Entry 12

Angel Mosaics

Artist Unknown

San Giovanni (Baptistry), Florence

Mosaic

90 feet

The detailed ceiling of the Baptistery depicts many biblical scenes and images. The second ring of figure depictions is of the angels. The ring is composed of eight trapezoids. In the trapezoid which sits above Christ and a depiction of the last judgment there is another scene where Christ is surrounded by two cherubim and two seraphim. Here Christ holds a text which states “I, God, created the Angels.” The remaining seven trapezoids are filled with the seven orders of angels: Dominions, Powers, Archangels, Angels, Principalities, Virtues, and Thrones. All of the angel’s heads are tilted down in adoration and turned towards the depiction of Jesus showing their respect and Jesus’ authority over them. The angels are the closest depiction to the light showing their closeness to God Almighty.



Resources

Tours of Tuscany, Italy. Web 12 Apr 2010.

Piazza del Duomo Informational Pamphlet

Entry 11

Annunciazione (1603)

Allessandro Allori

Accademia, Florence

Oil on canvas

Approximately 4'x7'

This painting is found in the Tribuna del David room in the Accademia Gallery. While Michelangelo’s David tends to captivate art viewers, paintings such as the Annunciazione or the Annunciation are fine pieces in their own which tend to be overlooked. In this depiction of the annunciation, Mary and the angel alone are present. Mary gives the appearance of being startled by the presence of the angel with her raised arms and the position of her cape which appears to be falling off of her. The manner of the cape suggests that Mary rose suddenly from her chair at the presence of the angel and it is falling towards the floor. Mary appears to have been reading the open book which rests on the chair and was probably discarded with the sudden surprise. The open angle of Mary’s body towards the viewer tends to invite the observer of the image into the painted scene. The angel appears to Mary in a ray of light holding a lily to represent her purity and innocence.

Resources

"Art Symbol Dictionary - Flowers and Plants Symbols." About.com Painting -- Learn How to Paint, Painting Tips, Creativity. Web. 12 Apr. 2010.

Entry 10

Tabernacle, Cavalcanti Annunciation (1433-1435)

Donatello

Santa Croce, Florence

Stone

approximately 6'x6'

This beautiful stone representation of the Annunciation was commissioned by Nicolo Cavalcanti for a now-destroyed chapel in Santa Croce. Donatello gave a unique interpretation of the Annunciation through this piece. The gold detailing subtly accents the background, as well as the garments worn by Mary and Gabriel. Unlike many paintings of this scene, Mary and Gabriel fill the frame almost completely. Donatello most likely intended this to show their importance in this scene, and to reduce distractions due to background or things Mary might be holding that are present in so many other depictions of the Annunciation. In addition, this type of life-size depiction pulls the viewer into the scene, so to speak. This is especially important in a stone relief, where the artist cannot use color to make the scene more realistic. Both figures are tilted towards the front, to continue to draw the viewer into the scene. The warmth of the gold contrasts interestingly with the cold stone, intriguing the viewer and causing the eye to linger on this magnificent piece of art.

Resources

Santa Croce information placard

Entry 9

Angel with a Sponge (1667-1672)

Gian Lorenzo Bernini

Marble

Sant’ Angelos Bridge

approximately 6'

This sculpture is one of the most notable pieces on the bridge which leads fromm the Vatican to Castle Sant’ Angelos, which is located on Sant’ Angelos bridge, Bernini’s exhibit in Rome. Sant’ Angelos Bridge was built over the Tiber River during the reign of Hadrian in 135 A.D. The bridge consists of seven stone arches and five main spans of about 60 feet. In the 17^thcentury Bernini placed ten of his angel sculptures on the bridge. There is an interesting inscription on the angel with a sponge that says “They gave me vinegar to drink”. This Angel is holding a sponge which is symbolic of an instrument that resembles the passion of Christ. The holy sponge was used to wipe vinegar over the wounds of people during there crucifixion because it would stanch the blood which would intern allow the criminal to continue persecution for longer. This angel is symbolic of the agony and pain Jesus Christ went through to cover our sins with his blood.

Resources

http://www.britannica.com/EBchecked/topic/523159/SantAngelo-Bridge

http://www.catholictreasures.com/articles/oninstrm.html

Entry 8

Baldacchino (1624-1633)

Bernini

St. Peter's Basilica

Gilt bronze

About 100 feet high

St. Peter’s Basilica is designed to be centered around the Papal Altar, which is where only the Pope celebrates Mass. The ancient tomb of St. Peter lies directly below the altar. Rising above the altar is the magnificent bronze baldacchino, which was Bernini’s first piece of work in St. Peter’s. In total, it took nine years for Bernini to create the monument. The canopy rests atop four massive spiral columns, around 66 feet high, which are ornamented with branches of olive and bay along with cherubs. The twisted columns suggest upward movement towards the canopy. Above the frieze on each capital are four life-size angels offering garlands. Between the four main angels are couples of smaller angels that support the Pope’s emblems: the keys, the tiara, the book and the sword. The structure is detailed with motifs including heraldic emblems of the Barberini family, including bees and laurel leaves. The underside of the canopy directly above the pope is a radiant sun, which is another symbol of the Barberini family.

