Charles Rosenberg | University of Notre Dame (original) (raw)
Papers by Charles Rosenberg
Mitteilungen Des Kunsthistorischen Institutes in Florenz, 2018
One of Borso d'Este's first acts upon being elected Marchese of Ferrara, Modena and Reggio was to... more One of Borso d'Este's first acts upon being elected Marchese of Ferrara, Modena and Reggio was to grant these cities a reduction in the salt and milling taxes. In no part of his realm was this action met with greater rejoicing than in Adodena. On October 16, 1450, the reductions were announced at a meeting of the Savi, the ruling council of Modena. At this session the Savi decided to celebrate their new Marchese's generosity in three ways: First, the particular decree would be celebrated by a general festival to be an nounced by the joyous ringing of the city's bells. Second, Borso's elevation to Marchese would be commemorated by an annual holiday and procession to be held on October 1, the anniversary of his election. Third, a rnarble statue of Borso would be erected in his honor in the rnain square of the city.1 The history of this projected monument as noted in the records of the Savi of Modena has been published by Giulio Bertoni and Emilio Vicini in an article written in 1905.2 The course of this project as it appears in the Bertoni and Vicini documents is worth reviewing because of the information which it provides about certain technical aspects of Donatello's approach to monumental sculpture. The first entry in the Vacchette, the records of the proceedings of the Savi, notes the October 16 decision to erect the statue.3 The next entry is dated two days later and records that the Savi had requested the Marchese to supply them with an ymagine depicting the manner in which he wished to have himself portrayed in the monument.1 Although in the fifteenth Century the term imago could mean either a drawing or a piece of sculpture 5, it seems safe to assume that the image requested was a two-dimensional representation. In the next entry, dated March 8, 1451, Gerardino della Alolza, one of the A'Iassari of Adodena, presented Donatello de Florentia to the Savi.6 After his introduction, Donatello proceeded to argue two points concerning the projected monument, First, he suggested that it would be better to make the actual statue of bronze, rather than rnarble, since otherwise the pedes would not Support the weight of the figure. Second, he proposed that the statue be fire-gilded in order that it should better endure the hardships of exposure to the elements. Both of these arguments are extremely interesting. First, the Sug gestion concerning the use of bronze rather than rnarble was made not because of any symbolic distinction between the materials, nor on the basis of cost, but rather because of the technical consideration of weight and stress. This may very well explain why most free-standing equestrian monuments produced in the Renaissance were made of metal. It is to be noted, however, that the entry in the Vachetta does not categorically prove that the Modenese intended an equestrian monument. The entry does refer to "feet". However, the monument actually erected in Borso's honor in Ferrara a few years later portrayed the Alarchese seated on a fall stool, which also has "feet". Presumably, lf the Modenese monument was also meant to be a seated image, the problem of stress would also have arisen in relation to the legs of the fall stool. Second, Donatello's proposal that the statue be fire-gilded was likewise conditioned not by an aesthetic or symbolic reason, by the technical consideration of durability. The Savi approved Donatello's plan the following day and designated him as the recipient of the Com mission.7 The contract, entered in the Vachette on March 10, 1451 8, stipulated that Donatello should make the state ad similitudinem et ymaginem ipsius domini et eiusdem altitudinis et grossicionis vel maions pront ipsi Magistro Donatello videbitur ne ex longiori aut altiori prospectu ipsa statua minoris stature videretur ; that Borso should be represented in the clothes and manner which he had mdicated; that the statue should be firegilded; and that the work should be completed within one year. For labor and materials Donatello was to receive a total of 300 gold florins to be paid out as needed, with any sum remaining to be paid at the conclusion of the monument. The terms of this contract are very revealing. First, the specification that the figure be made life-size or larger so that it would not appear to smaller then life-size * I ivould hke to thank Professor Ulrich Middeldorf for his kind advice and assistance with this article.
Renaissance Quarterly, 1976
Renaissance Quarterly, 2012
Nexus Network Journal, 1999
The history of Ferrara and its princes has left a clear and readable imprint on the city's street... more The history of Ferrara and its princes has left a clear and readable imprint on the city's streets, palaces and churches. Written in their stones is the memory of what has gone before. Ferrara was the site of the Nexus 2000 conference on architecture and mathematics, 4-7 June 2000.
The Journal of Modern History, 1986
Renaissance Quarterly, 1976
Although the Este family had traditionally supported numerous monastic foundations, Borso d'E... more Although the Este family had traditionally supported numerous monastic foundations, Borso d'Este's patronage of the Carthusian order is notable in that it introduced a new religious community into Ferrara. The history of the establishment, development, and decoration of the Charterhouse of Ferrara is indicative of the taste, artistic and religious views, and political exigencies which shaped the religious patronage of Borso d'Este, Duke of Ferrara, Modena, and Reggio. At the same time, the specific examples of Borso's monastic patronage are illustrative of the fundamental assumptions underlying fifteenth-century aristocratic support of religious foundations.On April 23,1452, Borso d'Este laid the cornerstone for the Certosa on a site not far from the Este villa of Belfiore and the Dominican Monastery of Santa Maria degli Angeli. By spring 1461, the Monastery was habitable, though not yet complete.
