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Bottoms Up
Great evidence that this 16th century book of ancient history was not always stored spine-out! The author, title, and a location/item number (68) appear on the lower edge of the text block. Because we are so used to storing books vertically now, the pretty lettering in this location makes it feel like you’ve found a secret message.
Pieter Bruegel the elder - “I am touchy and out of my senses bull-headed, so I bang my head against a brick wall”, from “Twelve proverbs”, 1558.
The Tragedy of Julius Caesar, Act I Scene: 2
Soothsayer. Caesar! Caesar. Ha! who calls? Casca. Bid every noise be still: peace yet again! Caesar. Who is it in the press that calls on me? I hear a tongue, shriller than all the music, Cry ‘Caesar!’ Speak; Caesar is turn’d to hear. Soothsayer. Beware the ides of March. Caesar. What man is that? Brutus. A soothsayer bids you beware the ides of March. Caesar. Set him before me; let me see his face. Cassius. Fellow, come from the throng; look upon Caesar. Caesar. What say'st thou to me now? speak once again. Soothsayer. Beware the ides of March. Caesar. He is a dreamer; let us leave him: pass.
( Sculpture: Andrea di Pietro di Marco Ferrucci c. 1512-1514, Julius Caesar)
Every Halloween, people of all ages transform themselves into an array of characters and creatures for an evening of festivities. However, costumes are not a new occurrence in modern culture. The Renaissance courts often hosted masques, a magnificent stage show with music, singing, and dancing for visiting princes or honored guests. Courtiers and even kings often took part with non-speaking roles. All performers and participants wore costumes specifically designed by a distinguished artist for the event. The costumes could represent anything from a historic figure to an allegory. Above are 16th century costume designs by Italian artist, Giuseppe Arcimboldo.
In order:Geometry, Knight, Cook, Music, Astronomy, Headdress design
Portrait of Princess Sibylle of Cleve by Lucas Cranach the Elder, 1526 (details)
Inside Monastery of Vallbona de les Monges (Ponent, Catalonia). The monastery was founded in the year 1055, and most of what we see nowadays was built between the 12th and 14th centuries.
Phot by gosia_siudzinska on instagram.
Symbols in Renaissance Art
Lilies: Found almost exclusively in annunciation scenes, the lily symbolizes Mary’s purity. In some accounts the golden anthers in the center of the flower represent the “radiance of her soul”.
Happy Sunday! Today, I went to the National Gallery for the first time in over a year to see some old favorites. Raphael, Van Eyck, and Titian oh my.
On January 26, 1564, Pope Pius IV ratified the decrees issued by the Council of Trent via the Papal Bull, Benedictus Deus. The Council, convened between 1545-1563 in the town of Trento, Italy, was the Catholic Church’s resolute, albeit delayed, response to the wildfire spread of Protestantism throughout Europe. Over 30 years prior, Martin Luther nailed his 95 Theses to the door of Wittenberg Cathedral, sparking the first upheaval of Church power in history. By committing to implement reforms against corruption, a missing feature from prior gatherings, the Council solidified Church doctrine in the wake of the Reformation and significantly improved relations with their followers.
Faithful in the ongoing glory of the Church, Cati’s fresco depict a triumphant scene of an allegorical figure of the Church being crowned in a papal tiara by the virtues as the Council diligently debates in the background. The globe placed at the top of the stairs shows Europe, Africa, and Asia, revealing ambitions to expand the faith beyond Europe. This goal was already underway. The first Catholic missionaries, led by Francis Xavier, arrived in Japan by 1549. The Council of Trent’s publications and the efforts of the Catholic Church to combat the further spread of Protestantism and the resulting Catholic resurgence is today known as the Counter-Reformation.
(Painting: Pasquale Cati c. 1588, The Council of Trent)
Henry VIII’s pendants in portraits by Hans Holbein the Younger
Renaissance Art: Fathers and Children
Happy Father’s Day!
The night of June 7, 1525 Albrecht Durer had an apocalyptic dream of a great flood destroying the world. Shaken by the experience, he painted this scene the following morning. Durer’s distress over this vision was not unusual considering the time. The early years of the Reformation brought violence, rebellion, and intense religious anxiety. In 1525 Germany was in the midst of a violent peasant revolt, and there was mounting fear among some that a flood would soon end the world. Below is a translation of the text.
“In 1525, during the night between Wednesday and Thursday after Whitsuntide, I had this vision in my sleep, and saw how many great waters fell from heaven. The first struck the ground about four miles away from me with such a terrible force, enormous noise and splashing that it drowned the entire countryside. I was so greatly shocked at this that I awoke before the cloudburst. And the ensuing downpour was huge. Some of the waters fell some distance away and some close by. And they came from such a height that they seemed to fall at an equally slow pace. But the very first water that hit the ground so suddenly had fallen at such velocity, and was accompanied by wind and roaring so frightening, that when I awoke my whole body trembled and I could not recover for a long time. When I arose in the morning, I painted the above as I had seen it. May the Lord turn all things to the best.”
