that fill the four sides: an eagle clutching a small animal (a cat?) in its claws and dis playing... more that fill the four sides: an eagle clutching a small animal (a cat?) in its claws and dis playing an escutcheon on its breast; a grif fon grasping a small animal (a dog or wea sel?); a pair of rampant lions embracing, with two small animals (lambs?) between them; and two peacocks drinking from a vase. Floral and zoomorphic motifs also em bellish the spandrels of the arches. The in scription, only partially decipherable, reads: "[. . . ?]IAP . QUESTO P0Z[Z]0 . FO . FATO . PER COM . PADO
Page 1. Nicola Pisano's Arca di San Domenico and Its Legacy Page 2. ... more Page 1. Nicola Pisano's Arca di San Domenico and Its Legacy Page 2. f Domenico Arca Nicola Pisano's di San and Its Legacy An1ta F1derer Moskow1tz The remarkable evolution of Italian Gothic and Renaissance sepulchral ...
... 1909. Donatello's Reliquary Bust of Saint Rossore Anita Moskowitz The gilt-bronz... more ... 1909. Donatello's Reliquary Bust of Saint Rossore Anita Moskowitz The gilt-bronze reliquary bust of Saint Rossore (Figs. 1 ... figures. Examples are Donatello's marble David in the Museo Nazionale and Nanni di Banco's Isaiah. In ...
In 1301, Giovanni Pisano completed his pulpit for the church of Sant'Andrea, Pis toia (Fig. 1... more In 1301, Giovanni Pisano completed his pulpit for the church of Sant'Andrea, Pis toia (Fig. 1). In form and conception, the pulpit followed, but altered in significant ways, his father, Nicola's, innovative pulpits in the Pisa baptistery and Siena Cathedral, dated 1260 and 1267, respectively. Shortly thereafter, in 1302-1310, Giovanni was to create the last of the four Pisano pulpits— that of the cathedral of Pisa. The Pistoia pul pit, like the other three monuments, was eventually moved from its original location, entailing the loss of some parts and alter ations to its original form. Such changes have led some scholars to suggest hypothet ical reconstructions.1 This paper will limit itself to a consideration of the shape of the original platform on which the pulpit stood and the platform's relationship to the columnar supports. The paper will also sug gest that aesthetic, structural, and theologi cal motivations led to that choice.
Twenty-five years ago, H. W. Janson wrote a delightful introductory essay for the inau gural issu... more Twenty-five years ago, H. W. Janson wrote a delightful introductory essay for the inau gural issue of this journal.1 Taking his title from Polonius's statement in Shakespeare's Hamlet (Il.ii), "brevity is the soul of wit," he expressed the hope that the new journal would publish "the results of scholarly serendipity: sudden insights or unexpected encounters that ... are sufficiently intrigu ing to invite presentation in brief prelimi nary form." As an example of the type of problem the editors of SOURCE hoped might be presented, Janson cited a recent
Stefano Bardini (1836, Pieve Santo Stefano–1922, Florence), the wellknown Florentine antiquarian,... more Stefano Bardini (1836, Pieve Santo Stefano–1922, Florence), the wellknown Florentine antiquarian, began his early career as a painter, having studied at the Accademia di Belle Arti in Florence from around 1854 until 1859. For the next six years, he attempted to establish himself as an artist and received a number of commissions for frescoes and oil paintings, as well as one for the design of a theater curtain. But rather than rebel against the academic modes of representation taught at the Accademia—as did his peers among the Macchiaioli painters—he worked within the limits of the traditional precepts promoted by Pietro Benvenuti (1769–1844), which continued to hold sway in the 1850s. Trained
The aim of this article is to advocate for the complete cataloguing, publication, and digitizatio... more The aim of this article is to advocate for the complete cataloguing, publication, and digitization of the great legacy of Stefano Bardini’s photographic archive, a project that was aborted after the year 2000, with the publication by Alberto Bruschi of two volumes devoted to images of ancient sculpture and of Renaissance paintings, prints, and drawings. Bardini (1836–1922), a Florentine antiquarian and art dealer, accumulated thousands of negatives and prints of objects in his collection as well as installation views, some purchased from commercial firms, such as the Alinari, and others—possibly most—taken by Bardini himself, or under his direct supervision. Unfortunately, after those first two
that fill the four sides: an eagle clutching a small animal (a cat?) in its claws and dis playing... more that fill the four sides: an eagle clutching a small animal (a cat?) in its claws and dis playing an escutcheon on its breast; a grif fon grasping a small animal (a dog or wea sel?); a pair of rampant lions embracing, with two small animals (lambs?) between them; and two peacocks drinking from a vase. Floral and zoomorphic motifs also em bellish the spandrels of the arches. The in scription, only partially decipherable, reads: "[. . . ?]IAP . QUESTO P0Z[Z]0 . FO . FATO . PER COM . PADO
Page 1. Nicola Pisano's Arca di San Domenico and Its Legacy Page 2. ... more Page 1. Nicola Pisano's Arca di San Domenico and Its Legacy Page 2. f Domenico Arca Nicola Pisano's di San and Its Legacy An1ta F1derer Moskow1tz The remarkable evolution of Italian Gothic and Renaissance sepulchral ...
