The Trinity Sends St. Gabriel the Archangel to Announce to Mary the Incarnation
Pietro Novelli, called Il Monrealese
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Tag Archives: Italian art
Madonna and Child
Polychrome and Stucco, c. 1400s
Antonio Rossellino
Florentine, 1427-1479
Sculptor Antonio Rossellino was born into a family of masons—the youngest of five, talented sons and learning his craft from his older brother, Bernardo. Because of his hair color, Antonio earned the name, Rossellino, which means “little redhead.”
Antonio’s most famous work was completed in 1473 for the Burial Chapel of the Cardinal Prince Jacopo of Portugal found in San Miniato al Monte in Florence.
He worked with multiple artists to design and complete the Chapel including Luca Della Robbia, the distinguished terracotta sculptor and glazer. This remarkable collaboration of artists allowed creativity and beauty to spring forth figuratively and literally from stones and dirt.
M&G’s relief sculpture of Rossellino’s Madonna and Child is representative of a popular image that was painted, carved, and sculpted repeatedly during the Renaissance period. Image fatigue has not set in; we still find the subject appealing in the same way that we enjoy a sunset’s beauty night after night.
Studying the sculpture’s tabernacle frame, we notice the words: Ave, Gratia, and Plena. The translation of which is “Hail, Full of Grace”—a greeting perhaps at the entrance of the family home or private chapel. Below the inscription are carved three fleur-de-lis and the crossed fore-legs of the lion. More than likely, this relief was made for the Morelli family, a prominent family from Florence, whose coat of arms includes the crossed fore-legs of the lion. The fleur-de-lis is the symbol of Florence, originating in the medieval era.
Both Mary and Christ are painted in their customary colors of red, blue, and white symbolizing love, faith, and purity. Mary’s fingers are delicately rendered in terracotta. Surrounding the mother and child are three, winged angel heads carved without bodies, possibly cherubim. Traditionally, angels were viewed as messengers and protectors of the righteous. How fitting for Rossellino to include angels in his portrayal of Christ considering Scripture’s promise in Psalm 91:10, 11, “For he shall command his angels concerning you to guard you in all your ways. On their hands they will bear you up, lest you strike your foot against the stone.”
Angie Snow, M&G Educator
Published in 2019
The Repentant St. Peter
Oil on canvas, circa 1664
Carlo Dolci
Florentine, 1616-1686
This powerful portrait of the penitent Peter is by seventeenth-century Florentine artist Carlo Dolci. A child prodigy, Carlo entered Jacopo Vignali’s studio as an apprentice at the age of 9 and by 13 was independently completing noteworthy commissions. Throughout his lifetime Dolci’s paintings would continue to garner praise and to attract the patronage of luminaries like the Grand Duchess of Tuscany Vittoria della Rovere and her son Cosimo III.
However, Dolci’s aspirations went beyond a desire for fame. His lifelong friend and biographer Filippo Baldinucci wrote: “From early childhood, Dolci frequented the Benedictine Order, and his devotion ever increasing, he made a firm vow never in all his life to wish to paint anything other than sacred images or religious stories, and to represent them in such a manner that they would inspire Christian piety in those who saw them.” It is not surprising, therefore, that aside from a few portraits, Dolci’s entire oeuvre is comprised of devotional works.
One of those rare portraits is this 1674 Double Self-Portrait. This work not only highlights the artist’s technical skill but also insinuates his temperament. Dolci was a meticulous artist. Baldinucci commented: “It may seem strange to hear that he completed so many works, having worked so slowly, or more accurately having taken so long to complete them, since sometimes a single foot occupied him for weeks.” We see that obsessive attention to detail in this work—both in its execution and in the handling of the subject. In a sense it is a visual pun. In the miniature portrait we see the bespectacled Dolci leaning in to delicately apply brush to canvas while the larger, central figure holds this miniature up for viewer examination. Notice the wistful expression of the dominant Dolci. It’s as if he is inquiring of the viewer, “I’m not sure I’m satisfied with my ‘image.’ Are you?” Numerous sources site that throughout his life Dolci suffered from melancholia, an archaic term describing (among other things) bouts of extreme depression. Perhaps this malady contributed to his ability to render powerful emotion convincingly. Regardless, it is this quality that evokes the pathos readily apparent in the Museum & Gallery’s portrait.
Although the subject of this work is derived from the gospels, it’s popularity during Dolci’s time was due in part to Counter-Reformation dogma. For example, one of the many objectives of the Council of Trent was to urge Catholic painters to reaffirm through art the salvatory function of those sacraments dismissed by the Reformers—including the sacrament of penance (the private confession of sins to a priest). Art historian and curator David Steel notes that as a result “the repentance of Peter became an especially popular subject since it depicted the Prince of Apostles, and the first pope, in the sacramental act of doing penance; Peter’s tears became a symbol for that sacrament.”
