renaisance

2

The authors of mythological compendia seem to confirm Andromeda’s whiteness, or at least do not contradict it.

But one writer, the greatest of all mythographers, Ovid, indicated quite the opposite: in the Heroides and no less than three times in the Arsamandihe referred to her dark skin. The later fate of this black Andromeda is my theme.

For she was not unnoticed by Renaissance readers of Ovid and came to the attention of at least a few artists, three of whom saw fit to illustrate as black the beautiful woman who captivated Perseus when he saw her chained to the rock.

The Black Andromeda
Author(s): Elizabeth McGrath
Source: Journal of the Warburg and Courtauld Institutes, Vol. 55 (1992), pp. 1-18 Published by: The Warburg Institute
Stable URL: http://www.jstor.org/stable/751417

I was also able to find this pdf hosted online where you can read the whole thing for free. I highly recommend it!

2

The Hunt of the Unicorn Renaissance Tapestry 1495-1505

This seven piece collection purchased by John D. Rockefeller Jr. in 1922 now resides in the Cloisters, which is the Metropolitan Museum of Art’s medeival collection. These tapestries are known for their vibrant colours and depiction of a common theme through out medeival and renaissance art. Here are two pictures of the beginning of the hunt. The Hunters entering the forest, and the spotting of the Unicorn. The intricate floral designs and inclusion of extra animals was used to heighten the aesthetic pleasure of the tapestry as well as demonstrate the skill and devotion of the weavers.

8

By Anne Leader

Work on the tribune of Santa Maria delle Grazie in Milan began on 29 March 1492. Commissioned by Duke Ludovico Sforza to serve as a family mausoleum, Donato Bramante designed an expanded east end for the preexisting Dominican church built by Guiniforte Solari in the mid-fifteenth century. Bramante’s plan derives from the scheme invented by Filippo Brunelleschi for the burial chapel of Giovanni di Bicci de’Medici, which also served as the sacristy, at San Lorenzo in Florence. A large cubed space is crowned with a hemispherical dome that sits on pendentives. Bramante expanded Brunelleschi’s original design by opening the sides of the space with apses on three sides. There are numerous derivatives of the Medici sacristy, which came to be associated with wealth and power, in various centers around Italy, including the Portinari Chapel at Sant’Eustorgio, also in Milan.

Reference; Paul Davies and David Hemsoll. “Bramante, Donato.” Grove Art Online. Oxford Art Online. Oxford University Press. <http://www.oxfordartonline.com/subscriber/article/grove/art/T010847>.