... 1909. Donatello's Reliquary Bust of Saint Rossore Anita Moskowitz The gilt-bronz... more ... 1909. Donatello's Reliquary Bust of Saint Rossore Anita Moskowitz The gilt-bronze reliquary bust of Saint Rossore (Figs. 1 ... figures. Examples are Donatello's marble David in the Museo Nazionale and Nanni di Banco's Isaiah. In ...
In 1301, Giovanni Pisano completed his pulpit for the church of Sant'Andrea, Pis toia (Fig. 1... more In 1301, Giovanni Pisano completed his pulpit for the church of Sant'Andrea, Pis toia (Fig. 1). In form and conception, the pulpit followed, but altered in significant ways, his father, Nicola's, innovative pulpits in the Pisa baptistery and Siena Cathedral, dated 1260 and 1267, respectively. Shortly thereafter, in 1302-1310, Giovanni was to create the last of the four Pisano pulpits— that of the cathedral of Pisa. The Pistoia pul pit, like the other three monuments, was eventually moved from its original location, entailing the loss of some parts and alter ations to its original form. Such changes have led some scholars to suggest hypothet ical reconstructions.1 This paper will limit itself to a consideration of the shape of the original platform on which the pulpit stood and the platform's relationship to the columnar supports. The paper will also sug gest that aesthetic, structural, and theologi cal motivations led to that choice.
Twenty-five years ago, H. W. Janson wrote a delightful introductory essay for the inau gural issu... more Twenty-five years ago, H. W. Janson wrote a delightful introductory essay for the inau gural issue of this journal.1 Taking his title from Polonius's statement in Shakespeare's Hamlet (Il.ii), "brevity is the soul of wit," he expressed the hope that the new journal would publish "the results of scholarly serendipity: sudden insights or unexpected encounters that ... are sufficiently intrigu ing to invite presentation in brief prelimi nary form." As an example of the type of problem the editors of SOURCE hoped might be presented, Janson cited a recent
Stefano Bardini (1836, Pieve Santo Stefano–1922, Florence), the wellknown Florentine antiquarian,... more Stefano Bardini (1836, Pieve Santo Stefano–1922, Florence), the wellknown Florentine antiquarian, began his early career as a painter, having studied at the Accademia di Belle Arti in Florence from around 1854 until 1859. For the next six years, he attempted to establish himself as an artist and received a number of commissions for frescoes and oil paintings, as well as one for the design of a theater curtain. But rather than rebel against the academic modes of representation taught at the Accademia—as did his peers among the Macchiaioli painters—he worked within the limits of the traditional precepts promoted by Pietro Benvenuti (1769–1844), which continued to hold sway in the 1850s. Trained
The aim of this article is to advocate for the complete cataloguing, publication, and digitizatio... more The aim of this article is to advocate for the complete cataloguing, publication, and digitization of the great legacy of Stefano Bardini’s photographic archive, a project that was aborted after the year 2000, with the publication by Alberto Bruschi of two volumes devoted to images of ancient sculpture and of Renaissance paintings, prints, and drawings. Bardini (1836–1922), a Florentine antiquarian and art dealer, accumulated thousands of negatives and prints of objects in his collection as well as installation views, some purchased from commercial firms, such as the Alinari, and others—possibly most—taken by Bardini himself, or under his direct supervision. Unfortunately, after those first two
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Review by Janet Whitmore .of Anita Moskowitz, Forging Authenticity. Bastianini and the Neo-Rena... more Review by Janet Whitmore .of Anita Moskowitz, Forging Authenticity. Bastianini and the Neo-Renaissance in Nineteenth-Century Florence, Florence: Olschki, 2013.