The American Historical Review, 1987
... Piety and patronage in Renaissance Venice: Bellini, Titian, and the Franciscans. Post a Comme... more ... Piety and patronage in Renaissance Venice: Bellini, Titian, and the Franciscans. Post a Comment. CONTRIBUTORS: Author: Goffen, Rona (b. 1944, d. ----. PUBLISHER: Yale University Press (New Haven). SERIES TITLE: YEAR: 1986. PUB TYPE: Book (ISBN 0300034555 ). ...
Renaissance Quarterly, 2019
formulas of great elegance, likely conceived from models in clay, and marked by a knowledge of th... more formulas of great elegance, likely conceived from models in clay, and marked by a knowledge of the modern rules of architecture and of the principles of perspective in round sculpture. This book participates in the current reassessment of sixteenth-century French art, on which one might also consult the recent catalogue Toulouse Renaissance, edited by Axel Hémery and Pascal Julien.
The American Historical Review, 2004
The Art Bulletin, 1979
... of Borso d'Este remains Giu-seppe Pardi, "Borso d&a... more ... of Borso d'Este remains Giu-seppe Pardi, "Borso d'Este, Duca di Ferrara, Modena e Reggio,"Studi storici, ed. Amadeo Crivellucci, xv, 1906 ... In his Diaries, Cicco Simonetta, the secretary of the Duke, Galeazzo Maria Sforza, records the staging of large official functions in ...
The American Historical Review, 1999
An academic directory and search engine.
In 1635, Rembrandt created a small etching depicting the stoning of St. Stephen (B.97). This work... more In 1635, Rembrandt created a small etching depicting the stoning of St. Stephen (B.97). This work is unusual, since, with the exception of a number of etchings depicting St. Jerome, Rembrandt made very few hagiographical prints. An analysis of the ways in which Stephen's martyrdom was represented in the early modern period, as well as its theological and political associations in the Netherlands during the seventeenth century, suggests that Rembrandt's creation of an etching focusing on Stephen's violent death was motivated in part by a desire to critique the continuing conflict between Remonstrant and Counter-Remonstrant factions in the Dutch Republic and stadholder Frederik Hendrik's shifting alliances. Rembrandt's association in the early 1630s with Jan Uytenbogaert, one of the authors of the "Remonstrance", may have encouraged the artist to produce this print.
Renaissance Quarterly, 1977
Page 1. Ave Papa Ave Papabile The Sacchetti Family, Their Art Patronage, and Political Aspiration... more Page 1. Ave Papa Ave Papabile The Sacchetti Family, Their Art Patronage, and Political Aspirations « MU&J3RA Lilian H. Zirpolo Page 2. I Page 3. Publications of the Centre for Reformation and Renaissance Studies Series Editor ...
Emotions, Art, and Christianity in the Transatlantic World, 1450-1800, 2021
Examines Rembrandt's use of emotional content in a score of Rembrandt's well-known etchings withe... more Examines Rembrandt's use of emotional content in a score of Rembrandt's well-known etchings withe special attention to the manner in which confessional boundaries are circumvented and the viewer is encouraged to expand upon the narrative content of the work.
Revaluing Renaissance Art, edited by Gabriele Neher and Rupert Shepherd, 2000
Looks at the issue of the status of artist in the context of Michelangelo's aborted commission fo... more Looks at the issue of the status of artist in the context of Michelangelo's aborted commission for a painting of Leda and the Swan for Alfonso d'Este.
