Introduction 'For the Honor of Venice' 1. The Office of Doge and the civic tomb 2. Ruler ... more Introduction 'For the Honor of Venice' 1. The Office of Doge and the civic tomb 2. Ruler of Romani: the tomb of Jacopo Tiepolo by the door of the Dominicans 3. Ruler of Vicitas: the tomb of Marino Morosini in Mark's vestibule 4. Ruler of the seas, triumphant in Civitas: the tomb of Ranieri Zeno at SS. Giovanni e Paolo 5. Who rules Christ's Relam? 6. The thaumaturgical ruler in the baptistery: the tomb of Giovanni Soranzo in San Marco 7. The Doge and the Franciscans: the tomb of Francesco Dandolo in the Chapter House of the Frari 8. Ducal tombs in the divine plan: Andrea Dandolo's program for San Marco 9. Epilogue: the choir of SS. Giovanni e Paolo as Mausoleum of the Doges: ducal tomb display in a Patrician context Appendices List of illustrations Bibliography.
RACAR, revue d'art canadienne, Canadian art review, 1978
Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l'
Giovanni Bellini's signatures have been discussed in terms of artistic identity. But there is... more Giovanni Bellini's signatures have been discussed in terms of artistic identity. But there is another side to the topic that has received relatively little attention. Bellini was formed within a climate of passionate involvement with letter forms, both antique and those developed within the active book production of Renaissance Venice. Analyzed here are the specific forms of the letters used by Bellini in his signatures, concentrating on the italic, or cursive, signature. This signature type emerges rather late in Bellini's career, first seen — it is argued here — in Bellini's portrait of Pietro Bembo in the Royal Collection of Her Majesty the Queen. The connection between Pietro Bembo and Aldus Manutius, the publishing genius who put cursive letters in the service of a new type of humanist book, is seen as a key component of the dynamic that led to the change in Bellini's signature style.
RACAR, revue d'art canadienne, Canadian art review, 1988
Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l'
The signatures of Venetian painters have been the subject of considerable interest in recent year... more The signatures of Venetian painters have been the subject of considerable interest in recent years, but relatively little attention has been paid to the epigraphic -carved- signatures of Venetian Renaissance sculptors. Under examination here is a group of signatures from the Lombardo workshop, the most important sculptural workshop in Venice in the years before Sansovino, covering the period from approximately 1470 into the early 1520s. The focus is on the signatures of Pietro Lombardo and his son Tullio. Issues under consideration include the models provided by the calligraphers of Venice's bourgeoning book culture and the importance of contact with antique Roman inscriptions, either at first hand or through inscription albums.
... Rizzo (also referred to in the documents as Ricio or Rizo), although a key fig-ure in the Pal... more ... Rizzo (also referred to in the documents as Ricio or Rizo), although a key fig-ure in the Palazzo Ducale workshop from the 1480's through 1499,9 virtually disappeared from art historical literature during the sixteenth through eighteenth centuries. ...
The University of British Columbia Fine Arts Gallery eBooks, 1979
Describing these works as accretions, Pincus outlines Morgan's career and describes her mater... more Describing these works as accretions, Pincus outlines Morgan's career and describes her materials and processes. Includes a brief introduction by curator Allison.
Often excoriated as “the infamous Fourth Crusade,” the crusade was proclaimed by Pope Innocent II... more Often excoriated as “the infamous Fourth Crusade,” the crusade was proclaimed by Pope Innocent III in 1198, another attempt to bring lands of the East back into the Christian fold. It has a dramatic history quite unlike that of the others. After a drawn-out series of negotiations that has engendered several books of its own, the original plan to attack Egypt as a step on the way to Jerusalem fell by the wayside. The crusader troops finally set sail from Venice in 1202. Diverted— largely, it has been argued, due to Venetian maneuvering—the galleys went to Zara to secure the Venetian hold on the city, arriving in 1204 at the gates of Constantinople. Here were riches of an almost unimaginable splendor, the most famous relics of Christendom. Perry lays out the stages of acquisition. The first wave of greedy and chaotic pillaging in which churches were ruthlessly stripped of value comes across vividly in eyewitness reports such as the impassioned denunciation by the Greek historian Niketas Choniates. This was followed by a more orderly appropriation and then the slow, steady export of precious relics to the West during the period of the Latin Kingdom of Constantinople, 1204–64. Gifts of relics were made to powerful Western rulers, one major example being the gift of the Crown of Thorns in 1239 by Baldwin II, installed as the Latin emperor of Constantinople, to his cousin, Louis IX, king of France—a relic later to be extravagantly enshrined in the Sainte-Chapelle in Paris. Reactions to the despoiling of the treasures of Constantinople were immediate and harsh, especially on the part of Rome.