PREDELLA Journal of Visual Arts <predella@predella.it>
Predella no. 41-42, 2017 - The "Discovery... more PREDELLA Journal of Visual Arts <predella@predella.it> Predella no. 41-42, 2017 - The "Discovery" of the Trecento in the Long Nineteenth Century
EDITORIALE/EDITORIAL Gerardo DE SIMONE, Emanuele PELLEGRINI Musei e identità: un intreccio difficile
MONOGRAFIA/MONOGRAPH The «Discovery» of the Trecento in the Long Nineteenth Century
Louise BOURDUA The «Discovery» of the Trecento in the Long Nineteenth Century. Introduction
COLLECTORS, CONNOISSEURS AND ART HISTORIANS Sam SMILES The Fate of the Manetti Chapel and the Reception of Trecento Art in Britain, 1770s to 1890s
Anita F. MOSKOVITZ Discovering the Trecento: American Mavericks in the Market. Who, Where, Why, and Why Not
Corina MEYER Working on «Depth of Thought» and «Serious Gravity»
Corentin DURY Evariste Fouret (1807-1863): A French Collector, Amateur and Connoisseur of Trecento Painting
Julia M. NAUHAUS Bernhard August Von Lindenau’s Collection of Early Italian Panel Paintings
Paul TUCKER Trecento «Characteristic» and «Grotesque»: Frederic Burton, Charles Fairfax Murray and Early Sienese Painting in the National Gallery 1874-94
Martina BECATTINI La Stanza del Trecento nel Museo Stibbert di Firenze
Laura FENELLI Le Campora, 1908: Discovering a Trecento Fresco Cycle
ARTISTS Hayley FLYNN Dante’s Topographer: William Blake’s Illustrations to the Divine Comedy
Kathleen McLAUCHLAN A Problematic Attraction: French Artists and the Primitive at the French Academy in Rome
Antonella BELLIN Carl Blaas e i Nazareni a Roma
Alan CROOKHAM Another Piece of the Mosaic. Trecento Influences on The Albert Memorial
Laura LOMBARDI La riscoperta della tradizione medioevale nella scultura francese dopo il 1870. «Les véritables origines de la Renaissance»
Lyrica TAYLOR «My Beloved Masaccio and Giotto and All The Rest of the Blessed Company»: Winifred Margaret Knights and the Rediscovery of the Trecento in the Long Nineteenth Century
OTHER CONTEXTS: CULTURE & THE MARKET Elisa CAMPOREALE In Homes and Novels: Early Italian Pictures in England from Early Nineteenth to Early Twentieth Century
Assunta DE CRESCENZO Foscolo’s Parallel Between Dante and Petrarch: A Perfect Harmony of Contrasts
Roberto RISSO «Sotto il sembiante d’una pacata mestizia…». La cacciata del Duca d’Atene dal Medioevo all’Ottocento fra cronaca, affresco, narrazione e pittura
Chiara MORICONI Dante Gabriel Rossetti's Salutatio Beatricis: Tradition as Translation
Marie TAVINOR John Ruskin: A New Saint Francis of Assisi? Ruskin’s Critical Reception in Italy and The Origins of the ‘Renaissance’
Lynn CATTERSON American Collecting, Stefano Bardini & the Taste for Trequattrocento Florence
Robert GIBBS A 21st-Century Invention of a 19th-Century Giotto Revival: The ‘Stendhal Syndrome’
MISCELLANEA/MISCELLANY FIGURE Alba BARCELÓ Iluminando la décima plaga de Egipto: la muerte de los primogénitos en el programa pictórico de las Haggadot medievales catalanas, particularidades e influencias
Rudolf SCHIER Sailing to Byzantium. Giorgione’s Three Philosophers
Claudia LA MALFA I campanili di Raffaello
