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giorgio vasari’s Saint Michael the Archangel in the Cupola of Santa Maria del Fiore: A Neoplatonic Sphere

Journal of Literature and Art Studies 2022年第6期12卷 545-588页

作者： Liana De Girolami Cheney Professor of Art History(emerita) UMASS LowellUSA

This essay discusses the manifold depictions of Saint Michael The Archangel in Italian Renaissance art,in particular in giorgio vasari’s *** starts with a brief explanation of who Michael The Archangel is,explores his visual iconography in pagan,Judeo-Christian,and Byzantine imagery,and examines the impact of Renaissance Neoplatonism on the interpretation of Saint Michael and his symbolic *** Renaissance Neoplatonic philosopher Marsilio Ficino explained the significance of the Platonic celestial ladder as a spiritual vehicle for the human soul to achieve divine *** step of this ladder is the Angelic *** is here that the sparkling light of the realm of the Angelic Mind reveals the splendor and beauty of God’s *** is the realm where Michael,a Seraphim and a messenger of God,resides,delivering God’s messages of grace and love to humanity throughout the *** vasari(1511-1574)visualized these divine messages metaphorically in frescos on two major *** first is in the small cupola of the Pope Pius V Chapel in the Vatican,once called Saint Michael’s Chapel,where between 1560 and 1566 vasari and his assistants painted al fresco the Saint Michael and the Devils,a depiction of Michael the Archangel combatting vices personified as demons who want to prevent human beings from obtaining the divine grace that will allow their souls to ascend toward heaven(Figure 1).Between 1570 and 1574,vasari continued his metaphorical visualization of God’s divine message in a large vault,the octagonal cupola of Santa Maria del Fiore,the Dome of the Cathedral of Florence,the major focus in this essay(Figure 2).He and his assistants painted al fresco the Last Judgment,portraying Saint Michael The Archangel residing in a heavenly realm-the divine reign of God,where he mediates and witnesses God’s divine judgment on humankind(Figure 13).Here,celestial trumpeters loudly announce the separation of good and bad souls of the terrestrial realm,*** bad s

关键词： Saint Michael giorgio vasari Last Judgement Dome of Florence Neoplatonism Light Love Christian Symbolism orb cupola mundi copula mundi

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giorgio vasari’s A Bride with a Rake:A Mythological Pun

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Cultural and Religious Studies 2024年第5期12卷 247-285页

作者： Liana De Girolami Cheney UMASS Lowell LowellUSA

giorgio vasari’s educational background and association with Renaissance humanists engendered his familiarity with the texts and imagery of classical,emblematic,and mythographic ***’s composition of images as a compendium of iconography for a decorative program was in the vein of the literary practices of Andrea Alciato(1482-1550),Pierio Valeriano(1477-1558),and Vincenzo Cartari(1531-1590),and followed Paolo Giovio’s advice on how to depict an emblematic image or impresa1(Giovio,1559,p.9).For Giovio(1483-1552),an impresa or badge must contain a figure and motto,its meaning should be clear and precise,the imagery must be pleasant to look at,and the motto must be brief,inventive,and *** sometimes vasari did not follow his advice,relying more on the Renaissance Neoplatonic notion of a concept postulated by the Florentine philosopher Marsilio Ficino(1433-1499).In De vita coelitus comparanda(How Life Should Be Arranged According to the Heavens)2(Ficino,1489;1561-1563;1996,pp.7-19;Kerrigan&Braden,1989,pp.101-115).Ficino discusses the use and the magic potency of images by deliberating on the virtue of imagery,what power pertains to the figure in the Heavens and on Earth,which of the heavenly configurations are impressed on images by the ancients,and how the images are employed in antiquity3(Gombrich,1972,p.172;Chastel,1996,pp.81-89;Moore,1990,p.20,137,181;Bull,2006,pp.7-36).vasari assimilated these concepts visually in the fresco painting of the Bride with a Rake(1548),located in one of the rooms in his house in Arezzo,the Chamber of Fortune(Chamber of Virtue),where he composed a paradoxical iconographic image-the subject of this *** essay is composed of two parts:an introduction to the location of the painting in the Casa vasari in Arezzo and an iconographical and iconological interpretation of the imagery.

