Camposanto Monumentale (« monumental cemetery ») or Camposanto Vecchio (« old cemetery »), is a historical edifice at the northern edge of the Cathedral Square. « Campo Santo » can be literally translated as « holy field », because it is said to have been built around a shipload of sacred soil from Golgotha, brought back to Pisa from the Fourth Crusade by Ubaldo de’ Lanfranchi, archbishop of Pisa in the 12th century. The building was the fourth and last one to be raised in the Cathedral Square. It dates from a century after the bringing of the soil from Golgotha, and was erected over the earlier burial ground. The construction of this huge, oblong Gothic cloister was begun in 1278 by the architect Giovanni di Simone. He died in 1284 when Pisa suffered a defeat in the naval battle of Meloria against the Genoans. The cemetery was only completed in 1464.

The walls were once covered in frescoes; the first were applied in 1360, the last about three centuries later. The first was the Crucifixion by Francesco Traini, in the south western side. Then, continuing to right, in the southern side, the Last Judgement, The Hell, The Triumph of Death and the Anacoreti nella Tebaide, usually attributed to Buonamico Buffalmacco. The cycle of frescoes continues with the Stories of the Old Testament by Benozzo Gozzoli (15th century) that were situated in the north gallery, while in the south arcade were the Stories of Pisan Saints, by Andrea Bonaiuti, Antonio Veneziano and Spinello Aretino (between 1377 and 1391), and the Stories of Job, by Taddeo Gaddi (end of 14th century). In the same time, in the north gallery were the Stories of the Genesis by Piero di Puccio. On 27 July 1944, a bomb fragment from an Allied raid started a fire. Due to all the water tanks being controlled, the fire could not be put out in time, and it burnt the wooden rafters and melted the lead of the roof. The destruction of the roof severely damaged everything inside the cemetery, destroying most of the sculptures and sarcophagi and compromising all the frescoes. After World War II, restoration work began. The roof was restored as closely as possible to its pre-war appearance and the frescoes were separated from the walls to be restored and displayed elsewhere. Once the frescoes had been removed, the preliminary drawings, called sinopie were also removed. These under-drawings were separated using the same technique used on the frescoes and now they are in the Museum of the Sinopie, on the opposite side of the Square. The restored frescoes that still exist are gradually being transferred to their original locations in the cemetery, inside the cemetery, to restore the Campo Santo’s pre-war appearance.

 

The Triumph of Death

| Page about historian Barbara Tuchman’s analysis of the Traini (or Buffalmacco) fresco.
American historian Barbara Tuchman examined the Traini fresco and described it thus: « A scroll warns that ‘no shield of wisdom or riches, nobility or prowess’ can protect them from the blows of the Approaching One. « They have taken more pleasure in the world than in things of God. » In a heap of corpses nearby lie crowned rulers, a Pope in tiara, a knight, tumbled together with the bodies of the poor, while angels and devils in the sky contend for the miniature naked figures that represent their souls. »[Barbara Tuchman, A Distant Mirror: The Calamitous 14th Century, New York: Alfred A.
Knopf, 1978]

Robert Baldwin | Buffalmacco, Triumph of Death, Camposanto (Cemetery Building), Pisa, 1330s
This essay intersperses sections from Baldwins essay on Penitential Piety found in the larger essay, “Late Medieval 1. Sacred” with sections on two Trecento works: Buffalmacco’s frescoes in Pisa and Giovanni da Modena’s Last Judgment in Bologna.
Buonamico di [son of] Martino or Buonamico Buffalmacco (active c. 1315–1336) was an Italian painter who worked in Florence, Bologna and Pisa. Although none of his known work has survived, he is widely assumed to be the painter of a most influential fresco cycle in the Camposanto in Pisa, featuring the The Three Dead and the Three Living, the Triumph of Death, the Last Judgement, the Hell, and the Thebais (several episodes from the lives of the Holy Fathers in the Desert). Painted some ten years before the Black Death spread over Europe in 1348, the cycle – a « painted sermon » (L. Bolzoni) – enjoyed an extraordinary success after that date, and was often imitated throughout Italy. The youngsters’ party enjoying themselves in a beautiful garden while Death piles mounds of corpses all around is likely to have inspired the setting of Giovanni Boccaccio’s Decameron, written a few years after the Black Death.

Boccaccio (in his Decameron) and Franco Sacchetti (in his Il trecentonovelle) both describe Buonamico as being a practical joker. Boccaccio features Buonamico along with his friends and fellow painters Calandrino and Bruno in several tales (Day VIII, tales 3, 6, and 9; Day IX, tales 3 and 5). Typically in these stories, Buonamico uses his wits to play tricks on his friends and associates: convincing Calandrino that a stone he possesses (heliotrope) confers invisibility (VIII/3), stealing a pig from Calandrino (VIII, 6), convincing the physician Master Simone of an opportunity to ally himself with the devil (VIII, 9), convincing Calandrino that he has become pregnant (IX, 3), convincing Calandrino that a particular scroll can cause a woman to fall in love with him (IX, 5). Throughout the stories, Buonamico is frequently depicted at work painting in the houses of notable gentlemen in Florence but eager to take time to eat, drink and be merry.

Art in Tuscany | Giorgio Vasari | Lives of the Most Excellent Painters, Sculptors, and Architects | Buonamico Buffalmacco

Giorgio Vasari includes a biography of Buonamico in his Lives, in which he tells several anecdotes about his comic escapades. Vasari tells of Buonamico’s youthful tricking of his master Tafi during his apprenticeship, various pranks and tricks that Buonamico played on his patrons, and his habit of embedding texts within his paintings. Dismissed by Vasari as just another of the witty painter’s gags, which his « clumsy » contemporaries had misunderstood and foolishly imitated, the Camposanto frescoes are actually scattered with texts, a possible indication of the veracity of Vasari’s remark. In the scroll over the cripple beggars in the center of The Triumph of Death, for instance, it says, « Since prosperity has completely deserted us, O Death, you who are the medicine for all pain, come to give us our last supper. »

Vasari discusses various paintings by the artist which no longer exist, and many of which had already perished by the time of Vasari’s writing in the sixteenth century. He describes a series of paintings at the convent of Faenza in Florence (already destroyed by the sixteenth century), works for the abbey of Settimo (now also lost), tempera paintings for the monks of the abbey of Certosa (also in Florence), and frescoes in the Badia at Florence. He describes a series of paintings depicting the life of Saint Catherine of Siena in a chapel in her honor in Assisi at the Basilica of Saint Francis (an attribution rejected by later scholars), and several prominent commissions at various abbeys and convents in Pisa. Interestingly, Vasari does not attribute the famed Pisan frescoes now associated with Buonamico to the painter, but rather, credits him with four frescoes at the Camposanto depicting the beginning of the world through the building of Noah’s Ark, which later scholars have instead attributed to Piero di Puccio of Orvieto.

Vasari presents conflicting information regarding Buonamico’s death, dating it to the year 1340, but also stating that he was still alive in 1351. In any case, he is said to have died at the age of 78, in poverty, and to have been buried at the hospital of Santa Maria Novella, in Florence.

