Giacobbe Giusti, Church of St. Francis, Prato

 

Giacobbe Giusti, Church of St. Francis, Prato

Giacobbe Giusti, Church of St. Francis, Prato

Giacobbe Giusti, Church of St. Francis, Prato

Giacobbe Giusti, Church of St. Francis, Prato

Giacobbe Giusti, Church of St. Francis, Prato

Monumental Church of St. Francis Chiesa di San Francesco (Prato) Conventus Sancti Francisci Prati Etrurie Giacobbe Giusti, Church of St. Francis, Prato
San Francesco’s church.
Basic information
Location	Prato, Italy
Affiliation	Roman Catholic
Year consecrated	1508
Website	http://www.diocesiprato.it/sanfrancesco
Architectural description
Architectural type	Church
Architectural style	Romanesque, Gothic
Groundbreaking	1281
Completed	1331
Specifications
Length	65 metres (213 ft)
Width	20 metres (66 ft)
Width (nave)	15 metres (49 ft)
Height (max)	30 metres (98 ft)
Materials	bricks

Giacobbe Giusti, Church of St. Francis, Prato

Facade

San Francesco is a church in Prato, Tuscany, central Italy. San Francesco’s church, in the homonym square (XII–XIV sec.), it is located in the nucleus of the Oldest City of Prato and an Important Place of Catholic worship and one of the first Franciscan Churches with his big convent built on the ground that was donated by the municipality to the friars minor only eight days after the canonization of the saint, in 1228.

History and architecture

The edifice was begun in 1281, next to an oratory of the Franciscan convent, which had been built in 1228. It was finished in 1331, the first building in Prato built in brickwork instead of stone. The façade is divided in bichrome stripes in alberese and serpentinite with a central portal, and ends with a 15th-century triangular tympanum with a stucco frieze by Andrea Della Robbia, depicting the Stigmata of St. Francis.^[1] The 18th-century bell-tower was designed by Antonio Benini (1799-1801).

Internal Architecture

The large interior was restored to a neo-medieval state in 1902–04.

Among the arworks are the funerary monument of Geminiano Inghirami (c. 1460), attributed to Pasquino da Montepulciano(and stylistically similar to Antonio Rossellino), who also executed the small cyborium on the presbytery wall.

Next to a Renaissance pulpit in pietra serenais a 15th-century panel with Christ’s Monogram, which is traditionally considered to have been brought to Prato by San Bernardino; above the high altar is a 14th-century polychrome wooden Crucifix, donated by the merchant Francesco Datini(who was buried next to the altar). The latter’s tomb in white marble (work of Niccolò di Pietro Lamberti, 1411–12) portrays him within an elaborated Gothic tabernacle.

Regnadori’s Chapel

The door below the choir, on the left of the presbytery, we can enter into the Chapel Regnadori, protruding from the side of the church. Realized in the first half of the fourteenth century, it is covered by two cross vault with ribs; the wall to the left of the entrance is decorated with a cornice in pietra serena late renaissance, with arch on fluted pilasters, with that, we can access to another chapel coeval (of employers Spighi) demolished in 1903. The wall in front of the entrance retains traces of frescoes seventeenth century ; and on the semipilaster is carved out the family crest fourteenth Regnadori ( From which chapel takes this name ) . A Right surmounted by a lancet window and there while the neo-Gothic altar ciborium is the Same that adorn one time an altar. Side of the altar there are niches with statues had : on the left a “Ecce Homo” century in colored wax, opposite a sorrow rifined.

The Cloister

The cloister, dating to 1438–1440 and featuring Ionic columns, is the first Renaissance architectural work in the city. It has several coat of arms from the 15th-19th centuries, and several frescoes: a lunette with the Madonna and Child and a tabernacle with the Madonna Enthroned and Saints from the early 14th century.

Migliorati’s Chapel

Giacobbe Giusti, Church of St. Francis, Prato

The Chapter (or Migliorati’s Chapel)

The Chapter (or Migliorati’s Chapel) was entirely frescoed around 1400 by Niccolò Gerini, with figures inspired by Giotto. The scenes include a ruined Cricifixion, the Stories of St. Matthew and Stories of St. Anthony (the latter also damaged) and, on the vault, the Evangelists.

Images gallery

Giacobbe Giusti, Church of St. Francis, Prato

        

References

1. Jump up^ Comune of Prato, short introduction and photo.

San Francesco (Prato).

https://en.wikipedia.org/wiki/San_Francesco,_Prato

http://www.giacobbegiusti.com

Giacobbe Giusti, Hôpital Santa Maria della Scala, Sienne

Giacobbe Giusti, Hôpital Santa Maria della Scala

Pilgrims Lane in Santa Maria della Scala Hospital (Siena)

Giacobbe Giusti, Hôpital Santa Maria della Scala

Salle des pèlerins fresquée par Domenico di Bartolo.

Giacobbe Giusti, Hôpital Santa Maria della Scala

Domenico di Bartolo – The Rearing and Marriage of Female Foundlings

Giacobbe Giusti, Hôpital Santa Maria della Scala

Domenico di Bartolo – Care of the Sick (detail)

Giacobbe Giusti, Hôpital Santa Maria della Scala

Plafond de la Sala del Pellegrinaio (salle du Pèlerin), fresque de Domenico di Bartolo. Hôpital Santa Maria della Scala.

Giacobbe Giusti, Hôpital Santa Maria della Scala

Care of the Sick Domenico di Bartolo

Giacobbe Giusti, Hôpital Santa Maria della Scala

Coats of arms of the Hospital Santa Maria della Scala in Siena, Tuscany, Italy

Giacobbe Giusti, Hôpital Santa Maria della Scala

 

Giacobbe Giusti, Hôpital Santa Maria della Scala

Ingresso del it:Complesso Museale Santa Maria della Scala, Siena

Giacobbe Giusti, Hôpital Santa Maria della Scala

 

Giacobbe Giusti, Hôpital Santa Maria della Scala

Santa Maria della Scala, vom Ortsteil San Prospero aus gesehen (Westseite), links die Fassade des Doms

Giacobbe Giusti, Hôpital Santa Maria della Scala

Panorama of the Hospital Santa Maria della Scala seen from the backside (Via del Chiasso di Sant’Ansano / Due Porte), Siena, Tuscany, Itay

Giacobbe Giusti, Hôpital Santa Maria della Scala

Sa façade en face du Duomo.

Giacobbe Giusti, Hôpital Santa Maria della Scala

Salle des pèlerins fresquée par Domenico di Bartolo.

L’Hôpital Santa Maria della Scala est un bâtiment religieux à Sienne et le plus ancien hôpital d’Europe.

Histoire

Construit au xiii^e siècle et situé en face de la cathédrale dite Duomo à Sienne, en face de la volée de marches y menant (d’où probablement son nom ou une référence à l’escalier saint), cet édifice comprend de nombreux oratoires sous le niveau de la place, dont celui consacré à sainte Catherine de la nuit.

La grande salle (l’ancienne infirmerie) a révélé de nombreuses fresques après une rénovation récente qui a éliminé le blanchiment recouvrant les murs et les voûtes.

L’église Santa Maria della Scala, rénovée en 1446, a été englobée dès la construction de l’hôpital. Elle se trouve au même niveau que la grande salle.

