query: who was commissioned to paint the scrovegni ( arena ) chapel

pos: Scrovegni Chapel Scrovegni Chapel The Scrovegni Chapel (, also known as the Arena Chapel), is a small church, adjacent to the Augustinian monastery, the "Monastero degli Eremitani" in Padua, region of Veneto, Italy. The chapel and monastery are now part of the complex of the Museo Civico of Padua. The chapel contains a fresco cycle by Giotto, completed about 1305 and considered to be an important masterpiece of Western art. Giotto and his team covered all the internal surfaces of chapel with frescos, including the walls and the ceiling. The nave is 20.88 metres long, 8.41 metres wide, and 12.65 metres high.

pos: Scrovegni Chapel Virgin Mary and celebrates her role in human salvation. A motet by Marchetto da Padova appears to have been composed for the dedication on 25 March 1305. The chapel is also known as the Arena Chapel because it was built on land purchased by Enrico Scrovegni that abutted the site of a Roman arena. The space was where an open-air procession and sacred representation of the Annunciation to the Virgin had been played out for a generation before the chapel was built. The Arena Chapel was commissioned to Giotto by the affluent Paduan banker, Enrico Scrovegni. In the early 1300s

pos: Enrico degli Scrovegni Enrico degli Scrovegni Enrico Scrovegni was a Paduan money-lender who lived around the time of Giotto and Dante. He was the son of Reginaldo degli Scrovegni and Capellina Malacapelli, and was married twice, first to a member of the Carrara family, then to Jacopina (Giacomina) d'Este, daughter of Francesco d'Este, Marquis of Ferrara. He may have been a member of the Cavalieri Gaudenti. Enrico is most famous as the patron of Giotto, commissioning the great painter to paint the famous Scrovegni Chapel, c.1303-5, which he also commissioned. There is a tradition that he hired Giotto to atone for the sin

pos: Reginaldo degli Scrovegni Reginaldo degli Scrovegni Reginaldo degli Scrovegni was a Paduan nobleman of the Guelph faction who lived in the early 14th century around the time of Giotto and Dante. He is best known for being a wicked usurer, and by association with his son, Enrico degli Scrovegni, who commissioned the famous Arena Chapel by Giotto. In Dante Alighieri’s Divine Comedy poem "Inferno", Dante says that he saw Reginaldo in the inner ring of the Seventh Circle of Hell, where the violent are eternally punished. The inner ring of the Seventh Circle is a burning hot desert with a continual rain of

pos: Veneto Gloriosa dei Frari and that of Santi Giovanni e Paolo, are the Scaliger Tombs in the historical centre of Verona. While in Veneto Byzantine art was important, an element of innovation was brought to Padua by Giotto, bearer of a new pictorial tradition: that of Tuscany. Towards the 1302 he was commissioned by Enrico Scrovegni to paint the family chapel, now known just by the name of Scrovegni Chapel, one of the most important artistic monuments of Padua and Veneto. The influences of the contribution of Giotto were felt immediately, as in the frescoes of Giusto de' Menabuoi in the

pos: Scrovegni Chapel Enrico purchased from Manfredo Dalesmanini the area on which the Roman arena had stood. Here he had his luxurious palace built, as well as a chapel annexed to it. The chapel's project was twofold: to serve as the family's private oratory and as a funerary monument for himself and his wife. Enrico commissioned Giotto, the famous Florentine painter, to decorate his chapel. Giotto had previously worked for the Franciscan friars in Assisi and Rimini, and had been in Padua for some time, working for the Basilica of Saint Anthony in the Sala del Capitolo and in the Blessings's Chapel. A

pos: Scrovegni Chapel da Padova and painted by Giotto. The chapel was originally connected with the Scrovegni palace, which was built on what remained of the foundations of the elliptical ancient Roman arena. The palace was demolished in 1827 in order to sell the precious materials it contained and to erect two condominiums in its place. The chapel was purchased by the Municipality of the City of Padua in 1881, a year after the City Council's deliberation of 10 May 1880 leading to a decision to demolish the condominiums and restore the chapel. In June 2001, following a preparation study lasting over 20

pos: Scrovegni Chapel chapel; one year later on 25 March 1305 the chapel received its definitive consecration. Giotto's work thus falls in the period from 25 March 1303 to 25 March 1305. Giotto, who was born around 1267, was 36–38 years old when he worked at Enrico Scrovegni's chapel. He had a team of about 40 collaborators, and they calculated that 625 work days ("giornati") were necessary to paint the chapel. A "work day" meant that portion of each fresco that could be painted before the plaster dried and was no longer "fresh" ("fresco" in Italian ). In January 1305, friars from the

pos: Giotto of Giovanni and Pietro da Rimini. According to documents of 1301 and 1304, Giotto by this time possessed large estates in Florence, and it is probable that he was already leading a large workshop and receiving commissions from throughout Italy. Around 1305, Giotto executed his most influential work, the interior frescoes of the Scrovegni Chapel in Padua. Enrico degli Scrovegni commissioned the chapel to serve as a family worship, burial space and as a backdrop for an annually performed mystery play. The theme is Salvation, and there is an emphasis on the Virgin Mary, as the chapel is dedicated to

pos: Scrovegni Chapel ("Inconstantia") (north wall) to Virtue 2 ("Fortitudo") (south side), and so on. Vices and Virtues symbolise humanity's progress toward bliss (heavenly happiness). With the aid of Virtues, humanity can overcome obstacles (Vices). This is the philosophical-theological itinerary designed by Giotto's theologian, a learned theologian who drew his inspiration from Saint Augustin. The Vice-Virtue section of the Arena Chapel illustrates the philosophical-theological message underlying the overall project and is key to clarifying several points previously considered to be either obscure or the result of Giotto's only approximate theological knowledge. For instance, in the Arena Chapel the vices are not the traditional

pos: Giotto prevalent Byzantine style and as initiating "the great art of painting as we know it today, introducing the technique of drawing accurately from life, which had been neglected for more than two hundred years". Giotto's masterwork is the decoration of the Scrovegni Chapel, in Padua, also known as the Arena Chapel, which was completed around 1305. The fresco cycle depicts the "Life of the Virgin" and the "Life of Christ". It is regarded as one of the supreme masterpieces of the Early Renaissance. That Giotto painted the "Arena Chapel" and that he was chosen by the Commune of Florence in

pos: Scrovegni Chapel Augustinian. Pisani also argued against the conjecture that the Frati Gaudenti fraternity, of which Enrico Scrovegni was a member, influenced the content of Giotto's fresco cycle. He also argued against the belief that Enrico Scrovegni required that the iconography program have no emphasis placed on the sin of usury. Giuliano Pisani pointed out that Dante's condemnation of Scrovegni's father, Reginaldo, as a usurer in Canto 17 of the "Inferno" dates to a few years after Giotto's completion of the chapel, so it cannot be regarded as a motive behind any theological anxieties on the part of Enrico Scrovegni. It must

pos: Scrovegni Chapel Passion (the prayer in the Garden of Gethsemane and the Flagellation of Christ, which together give an overall sense of disharmony. The artist who painted these scenes also painted the greater part of the apse, an unknown artist called "The Master of the Scrovegni Choir" who worked at the Chapel about twenty years after Giotto's work was completed. The main focus of the unknown artist's work is constituted by six monumental scenes on the side walls of the chancel that depict the last period of Mary's earthly life. This choice is in tune with the iconographic program inspired by Alberto