The University of British Columbia Fine Arts Gallery eBooks, 1986
Pincus introduces the artist's personal and professional history while Allison writes about t... more Pincus introduces the artist's personal and professional history while Allison writes about the expressive and painterly qualities of the work. 13 bibl. ref.
... DEBRA PINCUS ... Atti delle giornate di studio 3-8 maggio 1976 a cura dello Istituto di stori... more ... DEBRA PINCUS ... Atti delle giornate di studio 3-8 maggio 1976 a cura dello Istituto di storia dell'arte dell'Universita di Roma ... A New Hypothesis Regarding the Date, Iconogra-phy, Authorship and Function of His Altarpiece for Old Saint Peter's," Mededelingen van het Nederlands ...
Introduction 'For the Honor of Venice' 1. The Office of Doge and the civic tomb 2. Ruler ... more Introduction 'For the Honor of Venice' 1. The Office of Doge and the civic tomb 2. Ruler of Romani: the tomb of Jacopo Tiepolo by the door of the Dominicans 3. Ruler of Vicitas: the tomb of Marino Morosini in Mark's vestibule 4. Ruler of the seas, triumphant in Civitas: the tomb of Ranieri Zeno at SS. Giovanni e Paolo 5. Who rules Christ's Relam? 6. The thaumaturgical ruler in the baptistery: the tomb of Giovanni Soranzo in San Marco 7. The Doge and the Franciscans: the tomb of Francesco Dandolo in the Chapter House of the Frari 8. Ducal tombs in the divine plan: Andrea Dandolo's program for San Marco 9. Epilogue: the choir of SS. Giovanni e Paolo as Mausoleum of the Doges: ducal tomb display in a Patrician context Appendices List of illustrations Bibliography.
Introduction 'For the Honor of Venice' 1. The Office of Doge and the civic tomb 2. Ruler ... more Introduction 'For the Honor of Venice' 1. The Office of Doge and the civic tomb 2. Ruler of Romani: the tomb of Jacopo Tiepolo by the door of the Dominicans 3. Ruler of Vicitas: the tomb of Marino Morosini in Mark's vestibule 4. Ruler of the seas, triumphant in Civitas: the tomb of Ranieri Zeno at SS. Giovanni e Paolo 5. Who rules Christ's Relam? 6. The thaumaturgical ruler in the baptistery: the tomb of Giovanni Soranzo in San Marco 7. The Doge and the Franciscans: the tomb of Francesco Dandolo in the Chapter House of the Frari 8. Ducal tombs in the divine plan: Andrea Dandolo's program for San Marco 9. Epilogue: the choir of SS. Giovanni e Paolo as Mausoleum of the Doges: ducal tomb display in a Patrician context Appendices List of illustrations Bibliography.
RACAR, revue d'art canadienne, Canadian art review, 1978
Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l'
Giovanni Bellini's signatures have been discussed in terms of artistic identity. But there is... more Giovanni Bellini's signatures have been discussed in terms of artistic identity. But there is another side to the topic that has received relatively little attention. Bellini was formed within a climate of passionate involvement with letter forms, both antique and those developed within the active book production of Renaissance Venice. Analyzed here are the specific forms of the letters used by Bellini in his signatures, concentrating on the italic, or cursive, signature. This signature type emerges rather late in Bellini's career, first seen — it is argued here — in Bellini's portrait of Pietro Bembo in the Royal Collection of Her Majesty the Queen. The connection between Pietro Bembo and Aldus Manutius, the publishing genius who put cursive letters in the service of a new type of humanist book, is seen as a key component of the dynamic that led to the change in Bellini's signature style.