En 1995, les autres églises de la Santissima Annunziata e al Pellegrinaio, ont été progressivement restaurées et ont été ouvertes, la vieille sacristie avec ses peintures de Vecchietta, la chapelle del Manto avec la fresque de Domenico Beccafumi, la Cappella della Madonna, le fenil médiéval, les locaux de la Compagnia di Santa Caterina della Notte, ceux du siège historique de la Società di Esecutori di Pie Disposizioni.

Complexe muséal

Complexe muséal Santa Maria della Scala.

Dans ses niveaux souterrains se trouve le Musée Archéologique National, les expositions du Palais Squarcialupi et une exposition permanente comportant les sculptures originales de la Fonte Gaia de Jacopo della Quercia.

Les ouvertures, visibles de-ci de-là, rendent compte de la construction étagée de la ville même.

Notes et références

Sources

• (it) Cet article est partiellement ou en totalité issu de l’article de Wikipédia en italien intitulé « Complesso museale di Santa Maria della Scala » (voir la liste des auteurs).

Voir aussi

• Hôpital Santa Maria della Scala de Sienne,

• Site officiel du complexe muséal [archive]
• Notice [archive
  ]

https://fr.wikipedia.org/wiki/H%C3%B4pital_Santa_Maria_della_Scala

http://www.giacobbegiusti.com

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

 

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

 

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

 

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

 

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

 

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

 

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

 

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

 

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

 

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

 

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

La Résurrection (Piero della Francesca)

Artiste	Piero della Francesca
Date	1463-1465
Type	fresque et détrempe
Technique	Fresque
Dimensions (H × L)	225 × 200 cm
Mouvement	Première Renaissance
Localisation	Museo Civico di Sansepolcro, Sansepolcro (Italie)

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

Lignes de force de la composition.

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

Autoportrait de Piero dans un des personnages

La Résurrection (La Resurrezione) est une œuvre de Piero della Francesca réalisée entre 1463 et 1465, de 2,25 2,00 ^m, figure toujours sur le lieu de sa création : un des murs de ce qui est aujourd’hui le Museo Civico di Sansepolcro et qui était la sala magna de la Residenza où se tenaient les réunions du Conseil.

C’est une fresque avec ajouts à la détrempe. Après une restauration pendant trois ans elle est de nouveaux visible en mars 2018 ¹.

Thème

Jésus, après sa mort sur la Croix et enseveli, est vu sortant de son tombeau ou sarcophage, des soldats endormis sont allongés autour (ils peuvent être éveillés et surpris de l’apparition), le mont Golgotha de son supplice peut être visible avec les trois croix. Le Christ apparaît en buste ou s’élève dans les airs arborant sa bannière. La présence d’anges témoins de la scène est possible.

Description

Le Christ debout, sortant du tombeau, fait face au spectateur, portant la bannière symbolique de la Résurrection, blanche à croix rouge (celle des Croisés),

Avec sa main qui relève la toge rose et le pied posé sur le rebord du tombeau, toutes ses plaiessont apparentes.

Le Christ en entouré d’arbres de part et d’autre d’un paysage de collines. Les deux troncs d’arbres et la hampe de la bannière forment une grille verticale ; la ligne passant par la hampe croise l’horizontale, du dessus du sarcophage, par la tête du soldat adossé de face.

Les soldats endormis par terre sont séparés du Christ par la ligne horizontale du sarcophage.

Le cadre peint continue le support architectural des moulures² et fait la transition entre l’espace mural et l’espace pictural.

Analyse

La composition se pose en profondeur sur trois plans : le paysage au fond, le Christ sortant du tombeau au milieu, les soldats endormis en premier plan.

Une composition est pyramidale avec à la base, l’alignement des soldats endormis, et au sommet le Christ debout.

Le Christ en entouré d’arbres morts de l’hiver, symbolisant la mort, à sa droite et d’arbres feuillus, vivants à sa gauche du printemps, symbolisant la nouvelle naissance.

L’autoportrait supposé de l’auteur du tableau est la rencontre de la verticale de la hampe de la bannière et de l’horizontal du dessus du sarcophage.

Anecdotes

Aldous Huxley, l’auteur du Meilleur des Mondes, fait allusion à cette œuvre dans son livre de voyages Chemin faisant³.

Lui qui qualifiait la fresque de la Résurrection « de plus belle peinture jamais réalisée » (the greatest painting in the world), l’a sauvé indirectement au plus fort de la Seconde Guerre mondiale : En 1944, Sansepolcro se trouvait sur la ligne de front. Anthony Clarke, officier dans l’artillerie, qui avait lu le livre de voyage de Huxley, n’entendait pas endosser la responsabilité de la destruction de la fresque de Piero della Francesca. Il donna l’ordre de cesser temporairement le feu. Le lendemain, les forces alliées purent s’emparer de la bourgade sans coup férir. Clarke demanda ensuite qu’on lui indique où se trouvait la fresque et la trouva intacte.

Albert Camus dans Noces, (dans la nouvelle intitulée Le désert) s’émeut ainsi de La Résurrection à la suite d’un voyage en Toscane : « C’est sur ce balancement qu’il faudrait s’arrêter, singulier instant où la spiritualité répudie la morale, où le bonheur naît de l’absence d’espoir, où l’esprit trouve sa raison dans le corps. S’il est vrai que toute vérité porte en elle son amertume, il est aussi vrai que toute négation contient une floraison de « oui ». Et ce chant d’amour sans espoir qui naît de la contemplation peut aussi figurer la plus efficace des règles d’action : au sortir du tombeau, le Christ ressuscitant de Piero della Francesca n’a pas un regard d’homme. Rien d’heureux n’est peint sur son visage – mais seulement une grandeur farouche et sans âme, que je ne puis m’empêcher de prendre pour une résolution à vivre. Car le sage comme l’idiot exprime peu. »

Notes et références

1. ↑ (it) « La Resurrezione torna a splendere: il capolavoro di Piero della Francesca prima e dopo il restauro » [archive], sur La Repubblica, Repubblica, 22 mars 2018 (consulté le24 mars 2018).
2. ↑ le cadrage serré n’en rend pas compte sur l’image de cette page (un peu en haut)
3. ↑ Le texte d’Huxley : [archive]

À noter

Aldous Huxley qui admirait les œuvres de Piero de la Francesca exposées à Sansepolcro, disait du Christ de la Résurrection qu’il était « athlétique ».

Sources

• Daniel Arasse, Note sur La Résurrection du Christ de Piero della Francesca, 8 min 28 s, entretien réalisé en 2001 par Olivier Capparos et Pascal Gibourg, enregistré par Laetitia Coïa, montage : Eric Beauron

 

The Resurrection is a frescopainting by the Italian Renaissance master Piero della Francesca, painted in the 1460s in the Palazzo della Residenza in the town of Sansepolcro, Tuscany, Italy.