关键词： Renaissance iconography giorgio vasari Casa vasari in Arezzo rake emblems Ceres’s mythology

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giorgio vasari’s Cupola of Santa Maria del Fiore:The Eye of God

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Cultural and Religious Studies 2021年第1期9卷 1-12页

作者： Liana De Girolami Cheney UMass Lowell LowellUnited States

In previous studies on the iconographical symbolism revealed in giorgio vasari’s fresco decoration for the Cupola of Santa Maria del Fiore(also known as the Dome of Florence,1572-1574),I discussed three points:(1)the impact of Dante’s Divine Comedy,in particular the Inferno;(2)the influence of Coppo di Marcovaldo’s mosaic decoration on the cupola of the Florentine Baptistery(1300);and(3)the inspiration of Renaissance Neoplatonism in vasari’s paintings.(Aspects of this study were published in Cheney,2016,pp.488-519;Cheney&Hendrix,2002,pp.177-188;Cheney,1998,pp.35-55;Cheney,1987,pp.1-8).In this essay,I will focus on another iconographical representation:the metaphysical and physical symbolism of the eye(―l’occhio‖)in vasari’s cupola imagery(Figure 1).This approach will connect with Cosimo Bartoli’s lecture on Dante’s Divine Comedy and,in particular,on Dante’s Purgatorio(Cantos XXX and XXXI)as well as with Vincenzo Borghini’s program for the decoration of the Cupola of Santa Maria del Fiore.

关键词： Dante Divine Comedy illustrations Dome of Florence giorgio vasari Renaissance Neoplatonism

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giorgio vasari’s Fiery Putto:Artistic Armorial

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Journal of Literature and Art Studies 2021年第11期11卷 911-936页

作者： Liana De Girolami Cheney University of Massachusetts Lowell LowellMAUSA

giorgio vasari(1511-74)as an artist and art historian of Italian Mannerism viewed himself as huomo buono et docto in buon letter(a fine and learned man).1 In choosing to practice various arts such as writing treatises,collecting drawings,painting decorative cycles,designing buildings,and decorating facades,vasari was viewed by humanists as a *** Tuscan painter,architect,art collector,writer,and art historian is best known for his Vite de’piùeccellenti architetti,pittori e scultori italiani,da Cimabue insino a’tempi nostri(Lives of the Most Excellent Architects,Painters and Sculptors of Italy,from Cimabue to the present time),which was first published in 1550,followed by an enlarged edition illustrated with woodcuts of artists’portraits in 1568.2 In 1960,Einar Rud(1892-1980),a Danish biographer and a scholar of vasari,characterized him as the first art historian.3 By virtue of Rud’s text,vasari is known as“the first art historian”-in particular,of Italian art-since Pliny the Elder wrote Book 35 on the History of Art in Ancient times in the Natural History,published posthumously in 79 CE.4 It is almost impossible to imagine the history of Italian art without vasari,so fundamental is his Vite(Lives).This sixteenth-century Italian work is the first real and autonomous history of art because of its monumental encompassing of all of the following:(1)preambles for explanatory data on the function of the text;(2)integration of individual biographies(with anecdotal,gossipy,and amusing commentaries);(3)theory of art with articulations about artistic creativity and intentionality;and(4)inclusion of explanations of the function and types of artistic materials as well as their applications and techniques necessary for the productivity of art forms(that is,a formation of an instruction manual for artists and the manual’s application to material culture in the sixteenth century).In his coat of arms,vasari visualized these creative activities and honored his Aretine artis

关键词： giorgio vasari Case vasari coat of arms Aretine heraldry emblems iconography symbolism studiolo(study) Renaissance visions and theories

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giorgio vasari＇s Last Supper： A Thanksgiving Celebration

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Cultural and Religious Studies 2016年第12期4卷 735-778页