RACAR, revue d'art canadienne, Canadian art review, 1988
Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l'
The signatures of Venetian painters have been the subject of considerable interest in recent year... more The signatures of Venetian painters have been the subject of considerable interest in recent years, but relatively little attention has been paid to the epigraphic -carved- signatures of Venetian Renaissance sculptors. Under examination here is a group of signatures from the Lombardo workshop, the most important sculptural workshop in Venice in the years before Sansovino, covering the period from approximately 1470 into the early 1520s. The focus is on the signatures of Pietro Lombardo and his son Tullio. Issues under consideration include the models provided by the calligraphers of Venice's bourgeoning book culture and the importance of contact with antique Roman inscriptions, either at first hand or through inscription albums.
... Rizzo (also referred to in the documents as Ricio or Rizo), although a key fig-ure in the Pal... more ... Rizzo (also referred to in the documents as Ricio or Rizo), although a key fig-ure in the Palazzo Ducale workshop from the 1480's through 1499,9 virtually disappeared from art historical literature during the sixteenth through eighteenth centuries. ...
The University of British Columbia Fine Arts Gallery eBooks, 1979
Describing these works as accretions, Pincus outlines Morgan's career and describes her mater... more Describing these works as accretions, Pincus outlines Morgan's career and describes her materials and processes. Includes a brief introduction by curator Allison.
Often excoriated as “the infamous Fourth Crusade,” the crusade was proclaimed by Pope Innocent II... more Often excoriated as “the infamous Fourth Crusade,” the crusade was proclaimed by Pope Innocent III in 1198, another attempt to bring lands of the East back into the Christian fold. It has a dramatic history quite unlike that of the others. After a drawn-out series of negotiations that has engendered several books of its own, the original plan to attack Egypt as a step on the way to Jerusalem fell by the wayside. The crusader troops finally set sail from Venice in 1202. Diverted— largely, it has been argued, due to Venetian maneuvering—the galleys went to Zara to secure the Venetian hold on the city, arriving in 1204 at the gates of Constantinople. Here were riches of an almost unimaginable splendor, the most famous relics of Christendom. Perry lays out the stages of acquisition. The first wave of greedy and chaotic pillaging in which churches were ruthlessly stripped of value comes across vividly in eyewitness reports such as the impassioned denunciation by the Greek historian Niketas Choniates. This was followed by a more orderly appropriation and then the slow, steady export of precious relics to the West during the period of the Latin Kingdom of Constantinople, 1204–64. Gifts of relics were made to powerful Western rulers, one major example being the gift of the Crown of Thorns in 1239 by Baldwin II, installed as the Latin emperor of Constantinople, to his cousin, Louis IX, king of France—a relic later to be extravagantly enshrined in the Sainte-Chapelle in Paris. Reactions to the despoiling of the treasures of Constantinople were immediate and harsh, especially on the part of Rome.
The University of British Columbia Fine Arts Gallery eBooks, 1986
Pincus introduces the artist's personal and professional history while Allison writes about t... more Pincus introduces the artist's personal and professional history while Allison writes about the expressive and painterly qualities of the work. 13 bibl. ref.
... DEBRA PINCUS ... Atti delle giornate di studio 3-8 maggio 1976 a cura dello Istituto di stori... more ... DEBRA PINCUS ... Atti delle giornate di studio 3-8 maggio 1976 a cura dello Istituto di storia dell'arte dell'Universita di Roma ... A New Hypothesis Regarding the Date, Iconogra-phy, Authorship and Function of His Altarpiece for Old Saint Peter's," Mededelingen van het Nederlands ...
Introduction 'For the Honor of Venice' 1. The Office of Doge and the civic tomb 2. Ruler ... more Introduction 'For the Honor of Venice' 1. The Office of Doge and the civic tomb 2. Ruler of Romani: the tomb of Jacopo Tiepolo by the door of the Dominicans 3. Ruler of Vicitas: the tomb of Marino Morosini in Mark's vestibule 4. Ruler of the seas, triumphant in Civitas: the tomb of Ranieri Zeno at SS. Giovanni e Paolo 5. Who rules Christ's Relam? 6. The thaumaturgical ruler in the baptistery: the tomb of Giovanni Soranzo in San Marco 7. The Doge and the Franciscans: the tomb of Francesco Dandolo in the Chapter House of the Frari 8. Ducal tombs in the divine plan: Andrea Dandolo's program for San Marco 9. Epilogue: the choir of SS. Giovanni e Paolo as Mausoleum of the Doges: ducal tomb display in a Patrician context Appendices List of illustrations Bibliography.
This material was produced from a microfilm copy of the original document. While the most advance... more This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction.
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