pos: Pietro Cavallini of the frescoes, although most scholars no longer believe he was involved. Giotto's work in the Arena Chapel (also known as the Scrovegni Chapel) at Padua strongly shows the influence of stylized Roman naturalism in a newly individualized style which would come to characterize the work of Florentine Renaissance artists. From 1308 Cavallini worked in Naples at the court of King Charles II of Anjou, notably in the churches of San Domenico Maggiore (1308) and Santa Maria Donnaregina (1317), together with his fellow Roman Filippo Rusuti. He returned to Rome before 1325, beginning the external decoration of the Basilica di

pos: Scrovegni Chapel and Injustice, the central "pair" in Giotto's Arena Chapel, emanate from this notion. Justice’ perfect centrality is visually emphasized by an architectural "die", a small cube that runs above each of the various personifications in a slightly slanted way, pointing either toward the apse or the counter-façade, everywhere but above the head of Justice (south wall) and Injustice (north wall), where the small die falls in a perpendicular line, marking at the same time the exact physical half of the chapel as well as Justice's curing function from a theological-philosophical viewpoint, without forgetting that Justice is what cures the soul

pos: Scrovegni Chapel number of 14th-century sources (Riccobaldo Ferrarese, Francesco da Barberino, 1312-1313) testify to Giotto's presence at the Arena Chapel's site. The fresco cycle can be dated with a good approximation to a series of documentary testimonies: the purchase of the land took place on 6 February 1300; the bishop of Padua, Ottobono dei Razzi, authorised the building some time prior to 1302 (the date of his transferral to the Patriarcato of Aquileia); the chapel was first consecrated on 25 March 1303, the feast day of the Annunciation; on 1 March 1304 Pope Benedict XI granted an indulgence to whoever visited the

pos: Scrovegni Chapel years, the Istituto Centrale per il Restauro (Central Institute for Restoration) of the Ministry for Cultural Activities, in collaboration with Padua's Town Hall in its capacity of owner of the Arena Chapel, started a full-scale restoration of Giotto's frescoes under the late Giuseppe Basile's technical direction. In 2000 the consolidation and restoration of the external surfaces had been completed and the adjacent "Corpo Tecnologico Attrezzato" (CTA) had been installed. In this "equipped technological chamber" visitors wait for fifteen minutes to allow their body humidity to be lowered and any accompanying smog dust to be filtered out. In March 2002 the

pos: Scrovegni Chapel nearby Church of the Eremitani filed a complaint to the bishop, protesting that Scrovegni had not respected the original agreement. Scrovegni was transforming his private oratory into a church with a bell tower, thus producing unfair competition with the Eremitani's activities. We do not know what happened next, but it is likely that, as a consequence of this complaint, the monumental apse and the wide transept were demolished. Both are visible on a model of the church painted by Giotto on the counter-facade (the Last Judgement). The apse was the section where Enrico Scrovegni had meant to have his tomb.

pos: Sandham Memorial Chapel Spencer's series of 17 paintings was inspired by his own experiences during the First World War, in which he served as an orderly with the Royal Army Medical Corps, first at Beaufort War Hospital in Bristol, and then in Macedonia, where he was subsequently transferred to the infantry. He was influenced by Giotto’s Arena Chapel murals in Padua. He wanted to paint murals too, but the environmental conditions were not appropriate. The subsequent paintings were commissioned in 1923, with Spencer moving to Burghclere in 1926 to work in-situ. The series was completed in 1932. It is dominated by the Resurrection

pos: Ultramarine mineral acids and acid vapors. Dilute HCl, HNO, and HSO rapidly destroy the blue color, producing hydrogen sulfide (HS) in the process. Acetic acid attacks the pigment at a much slower rate than mineral acids. Ultramarine was only used for frescoes when it was applied "secco" because fresco's absorption rate made its use cost prohibitive. The pigment was mixed with a binding medium like egg to form a tempera and applied over dry plaster (such as Giotto di Bondone's frescos in the Cappella degli Scrovegni or Arena Chapel in Padua). European artists used the pigment sparingly, reserving their highest quality

pos: Madonna (art) in mural decoration, whether mosaics or fresco painting on the exteriors and interior of sacred buildings. She is found high above the apse, or east end of the church where the liturgy is celebrated in the West. She is also found in sculpted form, whether small ivories for private devotion, or large sculptural reliefs and free-standing sculpture. As a participant in sacred drama, her image inspires one of the most important fresco cycles in all of Italian painting: Giotto's narrative cycle in the Arena Chapel, next to the Scrovegni family's palace in Padua. This program dates to the first decade

pos: Scrovegni Chapel Jesus Christ", as well as a number of Augustinian texts, such as "De doctrina Christiana", "De libero arbitrio", "De Genesi contra Manicheos", "De quantitate animae", and other texts from the Medieval Christian tradition, among which is the "Phisiologus". Most Giotto scholarship believes that Giotto had made a number of theological mistakes. For instance, Giotto placed Hope after Charity in the Virtues series, and did not include Avarice in the Vices series, due to the usual representation of Enrico Scrovegni as a usurer. Giuliano Pisani asserts that Giotto followed a careful and deliberate theological programme based on Saint Augustine and devised

pos: Enrico degli Scrovegni plagued Padua at the time, and settled in Venice. He was formally banished from Padua in 1328, and died in Venice in 1336. Enrico degli Scrovegni Enrico Scrovegni was a Paduan money-lender who lived around the time of Giotto and Dante. He was the son of Reginaldo degli Scrovegni and Capellina Malacapelli, and was married twice, first to a member of the Carrara family, then to Jacopina (Giacomina) d'Este, daughter of Francesco d'Este, Marquis of Ferrara. He may have been a member of the Cavalieri Gaudenti. Enrico is most famous as the patron of Giotto, commissioning the great painter to

pos: Scrovegni Chapel chapel was reopened to the public in its original splendor. A few problems remain unsolved, such as flooding in the crypt under the nave due to the presence of an underlying aquifer, and the negative effect on the building's stability of the cement inserts that replaced the original wooden ones in the 1960s. Giuliano Pisani's studies argued that a number of commonly held beliefs concerning the chapel are groundless, among them, the notion that Dante inspired Giotto. Another claim was that the theological program followed by Giotto is based on St Thomas Aquinas, whereas Pisani claims it to be wholly

pos: Giotto him that "there was no uglier man in the city of Florence" and indicates that his children were also plain in appearance. There is a story that Dante visited Giotto while he was painting the Scrovegni Chapel and, seeing the artist's children underfoot asked how a man who painted such beautiful pictures could have such plain children. Giotto, who, according to Vasari was always a wit, replied, "I had them in the dark." Forensic reconstruction of the skeleton at Santa Reperata showed a short man with a very large head, a large hooked nose and one eye more prominent than