Resources

http://en.wikipedia.org/wiki/St._Peter's_baldachin

http://saintpetersbasilica.org/Altars/PapalAltar/PapalAltar.htm

Entry 7

Altar of St. Michael the Archangel

Artist Unknown

Duplicate of the 1642 painting by Guido Reni, Archangel Michael

St. Peter's Basilica, Rome, Italy

Mosaic

293 x 202cm

Artist Guido Reni was born in Bologna on November 4, 1575. At the age of 10, Reni began his apprenticeship under mannerist painter Denis Calvaert. His style was greatly influenced by the novel naturalism because of his time spent studying at a progressive art school run by the Carracci family, frescoes created by Raphael, and ancient Greco-Roman sculptures. In his religious and mythological works, Reni displayed Baroque liveliness and complexity with classical moderation, affectionate emotion, and delicate coloring. Reni’s painting of the Archangel Michael hangs in the Santa Maria della Concezione dei Cappuccini. A mosaic copy, dated 1757, of the painting was created a mere 125 years later and is in St Peter’s Basilica in the Vatican above the Altar of St Michael the Archangel. The duplicate is executed directly from the original, fully preserving the perfect beauty expressed by the artist. In his creation of the Archangel Michael, Reni depicts the angel as the armed and prepared guardian of Heaven and Earth against the eternal hostility of the challenger. It shows Michael trampling Satan, who has recognizable features to that of Giovanni Battista Pamphili, who was later elected as Pope Innocent X. The work was commissioned by Antonio Cardinal Barbernini, who was a fierce rival of Pamphili.

Resources

http://saintpetersbasilica.org/Altars/StMichaelArchangel/StMichaelArchangel.htm http://www.britannica.com/EBchecked/topic/498122/Guido-Reni

Entry 6

Psalter No. 13 (15th century)

Girolamo da Cremona, Venturino da Milano

Piccolomini Library, Duomo Cathedral, Siena, Italy

Illuminated manuscript

approximately 36 square in

This particular manuscript page contains a depiction of the Annunciation. Vivid colors adorn the border of this image, while the colors in the picture, such as the pink of the angel's wings and Mary's gown, are complementary. As in many other depictions of the Annunciation, God the Father can be seen at the top left corner. In this particular image, a dove, which represents the Holy Spirit, seems to be floating down to Earth on the breath of God. The figures of Mary and the angel Gabriel embody the more realistic Renaissance style of depicting the human figure. Mary is leaning to the left, and her dress falls in such a way to give her a figure, rather than a flat, dimensionless body. Gabriel has clear legs and an arm that appears to have real bones and flesh beneath his simple garments. Unlike the Tisi painting of the Annunciation, in which the angel wears garments adorned with gold trimmings, in this depiction Gabriel is dressed in a simple white garment. As he bows to Mary, he offers her a lilly. Lilies symbolize purity and chastity, which is appropriate given that Mary was a virgin mother. Mary is depicted here with a golden halo around her head. The halo was a typical medieval device; it usually indicated sainthood or holiness.

Entry 5

Last Judgement (1367)

anonymous Venetian artists

St. Vitus Cathedral, Prague, Czech Republic

mosaic

approximately 27 square meters (section)

This photograph is of a section of a large mosaic which adorns the side of the St. Vitus Cathedral in Prague. Angels reach into coffins, assisting the dead to rise from the grave and go to be with Christ in glory. The center panel (not pictured) is adorned with the figure of Christ being adored by king Charles IV, who ordered construction of the cathedral, and various saints. The far right panel shows Satan and sinners in hell. Because this mosaic was created in the late 1300s, the figures seem to be in an almost transitional style. While they lack the flat forms popular in Byzantine art, they also fall a bit short of the literal and realistic depiction of the human form that became popular during the Renaissance. Each angelic figure, as well as the saints already risen, has a halo around their heads; however, the dead rising from their graves do not. In addition, the dead are naked, while the angels are clothed in rich garments. These details may be intended to demonstrate the superiority of heavenly beings over earthly ones. The implication is that the dead who are rising will soon be clothed in heavenly garments and have their own halos. Both symbolically and visually, this mosaic makes a stunning addition to a massive and beautiful cathedral.

Resources

http://www.radio.cz/en/article/47319

http://www.sacred-destinations.com/czech-republic/prague-cathedral

http://www.hrad.cz/en/prague-castle/guidepost-for-visitors/st-vitus-cathedral.shtml

http://www.prague.net/st-vitus-cathedral

Entry 4

Holy Water Font (1722-1725)

Giuseppe Lironi and Francesco Moderati

St. Peters Basilica

Marble

Approximately 5ft high x 6ft wide

Once you enter the basilica you are greeted by two children angels that are holding a flower which is the holy font. This sculpture was created over a period of time from 1722 to 1725 and stands two meters tall. The font was created by Giuseppe Lironi and Francesco Moderati. The children angels are adult size which allows the font to be magnificent in a sculpture not just a font. Taking a closer look at the sculpture we see two angels that seem to be resting on the walls of the church and are creating an invitation to receive the water. The contrast that the yellow flower gives to the purity of the white angels is exceptional because it really narrows in on the central them which is holiness in the water. I saw this sculpture and thought it was intriguing because it just stood out to me as being pure and inviting.

Resources

http://saintpetersbasilica.org/Docs/SPB-VirtualTour3.htm#enter

http://chestofbooks.com/travel/italy/rome/John-Stoddard-Lectures/Rome-Part-17.html