 

The magnificent frescoes of the Camposanto, or monumental cemetery, of Pisa. Begun in 1278 as part of the glorious complex that
also includes the Cathedral and the Leaning Tower, the Camposanto’s gleaming white marble has proclaimed Pisa’s wealth and taste for more than seven centuries, and for several of those centuries, the city’s independence. The commission for the frescoes of the Camposanto (circa 1330–1340) went to a painter named Buonamico Buffalmacco. The marvelous series of frescoes which, beginning with The Triumph of Death, attributed to Buonamico Buffalmacco, and continuing with the works of Spinello Aretino, Antonio Veneziano, Andrea da Firenze, Taddeo Gaddi, Piero di Puccio and Benozzo Gozzoli, were disastrously ruined in the bombing of August 1944.
The project for the building and its decoration was initiated by the magistrates of Pisa with significant input from local Dominican preachers. The city’s Dominicans played a key role in selecting the imagery and, presumably, formulating the many inscriptions.Among the decorations was a large fresco cycle including a Last Judgment, Hell, a Triumph of Death, and a long fresco depicting the early Christian “Desert Fathers,” that is, the earliest practitioners of monastic living in the remote deserts of Egypt, the Holy Lands, and North Africa.
Various early sources attest to Buffalmacco’s celebrity as an artist – evidently one of the leading painters of the post-Giotto generation – and a burlesque character. Their cumulative testimony is impressive, but as no works can be securely attributed to him, many critics have regarded him as a legendary rather than a historical figure. Recently, however, there have been attempts to give Buffalmacco a stature commensurate with his literary reputation by attributing to him the famous frescoes of The Triumph of Death in the Campo Santo, Pisa, which until the essay by Luciano Bellosi in 1974 was considered the work of Francesco Traini.
Camposanto monumentale di Pisa
Pisa, Camposanto Monumentale

The Camposanto, or cemetery, was begun in 1278 by Giovanni di Simone, and completed in the 15C. The interior is in the form of an oblong cloister, lit by graceful traceried windows (never filled with glass). Tradition has it that this is the site of an earlier burial ground for which Archbishop Ubaldo Lanfranchi (1108-78) brought five shiploads of earth from the Holy Land. It was used as a cemetery for illustrious Pisan citizens up to 1779. It was decorated with frescoes in the 14C and 15C.
From the 14C onwards Roman sculptures were brought here, including a huge collection of sarcophagi. 
The walls were once covered in frescoes. the first were applied in 1360, the last about three centuries later. The first was the Crucifixion by Francesco Traini, in the south western side. Then, continuing to right, in the southern side, the Last Judgement, The Hell, The Triumph of Death and the Anacoreti nella Tebaide, usually attributed to Buonamico Buffalmacco. The cycle of frescoes continues with the Stories of the Old Testament by Benozzo Gozzoli (15th century) that were situated in the north gallery, while in the south arcade were the Stories of Pisan Saints, by Andrea Bonaiuti, Antonio Veneziano and Spinello Aretino (between 1377 and 1391), and the Stories of Job, by Taddeo Gaddi (end of 14th century). In the same time, in the north gallery were the Stories of the Genesis by Piero di Puccio.

On 27 July 1944, a bomb fragment from an Allied raid started a fire. Due to all the water tanks being controlled, the fire could not be put out in time, and it burnt the wooden rafters and melted the lead of the roof. The destruction of the roof severely damaged everything inside the cemetery, destroying most of the sculptures and sarcophagi and compromising all the frescoes.

After World War II, restoration work began. The roof was restored as closely as possible to its pre-war appearance and the frescoes were separated from the walls to be restored and displayed elsewhere. Once the frescoes had been removed, the preliminary drawings, called sinopie were also removed. These under-drawings were separated using the same technique used on the frescoes and now they are in the Museum of the Sinopie, on the opposite side of the Square.[1]


Camposanto Monumentale, after July 1944

Buonamico Buffalmacco, The Three Dead and the Three Living (on the left) and The Triumph of Death, fresco, Campo Santo, Pisa, c. 1338-39
The Triumph of Death

The celebrated frescoes, the Triumph of Death, with accompanying scenes of the Last Judgment, Hell, and Legends of the Hermits were attributed for long time to Francesco Traini. These, among the outstanding Italian paintings of the 14th century, were badly damaged by bombs in the Second World War, but this brought to light, by way of partial compensation, the beautiful ‘sinopie, which are now shown in the Museo delle Sinopie. The frescoes include many telling details of death’s victims and are usually seen as a reflection of the horrors of the Black Death of 1348, but some authorities consider them earlier and attribute them to the mysterious Buffalmacco.
The triumph of Death emerged as a major theme in late medieval culture for many reasons. Major factors include the impact of recurrent plagues (widely interpreted as divine punishment for sin), the growth of penitential piety, the growth of the city with the emergence of a wealthy burgher class, and the rise of new, urban preaching orders (Franciscans and Dominicans) in the thirteenth century which brought monastic values directly to urban society.
The fresco, with its naturalistic details, shows direct influences of the Sienese masters, Pietro and Ambrogio Lorenzetti.
[1] A sinopia is the name given to the sketch for a fresco made on the rough wall (prepared with arriccio) in a red earth pigment (called sinopia because it originally came from Sinope on the Black Sea). The sinopia was then gradually covered with grassello, another type of wet plaster, as work proceeded day by day on the fresco itself. By detaching a fresco from the wall it has been possible in many instances to recover the sinopia from the inner surface.
Restoration of the frescoes proved to be difficult, and it was the work of « strappo », the act of detaching a fresco from a wall in order to transfer it to a canvas or other support, which revealed the original design of the works of Buonamico Buffalmacco, Spinello Aretino, Antonio Veneziano, Andrea da Firenze, Taddeo Gaddi, Piero di Puccio and Benozzo Gozzoli,. Restored to their original beauty, the sinopie are the main attraction of the Museo delle Sinopie.

Bibliografia* Peleo Bacci, Gli affreschi di Buffalmacco scoperti nella chiesa di Badia in Firenze, « Bollettino d’arte del Ministero della P. Istruzione », V (1911);
* Peleo Bacci, Bonamico Buffalmacco pittore e la critica tedesca: un documento pisano del 1336, « Marzocco », XXII, 1917;
* Pier Paolo Donati, Proposta per Buffalmacco, « Commentarii », 1967, pp.290-296;
* Luciano Bellosi, Buffalmacco e il Trionfo della Morte, Torino, Einaudi, 1974 (nuova ed. Five Continents, Milano 2003);
* Il Camposanto di Pisa, a cura di C. Baracchini e E. Castelnuovo, Torino 1996.