Piero was commissioned to paint the fresco for the Gothic-style Residenza, the communal meeting hall^[1] which was used solely by Conservatori, the chief magistrates and governors, who before starting their councils, would pray before the image. « The secular and spiritual meanings of the painting were always intimately intertwined. »^[2][3] Placed high on the interior wall facing the entrance, the fresco has for its subject an allusion to the name of the city (meaning « Holy Sepulchre »), derived from the presence of two relics of the Holy Sepulchre carried by two pilgrims in the 9th century. Piero’s Christ is also present on the town’s Coat of Arms.^[4]

Composition

Jesus is in the centre of the composition, portrayed in the moment of his resurrection, as suggested by the position of the leg on the parapet of his tomb, which Piero renders as a classical sarcophagus. His stern, impassive figure, depicted in an iconic and abstract fixity (and described by Aldous Huxley as « athletic »), rises over four sleeping soldiers, representing the difference between the human and the divine spheres (or the death, defeated by Christ’s light). His figure in the commune’s council hall « both protects the judge and purifies the judged » according to Marilyn Aronberg Lavin.^[5] The landscape, immersed in the dawn light, has also a symbolic value: the contrast between the flourishing young trees on the right and the bare mature ones on the left alludes to the renovation of men through the Resurrection’s light. Andrew Graham-Dixon notes that apart from the wound, Christ’s « body is as perfectly sculpted and as blemish-free as that of an antique statue. But there are touches of intense humanity about him too: the unidealised, almost coarse-featured face; and those three folds of skin that wrinkle at his belly as he raises his left leg. Piero emphasises his twofold nature, as both man and God. »^[6]

The guard holding the lance is depicted sitting in an anatomically impossible pose, and appears to have no legs. Piero probably left them out not to break the balance of the composition.^[7]

According to tradition and by comparison with the woodcut illustrating Vasari‘s Lives of the Painters, the sleeping soldier in brown armor on Christ’s right is a self-portrait of Piero. The contact between the soldier’s head and the pole of the banner^[8] carried by Christ is supposed to represent his contact with the divinity.

The composition is unusual in that it contains two vanishing points. One is in the center of the sarcophagus, because the faces of the guards are seen from below, and the other is in Jesus’s face. The top of the sarcophagus forms a boundary between the two points of view, and the steepness of the hills prevents the transition between the two points of view from being too jarring.^[9]

Near-destruction

Giacobbe Giusti, PIERO della FRANCESCA: La Résurrection

Note the impossible pose of the guard holding a spear. To achieve a more harmonious composition, Piero left the soldier without legs.

Sansepolcro was spared much damage during World War 2 when British artilleryofficer Tony Clarkedefied orders and held back from using his troop’s guns to shell the town. Although Clarke had never seen the fresco, his diary records his shock at the destruction in Monte Cassino and, apparently remembering where he had read of Sansepolcro, ordered his men to hold fire just as methodical shelling had begun. Clarke had read Huxley‘s 1925 essay describing the Resurrection, which states: « It stands there before us in entire and actual splendour, the greatest picture in the world. »^[10] It was later ascertained that the Germans had already retreated from the area — the bombardment had not been necessary, though Clarke had not known this when he ordered the shelling stopped. The town, along with its famous painting, survived. When the events of the episode eventually became clear, Clarke was lauded as a local hero and to this day a street in Sansepolcro bears his name.^[11]

References

1. Jump up^ The residenza was returned by Florentine authorities to the citizens of Sansepolcro, Tuscany, in 1459 as a sign of the restoration of some measure of autonomy to the Borgo. Dates as given in Marilyn Aronberg Lavin, 2002. Piero della Francesca 234ff: « a document of 1474 concerning structural repairs to the building mentions the painting ».
2. Jump up^ http://www.andrewgrahamdixon.com/archive/itp-157-the-resurrection-by-piero-della-francesca.html
3. Jump up^ In moving of the fresco, an inscription was lost (Lavin 2002:241).
4. Jump up^ A large chunk of stone stands in the lower right hand of the fresco. « and thus we are told to recognize this stone as the founding relic carried here from the Holy Land by Saints Arcano and Egidio » (Lavin 2002:243).
5. Jump up^ Lavin 2002:244.
6. Jump up^ http://www.andrewgrahamdixon.com/archive/itp-157-the-resurrection-by-piero-della-francesca.html
7. Jump up^ The Private Life of a Masterpiece – Piero della Francesca’s « The Resurrection » (2006). Quote: « You are totally absorbed into reality, in a way, of the image, and you don’t notice — it’s perfectly true — that one of the guards has no legs. The arrangement of the guards is so perfect, so clever, so symmetrical, so balanced — in terms of colour, in terms of form — that actually the fact that he’s got no room to put these legs in ceases to important, and you don’t notice for ages and ages and ages that he’s legless. »
8. Jump up^ The banner of a red cross on a white field was a convention observed by both Andrea Mantegna (in his San Zeno altarpiece) and Giovanni Bellini (in his Resurrection in Berlin); illustrations, for example, in Lavin, 2002, figs 154, 155.
9. Jump up^ Kline, Morris (1953). Mathematics in Western Culture. Great Britain: Pelican. p. 166.
10. Jump up^ Huxley, Aldous. « The Best Picture », 1925.
11. Jump up^ Butcher, Tim (24 December 2011). « The man who saved The Resurrection ». BBC News. Retrieved 24 February 2012.

Bibliography

• Zuggi, Stefano (1991). Piero della Francesca. Milan: Elemond.
• Manescalchi, Roberto (2008). Il Cristo Risorto di Piero immagini rare e desuete. Sansepolcro: Aboca Museum.
• Manescalchi, Roberto (2008). Amintore Fanfani e Giulio Gambassi, Il Cristo Risorto di Piero della Francesca: Una battaglia per l’arte. Firenze: Grafica European Center of Fine Arts.

https://fr.wikipedia.org/wiki/La_R%C3%A9surrection_(Piero_della_Francesca)

http://www.giacobbegiusti.com

Giacobbe Giusti, Battle of Anghiari

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

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

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

Florentins

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

Données clés

La bataille d’Anghiarientre les Milanais et les Florentins (vainqueurs) eut lieu le 29 juin 1440près 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, 2010 (ISBN 9788884742506)
• (it) Niccolò Capponi, La battaglia di Anghiari. Il giorno che salvò il Rinascimento, Milan, Il Saggiatore, 2011 (ISBN 9788842815860)

Sources primaires

• Flavio Biondo, Le decadi (Historiarum ab inclinatione romanorum decades), 1483, 32 volumes, trad. it. par Achille Crespi, Forli, 1963, p. 906-909. Texte latin sur Gallica [archive], III decade lib. XI [archive].
• (it) Niccolò Machiavelli, Istorie fiorentine, 1532, livre : 5 ; chapitre : 33 (wikisource)

Notes et références

1. ↑ Nicolas Machiavel (trad. J.-A.-C. Buchon), Œuvres complètes : Histoire de Florence, 1867 (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, 1992 (1^re 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, 1967, 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 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]

[hide] v t e Wars in Lombardy
Zagonara 1424 Maclodio 1427 Soncino 1431 Po River 1431 San Romano 1432 Delebio 1432 Anghiari 1440 Ghedi 1453

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
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
フィレンツェ共和国	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。

目次

 [非表示] 

• 1概要
• 2絵画
• 3脚注・出典
• 4関連項目

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

[ヘルプ]

関連項目

• アンドレア・デル・カスターニョ
• ミケランジェロ
• カッシーナの戦い

Битва при Ангиари

Битва при Ангиари
Основной конфликт: Войны в Ломбардии
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, PIERO DELLA FRANCESCA: La Résurrection

Giacobbe Giusti, PIERO DELLA FRANCESCA: La Résurrection

Giacobbe Giusti, PIERO DELLA FRANCESCA: La Résurrection

Note the impossible pose of the guard holding a spear. To achieve a more harmonious composition, Piero left the soldier without legs.