Cristina GAGLIONE Il gioco di carte alla corte degli Este: analisi di un dipinto di Dosso sulla base della rilettura degli inventari estensi
CUSPIDE Ilaria TADDEO Some Observations on “Michele Grechi Lucchese” Painter and Engraver
Gianpasquale GRECO Un angolo di Toscana a Roma: la Cappella di Carlo Lambardi «Nobilis Aretinus» in Santa Maria in Via
Chiara MINARDI Nicolas Guillaume De La Fleur (1595/1600-1663): un pittore lorenese tra Roma e la Francia in età barocca
Laurent GRISON Ingres et le mythe d'Œdipe
CORNICE Giulia INGARAO The Alcove: an interior with three figures. Leonora Carrington, Max Ernst E Leonor Fini – Saint Martin D’ardèche 1938/1940
Francesca PIROZZI Il senso di Luigi Ontani per la maestria della ceramica e delle arti popolari
IN LIBRERIA Paul TUCKER Titling and the Individuation of Artworks Review of: Ruth Bernard Yeazell, Picture Titles. How and Why Western Paintings Acquired their Names, Princeton University Press, 2015
Eliana CARRARA Scrivere d’arte nel Cinquecento Recensione di Émilie Passignat (a cura di), Il Cinquecento. Le fonti per la storia dell’arte, Roma, Carocci, 2017
Silvia MASSA Orlando Grosso e l’arte genovese tra musei civici e connoisseurship Recensione di Andrea Leonardi, Arte antica in mostra. Rinascimento e Barocco genovesi negli anni di Orlando Grosso (1908-1948), Firenze, Edifir, 2016
Gigetta DALLI REGOLI Les Cahiers de l’Ornement/2 Recensione di Les Cahiers de l’Ornement 2, a cura di P.Caye e F.Solinas, Roma, De Luca, 2016
Marco BRUNETTI Artestorie. Le professioni della storia dell’arte Recensione di M. S. Bottai, S. Cecchini, N. Mandarano (a cura di), Artestorie. Le professioni della storia dell’arte, Cisalpino Istituto Editoriale Universitario 2016
Uploads
Papers by Anita Moskowitz
Predella no. 41-42, 2017 - The "Discovery" of the Trecento in the Long Nineteenth Century
EDITORIALE/EDITORIAL
Gerardo DE SIMONE, Emanuele PELLEGRINI
Musei e identità: un intreccio difficile
MONOGRAFIA/MONOGRAPH
The «Discovery» of the Trecento in the Long Nineteenth Century
Louise BOURDUA
The «Discovery» of the Trecento in the Long Nineteenth Century. Introduction
COLLECTORS, CONNOISSEURS AND ART HISTORIANS
Sam SMILES
The Fate of the Manetti Chapel and the Reception of Trecento Art in Britain, 1770s to 1890s
Anita F. MOSKOVITZ
Discovering the Trecento: American Mavericks in the Market. Who, Where, Why, and Why Not
Corina MEYER
Working on «Depth of Thought» and «Serious Gravity»
Corentin DURY
Evariste Fouret (1807-1863): A French Collector, Amateur and Connoisseur of Trecento Painting
Julia M. NAUHAUS
Bernhard August Von Lindenau’s Collection of Early Italian Panel Paintings
Paul TUCKER
Trecento «Characteristic» and «Grotesque»: Frederic Burton, Charles Fairfax Murray and Early Sienese Painting in the National Gallery 1874-94
Martina BECATTINI
La Stanza del Trecento nel Museo Stibbert di Firenze
Laura FENELLI
Le Campora, 1908: Discovering a Trecento Fresco Cycle
ARTISTS
Hayley FLYNN
Dante’s Topographer: William Blake’s Illustrations to the Divine Comedy
Kathleen McLAUCHLAN
A Problematic Attraction: French Artists and the Primitive at the French Academy in Rome
Antonella BELLIN
Carl Blaas e i Nazareni a Roma
Alan CROOKHAM
Another Piece of the Mosaic. Trecento Influences on The Albert Memorial