The compositional details mirrored in Dolci’s work were first codified by the Mannerist painter Domenikos Theotokopoulos, called El Greco. El Greco completed numerous variants and at least five autograph versions of this subject, including the one pictured here from the San Diego Museum of Art. His dark background, grotto-like setting, and figural pose became standard, and we see these elements mirrored in Dolci’s rendering. Both artists also clothe the figure in his traditional yellow-gold mantel of faith. However, Dolci’s elegant brushwork and jewel-like coloration add what one historian describes as a “fresh, objective approach.”
Although naturalistic in the handling of light and the depiction of Peter’s weathered face, red-rimmed eyes, and tousled hair and beard, there is none of the severity characteristic of such Baroque naturalists as Caravaggio. Dolci’s vital realism seems free of despair. As art historian Michael Bryan observed, “Nothing is harsh or obtrusive, all is modest and harmonious.” This seamless integration of the natural and the sublime creates a wonderfully moving image.
To learn how Protestant painters sought to affirm their faith read about Lucas Cranach, the Younger’s Allegory of the Fall and Redemption of Man.
Donnalynn Hess, Director of Education
Published in 2018
Madonna and Child with Saints
Niccolò di Pietro Gerini
Angel with Candlestick (pair)
Polychrome and parcel-gilt
Unknown
Florentine, c. late 15th century
Since paintings in an exhibit often take “center stage,” ecclesiastical pieces like these Angels with Candlestick can be overlooked by museum viewers. During the Renaissance, however, a polychrome sculptural grouping would often be the centerpiece of an altar’s decorative scheme while the painted narrative scenes or figures functioned as the “wings” of the altar. Although by the end of the sixteenth century, paintings became the central focus of Italian altarpieces, while sculpture continued to be used extensively in other countries like Spain.
The term polychrome (meaning “many colored”) refers to the application of colored materials to sculpture in order to present a more life-like quality. This technique dates back to the Greeks and Romans and was particularly popular during the Renaissance. Because these pigments fade over time such coloring is rarely discernable today. The good condition of these statues is due to the porous wood used which retains color well.
We know that the figures shown here were meant to be angels from the metal pins that remain on the back of each figure—a clear indication of the wings’ placement. Sadly, it is not uncommon for such appendages to be broken off or lost over centuries of movement from place to place. Fortunately, the carved wooden haloes have remained intact, as has the original base with its Latin inscriptions.
Since several of the words are Latin abbreviations, the precise translation of the inscriptions is unclear. However, a loose reading would be:
OVEM DEDIT VOBIS DNS ADVES CENTVIM
Dedicated to the Lord’s Advent
VENITE ET COMEDITE PANEM
Come and eat bread
ANGE ORVM
Angels
Donnalynn Hess, Director of Education
Published in 2018
Antiphonary
Vellum
Italian, 16th century
Antiphonary pages from the Museum & Gallery at Bob Jones University
Antiphonaries are collections of various chants sung for the prayer hours, the Divine Office, of the Western church. Such collections date as far back as the eighth century. The chants consist primarily of antiphons and psalms. In the Middle Ages all 150 psalms were sung each week during the Divine Office.
Antiphons were musical and textual additions which anonymous medieval composers added to the chanting of the psalm. Most often the antiphon texts were carefully selected to match the content of the psalm at hand. They could be drawn from other biblical passages, including the New Testament, from older hymns, or from new, original texts. For example, for the chanting of Psalm 23, the antiphon text might have been from John 10:11, “I am the good shepherd.” This antiphon text would be sung before and after the chanting of the psalm, forming a musical frame.
The collections would be organized according to the church calendar and within that according to the order of the prayer hours beginning with Matins. Antiphonaries are generally quite large because the choir would stand around it in a group in order to sing from it, similar to the picture below. A large music stand held it at the proper level.
The Antiphonary in M&G’s collection dates to the beginning of the 16th century. It came to M&G in 1960 acquired at an auction on November 11 and 12 at the Parke-Bernet Galleries from the Myron C. Taylor Collection, NY.
M&G’s Antiphonary is incomplete, consisting of 154 leaves (pages). The parts of the church calendar within it include the Offices for the Christmas feasts, the Circumcision, the Epiphany, the Ascension, and Pentecost. Notably absent are the services for Easter.