pos: Lamentation of Christ Jesus' feet, and Joseph is usually a bearded older man, often richly dressed. In fully populated "Lamentations" the figures shown with the body include The Three Marys, John the Apostle, Joseph and Nicodemus, and often others of both sexes, not to mention angels and donor portraits. Giotto's famous depiction in the Scrovegni Chapel includes ten further female figures, who are not intended to be individualized as they have no halos. The subject became increasingly a separate devotional image, concentrating on Mary's grief for her son, with less narrative emphasis; the logical outcome of this trend was the Pietà, showing just

pos: George Frederic Watts made little contribution to the Westminster decorations, but from it he conceived his vision of a building covered with murals representing the spiritual and social evolution of humanity. The prize from the Westminster competition did, however, fund a long visit to Italy from 1843 onwards, where Watts stayed and became friends with the British ambassador Henry Fox, 4th Baron Holland and his wife Augusta at their homes in Casa Feroni and the Villa Careggi. Also while in Italy Watts began producing landscapes and was inspired by Michelangelo's Sistine Chapel and Giotto's Scrovegni Chapel. In 1847, while still in Italy, Watts

pos: Scrovegni Chapel The apse area is composed of a square area (4.49 meters deep and 4.31 meters wide) and a pentagonal area (2.57 meters deep). The largest element is extensive cycles showing the Life of Christ and the Life of the Virgin. The wall at the rear of the church, through which the chapel is entered, has a large "Last Judgement". There are also panels in grisaille (monochrome) showing the Vices and Virtues. The church was dedicated to "Santa Maria della Carità" at the Feast of the Annunciation, 1303, and consecrated in 1305. Giotto's fresco cycle focuses on the life of the

pos: Baroncelli Chapel Temple". The two niches with still lifes in the basement are perhaps inspired by Giotto's ones in the Scrovegni Chapel. The delicate and soft features are characteristic of Gaddi's late style. The adoption of night light in the "Annunciation to the Shepherds" is nearly unique in the mid-14th century painting of central Italy. Gaddi also designed the stained glasses, with four prophets on the exterior, and perhaps had a hand in the altarpiece also: this, dating to c. 1328, has the signature "Opus Magistri Jocti", but the style shows the hands of assistants, including Gaddi himself. It is an elaborate

pos: Life of the Virgin former in the West. The table below shows whether a scene was the subject of a feast-day in the Western church, and gives the contents of the cycles (described above and below) by: Giotto in the Scrovegni Chapel, a typical Book of hours, the Hours of Catherine of Cleves, the cycle of the "Master of the Louvre Life of the Virgin", Ghirlandajo's Tornabuoni Chapel cycle, and the print cycles of Israhel van Meckenem and Albrecht Dürer. The sample above is correct in suggesting that the Annunciation and the Nativity were the only indispensable scenes; the Louvre cycle probably came from

pos: Annunciation in Christian art Murillo, and thousands of other artists. The mosaics of Pietro Cavallini in Santa Maria in Trastevere in Rome (1291), the frescos of Giotto in the Scrovegni Chapel in Padua (1303), Domenico Ghirlandaio's fresco at the church of Santa Maria Novella in Florence (1486), and Donatello's gilded sculpture at the church of Santa Croce, Florence (1435) are famous examples. The composition of depictions is very consistent, with Gabriel, normally standing on the left, facing the Virgin, who is generally seated or kneeling, at least in later depictions. Typically Gabriel is shown in near-profile, while the Virgin faces more to the front.

pos: Life of the Virgin sometimes merges into a cycle of the Life of Christ, sometimes includes scenes from the Passion of Christ, but often jumps from the childhood of Christ to the Death of the Virgin. The Finding in the Temple, the last episode in the childhood of Christ, often ends the cycle. Important examples whose scenes are listed in the table below, include those in the Tornabuoni Chapel by Domenico Ghirlandaio and his workshop between 1485 and 1490, the Scrovegni Chapel by Giotto, completed about 1305, and the Maestà by Duccio completed in 1308. The important and extended Late Byzantine mosaic cycle of

pos: Giuliano Pisani 51, anno VI, 2006, pp. 97–106. • "L’iconologia di Cristo Giudice nella Cappella degli Scrovegni di Giotto", «Bollettino del Museo Civico di Padova», XCV, 2006, pp. 45–65. • "Le allegorie della sovrapporta laterale d’accesso alla Cappella degli Scrovegni di Giotto", «Bollettino del Museo Civico di Padova», XCV, 2006, pp. 67–77. • "Il miracolo della Cappella degli Scrovegni di Giotto", in "Modernitas" – "Festival della modernità" (Milano 22-25 giugno 2006), Spirali, Milano 2006, pp. 329–57. • "Una nuova interpretazione del ciclo giottesco agli Scrovegni", «Padova e il suo territorio», XXII, 125, 2007, pp. 4–8. • "I volti segreti di Giotto. Le

pos: Art of Europe and Cimabue of Florence, while Pietro Cavallini in Rome was more Gothic in style. In 1290 Giotto began painting in a manner that was less traditional and more based upon observation of nature. His famous cycle at the Scrovegni Chapel, Padua, is seen as the beginnings of a Renaissance style. Other painters of the 14th century were carried the Gothic style to great elaboration and detail. Notable among these painters are Simone Martini and Gentile da Fabriano. In the Netherlands, the technique of painting in oils rather than tempera, led itself to a form of elaboration that was not dependent

pos: Carlo Naya Carlo Naya Carlo Naya (1816 in Tronzano Vercellese1882 in Venice) was an Italian photographer known for his pictures of Venice including its works of art and views of the city for a collaborative volume in 1866. He also documented the restoration of Giotto's frescoes at the Scrovegni Chapel in Padua. Naya was born in Tronzano di Vercelli in 1816 and studied law at the University of Pisa. An inheritance allowed him to travel to major cities in Europe, Asia, and northern Africa. He was advertising his services as portrait photographer in Istanbul in 1845, and opened his studio in Venice

pos: Grisaille "Rubens and his school sometimes use monochrome techniques in sketching compositions for engravers." Full colouring of a subject makes many more demands of an artist, and working in grisaille was often chosen as being quicker and cheaper, although the effect was sometimes deliberately chosen for aesthetic reasons. Grisaille paintings resemble the drawings, normally in monochrome, that artists from the Renaissance on were trained to produce; like drawings they can also betray the hand of a less talented assistant more easily than a fully coloured painting. Giotto used grisaille in the lower registers of his frescoes in the Scrovegni Chapel, and

pos: Carlo Naya in 1857. He sold his work through photographer and optician Carlo Ponti. Following Naya's death in 1882, his studio was run by his wife, then by her second husband. In 1918 it was closed and publisher Osvaldo Böhm bought most of Naya's archive. Carlo Naya Carlo Naya (1816 in Tronzano Vercellese1882 in Venice) was an Italian photographer known for his pictures of Venice including its works of art and views of the city for a collaborative volume in 1866. He also documented the restoration of Giotto's frescoes at the Scrovegni Chapel in Padua. Naya was born in Tronzano di Vercelli

pos: Guglielmo Botti Pisa. From 1869-1870, Botti was called to help restore the Giotto frescoes in the Scrovegni Chapel in Padua. He had been hired by recommendation of a technical committee, consisting of the Marquis and art-critic Pietro Selvatico, the engineer Benvenuto Benvenisti and the sculptor Gradenigo. The work was then interrupted for a decade, and restarted in 1880 and continued till 1899 under Antonio Bertolli, a student of Botti. In 1873 he was nominated inspector of the Gallerie of Venice; and in 1883 director. From 1874 to 1887 he was resident academic of merit resident and professor of restorations and painting at