Giacobbe Giusti, PIERO DELLA FRANCESCA: La Résurrection

Giacobbe Giusti, PIERO DELLA FRANCESCA: La Résurrection

La Résurrection (Piero della Francesca)

Artiste	Piero della Francesca
Date	1463-1465
Type	fresque et détrempe
Technique	Fresque
Dimensions (H × L)	225 × 200 cm
Mouvement	Première Renaissance
Localisation	Museo Civico di Sansepolcro, Sansepolcro (Italie)

Giacobbe Giusti, PIERO DELLA FRANCESCA: La Résurrection

Lignes de force de la composition.

Giacobbe Giusti, PIERO DELLA FRANCESCA: La Résurrection

Autoportrait de Piero dans un des personnages

La Résurrection(La Resurrezione) est une œuvre de Piero della Francescaréalisée entre 1463 et 1465, de 2,25 m par 2,00 m, figure toujours sur le lieu de sa création : un des murs de ce qui est aujourd’hui le Museo Civico di Sansepolcro et qui était la sala magna de la Residenza où se tenaient les réunions du Conseil.

C’est une fresque avec ajouts à la détrempe.

Thème

Jésus, après sa mort sur la Croix et enseveli, est vu sortant de son tombeau ou sarcophage, des soldats endormis sont allongés autour (ils peuvent être éveillés et surpris de l’apparition), le mont Golgotha de son supplice peut être visible avec les trois croix. Le Christ apparaît en buste ou s’élève dans les airs arborant sa bannière. La présence d’anges témoins de la scène est possible.

Description

Le Christ debout, sortant du tombeau, fait face au spectateur, portant la bannière symbolique de la Résurrection, blanche à croix rouge (celle des Croisés),

Avec sa main qui relève la toge rose et le pied posé sur le rebord du tombeau, toutes ses plaies sont apparentes.

Le Christ en entouré d’arbres de part et d’autre d’un paysage de collines. Les deux troncs d’arbres et la hampe de la bannière forment une grille verticale ; la ligne passant par la hampe croise l’horizontale, du dessus du sarcophage, par la tête du soldat adossé de face.

Les soldats endormis par terre sont séparés du Christ par la ligne horizontale du sarcophage.

La cadre peint continue le support architectural des moulures¹ et fait la transition entre l’espace mural et l’espace pictural.

Analyse

La composition se pose en profondeur sur trois plans : le paysage au fond, le Christ sortant du tombeau au milieu, les soldats endormis en premier plan.

Une composition est pyramidale avec à la base, l’alignement des soldats endormis, et au sommet le Christ debout.

Le Christ en entouré d’arbres morts de l’hiver, symbolisant la mort, à sa droite et d’arbres feuillus, vivants à sa gauche du printemps, symbolisant la nouvelle naissance.

L’autoportrait supposé de l’auteur du tableau est la rencontre de la verticale de la hampe de la bannière et de l’horizontal du dessus du sarcophage.

Anecdotes

Aldous Huxley, l’auteur du Meilleur des Mondes, fait allusion à cette œuvre dans son livre de voyages Chemin faisant².

Lui qui qualifiait la fresque de la Résurrection « de plus belle peinture jamais réalisée » (the greatest painting in the world), l’a sauvé indirectement au plus fort de la Seconde Guerre mondiale : En 1944, Sansepolcro se trouvait sur la ligne de front. Anthony Clarke, officier dans l’artillerie, qui avait lu le livre de voyage de Huxley, n’entendait pas endosser la responsabilité de la destruction de la fresque de Piero della Francesca. Il donna l’ordre de cesser temporairement le feu. Le lendemain, les forces alliées purent s’emparer de la bourgade sans coup férir. Clarke demanda ensuite qu’on lui indique où se trouvait la fresque et la trouva intacte.

Albert Camus dans Noces, (dans la nouvelle intitulée Le désert) s’émeut ainsi de La Résurrection à la suite d’un voyage en Toscane : « C’est sur ce balancement qu’il faudrait s’arrêter, singulier instant où la spiritualité répudie la morale, où le bonheur naît de l’absence d’espoir, où l’esprit trouve sa raison dans le corps. S’il est vrai que toute vérité porte en elle son amertume, il est aussi vrai que toute négation contient une floraison de « oui ». Et ce chant d’amour sans espoir qui naît de la contemplation peut aussi figurer la plus efficace des règles d’action : au sortir du tombeau, le Christ ressuscitant de Piero della Francesca n’a pas un regard d’homme. Rien d’heureux n’est peint sur son visage – mais seulement une grandeur farouche et sans âme, que je ne puis m’empêcher de prendre pour une résolution à vivre. Car le sage comme l’idiot exprime peu. »

Notes et références

1. ↑ le cadrage serré n’en rend pas compte sur l’image de cette page (un peu en haut)
2. ↑ Le texte d’Huxley : [archive]

À noter

Aldous Huxley qui admirait les œuvres de Piero de la Francesca exposées à Sansepolcro, disait du Christ de la Résurrection qu’il était « athlétique ».

Sources

• Daniel Arasse, Note sur La Résurrection du Christ de Piero della Francesca, 8 min 28 s, entretien réalisé en 2001 par Olivier Capparos et Pascal Gibourg, enregistré par Laetitia Coïa, montage : Eric Beauron

 

Giacobbe Giusti, PIERO DELLA FRANCESCA: La Résurrection
Artist	Piero della Francesca
Year	c. 1460s
Type	Fresco
Dimensions	225 cm × 200 cm (89 in × 79 in)
Location	Museo Civico, Sansepolcro

The Resurrection is a fresco painting by the Italian Renaissance master Piero della Francesca, painted in the 1460s in the Palazzo della Residenza in the town of Sansepolcro, Tuscany, Italy.

Piero was commissioned to paint the fresco for the Gothic-style Residenza, the communal meeting hall^[1] which was used solely by Conservatori, the chief magistrates and governors, who before starting their councils, would pray before the image. « The secular and spiritual meanings of the painting were always intimately intertwined. »^[2][3] Placed high on the interior wall facing the entrance, the fresco has for its subject an allusion to the name of the city (meaning « Holy Sepulchre »), derived from the presence of two relics of the Holy Sepulchre carried by two pilgrims in the 9th century. Piero’s Christ is also present on the town’s Coat of Arms.^[4]

Composition

Jesus is in the centre of the composition, portrayed in the moment of his resurrection, as suggested by the position of the leg on the parapet of his tomb, which Piero renders as a classical sarcophagus. His stern, impassive figure, depicted in an iconic and abstract fixity (and described by Aldous Huxley as « athletic »), rises over four sleeping soldiers, representing the difference between the human and the divine spheres (or the death, defeated by Christ’s light). His figure in the commune’s council hall « both protects the judge and purifies the judged » according to Marilyn Aronberg Lavin.^[5] The landscape, immersed in the dawn light, has also a symbolic value: the contrast between the flourishing young trees on the right and the bare mature ones on the left alludes to the renovation of men through the Resurrection’s light. Andrew Graham-Dixon notes that apart from the wound, Christ’s « body is as perfectly sculpted and as blemish-free as that of an antique statue. But there are touches of intense humanity about him too: the unidealised, almost coarse-featured face; and those three folds of skin that wrinkle at his belly as he raises his left leg. Piero emphasises his twofold nature, as both man and God. »^[6]

The guard holding the lance is depicted sitting in an anatomically impossible pose, and appears to have no legs. Piero probably left them out not to break the balance of the composition.^[7]

According to tradition and by comparison with the woodcut illustrating Vasari‘s Lives of the Painters, the sleeping soldier in brown armor on Christ’s right is a self-portrait of Piero. The contact between the soldier’s head and the pole of the banner^[8] carried by Christ is supposed to represent his contact with the divinity.

