Diane Ahl - Academia.edu (original) (raw)
Papers by Diane Ahl
Journal of Interdisciplinary History, 1991
Journal of Interdisciplinary History, 1994
The theme of these lectures might be introduced by re-reading a monument that stands at the head ... more The theme of these lectures might be introduced by re-reading a monument that stands at the head of so many of our histories of Renaissance art, the Old Sacristy of San Lorenzo, looking particularly at a part of it that is generally passed by, even though it stands at its very centre and is in large measure the reason for its very existence (fig. 2). The Old Sacristy was planned, as a sacristy, in about 1418, and then, or very soon after, it was also intended to be the mausoleum of Giovanni de' Medici and his wife, Piccarda. Giovanni was the banker who, more than any other, was responsible for seizing for Florence the papal account. And Giovanni was also the man who, more than any other. made his junior branch of the large Medici family, the so-called branch of Cafaggiolo, economically and politically the dominant one. 1 The tomb, in the sense of a repository for the bodies, is in a crypt to which there is access through two circular stone covers decorated with the Medici palle near the centre of the Sacristy's floor. But the tomb, in the sense of a visible monument, stands at the centre, too. It takes the form of a sarcophagus, set beneath a large marble table (fig. 3). This table is not, as is often said, an altar, but it is functional in the sacristy, serving as the necessary working surface on which vestments for the Office are laid and liturgical books and utensils prepared. Table and sarcophagus together, however, are the monument, and the whole monument follows a type (with sarcophagus beneath altar table) normally reserved for the bodies of saints and beati. One example is the tomb of San Cerbone, 1324, which is at once tomb and high altar in the Duomo at Massa Maritima. 2 The centralized Medici tomb seems not to have been begun before Giovanni's death in February 1429, and the spective view itself has been well recognized, notably by R. Munman, "Optical Corrections in the Sculpture of Donatello," Transactions of the American Philosophical Society lxxv (1985), Part 2, pp. 31-33.
Quaderni D Italianistica, Oct 1, 1999
Recensioni ing array of motifs and situations. Yet, despite its heterogeneity, the poem holds tog... more Recensioni ing array of motifs and situations. Yet, despite its heterogeneity, the poem holds together well and works. Under Parker's scrutiny^1 1 piato' serves as an illustration of Bronzino's fecund allegorical imagination, pointing the way to how the artist handles
Confraternitas, Jul 1, 2000
This collection of eleven interdisciplinary essays deals with confraternal patronage of the visua... more This collection of eleven interdisciplinary essays deals with confraternal patronage of the visual arts in Renaissance Italy. The quality and broad range of the
... 16 Orlandi, op. cit. (see n. 7), 1964, p. 55 f. For the most comprehensive discussion of San ... more ... 16 Orlandi, op. cit. (see n. 7), 1964, p. 55 f. For the most comprehensive discussion of San Domenico's reconstruction, see N. Fabbrini, Vita del Beato Cappucci, Siena 1893, p. 59 ff., and the briefer accounts of Mor?ay, op. cit. (see ... See those cited in Fabbrini and Mor?ay, above. ...
Sixteenth Century Journal, 1997
Encyclopedia of the Bible Online
Source: Notes in the History of Art, 1983
Artibus Et Historiae an Art Anthology, 1986
Page 1. DIANE COLE AHL ... I am grateful to Gino Corti; Yvonne Lanhers; Father Joseph Schnaubelt,... more Page 1. DIANE COLE AHL ... I am grateful to Gino Corti; Yvonne Lanhers; Father Joseph Schnaubelt, OSA, Director of the Augustinian Historical Institute at Villanova University; the staff at the Biblioteca Comunale in San Gimignano; Father James K. Farge, CSB; Ailsa Turner; and ...
Journal of Interdisciplinary History, 1991
Journal of Interdisciplinary History, 1994
The theme of these lectures might be introduced by re-reading a monument that stands at the head ... more The theme of these lectures might be introduced by re-reading a monument that stands at the head of so many of our histories of Renaissance art, the Old Sacristy of San Lorenzo, looking particularly at a part of it that is generally passed by, even though it stands at its very centre and is in large measure the reason for its very existence (fig. 2). The Old Sacristy was planned, as a sacristy, in about 1418, and then, or very soon after, it was also intended to be the mausoleum of Giovanni de' Medici and his wife, Piccarda. Giovanni was the banker who, more than any other, was responsible for seizing for Florence the papal account. And Giovanni was also the man who, more than any other. made his junior branch of the large Medici family, the so-called branch of Cafaggiolo, economically and politically the dominant one. 1 The tomb, in the sense of a repository for the bodies, is in a crypt to which there is access through two circular stone covers decorated with the Medici palle near the centre of the Sacristy's floor. But the tomb, in the sense of a visible monument, stands at the centre, too. It takes the form of a sarcophagus, set beneath a large marble table (fig. 3). This table is not, as is often said, an altar, but it is functional in the sacristy, serving as the necessary working surface on which vestments for the Office are laid and liturgical books and utensils prepared. Table and sarcophagus together, however, are the monument, and the whole monument follows a type (with sarcophagus beneath altar table) normally reserved for the bodies of saints and beati. One example is the tomb of San Cerbone, 1324, which is at once tomb and high altar in the Duomo at Massa Maritima. 2 The centralized Medici tomb seems not to have been begun before Giovanni's death in February 1429, and the spective view itself has been well recognized, notably by R. Munman, "Optical Corrections in the Sculpture of Donatello," Transactions of the American Philosophical Society lxxv (1985), Part 2, pp. 31-33.
Quaderni D Italianistica, Oct 1, 1999
Recensioni ing array of motifs and situations. Yet, despite its heterogeneity, the poem holds tog... more Recensioni ing array of motifs and situations. Yet, despite its heterogeneity, the poem holds together well and works. Under Parker's scrutiny^1 1 piato' serves as an illustration of Bronzino's fecund allegorical imagination, pointing the way to how the artist handles
Confraternitas, Jul 1, 2000
This collection of eleven interdisciplinary essays deals with confraternal patronage of the visua... more This collection of eleven interdisciplinary essays deals with confraternal patronage of the visual arts in Renaissance Italy. The quality and broad range of the
... 16 Orlandi, op. cit. (see n. 7), 1964, p. 55 f. For the most comprehensive discussion of San ... more ... 16 Orlandi, op. cit. (see n. 7), 1964, p. 55 f. For the most comprehensive discussion of San Domenico's reconstruction, see N. Fabbrini, Vita del Beato Cappucci, Siena 1893, p. 59 ff., and the briefer accounts of Mor?ay, op. cit. (see ... See those cited in Fabbrini and Mor?ay, above. ...
Sixteenth Century Journal, 1997
Encyclopedia of the Bible Online
Source: Notes in the History of Art, 1983
Artibus Et Historiae an Art Anthology, 1986
Page 1. DIANE COLE AHL ... I am grateful to Gino Corti; Yvonne Lanhers; Father Joseph Schnaubelt,... more Page 1. DIANE COLE AHL ... I am grateful to Gino Corti; Yvonne Lanhers; Father Joseph Schnaubelt, OSA, Director of the Augustinian Historical Institute at Villanova University; the staff at the Biblioteca Comunale in San Gimignano; Father James K. Farge, CSB; Ailsa Turner; and ...