pos: Dream claimed that the direction of their lives was heavily influenced by their dreams. The depiction of dreams in Renaissance and Baroque art is often related to Biblical narrative. Examples are "Joachim's Dream" (1304–1306) from the Scrovegni Chapel fresco cycle by Giotto, and "Jacob's Dream" (1639) by Jusepe de Ribera. Dreams and dark imaginings are the theme of several notable works of the Romantic era, such as Goya's etching "The Sleep of Reason Produces Monsters" (c. 1799) and Henry Fuseli's painting "The Nightmare" (1781). Salvador Dalí's "Dream Caused by the Flight of a Bee around a Pomegranate a Second Before Awakening"

neg: Giuliano Pisani who revolutionized the concept of space. The 14th century in Italy begins with the creation of two masterpieces: the first part of Dante's "Divine Comedy", devoted to Hell, and the fresco cycle of the Scrovegni Chapel or Arena Chapel(1303–1305), both works marking the start of a new era. There are works that never stop challenging our minds; works that are not forgotten with the passing of time. In his book Giuliano Pisani takes us into the heart of one of the great masterpieces of Western art: the symbol-laden frescoes of the Scrovegni Chapel. The book is a journey of discovery

neg: Scrovegni Chapel Hope, or Desperation ("Desperatio"). Hope is an attitude consisting in actively waiting for God's future blessings which descend from trust in God and in His word, and also consisting in love, through the love of God, of the whole of humankind. The sources of this extraordinary program were identified by Pisani in a number of passages of Saint Augustine's works. Everything finds a perfect correspondence with something else. It is the theme of the "therapy of opposites", the sequential order of the cardinal and theological virtues, and the centrality of Justice. Scrovegni Chapel The Scrovegni Chapel (, also known as

neg: Marchetto da Padova to his name appearing as an acrostic in the text for one of the parts ("Ave regina celorum/Mater innocencie"). Based on another acrostic in the same motet, it seems it was composed for the dedication of the Scrovegni Chapel (also known as the Arena Chapel) in Padua on March 25, 1305. Marchetto published two major treatises, the "Lucidarium in arte musice plane" (probably in 1317–1318), and the "Pomerium in arte musice mensurate" (probably 1318). He also published an abridged version of the "Pomerium" as the "Brevis compilatio", though the date of this is not known. He stated in the "Pomerium"

neg: Tornabuoni Chapel Francis of Assisi; however, the Dominicans, to whom Santa Maria Novella was entrusted, refused. Sassetti therefore moved the commission to the church of Santa Trinita, where Ghirlandaio executed one of his masterworks, the Sassetti Chapel. The rights to the chapel in Santa Maria Novella that were lost by the Sassetti were then sold by the Ricci to Giovanni Tornabuoni. Ghirlandaio, who then had the largest workshop in Florence, did not lose the commission however, because on September 1, 1485 Giovanni Tornabuoni commissioned him to paint the main chapel, this time with the lives of the Virgin and St. John the

neg: Enrico degli Scrovegni of usury, although there is debate about whether this idea has any foundation. Dante placed his father in the Seventh Circle of Hell for his notoriously ill-gotten gains, and Enrico himself was a moneylender on a grand scale; it is these facts that have given rise to the tradition. Against the idea that he founded the chapel as an act of atonement may be cited the fact that it was a very sumptuous commission for his own personal use, attached to the grand palace that he built for himself. In 1320 Enrico Scrovegni fled the wars and civil strife that

neg: Order of the Blessed Virgin Mary by Pope Clement IV the very next year (1266) to govern Florence in the aftermath of the Battle of Benevento. They gained the opprobrium of the Florentines, however, and Dante Alighieri, in his famous "Inferno" placed them in the eighth circle of Hell with the hypocrites, where they sing: The order gained a reputation for carelessness with respect to their vows and were labelled the "fratres gaudentes" (Latin) or "frati (cavalieri) gaudenti" (Italian): jovial (joyous, jubliant) brothers (brethren, friars). Not all later members of the order were corrupt—Enrico degli Scrovegni patronised the Scrovegni Chapel—but the order was eventually suppressed by

neg: Ovetari Chapel was carried out by his widow, Imperatrice Ovetari, who, in 1448, commissioned the work to a group of artists, which included the elder Giovanni d'Alemagna, Antonio Vivarini (a Venetian late Gothic painter) and two young Paduans, Niccolò Pizzolo and Andrea Mantegna. The latter at the time was seventeen years old and had just begun his apprenticeship in Squarcione's workshop. According to the original agreement, the first two artists had to paint the arch with histories of the Passion of Christ (never executed), the cross vault and the right wall ("Histories of St. Chrisopther") while the two Paduans would paint the

neg: Jan Henryk de Rosen Seminary of L'viv (1929–30), chapel of King Jan Sobieski at Kahlenberg near Vienna (1930); pictures in the art museums of L'viv, Lublin and Bydgoszcz. Pope Pius XI commissioned de Rosen to paint murals in his private chapel at Castel Gandolfo. The painting at the Pope's summer residence make de Rosen the first painter to paint murals in the Pope's chapel since Michelangelo. Other murals and mosaics created by de Rosen may be seen at Other principal works by Jan Henryk de Rosen in the United States can be seen in Buffalo, Memphis, Pittsburgh, and in the California cities of La

neg: Cesare Mariani the Prince of Naples Vittorio Emanuele and was commissioned to paint a frieze in the Royal apartments of the Palazzo Quirinale. He also painted a canvas about the "Kingship being offered to Emanuele Filiberto", which was sent to the International Exhibition of Rome in 1883. He completed paintings for the chapel of San Giovanni Miani. For Santa Lucia del Gonfalone, he painted frescoes with three scenes: "The Vision of St Bonaventure", "Pope Sixtus V blesses the Redeemed Barbary Slaves", and "The oath of Giovanni Cerrone". In 1867, he was commissioned by Signore Baldini Giustiniani to paint frescoes at the Castello

neg: Pietro Cussida that Van Baburan painted the "Entombment", "Christ in the Garden of Gethsemane" and "Christ on the Road to Calvary" for the Chapel of the Pietà of the Church of San Pietro in Montorio. Van Baburen shared the commission (ca. 1617) with David de Haen, who is now believed to have done the lunettes in the Chapel. De Haen was a guest at the Cussida palazzo on the Via del Corso in 1621. Between 1615 and 1616, he commissioned Jusepe de Ribera to paint allegories of the "Five Senses", a commission Ribera probably completed in Naples. It was the discovery of

neg: Danish art portraits and was commissioned by the Danish Royal Family to paint their portraits to the annoyance and jealousy of local artists. The mild eroticism of a few of her paintings was looked upon unfavourably by many at the time but she remained aloof, perhaps reassured by the fact that some of her husband's sculptures were erotic in nature. Carl Heinrich Bloch (1834–1890) was a rare Danish history painter, mostly of Biblical subjects, who developed his academic style in Italy before returning to Copenhagen in 1866. He was commissioned to produce 23 paintings for the Chapel at Frederiksborg Palace consisting of

neg: Basilica of San Giacomo Maggiore Costa the Elder, and includes the Bentivoglio Altarpiece. The altarpiece is by Francesco Raibolini (c. 1494). The tomb of Anton Galeazzo Bentivoglio was sculpted by Jacopo della Quercia in 1438. This chapel was built by Cardinal Giovanni Poggi (1493-1556), a native of the city, who is buried in it. Poggi met Pellegrino Tibaldi, also a native of Bologna, after the painter had moved to Rome in 1547, and later commissioned him to paint the Palazzo Poggi in their hometown. Tibaldi returned to the city in 1555 and painted frescoes for the cardinal in both his palace and the family chapel.