The composition is unusual in that it contains two vanishing points. One is in the center of the sarcophagus, because the faces of the guards are seen from below, and the other is in Jesus’s face. The top of the sarcophagus forms a boundary between the two points of view, and the steepness of the hills prevents the transition between the two points of view from being too jarring.^[9]

Near-destruction

Giacobbe Giusti, PIERO DELLA FRANCESCA: La Résurrection

Note the impossible pose of the guard holding a spear. To achieve a more harmonious composition, Piero left the soldier without legs.

Sansepolcro was spared much damage during World War 2 when British artillery officer Tony Clarke defied orders and held back from using his troop’s guns to shell the town. Although Clarke had never seen the fresco, his diary records his shock at the destruction in Monte Cassino and, apparently remembering where he had read of Sansepolcro, ordered his men to hold fire just as methodical shelling had begun. Clarke had read Huxley‘s 1925 essay describing the Resurrection, which states: « It stands there before us in entire and actual splendour, the greatest picture in the world. »^[10] It was later ascertained that the Germans had already retreated from the area — the bombardment had not been necessary, though Clarke had not known this when he ordered the shelling stopped. The town, along with its famous painting, survived. When the events of the episode eventually became clear, Clarke was lauded as a local hero and to this day a street in Sansepolcro bears his name.^[11]

References

1. Jump up^ The residenza was returned by Florentine authorities to the citizens of Sansepolcro, Tuscany, in 1459 as a sign of the restoration of some measure of autonomy to the Borgo. Dates as given in Marilyn Aronberg Lavin, 2002. Piero della Francesca 234ff: « a document of 1474 concerning structural repairs to the building mentions the painting ».
2. Jump up^http://www.andrewgrahamdixon.com/archive/itp-157-the-resurrection-by-piero-della-francesca.html
3. Jump up^ In moving of the fresco, an inscription was lost (Lavin 2002:241).
4. Jump up^ A large chunk of stone stands in the lower right hand of the fresco. « and thus we are told to recognize this stone as the founding relic carried here from the Holy Land by Saints Arcano and Egidio » (Lavin 2002:243).
5. Jump up^ Lavin 2002:244.
6. Jump up^http://www.andrewgrahamdixon.com/archive/itp-157-the-resurrection-by-piero-della-francesca.html
7. Jump up^ The Private Life of a Masterpiece – Piero della Francesca’s « The Resurrection » (2006). Quote: « You are totally absorbed into reality, in a way, of the image, and you don’t notice — it’s perfectly true — that one of the guards has no legs. The arrangement of the guards is so perfect, so clever, so symmetrical, so balanced — in terms of colour, in terms of form — that actually the fact that he’s got no room to put these legs in ceases to important, and you don’t notice for ages and ages and ages that he’s legless. »
8. Jump up^ The banner of a red cross on a white field was a convention observed by both Andrea Mantegna (in his San Zeno altarpiece) and Giovanni Bellini (in his Resurrection in Berlin); illustrations, for example, in Lavin, 2002, figs 154, 155.
9. Jump up^ Kline, Morris (1953). Mathematics in Western Culture. Great Britain: Pelican. p. 166.
10. Jump up^ Huxley, Aldous. « The Best Picture », 1925.
11. Jump up^ Butcher, Tim (24 December 2011). « The man who saved The Resurrection ». BBC News. Retrieved 24 February 2012.

Bibliography

• Zuggi, Stefano (1991). Piero della Francesca. Milan: Elemond.
• Manescalchi, Roberto (2008). Il Cristo Risorto di Piero immagini rare e desuete. Sansepolcro: Aboca Museum.

Материал из Википедии — свободной энциклопедии

Giacobbe Giusti,

Воскресение Христа (фреска)

Пьеро делла Франческа

Воскресение Христа. ок. 1460

Resurrezione

темпера. 225 × 200 см

Пинакотека Комунале, Сансеполькро

«Воскресение Христа» (итал. Resurrezione) — фреска Пьеро делла Франческа, выполненная им около 1460 года. Находится в художественном музее Борго-Сансеполькро (Тоскана) — родного города художника.

Фреска была заказана городом для украшения ратуши. Тема Воскресения для росписи, вероятно, выбрана неслучайно: название Sansepolcro переводится как «Святая Гробница». Она изображена на гербе города. Отсутствие описания в Евангелии сцены Воскресения даёт художникам полную свободу в её интерпретации.

Версия Пьеро делла Франческо статична. Иисус представлен ещё не освобождённым от «земной, физической телесности». Он стоит в центре композиции в розовой тоге, не скрывающей раны, со знаменем — символом Воскресения. Его «атлетическая» (по определению О. Хаксли), неподвижная фигура доминирует над четырьмя спящими солдатами, их глубокий сон — это сон человеческого духа, которого не коснулось божественное озарение. Пейзаж за спиной Христа символически разделён на две части: слева — зимние чёрные ветви, голая земля, справа — весенние деревья, покрытые листвой, трава. Это напоминание о спасении и новой жизни, начинающейся с Воскресением Иисуса.

Около двух столетий фреска находилась под слоем штукатурки. Когда штукатурка была удалена, оказалось, что произведение Пьеро делла Франческо хорошо сохранилось^[1]. В начале XX века многие из путешественников по Италии заезжали в провинциальный Сансеполькро, чтобы выразить дань своего восхищения знаменитой фреске. Был среди них и русский искусствовед П. П. Муратов:

Чисто флорентийскому энтузиазму остался предан художник в этих трудных и разнообразных позах уснувших воинов. Кто мог бы так верно найти изгиб спины у солдата в зеленом плаще и красноватом шлеме или с такой силой посадить великолепную римскую голову на мощную шею следующего воина и с такой чуткостью передать напряженность его правого плеча. В четырех этих фигурах флорентийское кватроченто, поглощенное фигурной страстью, нашло одно из высших своих достижений. Но с неизвестной Флоренции впечатлительностью чувствовал Пьеро, кроме того, значение отдельных красок — зеленой, алой, лиловой и золотисто-коричневой, красок одежд — и общую их гармонию, их «сгорание» в жемчужности и серебре рассвета. Дыхание каких-то безмерностей мира, природы, ощущаемой так, как ощущали её лишь древние, господствует здесь над всем: над формальной темой фигур и даже над темой христианского воскресения.^[2]

Считается, что в образе солдата в коричневом платье, откинувшего голову назад, Пьеро делла Франческа изобразил себя.

Олдос Хаксли, назвавший эту фреску «самой прекрасной живописью в мире», косвенно спас «Воскресение», а с ним и город Сансеполькро. Во время Второй мировой войны британский капитан Энтони Кларк прекратил обстрел города, вспомнив эссе Хаксли и его слова о «Воскресении Христа». К тому времени немецкие части уже оставили Сансеполькро.

Истории фрески посвящена 15-я серия британского телесериала «Частная жизнь шедевра» (The private life of a masterpiece, 2004 год).

Примечания

1. ↑ Хаксли О. В дороге / Пер. с англ. Л. Володарской. — М.: Б.С.Г.-ПРЕСС, 2005. — 223 с. — (Sac de Voyage) — ISBN 5-93381-164-5
2. ↑ П. П. Муратов. «Образы Италии», том 3.