The Decoration of the Camposanto in Pisa by John White: Art and Architecture in Italy 1250-1400 Pelican History of Art 1993

 

http://panoramy.zbooy.pl/360/pan/piza-camposanto-freski/e

http://www.travelingintuscany.com/art/buonamicobuffalmacco/camposantopisa.htm

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Giacobbe Giusti, Atelier de VERROCCHIO: Madonna Dreyfus

Publié par GIACOBBE GIUSTI le 12 avril 2018
Publié dans: Frank Zöllner Léonard de Vinci, tout l’œuvre peint et graphique, Taschen, 2003 ↑ (de) Wilhelm Suida, Leonardo und sein Kreiss, 1929 ↑ Daniel Arasse, Léonard de Vinci, le rythme du mond, Madone Dreyfus (parfois appelée La Vierge à la grenade) est un tableau représentant une Vierge à l'Enfant. Le tableau a été peint à l'intérieur de l’atelier de Verrocchio dans les anné, Madonna Dreyfus, Madonna Dreyfus ist ein aus kunsthistorischer Sicht bedeutendes Madonnenbild der italienischen Renaissance von Lorenzo di Credi., Maria mit dem Kinde und einem Granatapfel (Madonna Dreyfus), National Gallery of Art de Washington, Senza categoria, Wilhelm Suida: Leonardo und sein Kreis, 1929, Verlag F. Bruckmann A.-G. (München) Maria Pomilio / Angela Ottino Della Chiesa: Klassiker der Kunst – Leonardo da Vinci, 1967, Kunstkreis Luzern – . Tagué : , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , . Poster un commentaire

Giacobbe Giusti, Atelier de VERROCCHIO: Madonna Dreyfus

 Giacobbe Giusti, Atelier de VERROCCHIO: Madonna Dreyfus
Lorenzo di Credi - Madonna Dreyfus.jpg
Artiste
Atelier de Verrocchio
Date
1470-1472
Technique
Détrempe et huile sur bois
Dimensions (H × L)
15,7 × 12,8 cm
Mouvement
Localisation
Numéro d’inventaire
1952.5.65Voir et modifier les données sur Wikidata

La Madone Dreyfus (parfois appelée La Vierge à la grenade) est un tableau représentant une Vierge à l’Enfant. Le tableau a été peint à l’intérieur de l’atelier de Verrocchio dans les années 1470-1472. Il s’agit, soit d’une œuvre personnelle de Léonard de Vinciou de Lorenzo di Credi, soit d’une collaboration entre plusieurs des élèves de Verrocchio. La Madone Dreyfusest conservée à la National Gallery of Art de Washington1 .

Éléments historiques

Le tableau appartenait au collectionneur d’art Gustave Dreyfus (1837-1914) qui a donné son nom au tableau. Il provenait peut-être de la collection du peintre et critique d’art Charles Timbal, que Gustave Dreyfus avait acquise dans la tourmente des événements de la Commune en 1871. Toutefois, dans l’inventaire de la vente de 1871, aucun tableau n’est présenté comme provenant du cercle de Verrocchio. Les héritiers de Gustave Dreyfus vendent le tableau en 1930 à Joseph Duveen, l’un des plus grands antiquaires et marchands de tableaux au monde[réf. nécessaire]. En 1951, le collectionneur Samuel Kress achète La Madone Dreyfus et en fait don l’année suivante à la National Gallery of Art de Washington.

Description

La Madone Dreyfus est un tableau de petites dimensions (15,7 × 12,8 cm), typique, comme l’a souligné Zöllner des petits tableaux de dévotion domestique de la seconde moitié du xve siècle2.

La Vierge dont les cheveux sont enveloppés d’un voile transparent qui tombe sur ses épaules, tient dans sa main gauche une grenade. L’Enfant Jésus, très potelé, est debout sur les genoux de sa mère et il semble avoir pris un morceau du fruit dans son poing droit fermé qu’il tend à sa mère comme son regard.

Les deux personnages sont auréolés discrètement. Les ouvertures à droite et à gauche laisse voir un paysage de collines parsemées d’arbres et de montagnes au loin.

Analyse

La grenade est le symbole de la Passion du Christ. Ce genre de composition, avec l’Enfant Jésus debout (souvent sur un parapet) provenait de Venise, et tout particulièrement de l’atelier de Giovanni Bellini. L’atelier de Verrocchio l’avait déjà repris : dans La Vierge à l’Enfant de Berlin (Staatliche Museem Gemäldegalerie), celle de Francfort-sur-le-Main (Stadelsches Kunstinstitut), et celle du musée Jacquemart-André de Paris.

Les ouvertures placées à gauche et à droite laisse dessiner sur le fond noir derrière le groupe, la croix du destin du Christ.

Attribution

Le premier à attribuer le tableau à Léonard de Vinci fut Wilhelm Suida en 19293. L’attribution ne peut se faire que sur des données stylistiques. En effet, aucun document ne permet de retracer l’histoire du tableau avant son apparition au xixe siècle. Aucun des premiers biographes de Léonard de Vinci n’y fait non plus allusion. L’attribution à Léonard est reprise plus tard par Daniel Arasse. Pour lui, « Léonard intensifie la relation entre les deux figures, instaurant un dialogue intime4 ». Janice Shell, Pietro. C. Marani, mettent en valeur « la combinaison de rouge, de vert sombre, de jaune, de bleu, ici et là de violet5 » pré-léonardienne. Pourtant aucune des empreintes de doigt que l’on trouve souvent dans les tableaux de Léonard de Vinci n’apparaissent ici. Le paysage est peu léonardien. Le corps de l’enfant, très allongé, disproportionné par rapport à sa tête, diffère de sa représentation dans la Madone à l’œillet, ou dans la Madonna Benois. Le tableau a été peint sur un panneau en chêne, alors que, pour ses autres tableaux, Léonard de Vinci utilise du bois de peuplier ou de noyer.

Les partisans de l’attribution à Lorenzo di Credi rapprochent le tableau de la Madone du musée de Camaldoli, due à Lorenzo, et d’une étude préparatoire à la pointe d’argent conservée à la Gemäldegalerie de Dresde, qui lui est attribuée. Une radiographie du tableau a montré que le paysage avait été peint plus tard que le reste de l’œuvre, semblant confirmer l’hypothèse d’un travail d’atelier auquel plusieurs peintres auraient collaboré.

Notes et références

  1. ↑ Site de la NGA [archive]
  2. ↑ Frank Zöllner Léonard de Vinci, tout l’œuvre peint et graphique, Taschen, 2003
  3. ↑ (de) Wilhelm Suida, Leonardo und sein Kreiss, 1929
  4. ↑ Daniel Arasse, Léonard de Vinci, le rythme du monde, Hazan
  5. ↑ Pietro. C. Marani, Léonard : Une carrière de peintre, édition française, Actes Sud / Motta, 1999

Giacobbe Giusti, Atelier de VERROCCHIO: Madonna Dreyfus

Maria mit dem Kinde und einem Granatapfel(Madonna Dreyfus) (Lorenzo di Credi)
Maria mit dem Kinde und einem Granatapfel
(Madonna Dreyfus)
Lorenzo di Credi, um 1475–1480
Öl auf Holz
15,7 × 12,8 cm
National Gallery of Art, Washington D.C.

Die Madonna Dreyfus ist ein aus kunsthistorischer Sicht bedeutendes Madonnenbild der italienischen Renaissance von Lorenzo di Credi.

Geschichte und Kontroverse

Das Bild der Maria mit dem Kinde und einem Granatapfel ist, nach ihrem langjährigen Besitzer allgemein als Madonna Dreyfus in die Kunstgeschichte eingegangen. Das Bild aus der Schule des Andrea del Verrocchio wird heute Lorenzo di Credi zugeschrieben, der sich stilistisch an Leonardo da Vinci orientierte. Eine frühere Identifikation als Werk von Leonardo gilt heute als falsch.

Bekannt wurde das Bild erst, als es sich im Besitz des bekannten Pariser Kunstsammlers Gustave Dreyfus befand. 1930 wurde es von seinen Erben verkauft und befand sich über mehrere Jahre hinweg im Kunsthandel der Duveen Brothers, Inc. in London und New York. Von dort erwarb es 1951 die Samuel H. Kress Foundation, die es 1952 der National Gallery of Art in Washington schenkte.