neg: Saint Matthew and the Angel of the former Kaiser Friedrich Museum, it was destroyed by fire at the end of World War II while stored in an anti-aircraft bunker in Berlin. This work, by a pillar of the Baroque movement, might have provided new information about the artist and patron. Reproductions of the original still survive. "Saint Matthew and the Angel" was created as a commission for the Contarelli Chapel. Caravaggio was previously commissioned to paint two scenes of the saint’s life, and after the patrons were satisfied with them, a third was commissioned. The Contarelli Chapel was dedicated to Saint Matthew. With funds left

neg: Reginaldo degli Scrovegni fire. The usurers are to be found sitting on the sand, swatting away fire like animals swat bugs, and crying. Around their necks are found purses emblazoned with their coats of arms. This, and a bit of research into Dante's time-period, make it possible to identify who the suffering sinners are meant to be. Usurers are considered violent because, as Dante's Virgil explains in Canto XI, usurers sin against Art, and Art is the Grandchild of God. Reginaldo degli Scrovegni Reginaldo degli Scrovegni was a Paduan nobleman of the Guelph faction who lived in the early 14th century around the

neg: Église Notre-Dame-de-Confort of the Virgin Mary for it in 1522 from Andrea del Sarto, but the artist chose a poor piece of wood and the work remained incomplete and never exhibited in Lyon. In 1526 Thomas I de Gadagne donated the cost of another chapel, where he and his wife were later buried. His nephew and heir Thomas II commissioned Francesco Salviati to paint a work for it showing "The Incredulity of Saint Thomas". The banker Leonardo Spiza added a mausoleum to the church, as did another Florentine who commissioned Antonio Rossellino to design it. The church was demolished in 1816, though

neg: Scrovegni Chapel of the sickening effects of Injustice (on the chapel's other side). Those who have successfully progressed in their therapeutic path have attained Justice. Those who have not, have attained Injustice. Those who have attained Justice have practiced a soul's therapy that can be defined as "human" and that led them to earthly happiness. They used as their therapy the "medicina animi", the "soul’s medicine" provided by the cardinal virtues (in the sequence Prudence-Fortitude-Temperance-Justice), namely the moral and intellectual virtues with whose "medicine" human beings can be cured of, and are able to prevail over, the opposing vices. Next come the

neg: Scrovegni Chapel cycle is organised along four tiers, each of which contains episodes from the stories of the various protagonists of the Sacred History. Each tier is divided into frames, each forming a scene. The chapel is asymmetrical in shape, with six windows on the longer south wall, and this shape determined the layout of the decoration. The first step was choosing to place two frames between each double window set on the south wall; secondly, the width and height of the tiers was fixed in order to calculate the same space on the opposite north wall. Cycles of scenes showing the

neg: Sistine Chapel ceiling of the chapel, now closed, and those above the High Altar covered by the Last Judgement. Above each window is an arched shape, referred to as a lunette and above eight of the lunettes at the sides of the chapel are triangular "spandrels" filling the spaces between the side pendentives and the vault, the other eight lunettes each being below one of the corner pendentives. Michelangelo was commissioned to paint these areas as part of the work on the ceiling. The structures form visual bridges between the walls and the ceiling, and the figures which are painted on them are

neg: Assumption of the Virgin (Cerasi Chapel) harmony, while the paintings of Caravaggio are dramatically lit and foreshortened. The chapel in the left transept of the basilica was built by Monsignor Tiberio Cerasi, Consistorial Advocate and Treasurer-General to Pope Clement VIII. He purchased a chapel on the same spot from the Augustinian friars on 8 July 1600 and commissioned Carlo Maderno to rebuild the small edifice in Baroque style. In September Cerasi contracted Caravaggio to paint two panels for the side walls. Presumably another contract was signed at an early stage in the proceedings with Carracci for the altarpiece but this document has not been preserved. Preparatory

neg: Italian Renaissance painting remarkable illusion of depth, with perspective in the architectural settings and apparent roundness of the human form all in very shallow relief. At only 17 years old, Mantegna accepted his first commission, fresco cycles of the "Lives of Saints James and Christopher" for the Ovetari Chapel in the transept of thechurch of the Eremitani, near the Scrovegni Chapel in Padua. Unfortunately the building was mostly destroyed during World War II, and they are only known from photographs which reveal an already highly developed sense of perspective and a knowledge of antiquity, for which the ancient University of Padua had become

neg: Scrovegni Chapel theological virtues. In order to be able to aspire to heavenly Paradise one needs divine teaching, the revelation of truth, with which one overcomes and transcends human reason, and to practice the theological virtues. The "divine therapy" begins with the rejection of false beliefs ("Infidelitas") through Faith in God ("Fides"). Only with the "medicine" of Charity (Karitas) can man overcome Selfishness and Envy ("Invidia"), which lead him to look with malevolent eyes (Latin "in-vidēre") at his neighbour, who is also made by God in His likeness. Finally, with the aid (the medicine), Hope ("Spes") can be contrasted with Lack of

neg: Guido Reni of Pope Urban VIII commissioned from Reni a painting of the Archangel Michael for the church of Santa Maria della Concezione dei Cappuccini. The painting, completed in 1636, gave rise to an old legend that Reni had represented Satan—crushed under St Michael's foot—with the facial features of Cardinal Giovanni Battista Pamphilj in revenge for a slight. Reni also frescoed the Paoline Chapel of Santa Maria Maggiore in Rome as well as the Aldobrandini wings of the Vatican. According to rumor, the pontifical chapel of Montecavallo (Chapel of the Annunciation) was assigned to Reni to paint. However, because he felt underpaid

neg: Scottish art college of tenement flats for artists at Ramsay Garden on Castle Hill in Edinburgh in the 1890s. Among the figures involved with the movement were Anna Traquair (1852–1936), who was commissioned by the Union to paint murals in the Mortuary Chapel of the Hospital for Sick Children, Edinburgh (1885–86 and 1896–98) and also worked in metal, illumination, illustration, embroidery and book binding. The most significant exponent was Dundee-born John Duncan (1866–1945), who was also influenced by Italian Renaissance art and French Symbolism. Among his most influential works are his paintings of Celtic subjects "Tristan and Iseult" (1912) and "St Bride"