Литература

• Дзуффи С. Эпизоды и персонажи Евангелия в произведениях изобразительного искусства. — М.: Омега, 2007. с. 338—330 ISBN 978-5-456-01501-1.
• Zuggi, Stefano (1991). Piero della Francesca. Milan.

https://ru.wikipedia.org/wiki/%D0%92%D0%BE%D1%81%D0%BA%D1%80%D0%B5%D1%81%D0%B5%D0%BD%D0%B8%D0%B5_%D0%A5%D1%80%D0%B8%D1%81%D1%82%D0%B0_(%D1%84%D1%80%D0%B5%D1%81%D0%BA%D0%B0)

http://www.giacobbegiusti.com

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

Tuscany, Monte Falterona, Bronze statue depicting warrior. Etruscan civilization V century b.C.

London, British Museum

 

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

Kouros in bronze, from Monte Falterona

 

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

Lake of the Idols Lago degli IdoliGiacobbe Giusti, Lake of the Idols, MONTE FALTERONA
Lake of the Idols following restoration
Lake of the Idols Location in Italy
Location	Arezzo, Tuscany, Italy
Basin countries	Italy
Surface elevation	1,380 m (4,530 ft)

Lake of the Idols (Italian: Lago degli Idoli) is a lake located in Arezzo Province, Tuscany, Italy. It is located 1,380 metres (4,530 ft) above sea level atop Monte Falterona, about 600 metres from the source of the river Arno.^[1] Situated near an ancient road linking Etruria (including Tuscany and Umbria) with the Adriatic port cities of Romagna,^[2] it is known for one of the largest archaeological finds of the Etruscan civilization; over 600 bronze statuettes of Etruscan and Roman origin, along with thousands of other figurines from Cisalpine Gaul and Umbria, were discovered within the lake.^[3]

Name

The lake was originally known as Lago della Ciliegeta (eng. Cherry Grove Lake), named for the cherrygroves that grew around the lake.^[4] The name Lago degli Idoli (eng. Lake of the Idols) was applied after 1838 and refers to the Etruscan bronze statuettes found in the lake (see History). Another name for the lake is Buca del Tesoro (eng. Treasure Hole).^[5]

History

According to Alfredo Bresciani, the lake formed approximately 6,000 years ago (4th millennia BCE), based on radiocarbon dating and dendrochronology testing done on the lake.^[6]

The lake was used in ancient times by the Etruscans. They viewed it as a « holy spring of the river-gods » because of the healing qualities of the water, which contains a high concentration of tannin.^[7] The Etruscans would throw bronze statuettes into the lake as a form of votive offering. These statuettes depicted typically people or animals.^[8] Some artifacts in the lake depicted body parts, such as heads, arms and legs,^[9] suggesting the healing power of the lake. Other artifacts found at the lake were coins (including Etruscan aes rude), and fragments of arrow bits and pottery.^[10]It is believed that the lake was popular among soldiers based on the number of arrow fragments, and more importantly, the number of statuettes found depicting Hercle, the Etruscan version of Greek divine hero, Heracles.^[11] Artifacts found at the lake are dated between mid-6th to late-4th centuries BCE.^[12]

One of these statuettes was discovered by a local shepherdess in May 1838.^[13] The statuette was probably of Hercle, now kept in the British Museum.^[14][15] News of the find spread quickly, and a team of local amateur archaeologists from nearby Stia^[16]began excavating the site in June 1838.^[13] The lake was subsequently dried following several days of fruitful excavations.^[17] Over 600 statuettes and thousands of other artifacts were discovered between 1838–1839.^[13] Many of these artifacts at the time were presented to the Archaeological Institute of Rome in 1842, but without any buyers. Ultimately they were sold to a private collector, who resold them to a number of museums, notably among them the British Museum,^[18] the Hermitage Museum and the Louvre.^[19] Over time, treasure seekers looted the lake, stripping it of whatever artifacts remained within.^[20]

Official excavations were sparse following the 1838–1839 excavations. The next excavation, in 1972, led to the discovery of three artifacts within the lake.^[21]Previously, in 1971, five artifacts in the form of bronze statuettes were accidentally recovered from the site.^[22]

The last significant excavation of the lake was done in 2003. Eight trenches were dug into the lake center.^[23] Within the trenches, among the artifacts found were bronze statuettes, fragments of bronze weaponry, « two pieces of gold foil shaped into bull-headed protomes » and « two polychromebeads« .^[24] « In addition to the objects named above, other finds include nails, spear points, ceramics (including an intact bucchero grigio miniature cup), arrows and aes rude. » These artifacts were mostly dated between the 6th–5th centuries BCE.^[25]

Following the 2003 excavations, local authorities began rehabilitating the lake. In 2007, the lake was refilled using water from a nearby spring.^[26] Vegetation surrounding the lake was replanted to mimic its original form during the Etruscan period, using pollen samples recovered from the surrounding layers of earth.^[27]

Hydrology

The lake is widely perceived to be a pond, due to lack of inflow from any bodies of water, i.e. rivers and streams. Research done at the University of Florence – Faculty of Engineering suggests that there exists an underground spring that provides a continuous stream of water to the lake.^[28] It appears that the lake is sinkhole-like, sitting atop layers of sandstone.^[29]

Cultural impact

The lake and its history was heavily incorporated into the plot of the 2013 film Neverlake.^[30][31]