Seit seiner Entdeckung schrieb man das Bild erst Verrocchio selbst und dann, in Ermangelung gesicherter eigenhändiger Werke, dem Lorenzo di Credi zu. Allerdings wurde von Anfang an darauf hingewiesen, dass das Bild weit über dem steht, was Lorenzo di Credi zu schaffen imstande war. Es zeigt solche sanften Übergänge in den Farben und Konturen und solch weiche Schatten, wie man sie auf keinem seiner anderen Bilder findet. 1929 schlug Wilhelm Suida deshalb erstmals Leonardo als Urheber des Bildes vor und fand 1932 Unterstützung bei Bernard Degenhart.

Trotzdem blieb die Kunstwissenschaft in der Folgezeit gespalten. Bernard Berenson hielt das Bild (1938) für ein Werk von Lorenzo di Credi, der damit versuchte, Leonardo zu imitieren. Dieser Zuschreibung schlossen sich viele andere Kunsthistoriker an. John Shearman dagegen beurteilte das Bild (1967) als eigenhändiges Werk von Verrocchio und sah in einer Zeichnung im Dresdener Kupferstichkabinett eine eigenhändige Studie dafür. Günter Passavant beurteilte (1969) das Gemälde nur als ein Werk der Verrocchio-Werkstatt, hielt die Autorenschaft durch Lorenzo di Credi aber ebenfalls für möglich. Dementsprechend wurde das Bild lange Zeit nur werteneutral als aus der Werkstatt des Verrocchios stammend bezeichnet, bevor sich die National Gallery of Art in Washington dazu entschloss, es wieder als Werk des Lorenzo di Credi zu katalogisieren und bis heute auszustellen.

Dessen ungeachtet tendiert ein Großteil der modernen Kunstwissenschaft heute wieder verstärkt dazu, das Bild als eigenhändiges Frühwerk des Leonardo da Vinci anzusehen. 1968 äußerte Sheldon Grossman noch, dass es sich bei dem Bild um eine Kopie nach einem verlorenen Werk von Lorenzo di Credi handelt, welches nach einem Entwurf von Leonardo gemalt wurde. Doch noch im gleichen Jahr wurde es von Raymond Somers Stites Leonardo selbst zugeschrieben. Dem schlossen sich unter anderem Carlo Ragghianti (1975) und Pietro C. Marani (1989 und 1999) an.

Dagegen erkennt Jack Wasserman (1975) Leonardo wieder nur die Erfindung des Bildes zu, und auch Piero Adorno (1991) hält es nur für eine Werkstattarbeit aus dem Atelier von Verrocchio, an dem vielleicht mit Blick auf das schlecht gemalte Kind und die bessere Maria zwei verschiedenen Schülern gearbeitet haben. Ähnliches wird heute auch die Anbetung des Kindes mit zwei Engeln in Detroit (Art Institute) beurteilt, in der manche Forscher ebenfalls für einzelne Partien die Mitwirkung von Leonardo annehmen.

Neben dem misslungenen Kind, ist das Fehlen der für Leonardo typischen Fingerspuren sicherlich ein Hauptargument gegen seine Autorenschaft. Marani erklärt dies mit einer alten, nicht dokumentierten Reinigung des Bildes, bei der diese verloren gegangen sein könnten. Heute schreibt es der Besitzer, die National Gallery of Art in Washington DC, eindeutig di Credi zu.

Umstritten ist die Entstehungszeit des Bildes. Passavant geht davon aus, dass es später als die Madonna mit der Nelke gemalt sein muss. Wasserman setzt es um die gleiche Zeit an. Marani rückt es in die zeitliche Nähe der Verkündigung in den Uffizien in Florenz, in der er maltechnische Gemeinsamkeiten sieht. Des Weiteren erkennt er venezianische Einflüsse, die er damit erklärt, das Leonardo 1469 Verrocchio bei seiner Reise nach Venedig begleitet hat.

Literatur

  • Wilhelm Suida: Leonardo und sein Kreis, 1929, Verlag F. Bruckmann A.-G. (München)
  • Maria Pomilio / Angela Ottino Della Chiesa: Klassiker der Kunst – Leonardo da Vinci, 1967, Kunstkreis Luzern – Freudenstadt – Wien
  • Pietro C. Marani: Leonardo, 1989, Cantini (Florenz) ISBN 88-7737-046-7
  • Franziska Windt, Andrea del Verrocchio und Leonardo da Vinci – Zusammenarbeit in Skulptur und Malerei, Münster, 2003, ISBN 3-930454-39-4
  • Serge Bramly: Léonard de Vinci, Jean-Claude Lattès, Paris, 1988
  • Brigitte Labbé, Michel Puech, Jean-Pierre Joblin: Léonard de Vinci. – Toulouse : Milan jeunesse, coll. « De vie en vie » n° 18, 2005. – 58 p., 18 cm. – ISBN 2-7459-1631-9.

https://fr.wikipedia.org/wiki/La_Madone_Dreyfus

http://www.giacobbegiusti.com

Giacobbe Giusti, Battle of Anghiari

Publié par GIACOBBE GIUSTI le 8 avril 2018
Publié dans: A study drawing by Leonardo for The Battle of Anghiari, Anghiari., アンギアーリの戦い, Битва при Ангиари, Битва при Ангиари Основной конфликт: Войны в Ломбардии, Битва при Ангиари — сражение между Миланом и Итальянской лигой, возглавляемой Флорентийской республикой,, Питер Пауль Рубенс. Копия фрески Леонардо да Винчи Битва при Ангиари. Как утверждают, слева направо изображе, Peter Paul Rubens's copy of Leonardo da Vinci's The Battle of Anghiari. Allegedly from left to right is Francesco Piccinino; Niccolò Piccinino; Ludovico Trevisan; Giovanni Antonio del Balzo Ors, Rubens's copy of Leonardo da Vinci's The Battle of Anghiari. Allegedly from left to right is Francesco Piccinino; Niccolò Piccinino; Ludovico Trevisan; Giovanni Antonio del Balzo Orsini, Senza categoria. Tagué : , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , . Poster un commentaire

Giacobbe Giusti, Battle of Anghiari

A study drawing by Leonardo for The Battle of Anghiari

Giacobbe Giusti, Battle of Anghiari

Rubens‘s copy of Leonardo da Vinci‘s The Battle of Anghiari. Allegedly from left to right is Francesco Piccinino; Niccolò Piccinino; Ludovico Trevisan; Giovanni Antonio del Balzo Orsini

Giacobbe Giusti, Battle of Anghiari

Peter Paul Ruben's copy of the lost Battle of Anghiari.jpg

Rubens‘s copy of Leonardo da Vinci‘s The Battle of Anghiari. Allegedly from left to right is Francesco Piccinino; Niccolò Piccinino; Ludovico Trevisan; Giovanni Antonio del Balzo Orsini

Giacobbe Giusti, Battle of Anghiari

La chapelle de la victoire (plaine d’Anghiari)

Giacobbe Giusti, Battle of Anghiari
Description de cette image, également commentée ci-après
Dessin de Rubens (1603) d’après l’œuvre perdue de Léonard de Vinci : La bataille d’Anghiari
Informations générales
Date 29 juin1440
Lieu Anghiari
Issue Victoire des Florentins
Belligérants
Firenze-Stemma.pngFlorentins Milanais
Commandants
Micheletto Attendolo et Pietro Giampaolo Orsini Niccolò Piccinino
Forces en présence
4300 6700

Notes

selon les sources, de 1 à 900 morts

Guerres de Lombardie

Batailles

Zagonara · Maclodio · Soncino · Pavie · San Romano ·Delebio · Anghiari · Ghedi

La bataille d’Anghiarientre les Milanais et les Florentins (vainqueurs) eut lieu le près d’Anghiarien Toscane.

