The unfinishedwest end of the nave of the Latin cathedral of Saint Sophia (present-day Selimiye Mosque) in Nicosia remains one of the most tantalizingly elusive buildings to survive from Lusignan Cyprus (1192–1489). It is now thought to have been begun in the last quarter of the thirteenth century by a master mason trained in the great contemporary chantiers (building sites) of northeast France and to have remained under construction until the mid-fourteenth century, when work ceased abruptly, possibly due to the Black Death. As was customary in late medieval architecture, the protracted construction would have seen the succession
{"title":"The Wise and Foolish Virgins of Nicosia Cathedral","authors":"Michalis Olympios","doi":"10.1086/726089","DOIUrl":"https://doi.org/10.1086/726089","url":null,"abstract":"The unfinishedwest end of the nave of the Latin cathedral of Saint Sophia (present-day Selimiye Mosque) in Nicosia remains one of the most tantalizingly elusive buildings to survive from Lusignan Cyprus (1192–1489). It is now thought to have been begun in the last quarter of the thirteenth century by a master mason trained in the great contemporary chantiers (building sites) of northeast France and to have remained under construction until the mid-fourteenth century, when work ceased abruptly, possibly due to the Black Death. As was customary in late medieval architecture, the protracted construction would have seen the succession","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"101 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135532651","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Youmay not be familiar with Lavinia Fontana’s altarpiece Birth of the Virgin, which hangs in the church of Santissima Trinità in Bologna (fig. 1). However, it is truly extraordinary and deserves more recognition. The seventeenth-century Bolognese art critic Cesare Malvasia referred to it as a “bold gamble that succeeded.” This article confirms his assessment by providing some new references for Lavinia’s work and correcting some misunderstandings that have overshadowed its complexity. In the painting, a crowd of women bustles around the newborn. One womanwarms a towel by the fireplace, another unrolls swaddling bands, and a third places a pot of hot stones under a bed cover to keep it warm.
{"title":"Lavinia Fontana’s <i>Birth of the Virgin</i>","authors":"Emanuele Lugli","doi":"10.1086/726093","DOIUrl":"https://doi.org/10.1086/726093","url":null,"abstract":"Youmay not be familiar with Lavinia Fontana’s altarpiece Birth of the Virgin, which hangs in the church of Santissima Trinità in Bologna (fig. 1). However, it is truly extraordinary and deserves more recognition. The seventeenth-century Bolognese art critic Cesare Malvasia referred to it as a “bold gamble that succeeded.” This article confirms his assessment by providing some new references for Lavinia’s work and correcting some misunderstandings that have overshadowed its complexity. In the painting, a crowd of women bustles around the newborn. One womanwarms a towel by the fireplace, another unrolls swaddling bands, and a third places a pot of hot stones under a bed cover to keep it warm.","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135532656","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Contributors","authors":"","doi":"10.1086/726096","DOIUrl":"https://doi.org/10.1086/726096","url":null,"abstract":"","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"201 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135532653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A tender and touching children’s portrait in the Hermitage was created by the Scottish artist Christina Robertson during her stay in Russia and dates to 1850 (fig. 1). Although Robertson’s customers were wealthy nobles—we can identify them by name in many of her signed works—this portrait of children unfortunately still keeps a major secret. The lack of information about the sitters does not detract from the value of the painting, but nevertheless, researchers and art lovers are always interested in knowing who is depicted in the portrait. In this article, I will make an
{"title":"Christina Robertson’s <i>Children with a Parrot</i>: Identification of the Sitters","authors":"Liya Okroshidze","doi":"10.1086/726095","DOIUrl":"https://doi.org/10.1086/726095","url":null,"abstract":"A tender and touching children’s portrait in the Hermitage was created by the Scottish artist Christina Robertson during her stay in Russia and dates to 1850 (fig. 1). Although Robertson’s customers were wealthy nobles—we can identify them by name in many of her signed works—this portrait of children unfortunately still keeps a major secret. The lack of information about the sitters does not detract from the value of the painting, but nevertheless, researchers and art lovers are always interested in knowing who is depicted in the portrait. In this article, I will make an","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135532655","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A single small late medieval glass panel, measuring 22 by 17 inches, in the collection of the Art Institute of Chicago depicts the grisly final moments of Judas Iscariot (fig. 1). In the central foreground, Judas’s limp body hangs from the lowest branch of a large tree. Bearded and with reddish-brown hair, his head tilts to the left, exposing the noose that coils around his throat. In the lower left, a winged demon gratefully accepts Judas’s soul, symbolized by a naked infant, as it bursts through his stomach and rends his flesh apart. It is as though an inverted birth, where death begets death, the demon acting asmidwife. The terrible event occurs