References

1. Jump up^ InEtruria.it: « The Lake of Idols is about 1380 metres above sea level on the southern slope of Monte Falterona (1654 metres) near to the sources of the Arno, approximately 600 metres more to the north-west (1358 metres). »
2. Jump up^ Il lago sacro: « Passava da questo zona una importante viabilità che collegava l’Etruria toscana e umbra alle zone dell’attuale Romagna e relativi porti adriatici (viabilità utilizzata anche in epoca romana e per tutto il medioevo. »
3. Jump up^ Caselli 2004, pp. 78–79: « Well in excess of 600 Etruscan and Roman bronze figurines, up to 60 cm in height, were found buried in the mud, together with thousands of other artifacts, coming from a wide area of Etruria, Cisalpine Gaul, and Umbria. »
4. Jump up^ Ferrini & Arrivo al Lago degli Idoli: « Eccoci al Lago degli Idoli, fino al 1838 Lago della Ciliegeta per le molte piante di ciliegio che qui erano presenti. »
5. Jump up^ Caselli 2004, p. 78: « Proceeding due south for about 1 km, a little above our path, we should be able to find the little, now refilled, basin of the famous Lago degli Idoli (Lake of the Idols), once known as Buca del Tesoro (the Treasure Hole) or Lago delle Ciliegeta (the Cherry Grove Lake). »
6. Jump up^ Meyers 2008: « The volume includes an interesting archaeological discussion by Alfredo Bresciani on Carbon-14 dating and dendochronology, which have been used to determine that the lake formed naturally c. 6000 years ago »
7. Jump up^ Caselli 2004, p. 79: « People gathered at the pond which they regarded as the holy spring of the river-gods embracing the country of Etruria. The waters of the pond, containing a high quantity of tannin, were also a strong disinfectant […] »
8. Jump up^ Salsini: For centuries, people in the area believed that if an earthquake awakened the god, they would all be drowned. The Etruscans, in fact, threw thousands of small bronze statues, depicting people and animals, into a lake, called Lake of the Idols, to keep the god happy.
9. Jump up^ Marie-Bénédicte: « […] nearly 2,000 fragments of weapons and of depictions of the human body (heads, trunks, arms, legs, etc.); and a few coins. »
10. Jump up^ Ferrini & Il lago sacro: « Tra il 1838 e 39 furono portati alla luce migliaia di reperti tra cui oltre seicento bronzetti, un migliaio di Aes Rude (la prima monetazione etrusca), circa 2000 punte da freccia e molti frammenti di ceramica. »
11. Jump up^ InEtruria.it: « This is highlighted by the existence in the votive offering of Hercle of Greek manufacture. It can be hypothesized that this offering was mainly associated with « soldiers » both on account of the statuette of Hercle (god connected to heroism and also to war) and that of the Warrior, not to mention the huge quantity of arrows. »
12. Jump up^ Pancani & Tocchi 2012, p. 2: « The finds dated from the middle of the VI and the late IV century BC […] »
13. ^ Jump up to:^a b c Pancani & Tocchi 2012, p. 2: « The Lake of Idols was discovered by chance in May 1838, the accidental discovery of a bronze statue of Heracles was followed by more in-depth investigations in the area and the excavations, which began in June of the same year, brought to light more than 600 figurines and thousands of other artifacts. »
14. Jump up^ Perhaps this one
15. Jump up^ Ferrini & Un lago sacro: « Casualmente in quell’anno una mandriana rinvenne sulla sponda del lago una statuetta bronzea raffigurante Eracle (oggi conservata nel British Museum di Londra). »
16. Jump up^ InEtruria.it: « In Stia, a company was formed by a group of local amateurs, who started a dig (1838-‘39).
17. Jump up^ InEtruria.it: « A few days later, due to the formidable amount of excavated material, it was decided to dry the lake. »
18. Jump up^ 8 pieces in the British Museum
19. Jump up^ Caselli 2004, p. 79: « In 1842, secretary E. Braun, presented the finds to scholars in the hall of the Archaeological Institute of Rome. Since no public authority considered buying any of the finds, they were at once sold to a private buyer who, in his turn, sold them to various museums including the Museums of Berlin, the British Museum, the Louvre, the Boston Museum and the Hermitage. »
20. Jump up^ Caselli 2004, p. 79: « The extensive excavations, carried out from the summer of 2003 on-wards, demonstrated that the basin had been all but cleared of every possible interesting relic by generations of treasure hunters. »
21. Jump up^ Meyers 2008, pp. 175–176: « In 1972 three new bronze pieces were found at the same site, inspiring further excavation in the area.
22. Jump up^ InEtruria.it: « In 1971, five statuettes were found by chance. »
23. Jump up^ Meyers 2008, p. 176: « Following the history and catalog of earlier excavations at the site of the Lago degli Idoli, Fedeli provides a brief account of the 2003 campaign. Based on information from the earlier work on the site, eight trenches were opened in the center of the ancient basin.
24. Jump up^ Meyers 2008, p. 176: « Several trenches yielded substantial deposits of archaeological finds—one in particular producing bronze votive statuettes, bronze heads, fragments of bronze weapons, two pieces of gold foil shaped into bull-headed protomes and two polychrome beads. »
25. Jump up^ Meyers 2008, p. 176: « Most of the finds are datable to sixth-fifth centuries B.C.[…] »
26. Jump up^ Ferrini & Il lago sacro: « Ultimati gli ultimi scavi, a fine 2007 la conca è stata riempita con l’acqua di una vicina sorgente. »
27. Jump up^ Caselli, p. 78: « The local authority and the Park authority have now refilled the anciend[sic] lake bed and are now replanting the origi-nal vegetation of the Etruscan period, as has been extrapolated by studying the pollen in the va-rious excavation layers. »
28. Jump up^ InEtruria.it: « As to the widely debated origin of the lake, a hypothesis was recently formulated by a team of researchers and scholars of the Engineering Faculty of Florence University. Research, analyses and hydrogeological studies revealed that the lake originated from an underground spring capable of keeping up a constant flow of water.
29. Jump up^ InEtruria.it: « From research conducted, it turns out that the rocks in which the lake formed consist of layers of sandstone belonging to a « pseudo-doline ». »
30. Jump up^ Keats-Shelley House 2013: « Paoletti chose a place full of charm and mystery, ‘The Lake of the Idols’, a Tuscan location renowned for many discoveries of ancient Etruscan artifacts in its depths. »
31. Jump up^ Hough 2014: « The setting is the historic « Lake of the Idols, » which was beheld by ancient Etruscans as a place of healing and mysticism. It was believed that one could escape sickness by tossing objects into the center of the waters, and for thousands of years, artifacts have been discovered at the lake. »

Sources

• Caselli, Giovanni (2004), The Casentino History Anthropology Environment, Le Balze, ISBN 88-7539-035-5, retrieved 12 June 2015
• Salsini, Paul, A Tuscan Trilogy: The Flood of Florence, November 4, 1966, retrieved 12 June 2015
• Lago degli Idoli, InEtruria.it, retrieved 12 June 2015
• Pancani, Giovanni; Tocchi, Marco (November 2012), The archaeological area of Pieve a Socana (Tuscany – Italy) (PDF), Vienna: Museen der Stadt Wien – Stadtarchäologie, ISBN 978-3-200-03281-1, retrieved 12 June 2015
• Marie-Bénédicte, Astier, Lago degli Idoli, Louvre Museum, retrieved 12 June 2015
• Ferrini, Alessandro, Arrivo al Lago degli Idoli [Arriving at the Lake of the Idols] (in Italian), Il bel Casentino, retrieved 12 June 2015
• Ferrini, Alessandro, Il lago sacro [The Sacred Lake] (in Italian), Il bel Casentino, retrieved 12 June 2015
• Meyers, Gretchen E. (1 January 2008), « Review of M. Ducci, ed., Santuari Etruschi in Casentino », Etruscan Studies: Journal of the Etruscan Foundation, University of Massachusetts Amherst, 11: 175–177, ISBN 978-0-9819692-1-3, retrieved 12 June 2015
• Neverlake, a new psychological thriller inspired by Shelley’s poetry, Keats-Shelley House, 20 December 2013, retrieved 12 June 2015
• Hough, Quinn Vincent (13 May 2004), Movie Review: Neverlake (2013), Critical Movie Critics, retrieved 12 June 2015

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

British Museum

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

Hermitage Museum

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

Louvre

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

Giacobbe Giusti, MONTE FALTERONA, ‘IL LAGO DEGLI IDOLI’

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

 

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

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

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

http://www.toscana.beniculturali.it/articoli/acque-sacre-culto-etrusco-sullappennino-toscano

http://www.giacobbegiusti.com

https://en.wikipedia.org/wiki/Foreste_Casentinesi,_Monte_Falterona,_Campigna_National_Park

Giacobbe Giusti, DUCCIO di BUONINSEGNA: Madonna with Child

Giacobbe Giusti, DUCCIO di BUONINSEGNA: Madonna with Child

Madonna with Child – Tempera and gold on wood, Museo d’arte sacra della Val d’Arbia,Buonconvento, near Siena

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

http://www.giacobbegiusti.com

Giacobbe Giusti, Cappella della Madonna di Vitaleta

Giacobbe Giusti, Cappella della Madonna di Vitaleta

Giacobbe Giusti, Cappella della Madonna di Vitaleta

Giacobbe Giusti, Cappella della Madonna di Vitaleta

Giacobbe Giusti, Cappella della Madonna di Vitaleta

Giacobbe Giusti, Cappella della Madonna di Vitaleta

 Chiesa della Madonna di Vitaleta.