Une bataille aussi impressionnante que décisive

La renommée d’Anghiari en Toscane provient principalement du fait d’avoir été, le mercredi 29 juin 1440, le théâtre d’une bataille qui vit la victoire des Florentins guidés par le condottiereMicheletto Attendolo(de la famille Sforza), alliés aux troupes papales sous le commandement d’un autre mercenaire, Pietro Giampaolo Orsini, et à un détachement de cavalerie vénitienne, sur les Milanais menés par Niccolò Piccinino, envoyé par le duc Philippe Marie Visconti pour créer une diversion dans son conflit principal avec Venise.

Les troupes de Piccinino, supérieures en nombre et à l’offensive, furent attendues de l’autre côté d’un pont par celles des Florentins et leurs alliés. Les adversaires réussirent plusieurs fois à passer le pont, sans toutefois réussir à s’imposer de l’autre côté. La bataille consista principalement en un affrontement de cavalerie, dans l’espace restreint du pont, l’infanterie intervenant quand un groupe avait réussi à passer.

La controverse sur les pertes

Machiavel parle de cette bataille sur un ton ironique : « dans un combat si acharné qu’il dura quatre heures entières, il n’y eut de tué qu’un seul homme, qui, encore, ne périt pas par le fer ennemi ou par aucun coup honorable, mais qui tomba de cheval et fut foulé aux pieds des chevaux1 ». Cependant, comme l’écrit Franco Cardini

« la foi excessive que nous autres modernes avons eue dans les jugements de Pétrarque puis de Machiavel a été un écran pour comprendre la vérité historique. Le cas limite reste la peu meurtrière bataille d’Anghiari qui opposa Sforza [Micheletto Attendolo] et Piccinino en 1440 où, sur les onze mille combattants, il en serait tombé seulement deux, selon Machiavel, tandis que, selon l’estimation bien plus fiable de Flavio Biondo, on déplorerait une soixantaine de morts et quatre cents blessés2. »

Machiavel, écrivant quatre-vingt ans après les faits, consacre en effet le fonds son discours à mettre en garde ses contemporains contre l’usage des mercenaires, qui, explique-t-il, font la guerre à leur propre profit, et non selon l’intérêt de leurs commanditaires.

Une bataille décisive

Cependant, Piero Bargellini(it)3 rappelle que si le bilan militaire s’est révélé modeste, le bilan politique de la bataille d’Anghiari ne le fut pas, car les Florentins célébrèrent cette bataille comme une grande et décisive victoire. Machiavel souligne, cette fois avec plus de profondeur historique, que « … la victoire fut beaucoup plus utile pour la Toscane que nuisible pour le duc de Milan. En effet, si les Florentins avaient perdu lors de cette journée, la Toscane lui appartenait, et en perdant lors de cette même journée, il n’a rien perdu d’autre que les armes et les chevaux de son armée que l’on peut récupérer avec assez peu d’argent… »4. La puissance des Medicis, patrons de Machiavel à Florence, se trouva également confortée par la retraite des Milanais.

Si les conséquences d’une défaite sur Florence eussent été catastrophiques, on doit aussi considérer les effets sur l’allié des Florentins, le pape Eugène IV, qui se trouvait exilé de Rome depuis neuf ans, et put y revenir en 1440, tandis que l’antipapeFélix V, soutenu par le duc de Milan, finit, en 1449, par se soumettre au pape Nicolas V.

Léonard de Vinci entre en scène

La chapelle de la victoire (plaine d’Anghiari)

Plaque de la chapelle de la victoire d’Anghiari

La bataille aurait sûrement été oubliée si, soixante ans plus tard, les magistrats de Florence, pour décorer la Salle des Cinq-Cents du Palazzo Vecchioavec des œuvres rappelant les principales actions de la République, n’avaient confié à Léonard de Vincile soin de peindre la « Bataille d’Anghiari ». Après la réalisation des esquisses, la partie centrale, c’est-à-dire le combat autour du drapeau, fut posée au mur.

Article détaillé : La Bataille d’Anghiari (Léonard de Vinci).

Bibliographie

  • (it) Massimo Predonzani, Anghiari 29 giugno 1440. La battaglia, l’iconografa, le compagnie di ventura, l’araldica, Rimini, Il Cerchio,  (ISBN 9788884742506)
  • (it) Niccolò Capponi, La battaglia di Anghiari. Il giorno che salvò il Rinascimento, Milan, Il Saggiatore,  (ISBN 9788842815860)

Sources primaires

Notes et références

  1. ↑ Nicolas Machiavel (trad. J.-A.-C. Buchon), Œuvres complètes : Histoire de Florence,  (lire en ligne [archive]), p. 130, Livre V, chap. 33.
  2. ↑ Franco Cardini (trad. Angélique Lévi), La culture de la guerre[« Quell’antica festa crudelle »], Paris, NRF-Gallimard,  (1re éd. 1982), p. 77.
  3. ↑ (it) Piero Bargellini, Dal duca d’Atene a Cosimo I. 3. Da capitale di granducato a capitale di regno, Vallecchi, , p. 89
  4. ↑ Machiavel, Histoire de Florence, livre V, chapitre 33.

Battle of Anghiari

This article is about the battle. For Leonardo da Vinci’s painting of the battle, see The Battle of Anghiari (painting).
Battle of Anghiari

Giacobbe Giusti, Battle of Anghiari

 
Peter Paul Ruben's copy of the lost Battle of Anghiari.jpg
Peter Paul Rubens‘s copy of Leonardo da Vinci‘s The Battle of Anghiari. Allegedly from left to right is Francesco Piccinino; Niccolò Piccinino; Ludovico Trevisan; Giovanni Antonio del Balzo Orsini
Date 29 June 1440
Location Anghiari, Province of Arezzo, Tuscany, Italy
Result League victory
Belligerents
Italian League
Republic of Florence
Papal States
Republic of Venice		 Duchy of Milan
Commanders and leaders
Ludovico Trevisan
Micheletto Attendolo
Giovanni Antonio del Balzo Orsini		 Niccolò Piccinino
Casualties and losses
Light [1] Light [1]

The Battle of Anghiari was fought on 29 June 1440, between the forces of Milan and those of the Italian League led by the Republic of Florence in the course of the Wars in Lombardy. The battle was a victory for the Florentines, securing Florentine domination of central Italy.

The battle is well known for its depiction in a now-lost painting by Leonardo da Vinci. It is also remarkable for the fact that though the battle lasted all day, involving several thousand troops, it was said that only one soldier was killed. According to Niccolò Machiavelliafter four hours of skirmishing the single death occurred « when a soldier fell off his horse ».[2]

Battle

The League’s army concentrated on Anghiari, a small centre of Tuscany, and comprised: 4,000 Papal troops, under Cardinal Ludovico Trevisan; a Florentine contingent of around the same size, and a company of 300 men-at-arms (knights) from Venice, led by Micheletto Attendolo. Other men joined for the occasion from Anghiari itself.