neg: Scrovegni Chapel capital vices or deadly sins (Pride, Envy, Wrath, Sloth, Greed, Gluttony and Lust), just like the "corresponding" virtues do not reflect the traditional order, consisting in four "cardinal virtues" (Prudence, Justice, Fortitude and Temperance) and three "theological virtues" (Faith, Hope and Charity). A twofold therapeutic path leading to salvation is presented. The first, composed of four virtues, brings a cure by means of the opposing force provided by the cardinal virtues. The arrival point in this first part of the itinerary is Justice, "Iusticia", who makes peace possible and therefore ensures Paradise on earth and earthly happiness. The first Vice

neg: Jaume Huguet Barcelona in 1454. Unfortunately, this piece was destroyed in 1909. In 1455 he was contracted to paint two compartments from the predella of the high altarpiece of the Church of Ripoll Monastery as well as altarpiece of Saint Abdon and Saint Senan from the Church of Sant Pere in Terrassa, which was completed in 1460. Huguet became a highly sought after artist and was commissioned by the Crown of Catalonia and Aragon to paint the Epiphany Altarpiece from the high altar of the Chapel of the Palau Reial Major in Barcelona, which he worked on in 1464 and 1465. He

neg: Michelangelo of the Sistine Chapel, which took approximately four years to complete (1508–1512). According to Condivi's account, Bramante, who was working on the building of St. Peter's Basilica, resented Michelangelo's commission for the pope's tomb and convinced the pope to commission him in a medium with which he was unfamiliar, in order that he might fail at the task. Michelangelo was originally commissioned to paint the Twelve Apostles on the triangular pendentives that supported the ceiling, and to cover the central part of the ceiling with ornament. Michelangelo persuaded Pope Julius to give him a free hand and proposed a different

neg: Betis Church Holy Family, selected Biblical scenes, Catholic saints and cherubs. No wonder, it is dubbed as “the Sistine Chapel” of the Philippines. The church was built by Augustinian priests from 1660 to 1670. The initial structure was composed of wooden materials. However, the Church was destroyed by several fires, which justified the consequent use of non-combustible concrete materials in 1770. The artworks of the interior were extensively done in 1939 under the last Spanish friar who served as parish priest, Fr. Santiago Blanco, OSA. Native painter Macario Ligón was later commissioned to paint the ceiling of the church. Later in the

neg: Nona Hildyard keep spirits up. In 1916, the people of Lyttelton raised money and commissioned artist Richard Wallwork to paint a portrait of Hildyard, which was presented to the Borough Council in 1917. In 2006 the painting was transferred to the Christchurch Art Gallery. Hildyard is named on the Lyttelton War Memorial, the Mikra British Cemetery in Greece and in the Nurses' Memorial Chapel at Christchurch Hospital. She is also remembered in the Five Sisters Window at York Minster in York, England. Nona Hildyard Nona Mildred Hildyard (4 November 1888 – 23 October 1915) was a New Zealand nurse who served in

neg: Scottish art in the nineteenth century town planner and writer Patrick Geddes (1854–1932), the architect and designer Robert Lorimer (1864–1929) and stained-glass artist Douglas Strachan (1875–1950). Geddes established an informal college of tenement flats for artists at Ramsay Garden on Castle Hill in Edinburgh in the 1890s. Among the figures involved with the movement were Anna Traquair (1852–1936), who was commissioned by the Union to paint murals in the Mortuary Chapel of the Hospital for Sick Children, Edinburgh (1885–86 and 1896–98) and also worked in metal, illumination, illustration, embroidery and book binding. The most significant exponent of the revival was Dundee-born John Duncan (1866–1945), who was

neg: Daniele da Volterra Sienese artists Il Sodoma and Baldassare Peruzzi, but he was not well received and left them. He appears to have accompanied the latter to Rome in 1535, and helped paint the frescoes in the Palazzo Massimo alle Colonne. He then became an apprentice to Perin del Vaga. From 1538 to 1541 he helped Perin with the painting of frescoes in the villa of Cardinal Trivuzio at Salone, in the Massimi chapel in Trinità dei Monti, and the chapel of the crucifixion in San Marcello al Corso. He was commissioned the painting of a frieze in the main salon of the

neg: The Deposition (Raphael) bloodshed, Grifonetto's mother Atalanta Baglioni refused to give her son refuge in her home and when he returned to the city he was confronted by Gian Paolo Baglioni, the head of the family who had survived the night by escaping over the roof tops. Atalanta changed her mind and rushed after her son, but arrived only in time to see her son being killed by Gian Paolo and his men. A few years later, Atalanta commissioned the young Raphael to paint an altarpiece to commemorate Grifonetto in the family chapel in San Francesco al Prato. Raphael took the commission very

neg: Robert Ker Porter him to Edinburgh, although he attended Durham School. He decided that he wanted to become a painter of battle scenes, and in 1790 his mother took him to see Benjamin West, who thought enough of his sketches to procure him admission as a student at the Royal Academy. In 1792 he received a silver palette from the Society of Arts for a drawing entitled "The Witch of Endor". In 1793 he was commissioned to paint an altarpiece for Shoreditch church; in 1794 he painted "Christ allaying the Storm" for the Roman Catholic chapel at Portsea, Portsmouth; and in 1798 "St.

neg: The Crucifixion of St. Peter (Michelangelo) the keys to the kingdom of Heaven from Christ on the wall of the Sistine chapel in Perugino’s "The Delivery of the Keys." Pope Paul III commissioned Michelangelo to paint yet another fresco of St Peter around the year 1545. In contrast to themes of power and glory depicted by Perugino, Michelangelo elected to paint a much darker moment in the saint’s life. St Peter’s status as a major martyr is not only because he was the “first vicar of Christ,” but also because he was, like Christ, crucified. Although his final request is not mentioned in the canonical New

neg: Jerónimos Monastery dos Passos occupied the old Chapel of Santo António, which was redecorated with a gold tiled ceiling in 1669, while the staircase frescos with the heraldry of Saint Jerome were completed in 1770. The retables were completed in 1709 and 1711, valuable alfaias were presented to the religious order, and the sacristy was redecorated in 1713. The painter Henrique Ferreira was commissioned in 1720 to paint the Kings of Portugal: the regal series was placed in the "Sala dos Reis" (Hall of the Kings). Henrique Ferreira was also commissioned to complete a series of nativity paintings. The monastery withstood the

neg: Aniello Falcone the attention of the Flemish dealer and collector Gaspar Roomer, who sold his work across Europe, and he was one of the artists commissioned by Philip IV of Spain to paint a series of scenes from ancient Roman history for the Buen Retiro palace. He also painted various religious subjects such as the signed and dated "Rest on the Flight to Egypt" of 1641 (Naples Cathedral) and his frescoes for the chapel of Sant' Agata In S. Paolo Maggiore, Naples of around the same time. The attribution of his battle scenes is complicated by the similarity of those of his

neg: Santa Croce in Gerusalemme Cross", and various saints. The altar has a huge statue of St. Helena, which was obtained from an ancient statue of the pagan goddess Juno discovered at Ostia. The Basilica was also modified in the 16th century, but it assumed its current Baroque appearance under Pope Benedict XIV (1740–58), who had been its titular prior to his elevation to the Papacy. In 1601, during his first stay in Rome, Peter Paul Rubens completed his first altarpiece commission, "St. Helena with the True Cross" for the Chapel of St. Helena. Rubens was commissioned by Archduke Albert of Austria to paint an