Laura LOMBARDI
La riscoperta della tradizione medioevale nella scultura francese dopo il 1870. «Les véritables origines de la Renaissance»
Lyrica TAYLOR
«My Beloved Masaccio and Giotto and All The Rest of the Blessed Company»: Winifred Margaret Knights and the Rediscovery of the Trecento in the Long Nineteenth Century
OTHER CONTEXTS: CULTURE & THE MARKET
Elisa CAMPOREALE
In Homes and Novels: Early Italian Pictures in England from Early Nineteenth to Early Twentieth Century
Assunta DE CRESCENZO
Foscolo’s Parallel Between Dante and Petrarch: A Perfect Harmony of Contrasts
Roberto RISSO
«Sotto il sembiante d’una pacata mestizia…». La cacciata del Duca d’Atene dal Medioevo all’Ottocento fra cronaca, affresco, narrazione e pittura
Chiara MORICONI
Dante Gabriel Rossetti's Salutatio Beatricis: Tradition as Translation
Marie TAVINOR
John Ruskin: A New Saint Francis of Assisi? Ruskin’s Critical Reception in Italy and The Origins of the ‘Renaissance’
Lynn CATTERSON
American Collecting, Stefano Bardini & the Taste for Trequattrocento Florence
Robert GIBBS
A 21st-Century Invention of a 19th-Century Giotto Revival: The ‘Stendhal Syndrome’
MISCELLANEA/MISCELLANY
FIGURE
Alba BARCELÓ
Iluminando la décima plaga de Egipto: la muerte de los primogénitos en el programa pictórico de las Haggadot medievales catalanas, particularidades e influencias
Rudolf SCHIER
Sailing to Byzantium. Giorgione’s Three Philosophers
Claudia LA MALFA
I campanili di Raffaello
Cristina GAGLIONE
Il gioco di carte alla corte degli Este: analisi di un dipinto di Dosso sulla base della rilettura degli inventari estensi
CUSPIDE
Ilaria TADDEO
Some Observations on “Michele Grechi Lucchese” Painter and Engraver
Gianpasquale GRECO
Un angolo di Toscana a Roma: la Cappella di Carlo Lambardi «Nobilis Aretinus» in Santa Maria in Via
Chiara MINARDI
Nicolas Guillaume De La Fleur (1595/1600-1663): un pittore lorenese tra Roma e la Francia in età barocca
Laurent GRISON
Ingres et le mythe d'Œdipe
CORNICE
Giulia INGARAO
The Alcove: an interior with three figures.
Leonora Carrington, Max Ernst E Leonor Fini – Saint Martin D’ardèche 1938/1940
Francesca PIROZZI
Il senso di Luigi Ontani per la maestria della ceramica e delle arti popolari
IN LIBRERIA
Paul TUCKER
Titling and the Individuation of Artworks
Review of: Ruth Bernard Yeazell, Picture Titles. How and Why Western Paintings Acquired their Names, Princeton University Press, 2015
Eliana CARRARA
Scrivere d’arte nel Cinquecento
Recensione di Émilie Passignat (a cura di), Il Cinquecento. Le fonti per la storia dell’arte, Roma, Carocci, 2017
Silvia MASSA
Orlando Grosso e l’arte genovese tra musei civici e connoisseurship
Recensione di Andrea Leonardi, Arte antica in mostra. Rinascimento e Barocco genovesi negli anni di Orlando Grosso (1908-1948), Firenze, Edifir, 2016
Gigetta DALLI REGOLI
Les Cahiers de l’Ornement/2
Recensione di Les Cahiers de l’Ornement 2, a cura di P.Caye e F.Solinas, Roma, De Luca, 2016
Marco BRUNETTI
Artestorie. Le professioni della storia dell’arte
Recensione di M. S. Bottai, S. Cecchini, N. Mandarano (a cura di), Artestorie. Le professioni della storia dell’arte, Cisalpino Istituto Editoriale Universitario 2016