The numerically superior Milanese force was led by the famous condottieroNiccolò Piccinino in the name of Duke Filippo Maria Viscontiand reached the area on the night of 28 June. Some 2,000 men from the nearby town of Sansepolcro joined the Milanese. Confident in his superior manpower, and on the element of surprise Piccinino ordered an attack in the afternoon of the following day. However, the dust lifted by the Milanese on the Sansepolcro-Anghiari road was noticed by Micheletto and the League’s forces were made ready for battle.

Micheletto’s Venetian knights blocked the Milanese vanguard on the only bridge over the channel protecting the League’s camp. Micheletto and the Venetians held the bridge allowing the greater part of the League’s army to form for battle but were eventually pushed back by Milanese reinforcements led by the two captains Francesco Piccinino and Astorre II Manfredi. The Milanese advanced but their right flank was soon ferociously engaged by the Papal troops and were obliged to retreat to the bridge. The battle continued for four hours, until a surrounding manoeuvre managed to cut off a third of the Milanese on the League side of the channel. The battle continued into the night but ended with a victory for the League army.[3]

Casualties

Plaque in memory of the battle of Anghiari

The battle was described in histories written by Leonardo Bruni (1370–1444) and Flavio Biondo (1392–1463), both of whom concentrate on the actions of individuals, though there is some discussion of equipment and tactics.[3]Machiavelli, in contrast, gives a detailed account of the strategy and tactics used by both sides, but presents the battle as « a striking example of the wretched state of military discipline in those times », arguing that the mercenary knights who ran the armies of the day had no motive to fight for victory.[4]

Nor was there ever an instance of wars being carried on in an enemy’s country with less injury to the assailants than at this; for in so great a defeat, and in a battle which continued four hours, only one man died, and he, not from wounds inflicted by hostile weapons, or any honorable means, but, having fallen from his horse, was trampled to death. Combatants then engaged with little danger; being nearly all mounted, covered with armor, and preserved from death whenever they chose to surrender, there was no necessity for risking their lives; while fighting, their armor defended them, and when they could resist no longer, they yielded and were safe.[4]

Machiavelli adds that « This victory was much more advantageous to the Florentines than injurious to the duke; for, had they been conquered, Tuscany would have been his own; but he, by his defeat, only lost the horses and accoutrements of his army, which could be replaced without any very serious expense ».[4]

Whether or not the claimed single death is an exaggeration is not known. Hans Delbrück argues that,

The great historians of the Renaissance, Machiavelli, Guicciardini, and Jovius, were agreed in stating that the condottieri waged war simply as a game and not in bloody earnest. It was their judgment that these men, guided by self-interest, in order to extend the war as long as possible so that they might obtain the most possible pay, did not seek a decision in battle. On the contrary, they avoided that, and when it did finally come down to a battle, the men on both sides, who regarded themselves mutually as comrades, spared one another and shed no blood. In the battle of Anghiari in 1440, for example, it is reported that one man died, to be sure, but he was not struck down but drowned in a swamp. Later scholars have no doubt characterized this kind of warfare as having raised war to a work of art, that is, the skill of maneuver, through the efforts of these condottieri.[5]

Delbrück says that « close examination of the contemporary reports has shown that there is not a true word in this entire description ». However, it is true that the warfare of the period was far less brutal than that of the later period in which Machiavelli wrote, as knights could indeed expect to surrender for ransom.[5] While it is possible that only one mounted knight died at Anghiari, foot-soldiers are unlikely to have been as lucky. Frances S. Saunders says that « as many as 900 » soldiers may in fact have died in the battle.[1]

Cultural depictions

Giacobbe Giusti, Battle of Anghiari

 

A study drawing by Leonardo for The Battle of Anghiari
Further information: The Battle of Anghiari (painting)

According to Pia F. Cuneo, « Anghiari is one of the most frequently represented battles of the era ».[3]The earliest known image, painted within a decade of the battle is a cassone panel by an unknown artist known as the Anghiari Master, which emphasises the tournament-like nature of the conflict, with banners and ritual engagements.

More than seven decades later, the battle was the subject of a now-lost painting by Leonardo da Vinci, known through copies of the central scene made by other artists. The known portion of the painting depicted a battle over a standard between knights on opposing sides. The picture was commissioned to occupy one of the walls of the council chamber of the Florentine republic in the Palazzo Vecchio. The other wall was to have a painting by Michelangelo depicting an earlier Florentine victory at the Battle of Cascina in 1364.

A 1687 relief sculpture depicting the battle by Baroque artist Giovanni Battista Foggini in Santa Maria del Carmine, Florence depicts Saint Andrew Corsini guiding the Florentine forces to victory.

References

  1. ^ Jump up to:a b c Frances S. Saunders, Hawkwood « Diabolical Englishman », 2004, p.93
  2. Jump up^ The Battle of Anghiari
  3. ^ Jump up to:a b c Pia F. Cuneo, Artful Armies, Beautiful Battles: Art and Warfare in Early Modern Europe, Brill, Boston, 2002, p.18.
  4. ^ Jump up to:a b c Niccolo Machiavelli, History of Florence and of the Affairs of Italy: From the Earliest Times to the Death of Lorenzo the Magnificent, Walter Dunne: 1901. p.253
  5. ^ Jump up to:a b Hans Delbrück (trans. Walter J. Renfroe Jr.), History of the Art of War: Within the Framework of Political History. Volume: 4.: Greenwood Press: Westport, CT.: 1985, p.17  

アンギアーリの戦い

アンギアーリの戦い
『アンギアーリの戦い』（レオナルド・ダ・ヴィンチ画）のピーテル・パウル・ルーベンスによる模写
ダ・ヴィンチ画『アンギアーリの戦い』
（ルーベンスによる模写）
戦争：Wars in Lombardy
年月日：1440年6月29日
場所：トスカーナ州の旗 トスカーナのアンギアーリ
結果：フィレンツェの勝利
交戦勢力
フィレンツェの紋章 フィレンツェ共和国 ミラノ公国の紋章 ミラノ公国
表示

アンギアーリの戦い（アンギアーリのたたかい、イタリア語: Battaglia di Anghiari）は、15世紀半ばのイタリアはトスカーナ地方のアンギアーリにて、フィレンツェ共和国軍とミラノ公国軍の間で行われた戦いである。

概要

  • 1440年、アンギアーリにある橋を巡って争われ、フィレンツェ軍が勝利した。

絵画

詳細は「アンギアーリの戦い (絵画)」を参照

脚注・出典

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関連項目

Битва при Ангиари

Битва при Ангиари
Основной конфликт: Войны в Ломбардии
Peter Paul Ruben's copy of the lost Battle of Anghiari.jpg

Питер Пауль Рубенс. Копия фрески Леонардо да Винчи Битва при Ангиари. Как утверждают, слева направо изображены: Франческо Пиччинино, Никколо Пиччинино, Людовико Тревизан, Джованни Антонио Орсини дель Бальцо.
Дата 29 июня 1440 года
Место Ангиари, Ареццо, Тоскана, Италия
Итог Победа Итальянской лиги
Противники
Итальянская лига
Флорентийская республика
Папская область
Венецианская республика		 Миланское герцогство
Командующие
Людовико Тревизан
Микелетто Аттендоло
Джованни Антонио Орсини дель Бальцо		 Никколо Пиччинино
Франческо Пиччинино
Асторре II Манфреди

Битва при Ангиари — сражение между Миланом и Итальянской лигой, возглавляемой Флорентийской республикой, произошедшее 29 июня 1440 года у города Ангиари в ходе Ломбардских войн и окончившееся победой лиги.