neg: Domenico Bruschi government palaces. Commissioned by the Provincial Deputation of Perugia to paint the Hall of Palace of the Prefecture with extensive frescoes depicting famous persons from Perugia and historical events. In 1876-1877, he frescoed the Baptism Chapel and the Chapel of San Onofrio of the Cathedral of Perugia. Among his colleagues at the studio of Valeri were Alessandro Vertami, Domenico Belimi, Guglielmo Mangiarelli, Tito Moretti, Annibale Mariani, Lemma Rossi-Scotti, and Pasquale Frenguelli. Domenico Bruschi Domenico Bruschi (Perugia, June 13, 1840 – Rome, October 19, 1910) was an Italian painter. He was a pupil of Silvestro Valeri in Perugia, and where in

neg: Lorenzo di Bicci other works that Vasari mentions are a shrine on the bridge of Scandicci and a fresco of saints together with a Madonna at Cerbaia. According to Vasari, Lorenzo was then commissioned by the family of the Medici to paint a chapel in San Marco in Florence, a fresco in which he illustrated many stories of the Madonna and depicted the Virgin herself surrounded by many saints. In 1394 Lorenzo returned to the Loggia della Signoria where he painted and gilded the statue of Charity by Jacopo di Piero Guidi. In 1395, he was commissioned to value a statue of St.

neg: Raphael more important commission than any he had received before; he had only painted one altarpiece in Florence itself. Several other artists and their teams of assistants were already at work on different rooms, many painting over recently completed paintings commissioned by Julius's loathed predecessor, Alexander VI, whose contributions, and arms, Julius was determined to efface from the palace. Michelangelo, meanwhile, had been commissioned to paint the Sistine Chapel ceiling. This first of the famous "Stanze" or "Raphael Rooms" to be painted, now known as the "Stanza della Segnatura" after its use in Vasari's time, was to make a stunning impact

neg: Jeff MacNelly be an illustrator. He graduated in 1965 and went to the University of North Carolina at Chapel Hill. He joined the literary society St. Anthony Hall and worked as a sports journalist and illustrator (specializing in satire) for "The Daily Tar Heel". He considered himself to be a horrible sportswriter, but his illustrations for the paper were well beyond the ability of an average art student. His work for the college's newspaper led to work at the "Chapel Hill Weekly". In 1969, MacNelly was commissioned to paint a representation of the Carolina Inn, which became an "iconic" image representing the

neg: Diego de Leyva Diego de Leyva Diego de Leyva (c. 1580–1637) was a Spanish painter. He was born at Haro in La Rioja. He is supposed to have spent his youth at Rome, and returned to Spain a painter, and settled at Burgos. In 1628 he was commissioned by the Chapter of Burgos to paint the portraits of certain dignitaries for the chapel of St. Catalina in the cathedral, and for the chapel of the Virgin he painted a picture of the "Presentation". In 1633 he retired to the Carthusian monastery of Miraflores, where in 1634 he took the final vows, and devoted

neg: Sebastiano Ricci completed frescoes in the Ossuary Chapel of the Church of San Bernardino dei Morti. On 22 June 1697, the Count Giacomo Durini hired him to paint in the Cathedral of Monza. In 1698, he returned to the Venetian republic for a decade. By 24 August 1700, he had frescoed the chapel of the Santissimo Sacramento in the church of Santa Giustina of Padua. In 1701, the Venetian geographer Vincenzo Maria Coronelli commissioned a canvas of the "Ascension" that was inserted into the ceiling of sacristy of the Basilica of the Santi Apostoli in Rome. In 1702, he frescoed the ceiling

neg: Currumbin Wildlife Sanctuary and stairs, the building had a basement housing service facilities; a main kiosk level that opened to both the street and to the lorikeet-feeding arena; and a mezzanine level used as a VIP lounge. The concrete tiled hipped roof had exposed timber framing on the interior and a large skylight at its apex. In 1972 Hugh Sawrey (1919–1999), a Queensland-born artist who in the 1970s and 1980s developed a national reputation for his paintings depicting Australian outback life, was commissioned to paint a large mural in the main level of the Kiosk. By 1972 Sawrey kept a successful horse stud

neg: Michelangelo and the Medici for the last time at the age of sixty, leaving the Medici chapel unfinished. Michelangelo decided to settle in Rome, where he had hoped to finish Pope Julius II's tomb but was unable to do so, due to a new project that had been assigned to him by Pope Julius II. Thus Michelangelo set the tomb aside to paint a fresco in the Sistine Chapel. Michelangelo was commissioned to do the tombs of Lorenzo de' Medici’s grandson, Giuliano, duke of Nemours and Lorenzo’s third son, and popes Leo X and Clement VII, both Medici; also Lorenzo il Magnifico. Only two

neg: Cross in the Mountains Otto Rühle von Lilienstern, until new evidence arose. By Lilienstern's account, the altar was commissioned by the Countess Theresia von Thun-Hohenstein for her Catholic family's chapel in Tetschen, Bohemia. She had seen a similar sepia work by Friedrich and was enamored of it. The painter was at first resistant to accepting the commission, tending to paint only when the muse struck him, but he agreed when he found a design for an overall altarpiece that he thought would be in harmony with the chapel setting. Research in 1977, however, found that Friedrich had conceived the painting before the commission, and

neg: Life of the Virgin case is the Annunciation and the Nativity of Jesus, although there were times when the Coronation of the Virgin might displace one of these. The Tornabuoni Chapel cycle has nine scenes (described more fully at that article). In this case, as very often, other scenes, such as the Visitation, including Mary are contained in the complementary cycle of the Life of St John the Baptist on the walls. A Life of Christ has many more scenes that overlap with the Life of Mary, as the Scrovegni Chapel demonstrates. Albrecht Dürer produced a highly popular and influential series of 19 scenes

neg: Celtic Revival writer Patrick Geddes (1854–1932), the architect and designer Robert Lorimer (1864–1929) and stained-glass artist Douglas Strachan (1875–1950). Geddes established an informal college of tenement flats for artists at Ramsay Garden on Castle Hill in Edinburgh in the 1890s. Among the figures involved with the movement were Anna Traquair (1852–1936), who was commissioned by the Union to paint murals in the Mortuary Chapel of the Hospital for Sick Children, Edinburgh (1885–86 and 1896–98) and also worked in metal, illumination, illustration, embroidery and book binding. The most significant exponent of the artistic revival in Scotland was Dundee-born John Duncan (1866–1945). Among his

neg: Stephen B. Whatley to the Tower of London. In 2001, BBC Heritage commissioned Stephen to paint a view of the Radio Theatre inside Broadcasting House and to paint a view of the Top of the Pops Studio, at BBC Television Centre, during rehearsals and recording of the program. Whatley has exhibited in numerous exhibitions since 1983 - including shows at the ICA (Institute of Contemporary Art), the Lloyd's Building and London's Olympia Exhibition Arena. He has had solo exhibitions since 1988 - highlights being his May 1993 exhibition, Hollywood Gold at London's National Theatre & his 2007 exhibition in Cork Street, London. In