Mitteilungen Des Kunsthistorischen Institutes in Florenz, 2018
One of Borso d'Este's first acts upon being elected Marchese of Ferrara, Modena and Reggio was to... more One of Borso d'Este's first acts upon being elected Marchese of Ferrara, Modena and Reggio was to grant these cities a reduction in the salt and milling taxes. In no part of his realm was this action met with greater rejoicing than in Adodena. On October 16, 1450, the reductions were announced at a meeting of the Savi, the ruling council of Modena. At this session the Savi decided to celebrate their new Marchese's generosity in three ways: First, the particular decree would be celebrated by a general festival to be an nounced by the joyous ringing of the city's bells. Second, Borso's elevation to Marchese would be commemorated by an annual holiday and procession to be held on October 1, the anniversary of his election. Third, a rnarble statue of Borso would be erected in his honor in the rnain square of the city.1 The history of this projected monument as noted in the records of the Savi of Modena has been published by Giulio Bertoni and Emilio Vicini in an article written in 1905.2 The course of this project as it appears in the Bertoni and Vicini documents is worth reviewing because of the information which it provides about certain technical aspects of Donatello's approach to monumental sculpture. The first entry in the Vacchette, the records of the proceedings of the Savi, notes the October 16 decision to erect the statue.3 The next entry is dated two days later and records that the Savi had requested the Marchese to supply them with an ymagine depicting the manner in which he wished to have himself portrayed in the monument.1 Although in the fifteenth Century the term imago could mean either a drawing or a piece of sculpture 5, it seems safe to assume that the image requested was a two-dimensional representation. In the next entry, dated March 8, 1451, Gerardino della Alolza, one of the A'Iassari of Adodena, presented Donatello de Florentia to the Savi.6 After his introduction, Donatello proceeded to argue two points concerning the projected monument, First, he suggested that it would be better to make the actual statue of bronze, rather than rnarble, since otherwise the pedes would not Support the weight of the figure. Second, he proposed that the statue be fire-gilded in order that it should better endure the hardships of exposure to the elements. Both of these arguments are extremely interesting. First, the Sug gestion concerning the use of bronze rather than rnarble was made not because of any symbolic distinction between the materials, nor on the basis of cost, but rather because of the technical consideration of weight and stress. This may very well explain why most free-standing equestrian monuments produced in the Renaissance were made of metal. It is to be noted, however, that the entry in the Vachetta does not categorically prove that the Modenese intended an equestrian monument. The entry does refer to "feet". However, the monument actually erected in Borso's honor in Ferrara a few years later portrayed the Alarchese seated on a fall stool, which also has "feet". Presumably, lf the Modenese monument was also meant to be a seated image, the problem of stress would also have arisen in relation to the legs of the fall stool. Second, Donatello's proposal that the statue be fire-gilded was likewise conditioned not by an aesthetic or symbolic reason, by the technical consideration of durability. The Savi approved Donatello's plan the following day and designated him as the recipient of the Com mission.7 The contract, entered in the Vachette on March 10, 1451 8, stipulated that Donatello should make the state ad similitudinem et ymaginem ipsius domini et eiusdem altitudinis et grossicionis vel maions pront ipsi Magistro Donatello videbitur ne ex longiori aut altiori prospectu ipsa statua minoris stature videretur ; that Borso should be represented in the clothes and manner which he had mdicated; that the statue should be firegilded; and that the work should be completed within one year. For labor and materials Donatello was to receive a total of 300 gold florins to be paid out as needed, with any sum remaining to be paid at the conclusion of the monument. The terms of this contract are very revealing. First, the specification that the figure be made life-size or larger so that it would not appear to smaller then life-size * I ivould hke to thank Professor Ulrich Middeldorf for his kind advice and assistance with this article.
Renaissance Quarterly, 1976
Renaissance Quarterly, 2012
Nexus Network Journal, 1999
The history of Ferrara and its princes has left a clear and readable imprint on the city's street... more The history of Ferrara and its princes has left a clear and readable imprint on the city's streets, palaces and churches. Written in their stones is the memory of what has gone before. Ferrara was the site of the Nexus 2000 conference on architecture and mathematics, 4-7 June 2000.
The Journal of Modern History, 1986
Renaissance Quarterly, 1976
Although the Este family had traditionally supported numerous monastic foundations, Borso d'E... more Although the Este family had traditionally supported numerous monastic foundations, Borso d'Este's patronage of the Carthusian order is notable in that it introduced a new religious community into Ferrara. The history of the establishment, development, and decoration of the Charterhouse of Ferrara is indicative of the taste, artistic and religious views, and political exigencies which shaped the religious patronage of Borso d'Este, Duke of Ferrara, Modena, and Reggio. At the same time, the specific examples of Borso's monastic patronage are illustrative of the fundamental assumptions underlying fifteenth-century aristocratic support of religious foundations.On April 23,1452, Borso d'Este laid the cornerstone for the Certosa on a site not far from the Este villa of Belfiore and the Dominican Monastery of Santa Maria degli Angeli. By spring 1461, the Monastery was habitable, though not yet complete.
The American Historical Review, 1987
... Piety and patronage in Renaissance Venice: Bellini, Titian, and the Franciscans. Post a Comme... more ... Piety and patronage in Renaissance Venice: Bellini, Titian, and the Franciscans. Post a Comment. CONTRIBUTORS: Author: Goffen, Rona (b. 1944, d. ----. PUBLISHER: Yale University Press (New Haven). SERIES TITLE: YEAR: 1986. PUB TYPE: Book (ISBN 0300034555 ). ...