Ход событий

Войска лиги сосредоточились у Ангиари, маленького центра в Тоскане, и состояли из 4 тысяч папских войск во главе с кардиналом Людовико Тревизаном, флорентийского контингента примерно такой же численности и 300 всадников из Венеции во главе с Микелетто Аттендоло. По этому случаю на сторону лиги стали также некоторые мужчины из самого Ангиари.

Численно превосходившая миланская армия, возглавляемая знаменитым кондотьером Никколо Пиччининоот имени герцога Филиппо Мария Висконти, достигла места битвы 28 июня. К войскам миланцев присоединились 2 тысячи мужчин из близлежащего Сансеполькро. Уверенный в своём превосходстве и полагаясь на эффект неожиданности, Пиччинино приказал атаковать во второй половине следующего дня. Однако по дороге из Сансеполькро в Ангиари миланцы подняли такую пыль, что Микелетто Аттендоло заметил её, и вскоре войска лиги были приведены в боевую готовность.

Венецианские всадники Микелетто заблокировали миланский авангард на единственном мосту через канал, защищавший лагерь лиги. Они удерживали мост, сдерживая натиск врага и давая основной части войск лиги время подготовиться к бою, но в конечном счёте они были оттеснены миланским подкреплением во главе с капитанами Франческо Пиччинино и Асторре II Манфреди. Миланцы наступали, однако вскоре их правый фланг вступил в бой с папскими войсками и был вынужден отступить к мосту. Битва длилась четыре часа вплоть до проведения окружающего манёвра, целью которого было отрезать треть миланской армии, находившейся на стороне канала, занятого лигой. Сражение продолжалось и ночью, однако закончилось победой армии лиги.

В искусстве

Основная статья: Битва при Ангиари (фреска)

Спустя больше чем семьдесят лет битва при Ангиари стала сюжетом ныне утраченной фрески Леонардо да Винчи, известной благодаря копиям других художников[1].

Изменников, повешенных после битвы, изобразил на несохранившейся фреске флорентийский художник Андреа дель Кастаньо[2].

Примечания

  1. ↑ abc-people.com
  2. ↑ Larousse, «Dictionnaire de la peinture»

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

http://www.giacobbegiusti.com

Giacobbe Giusti, Basilique Santa Prassede

Publié par GIACOBBE GIUSTI le 6 avril 2018
Publié dans: basilique Santa Prassede (en français : Basilique Sainte-Praxède) est une basilique mineure romainesituée dans le rionede Monti sur la via di Santa Prassedeprès de la basilique Sainte-M, Byzantine mosaics, years 817-824 - Santa Prassede Church in Rome, Senza categoria. Tagué : , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , . Poster un commentaire

Giacobbe Giusti, Basilique Santa Prassede

theodora-blue-nimbus

Giacobbe Giusti, Basilique Santa Prassede

san-zeno-hetoimasia

 

Giacobbe Giusti, Basilique Santa Prassede

Mosaic of the vault of the chapel of San Zeno (IX century)

Giacobbe Giusti, Basilique Santa Prassede

 

Giacobbe Giusti, Basilique Santa Prassede

Byzantine mosaics, years 817-824 – Santa Prassede Church in Rome

Giacobbe Giusti, Basilique Santa Prassede

 

Giacobbe Giusti, Basilique Santa Prassede

Giacobbe Giusti, Basilique Santa Prassede

Giacobbe Giusti, Basilique Santa Prassede
Entrée principale de la basilique
Entrée principale de la basilique
Présentation
Nom local Basilica di Santa Prassede
Culte Catholique romain
Type Basilique mineure
Début de la construction viiie siècle
Site web www.stpudenziana.org [archive]Voir et modifier les données sur Wikidata
Géographie
Pays Drapeau de l'Italie Italie
Région Latium
Ville Rome

Géolocalisation sur la carte : Rome

(Voir situation sur carte : Rome)

Basilique Santa Prassede

La basilique Santa Prassede (en français : Basilique Sainte-Praxède) est une basilique mineureromainesituée dans le rionede Monti sur la via di Santa Prassedeprès de la basilique Sainte-Marie-Majeure. Elle est dédiée à la sainte romaine Praxède.

Historique

La basilique Santa Prassede fut construite principalement au viiie siècle sur commande du pape Adrien Ier en 780. Elle est élevée sur les ruines d’une structure datant du ve siècle consacrée à recueillir les restes de sainte Praxède et sainte Pudentienne qui moururent en martyres et étaient les filles de saint Pudens, considéré comme le premier converti chrétien de saint Paul à Rome. La basilique a été agrandie et décorée d’importantes mosaïques par le pape Pascal Ier vers 822. Ce dernier fit retrouver les os de nombreux martyrs chrétiens sous les Romains et les transporta dans cette église.

Le titre cardinaliceSainte Praxède a été établi par le pape Évaristevers 112 et assigné à cette église plusieurs siècles plus tard.

  • La façade depuis la cour intérieure.

  • Intérieur de la basilique.

  • Maître-autel et abside de la basilique.

Architecture et décorations

L’architecture extérieure de cette église est de nos jours quasiment invisible en raison de ses restructurations successives au cours du temps et de son intégration au sein de différents immeubles et échoppes sur ces flancs. L’entrée principale se fait par une porte latérale à droite, et la façade n’est visible que depuis une petite cour accessible par l’intérieur de l’église. La basilique est en riche de très nombreuses mosaïques paléochrétiennes réalisées sous le pape Pascal Ier. La chapelle latérale dite de Saint-Zénon (San Zenone) est particulièrement intéressante car elle accueille une représentation du Jardin du Paradis (Giardino del Paradiso). Comme beaucoup de basiliques paléochrétiennes, cette église possède un ciborium.

Selon la tradition légendaire1, la basilique abrite un fragment de la colonne de la Flagellation du Christ (inventée par sainte Hélène, mère de l’empereur Constantin) en marbre noir veiné de blanc, contre laquelle il fut torturé avant la Crucifixion. Cette relique attribuée à Jésus a été apportée à Rome par le cardinal Jean Colonna en 12232. Dans la crypte se trouve le tombeau de Sainte Praxède et une antique fresque la représentant.

La basilique abrite également la tombe de l’évêque Giovanni Battista Santoni décorées par un buste qui constitue la première œuvre du Bernin.

  • Fresque représentant Sainte Praxède dans la crypte de la basilique.

  • Colonne de la flagellation du Christ.

  • Mosaïque du Christ pantocrator porté par quatre anges.

  • Mosaïques représentant les apôtres.

  • Giovanni Battista Santoni par Le Bernin.