neg: The Birth of Venus (novel) Her romance, it seems, is necessary, because she is the only one who can save him. The Birth of Venus (novel) The Birth of Venus: A Novel is a 2003 novel by Sarah Dunant, a bestselling British author. The story is set in the late 15th century in Florence, Italy. It was first published in London by Little, Brown in 2003 with the title The Birth of Venus: love and death in Florence. A young Florentine girl, Alessandra Cecchi, is drawn to a young painter commissioned to paint the family's chapel walls. The painter is brought to her home by

neg: Louis Charles Auguste Steinheil Louis Charles Auguste Steinheil Louis Charles Auguste Steinheil (born Strassburg, 26 June 1814; died Paris, 17 May 1885) was an Alsatian painter. Louis Steinheil studied with Henri Decaisne and painted in nearly every medium, but gave special attention to glass painting and church decoration. Among his works are "Saint Philomela" (1841); "Mother" (1847), Nantes Museum. He and Alexandre-Dominique Denuelle were commissioned to paint the chapel of Our Lady of Guadeloupe, consecrated in September 1865, which was built for the Empress Eugénie beside her Villa Eugénie in Biarritz. In 1876 he was commissioned to execute frescoes in the cathedral of Strassburg.

neg: The Prophet Isaiah (Raphael) of Goritz (also Gorizius), from Luxembourg, commissioned Raphael to paint the prophet Isaiah in fresco on a pillar in the Basilica di Sant'Agostino. Soon after his arrival in Rome, his name was Latinised to Janus Corycius. He held the office of receiver of requests. Janus was a patron of the arts. Wishing to leave a mark in Rome, he had a chapel built in the Sant'Agostino basilica, with an altar commissioned in 1512 honoring his patron saint Saint Anne. The altar included this fresco of Isaiah and a marble grouping of "Virgin with St. Anne" by Andrea Sansovino. The Saint

neg: Adoration of the Magi (Botticelli, 1475) Adoration of the Magi (Botticelli, 1475) The Adoration of the Magi is a painting by the Italian Renaissance master Sandro Botticelli, dating from 1475 or 1476, early in his career. The work is on display at the Uffizi in Florence. Botticelli was commissioned to paint at least seven versions of "The Adoration of the Magi". This version was commissioned by Gaspare di Zanobi del Lama for his funerary chapel in Santa Maria Novella. In the scene numerous characters are present, among which are several members of the Medici family: Cosimo de' Medici (the Magus kneeling in front of the Virgin,

neg: Cesare Maccari of Bernardino Pinturicchio found in the Cathedral of Siena. Some of his first patronage came from works the Marquis Pieri-Nerli, who also commissioned him to paint frescoes of the four evangelists for a private chapel in his home in Quinciano, a hamlet in the comune of Monteroni d'Arbia. Maccari soon won a stipend to study in Rome, that also allowed him to travel through Italy. Among his first major oil canvases in Rome, Maccari painted "Vittoria Colonna meditates on the Poetry of Michelangelo". Another canvas, "Sira che sacrifica la propia vita for the padrona Fabiola" won a medal at the

neg: House of Medici artists in Rome. Pope Leo X would chiefly commission works from Raphael, whereas Pope Clement VII commissioned Michelangelo to paint the altar wall of the Sistine Chapel just before the pontiff's death in 1534. Eleanor of Toledo, a princess of Spain and wife of Cosimo I the Great, purchased the Pitti Palace from Buonaccorso Pitti in 1550. Cosimo in turn patronized Vasari, who erected the Uffizi Gallery in 1560 and founded the Accademia delle Arti del Disegno – ("Academy of the Arts of Drawing") in 1563. Marie de' Medici, widow of Henry IV of France and mother of Louis XIII,

neg: Giovanni Poggio Tibaldi after the painter moved to Rome in 1547, and later commissioned him to paint the Palazzo Poggi. Tibaldi, a native of Bologna, returned to the city in 1555 and painted frescos for the Cardinal in his palace and family chapel. This work is considered Tibaldi's masterpiece. In the Poggi Chapel in the Church of San Giacomo Maggiore, there are two portraits by Tibaldi of Cardinal Poggi, one on each side of the altar. The one on the left shows him as papal nuncio to Spain, while the one on the right shows him later in his career, as a

neg: St. Andrew's Catholic Church (Pasadena, California) at the church and at a secluded studio in the Hollywood Hills. Initially commissioned for the murals above the altar, the parishioners were so enchanted with Wostry's work that they raised funds to have him paint the chapel in the north nave, on which Wostry spent a year on his portrayal of the Madonna seated on a throne with winged angels above her. In 1932, Wostry received a further commission to paint the stations of the cross, and returned to Trieste to complete the commission. On seeing Wostry's murals in Pasadena, the Los Angeles Times in 1930 declared him "a

neg: Star Chamber Star Chamber, at the first all the roofe thereof was decked with images of starres gilted". Gold stars on a blue background were a common medieval decoration for ceilings in richly decorated rooms, as still to be seen at Leasowe Castle, Wirral, the Scrovegni Chapel in Padua, and elsewhere. Alternatively, William Blackstone, a notable English jurist writing in 1769, speculated that the name may have derived from the legal word "starr" meaning the contract or obligation to a Jew (from the Hebrew שטר ("shetar") meaning 'document'). This term was in use until 1290, when Edward I had all Jews expelled

neg: Michelangelo and the Medici own death, Clement VII commissioned Michelangelo to paint "The Last Judgment" in the Sistine Chapel. In 1527, the Florentine citizens, encouraged by the sack of Rome, threw out the Medici and restored the republic. A siege of the city ensued, and Michelangelo went to the aid of his beloved Florence by working on the city's fortifications from 1528-29. The city fell in 1530, and the Medici were restored to power. Completely out of sympathy with the repressive reign of the ducal Medici, Michelangelo left Florence for good in the mid-1530s, leaving assistants to complete the Medici chapel. Michelangelo left Florence

neg: Tomb of Philippe Pot Tomb of Philippe Pot The Tomb of Philippe Pot is a 15th-century funerary monument commissioned by Philippe Pot (d. 1493), royal steward of Burgundy under Louis XI, between c. 1477–80 for his burial at the chapel of Saint-Jean-Baptiste in Cîteaux Abbey, south of Dijon. It consists of eight life-sized pleurants, represented as solemn and hooded pallbearers carrying Philippe's recumbent effigy towards its final resting place. Made of polychromed limestone, paint, gold and lead, it measures 181 (width) x 260 (height) x 167 (depth) cm. No definitive attributions have been made as to the artists and craftsmen who created the work,

neg: Clelia Giacobini scientific staff of the laboratory. In this phase of studies there were examined Fossanova Abbey, the excavations of Ostia Antica, the Etruscan tombs of Tarquinia, the Villas of Veneto, the frescoes of Villa Farnese in Caprarola (1988), etc.. The studies enabled the restorers to effectively intervene at Ostia Antica, on the paintings of Assisi Cathedral, on the frescoes of Correggio in Parma, the Scrovegni Chapel in Padua and Leonardo's Last Supper. Clelia Giacobini was subject of numerous requests for advice and for teaching assignments by several Italian and European superintendence, in India, Venezuela and Japan. She chaired the International Conferences