作者： Liana De Girolami Cheney SIEALE University of Coruna Spain

Among the numerous themes on the suppers cited in the Bible, the Last Supper of Christ with His twelve apostles is the most poignant and rewarding for Christianity. Florentine Renaissance depictions of the theme are numerous and varied, traditionally represented as a predella （step） panel and as an altarpiece in dining halls or sacristies of churches and convents. vasari＇s Last Supper for the Refectory ofLe Murate （The Walled） in Florence is an unusual depiction of Christ＇s thanksgiving. This imposing religious structure was painted for a poor Benedictine nunnery＇s cenacolo （refectory） in Florence. vasari completed two drawings for the commission in 1546. The drawings and painting reveal how vasari drew upon the work of his predecessors to create an innovative expression of thanksgiving, betrayal, and departure. This large masterpiece was severely damaged, almost irreparably, by several mishaps and floods in 1583 and 1718 and, more recently, by the major Florentine alluvione （flood） of 1966. In commemoration of the 50th year anniversary of this last catastrophic event, vasari＇s Le Mutate Last Supper was carefully and magically restored by a group of masterful technicians, artists, and scientists. Their collaboration and support from the private sector demonstrate the successful bond among art, technology, science, and patronage.

关键词： cenacolo Last Supper convent Christian symbolism betrayal thanksgiving giorgio vasari Florentine refectories Le Murate

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giorgio vasari＇s The Conception of Our Lady： A Divine Fruit

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Cultural and Religious Studies 2016年第2期4卷 87-114页

作者： Liana De Girolami Cheney UniversitadiAldoMoro Bari Italy

The theme of the Conception of the Virgin Mary fascinated 16th-century Mannerist painters, as manifested in giorgio vasari＇s many drawings and paintings and also the numerous replicas in drawings, paintings, and engravings made after his paintings by his contemporary artists. This essay focuses on vasari＇s complex iconography of The Conception of Our Lady of 1540 at SS. Apostoli in Florence, Italy. In his documentation of the painting, vasari never referred to or entitled the painting as an Allegory of the Immaculate Conception or Immaculate Conception but coined it as The Conception of Our Lady （Concezione di Nostra Donna） as it will be referred in this essay. vasari＇s complex iconography derived from the writings of the A retine canon Giovanni Pollastra. The Virgin Mary is depicted as a victorious symbol of grace and salvation, triumphing over evil. Rejoicing angels surround her with scrolls containing Latin inscriptions, QUOS EVE CULPA DAAVIT/MARIAE GRATIAE SOLVIT, ECCE AGNIU[S] and UNIUS ONNOSTAA. These joyful words allude to the restoration of the fate of Adam and Eve after eating the forbidden fruit from the Tree of Knowledge in Paradise. A sinuous serpent coils around the fig tree, while tied-up Old Testament and New Testaments wait for forgiveness and salvation. Three considerations are addressed in this essay：（1） discussion of vasari＇s recorded commissions; （2） stylistic observations and influences; and （3） interpretation of the imagery, that is, some observations on the symbolism of the painting.

关键词： giorgio vasari symbolism conception fig tree fir tree grace Adam and Eve serpent Old Testamentfigures and wisdom

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giorgio vasari’s Fine Arts From the Vite of 1550:The Splendor of Creativity and Design

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Journal of Literature and Art Studies 2017年第2期7卷 140-178页

作者： Liana De Girolami Cheney SIELAE Universidad de CorunaSpain

giorgio vasari’s conception of artistic creativity is related to his theory of painting. He proposes two alternatives in a painter’s development or achievement of artistic creativity: imitation (imitazione) and invention (invenzione).Imitation is the copying of art as a method of learning, whereas invention is independent of imitation and constitutes the means for conceiving artistic ideas. Imitation serves to guide and teach the artist in composing and creating perfection. vasari maintains that artists must study antiquity and the masters, so that they may learn how others acquired the experience of imitating nature. For vasari, imitation draws upon three different sources: the first two are copying from nature (copia dal vero) and the third one is selecting from one’s work (imitare se stessi). He emphasizes that copying from nature is important for the artist so that he may learn to create forms that are alive as visualized in the Fine Arts.