Renaissance Quarterly, 2019
formulas of great elegance, likely conceived from models in clay, and marked by a knowledge of th... more formulas of great elegance, likely conceived from models in clay, and marked by a knowledge of the modern rules of architecture and of the principles of perspective in round sculpture. This book participates in the current reassessment of sixteenth-century French art, on which one might also consult the recent catalogue Toulouse Renaissance, edited by Axel Hémery and Pascal Julien.
The American Historical Review, 2004
The Art Bulletin, 1979
... of Borso d'Este remains Giu-seppe Pardi, "Borso d&a... more ... of Borso d'Este remains Giu-seppe Pardi, "Borso d'Este, Duca di Ferrara, Modena e Reggio,"Studi storici, ed. Amadeo Crivellucci, xv, 1906 ... In his Diaries, Cicco Simonetta, the secretary of the Duke, Galeazzo Maria Sforza, records the staging of large official functions in ...
The American Historical Review, 1999
An academic directory and search engine.
In 1635, Rembrandt created a small etching depicting the stoning of St. Stephen (B.97). This work... more In 1635, Rembrandt created a small etching depicting the stoning of St. Stephen (B.97). This work is unusual, since, with the exception of a number of etchings depicting St. Jerome, Rembrandt made very few hagiographical prints. An analysis of the ways in which Stephen's martyrdom was represented in the early modern period, as well as its theological and political associations in the Netherlands during the seventeenth century, suggests that Rembrandt's creation of an etching focusing on Stephen's violent death was motivated in part by a desire to critique the continuing conflict between Remonstrant and Counter-Remonstrant factions in the Dutch Republic and stadholder Frederik Hendrik's shifting alliances. Rembrandt's association in the early 1630s with Jan Uytenbogaert, one of the authors of the "Remonstrance", may have encouraged the artist to produce this print.
Renaissance Quarterly, 1977
Page 1. Ave Papa Ave Papabile The Sacchetti Family, Their Art Patronage, and Political Aspiration... more Page 1. Ave Papa Ave Papabile The Sacchetti Family, Their Art Patronage, and Political Aspirations « MU&J3RA Lilian H. Zirpolo Page 2. I Page 3. Publications of the Centre for Reformation and Renaissance Studies Series Editor ...
Emotions, Art, and Christianity in the Transatlantic World, 1450-1800, 2021
Examines Rembrandt's use of emotional content in a score of Rembrandt's well-known etchings withe... more Examines Rembrandt's use of emotional content in a score of Rembrandt's well-known etchings withe special attention to the manner in which confessional boundaries are circumvented and the viewer is encouraged to expand upon the narrative content of the work.
Revaluing Renaissance Art, edited by Gabriele Neher and Rupert Shepherd, 2000
Looks at the issue of the status of artist in the context of Michelangelo's aborted commission fo... more Looks at the issue of the status of artist in the context of Michelangelo's aborted commission for a painting of Leda and the Swan for Alfonso d'Este.
Rembrandt's Religious Prints: The Feddersen Collection at the Snite Museum of Art, Jan 6, 2018
Chronology of Rembrandt's life; two introductory essays (Jack and Alfrieda Feddersen as Collector... more Chronology of Rembrandt's life; two introductory essays (Jack and Alfrieda Feddersen as Collectors [co-authored with Julia Quinn]; and Rembrandt Religious Prints), extended catalog entries for 70 prints, glossary, and bibliography. Approximately 250 illustrations.
Collection of essays on art patronage in the court cities of Northern Italy during the "Long Rena... more Collection of essays on art patronage in the court cities of Northern Italy during the "Long Renaissance" by Evelyn Welch, Giuseppe Bertini, Molly Bourne, Anthony Colantuono, David Drogin, and Mary Hollingsworth. Introduction by Charles Rosenberg.
The Este Monuments and Urban Development in Renaissance Ferrara examines the transformation of on... more The Este Monuments and Urban Development in Renaissance Ferrara examines the transformation of one of Italy's most important city states as engineered by a succession of Este rulers. During the course of the fourteenth and fifteenth centuries, four public sculptural monuments dedicated to Este princes were erected or planned for the city. Set into the context of the urban development of Ferrara, the four projects reveal the role that princely and public patronage played in the process of political self-fashioning and promotion in early Renaissance Italy.
Collection of essays by Joanna Woods-Marsden, Richard Trexler, Joseph Berrigan, Julian Gardner, D... more Collection of essays by Joanna Woods-Marsden, Richard Trexler, Joseph Berrigan, Julian Gardner, D'A. J. D. Boulton, John Larner, Charles Stinger, Jonathan Riess, John O'Malley, S.J., Debra Pincus, Edward Muir, and Rona Goffen. Introduction by Charles Rosenberg.