Notes et références

  1. ↑ (en) Marcello Craveri, The life of Jesus, Secker & Warburg, , p. 404
  2. ↑ Pierre Maraval, Lieux saints et pèlerinages d’Orient, Cerf, , p. 257-258

Source

Basilica of Saint Praxedes
Basilica di Santa Prassede all’Esquilino(in Italian)
Basilica Sanctae Praxedis (in Latin)

Giacobbe Giusti, Basilique Santa Prassede
Mosaic of the vault of the chapel of San Zeno (IX century).jpg

Ceiling of the San Zeno chapel.
Basic information
Location Rome, Italy
Affiliation Roman Catholic
Country Italy
Ecclesiastical or organizational status Minor basilica
Leadership Paul Poupard
Website Chiesa Rettoria Santa Prassede
Architectural description
Architectural type Church
Groundbreaking 780
Completed 822
Specifications
Direction of façade SSE
Length 45 metres (148 ft)
Width 30 metres (98 ft)
Width (nave) 17 metres (56 ft)

The Basilica of Saint Praxedes(Latin: Basilica Sanctae Praxedis, Italian: Basilica di Santa Prassede all’Esquillino), commonly known in Italian as Santa Prassede, is an ancient titular church and minor basilica in Rome, Italy, located near the papal basilica of Saint Mary Major. The current Cardinal Priest of Titulus Sancta Praxedis is Paul Poupard.

History

The church in its current form was commissioned by Pope Hadrian Iaround the year 780, and built on top of the remains of a 5th-century structure and was designed to house the bones of Saint Praxedes(Italian: S. Prassede) and Saint Pudentiana (Italian: S. Pudenziana), the daughters of Saint Pudens, traditionally St. Peter‘s first Christian convert in Rome. The two female saints were murdered for providing Christian burial for early martyrs in defiance of Roman law. The basilica was enlarged and decorated by Pope Paschal I in c. 822.

Pope Paschal, who reigned 817-824, was at the forefront of the Carolingian Renaissance started and advocated by the emperor Charlemagne. They desired to get back to the foundations of Christianity theologically and artistically. Paschal, thus, began two, linked, ambitious programs: the recovery of martyrs’ bones from the catacombs of Rome and an almost unprecedented church building campaign. Paschal dug up numerous skeletons and transplanted them to this church. The Titulus S. Praxedis was established by Pope Evaristus, around 112.

The inscriptions found in Santa Prassede, a valuable source illustrating the history of the church, have been collected and published by Vincenzo Forcella.[1]

The church provided the inspiration for Robert Browning‘s poem « The Bishop Orders His Tomb at Saint Praxed’s Church. »

Interior

File:Santa prassede rome.ogv

Interior of Santa Prassede

The main altarpiece is a canvas of St Praxedes Gathering the Blood of the Martyrs (c. 1730-35) by Domenico Muratori.

Mosaic

Byzantine mosaics, years 817-824

The most famous element of the church is the mosaic decorative program. Paschal hired a team of professional mosaicists to complete the work in the apse, the apsidal arch, and the triumphal arch. In the apse, Jesus is in the center, flanked by Sts. Peter and Paul who present Prassede and Pudenziana to God. On the far left is Paschal, with the square halo of the living, presenting a model of the church as an offering to Jesus. Below runs an inscription of Paschal’s, hoping that this offering will be sufficient to secure his place in heaven.

On the apsidal arch are twelve men on each side, holding wreaths of victory, welcoming the souls into heaven. Above them are symbols of the four Gospel writers: Mark, the lion; Matthew, the man; Luke, the bull; and John, the eagle, as they surround a lamb on a throne, a symbol of Christ’s eventual return to Earth.

External video
Apsis mosaic S Prassede Rome W1.JPG
 Santa Prassede (Praxedes), Smarthistory

Those mosaics, as well as those in the Chapel of Saint Zeno, a funerary chapel which Pope Paschal built for his mother, Theodora,[2] are the best-known aspects of the church. Also noteworthy are ancient frescoes. Ascending a spiral staircase, one enters a small room, covered in scaffolding; on the wall is a fresco cycle, dating most likely from the 8th century. The frescoes probably depict the life-cycle of the name saint of the church, Praxedes.[citation needed]

Pillar of the Flogging

The Column of the Flagellation.

Santa Prassede also houses an alleged segment of the pillar upon which Jesus was flogged and tortured before his crucifixion in Jerusalem. The relic is alleged to have been retrieved in the early 4th century by Saint Helena (mother of the Roman Emperor Constantine I) who at the age of eighty undertook a pilgrimage to the Holy Land, where she founded churches for Christian worship and collected relics associated with the crucifixion of Jesus on Calvary.

Among these legendary relics retrieved by Helena, which included pieces of the True Cross (now venerated at St. Peter’s Basilica[3]with fragments in Santa Croce in Gerusalemme, also in Rome) and wood from the Jesus’ crib enshrined at S. Maria Maggiore. The authenticity of these relics, including the Santa Prassede pillar, is disputed by historians and Christians alike, due to lack of forensic evidence and the proliferation of falsified relics during Late Antiquity and the Middle Ages.[citation needed]

Titulus

Among known titulars of this see are Lambertus Scannabecchi (later Pope Honorius II, c. 1099), Ubaldo Allucingoli (later Pope Lucius III, 1141), Alain de Coëtivy (1448), Giovanni Maria Ciocchi del Monte (later Pope Julius III, 1542-1543), Saint Charles Borromeo (1538-1584), Rafael Merry del Val (1903-1930).[4]

Gallery

  • Plan.

  • Internal Façade

  • Entrance

  • Interior of Santa Prassede.

  • Apsis mosaic S Prassede Rome W6.JPG

  • Ceiling of the Saint Zeno chapel.

  • Crypt.

References

  1. Jump up^ V. Forcella, Inscrizioni delle chese e d’ altre edifici di Roma, dal secolo XI fino al secolo XVIVolume II (Roma: Fratelli Bencini, 1873), pp. 489-524.
  2. Jump up^ « The Chapel of Saint Zeno at Santa Prassede: mosaic revival and survival ». ArtTrav. Retrieved 4 March 2014.
  3. Jump up^ Basilica of St. Peter,
  4. Jump up^ S. Prassede (Cardinal Titular Church)

Bibliography

  • B. M. Apollonj Ghetti, Santa Prassede (Roma: Edizioni Roma, 1961).
  • Gillian Vallance Mackie, The Iconographic Programme of the Zeno Chapel at Santa Prassede, Rome [M.A. University of Victoria (B.C., Canada) 1985].
  • Marchita B. Mauck, “The Mosaic of the Triumphal Arch of Santa Prassede: A Liturgical Interpretation.” Speculum 62-64 (1987), pp. 813-828.
  • Rotraut Wisskirchen, Mosaikprogramm von Santa Prassede in Rom (Münster: Aschendorff, 1990).
  • Anna Maria Affanni, La chiesa di Santa Prassede: la storia, il rilievo, il restauro (Viterbo: BetaGamma, [2006]) [Testimonianze di restauri, 5].
  • Mary M. Schaefer, Women in Pastoral Office: The Story of Santa Prassede, Rome (New York, NY: Oxford University Press, 2013).
  • Maurizio Caperna, La basilica di Santa Prassede: il significato della vicenda architettonica(Roma: Edizioni Quasar, 2013).
  • Benedictine Monks of Vallombroso, The Basilica of Saint Praxedes, in memory of their eighth century of presence at Saint Praxedes: 1198-1998(Genova, Italia: B.N. Marconi, Fourth Edition, January 2014).

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

The Chapel of Saint Zeno at Santa Prassede: mosaic revival and survival

http://www.giacobbegiusti.com