关键词： beauty creativity drawing imitation invention Fine Arts giorgio vasari Marsilio Ficino Neoplatonism Renaissance and Italian Mannerism

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giorgio vasari’s Madonna of the Rosary: A Rose Garden of Blessings

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Cultural and Religious Studies 2022年第1期10卷 1-52页

作者： Liana De Girolami Cheney University of Massachusetts Lowell LowellUSA

In 1569,giorgio vasari(1511-1574)completed a painting of the Madonna of the Rosary for the private chapel of the Capponi family in the church of Santa Maria Novella in *** his Ricordanze(Book of Records),vasari explained the commission as well as documenting the assistance of his Florentine pupil,Jacopo Zucchi(1541-1590),in the completion of this *** essay discusses vasari’s symbolism of the rosary as a reflection of the Tridentine Reform in Florence as well as a visual interpretation of Italian Mannerist painters on this devotional subject.

关键词： giorgio vasari mysteries of the Rosary virga Christian symbolism Tridentine Reform Capponifamily Mannerism Jacopo Zucchi CosimoDaddi Lorenzo Lotto Margarita Barza Santa Maria Novella Bartolomeo Scalvo Carlo Borromeo

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giorgio vasari’s Tondo for the Madonna of the Rosary: Angels With Roses, Emblems of Love

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Cultural and Religious Studies 2023年第2期11卷 51-73页

作者： Liana De Girolami Cheney University of Massachusetts Lowell LowellUSA

In 1569,giorgio vasari(1511-1574)completed painting an altarpiece of the Madonna of the Rosary and a Tondo of angels dispersing *** commission was for the private chapel of the Capponi family in the church of Santa Maria Novella in *** his Ricordanze(Book of Records),vasari explained the commission as well as documenting the assistance of his favorite Florentine pupil,Jacopo Zucchi(1541-1590),in the completion of the *** essay focusses on vasari’s design,location,and meaning of the Tondo and its emblematic symbolism of love through the rose motif.

关键词： giorgio vasari Tondo Madonna of the Rosary cross and rose symbolism Santa Maria Novella

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Giovanni Battista Naldini's Pietà:Humility and Love

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Cultural and Religious Studies 2021年第11期9卷 493-520页

作者： Liana De Girolami Cheney University of Massachusetts Lowell LowellUSA

In 1564,in honor of the death of Michelangelo Buonarroti(1475-1564),an artistic extravaganza was invented by the Benedictine monk Vincenzo Borghini(1515-1580)-prior of the hospital of the innocents,humanist,and administrator of the Florentine Academy of Design(Accademia del Disegno or Florentine Academy)-and was implemented by giorgio vasari(1511-1574)-artist,writer,and artistic director of the Academy,who engaged his Florentine assistants to work on the execution of the tomb in the Basilica of Santa Croce in Florence(see Figure 1).The commission of Michelangelo’s tomb was prompted by his nephew,Lionardo[Leonardo]Simoni-Buonarroti(1522-1599),and the Grand Duke of Tuscany,Cosimo I de’Medici(1519-1574).The tomb was completed in *** designed the architectural monument,and his assistants,members of the Florentine Academy,collaborated in the following manner:The sculptures of the Fine Arts were carved by Giovanni Bandini(1540-1599),who represented the personification of architecture;Valerio di Simone Cioli(1529-1599),who represented the personification of Sculpture;and Battista Lorenzi(1527-1594),who represented the personification of Painting and the portrait bust of *** Battista Naldini(1537-1591)completed al fresco the burning urns,the purple-colored doorway of the tomb,the suspended canopy,and the Pietàin the center of the marble *** latter artistic contribution is the topic of this essay.

关键词： Pietà Lamentation humility giorgio vasari Giovanni Battista Naldini Christian iconography Mannerism Michelangelo's tomb Franciscan Order Counter-Reformation

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