{"title":"<i>The Hanging of Judas</i> in Chicago and the End of an Image","authors":"Benjamin Zweig","doi":"10.1086/726091","DOIUrl":"https://doi.org/10.1086/726091","url":null,"abstract":"A single small late medieval glass panel, measuring 22 by 17 inches, in the collection of the Art Institute of Chicago depicts the grisly final moments of Judas Iscariot (fig. 1). In the central foreground, Judas’s limp body hangs from the lowest branch of a large tree. Bearded and with reddish-brown hair, his head tilts to the left, exposing the noose that coils around his throat. In the lower left, a winged demon gratefully accepts Judas’s soul, symbolized by a naked infant, as it bursts through his stomach and rends his flesh apart. It is as though an inverted birth, where death begets death, the demon acting asmidwife. The terrible event occurs","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135532657","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Summoned by Bells: The Soundscape of Leonardo da Vinci’s <i>Battle of Anghiari</i>","authors":"Francesca Borgo","doi":"10.1086/726090","DOIUrl":"https://doi.org/10.1086/726090","url":null,"abstract":"","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135532652","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The historical coordinates of Transylvania are those of a territory disputed between foreign powers. As a former component of the medieval kingdom of Hungary, Transylvania became, after the kingdom fell apart under Ottoman attacks, a semi-independent principality under Ottoman suzerainty. Native princes elected by the local elite and confirmed by the sultan ruled over the principality from 1540 to 1690. The Ottomans used military force to intervene in its affairs in order to curb
{"title":"Turks of the Passion: The Antagonists of Christ in Passion Scenes of Transylvanian Wooden Churches","authors":"Andreea Andrei","doi":"10.1086/726094","DOIUrl":"https://doi.org/10.1086/726094","url":null,"abstract":"The historical coordinates of Transylvania are those of a territory disputed between foreign powers. As a former component of the medieval kingdom of Hungary, Transylvania became, after the kingdom fell apart under Ottoman attacks, a semi-independent principality under Ottoman suzerainty. Native princes elected by the local elite and confirmed by the sultan ruled over the principality from 1540 to 1690. The Ottomans used military force to intervene in its affairs in order to curb","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135532654","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Desiderius Erasmus waited until he was fifty to have his portrait painted. Thereafter, images of the “prince of scholars” came thick and fast, including Hans Holbein the Younger’s oil portraits of 1523 and the celebrated engraving by Albrecht Dürer of 1526. The first, though, was the diptych portrait of Erasmus and Antwerp’s city clerk, Pieter Gillis, commissioned from Quinten Matsys in 1517 and sent to their mutual friend Thomas More that year (figs. 1 and 2). This much-discussed picture depicts the scholars in a studiolo stacked with books by ancient and modern authors, among themworks by Lucian and Erasmus’s own Praise of Folly. Erasmus is portrayed writing his Paraphrase of St Paul’s Epistle to
{"title":"Erasmus’s Nose","authors":"Alexander Marr","doi":"10.1086/726092","DOIUrl":"https://doi.org/10.1086/726092","url":null,"abstract":"Desiderius Erasmus waited until he was fifty to have his portrait painted. Thereafter, images of the “prince of scholars” came thick and fast, including Hans Holbein the Younger’s oil portraits of 1523 and the celebrated engraving by Albrecht Dürer of 1526. The first, though, was the diptych portrait of Erasmus and Antwerp’s city clerk, Pieter Gillis, commissioned from Quinten Matsys in 1517 and sent to their mutual friend Thomas More that year (figs. 1 and 2). This much-discussed picture depicts the scholars in a studiolo stacked with books by ancient and modern authors, among themworks by Lucian and Erasmus’s own Praise of Folly. Erasmus is portrayed writing his Paraphrase of St Paul’s Epistle to","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135532658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Editor’s Note: Our Current Lineup of Diversity, Equity, and Inclusion","authors":"John Cunnally","doi":"10.1086/726088","DOIUrl":"https://doi.org/10.1086/726088","url":null,"abstract":"","PeriodicalId":43235,"journal":{"name":"SOURCE-NOTES IN THE HISTORY OF ART","volume":"100 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135532650","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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