Giacobbe Giusti, Cappella della Madonna di Vitaleta
Esterno
Stato	Italia
Regione	Toscana
Località	San Quirico d’Orcia
Religione	cattolica
Arcidiocesi	Siena-Colle di Val d’Elsa-Montalcino
Consacrazione	1590
Stile architettonico	Rinascimentale

La cappella della Madonna di Vitaleta è un edificio sacro che si trova nella località rurale di Vitaleta, nel territorio comunale di San Quirico d’Orcia, in provincia di Siena. La chiesa, di proprietà privata, è inclusa nel territorio dell’Arcidiocesi di Siena-Colle di Val d’Elsa-Montalcino.

Storia

La chiesa, di probabile origine tardo-rinascimentale, è ricordata per la prima volta in un documento del 1590.

L’edificio religioso venne in seguito riprogettato sia esternamente che internamente dall’architetto Giuseppe Partini nel 1884, ispirandosi a modelli cinquecenteschi.

Da essa proviene la statua della Madonna attribuita ad Andrea della Robbia, dal 1870 in poi conservata all’interno della chiesa della Madonna di Vitaleta nel centro storico di San Quirico d’Orcia, che si dice acquistata nel 1553 in una bottega a Firenze.

Descrizione

Giacobbe Giusti, Cappella della Madonna di Vitaleta

Madonna di Andrea della Robbia, originariamente posta nella cappella

Giacobbe Giusti, Cappella della Madonna di Vitaleta

Chiesetta della Madonna di Vitaleta

La cappella della Madonna di Vitaleta si trova su una strada sterrata che porta da Pienza a San Quirico d’Orcia ed è posta sotto tutela dall’UNESCO.

L’edificio religioso si presenta ad aula unica, con la facciata principale rivestita in pietra di Rapolano che si caratterizza per un piccolo rosone che si apre al di sopra del portale architravato; lateralmente, la stessa facciata è delimitata da lesene, una a destra e l’altra a sinistra, sulle quali poggia il frontonesommitale, nel cui timpano è collocato uno stemma gentilizio.

Le facciate laterali sono rivestite in pietra, così come la parte posteriore dell’edificio religioso alla cui sommità si eleva un campanile a vela con due celle campanarie contigue ad arco tondo.

•  cappella della Madonna di Vitaleta

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

http://www.giacobbegiusti.com

Giacobbe Giusti, CIMABUE: Crucifix d’Arezzo

Giacobbe Giusti, CIMABUE: Crucifix d’Arezzo

Giacobbe Giusti, CIMABUE: Crucifix d’Arezzo

Giacobbe Giusti, CIMABUE: Crucifix d’Arezzo

 

Giacobbe Giusti, CIMABUE: Crucifix d’Arezzo

 

Giacobbe Giusti, CIMABUE: Crucifix d’Arezzo

 

Giacobbe Giusti, CIMABUE: Crucifix d’Arezzo

Giacobbe Giusti, CIMABUE: Crucifix d’Arezzo

église San Domenico

 

Giacobbe Giusti, CIMABUE: Crucifix d’Arezzo

église San Domenico

 

Giacobbe Giusti, CIMABUE: Crucifix d’Arezzo

Annonciation de Spinello Aretino

 

Giacobbe Giusti, CIMABUE: Crucifix d’Arezzo

 Giacobbe Giusti, CIMABUE: Crucifix d’Arezzo

Artiste	Cimabue
Date	1265-1268
Type	Tempera et or sur bois
Dimensions (H × L)	336 × 267 cm
Localisation	église Saint-Dominique, Arezzo(Italie)

Le Crucifix d’Arezzo est un grand crucifix peint en tempera et or sur bois, réalisé vers 1265-1268 par Cimabue. Il figure sur le maître-autel de l’église Saint-Dominique d’Arezzo.

Histoire

Avant de partir pour Rome, et à la suite d’une commande des Dominicains d’Arezzo, Cimabue jeune réalise un premier¹ grand crucifix destiné à l’autel de l’église Saint-Dominique.

Il ne lui est définitivement attribué qu’en 1927 par Pietro Toesca.

Description

Se distanciant de la manière gothique (Christus triumphans) déjà entamée par la manière byzantine(Christus patiens), le crucifix d’Arezzo engage les innovations de la représentation du Christus dolens, initiée par les primitifs italiens, humanisant leurs peintures en suivant les nouveaux préceptes des ordres franciscain et dominicain.

Le Christ se doit d’être alors représenté mort, souffrant sur la croix (et non plus triomphant ou résigné) :

• La tête baissée sur l’épaule,
• les yeux fermés soit absents, énucléés (orbites vides),
• marques de douleur sur le visage,
• la bouche est incurvée vers le bas,
• les plaies sont saignantes (mains, pieds et flanc droit),
• Le corps tordu déhanché, arqué dans un spasme de douleur, subissant son poids terrestre,
• schématisation des muscles et des côtes.

Le crucifix comporte des scènes annexes des extrémités de la croix (tabellone) :

• à gauche : Marie en buste, pleurant,
• à droite : Jean en buste, pleurant,
• en haut sur la cimaise : vide à fond rouge (inscription INRI effacée) ; au-dessus tondo rajouté par un autre artiste.
• en bas (le soppedaneo) : vide sous les pieds séparés et saignants,
• les flancs latéraux du Christ sont décorés de motifs géométriques.

Particularités stylistiques

• le périzonium reste rouge et opulent, brodé d’or (il deviendra diaphane sur son grand crucifix suivant suivant, celui de Santa Croce).

Notes et références

1. ↑ Le suivant est celui de Santa Croce

https://fr.wikipedia.org/wiki/Crucifix_d%27Arezzo_(Cimabue)

http://www.giacobbegiusti.com

Giacobbe Giusti, Andrea del Verrocchio: Madonna with seated Child

Giacobbe Giusti, Andrea del Verrocchio: Madonna with seated Child

Life

Verrocchio was born in Florence in around 1435. His father, Michele di Francesco Cioni, initially worked as a tile and brick maker, then later as a tax collector. Verrocchio never married, and had to provide financial support for some members of his family. He was at first apprenticed to a goldsmith. It has been suggested that he was later apprenticed to Donatello, but there is no evidence of this and John Pope-Hennessy considered that it is contradicted by the style of his early works. It has been suggested that he was trained as a painter under Fra Filippo Lippi.^[1] Little is known about his life. His main works are dated in his last twenty years and his advancement owed much to the patronage of Lorenzo de’ Medici and his son Piero. His workshop was in Florence where he was a member of the Guild of St Luke. Several great artists like Leonardo da Vinci and Lorenzo di Credipassed through his workshop as apprentices; beyond this, artists like Domenico Ghirlandaio, Francesco Botticini, and Pietro Perugino were also involved and their early works can be hard to distinguish from works by Verrocchio.^[2] At the end of his life he opened a new workshop in Venice where he was working on the statue of Bartolomeo Colleoni, leaving the Florentine workshop in charge of Lorenzo di Credi. He died in Venice in 1488.^[3] The name has gradually evolved into the name Verrochi. Andrea is also the several generation grandfather of Italian entrepreneur, Paul M. Verrochi.

Giacobbe Giusti, Andrea del Verrocchio: Madonna with seated Child

Madonna with seated Child(Gemäldegalerie, Berlin)

A painting of the Madonna with seated child in temperaon panel (now in the Berlin State Museums, Gemäldegalerie) is considered an early work of 1468-70.^[5]

 

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

http://www.giacobbegiusti.com