Similar to many other antiphonaries, this one also illuminates and decorates many capital letters. The first line of this page reads Rex pacificus magnificatus translated as “The King of Peace is magnified.” The first letter, the R, contains a nativity scene, colored in pastels, appropriate to its position for Vespers on Christmas Day. M&G is beginning to translate the leaves in the antiphonary and orient them to their position in the church calendar and order of service.
Dr. Karen Wilson, M&G volunteer and retired music professor from Bob Jones University
Published in 2018
Cassone
Walnut
Italian, 16th century
Years ago a television series aired featuring a dolphin named “Flipper.” He exhibited the usual amount of dolphin intelligence and often saved the day. One of M&G’s pieces of furniture includes carved dolphins and takes a person to a time and place where dolphins symbolized various aspects of life.
During the 15th and 16th centuries, Italy specialized in the production of a special piece of furniture called, cassone, the Italian word meaning chest. Of the eighteen cassoni (plural for cassone) in M&G’s collection, one is beautifully and elaborately carved; rather than a lion’s claw for feet or some other standard furniture base, this cassone rests on four carved dolphins. In his catalog for M&G’s furniture collection, furniture connoisseur Joseph Aaronson described the chest this way, “the dynamic carving of swirling plant and grotesque animal forms, framed at the corners by winged putti figures. . . is based on Roman patterns and is unmistakably Italian in its playful freedom.”
Rome became the center of cassone production in the mid to late sixteenth century. According to the Encyclopedia of Interior Design, by this time society’s taste had shifted from the chests with painted panel scenes and portraits to a more sculptural form of decoratively carved dark walnut with little to no paint or gilding. M&G’s cassone represents the era’s preferred choice with its dark wood and ornate carvings.
However, why would dolphins be carved for the feet? Most people at this time were familiar with the mammal due to the fact that Italy is surrounded by water. Greek mythology presents dolphins as companions to Dionysius, a seafaring god; and they are also connected with Venus the goddess of love. Dolphins symbolized long life and safety in travel. Since cassoni were often given in pairs as a wedding gift by a bride’s parents, it was one way to express their support and desire that a marriage would be safe, long, and produce a healthy family. In its context, a cassone was both a practical and necessary piece of furniture, but also a status symbol in society for newlyweds.
M&G’s cassone was a gift from Carl Hamilton in 1956, and remains somewhat mysterious. Its shape may indicate when it was made and its possible origin in the seaport of Genoa. On the front is a crest, yet no further information has been found to connect it to a specific family. As cassone production is further studied, perhaps more will be learned about M&G’s cassone in the future.
John Good, Security Manager
Published in 2017
Christ Seats the Child in the Midst of the Disciples
Oil on canvas
Mattia Preti, called Il Cavaliere Calabrese
Neopolitan, 1613-1699
A Teachable Moment
The summer months have been ticking away and school waits around the corner. However, as we all know, school is not the only place where learning occurs. Children and adults alike find life itself to be full of teachable moments.
Mattia Preti (1613-1699), a seventeenth-century Neapolitan Baroque artist, highlights one such moment in the life of Christ. His oil painting, Christ Seats the Child in the Midst of the Disciples, captures the familiar account from Matthew 18. The subjects in this painting, Christ’s disciples, learn a lesson from their Master.
In response to their babblings about which of them would be the greatest in the kingdom of heaven, Christ explains that “except ye be converted, and become as little children, ye shall not enter into the kingdom of heaven” (Matthew 18:3). The child portrayed in the center of Preti’s work acts as an object lesson for the disillusioned disciples.
Interestingly, Preti incorporates various subtle hints referencing the struggle between good and evil. The child, dressed in the purity and innocence of white, sits between an illumined Christ and a shadowed Judas. The betrayer, wearing a red robe of hate, grasps the child’s arm while Christ extends His hand toward the boy. The Master’s gaze locks with the eyes of Judas, and his left hand points heavenward. You can almost hear his admonition: “Whosoever therefore shall humble himself as this little child, the same is greatest in the kingdom of heaven” (Matthew 18:4).
This work along with others created by Preti reveal the influence of Il Guercino, Lanfranco, and Caravaggio in his color choices and use of chiaroscuro—contrasting light with darkness. Preti’s career as an artist sparked in Rome and continued to grow as he expanded his learning in Naples and across Italy before finally moving to Malta. His various works, mostly religious scenes, capture moments in time and prod the viewer to stop and reflect on teachable moments.
Interesting facts about M&G’s work and Mattia Preti:
Preti was knighted by Pope Urban VIII in 1641.
Preti also answered to the name Il Cavaliere Calabrese—The Knight of Calabria.
Preti’s Christ Seats the Child in the Midst of the Disciples was the first work by this artist to be hung in a public American museum.
This painting has traveled across the United States and to other parts of the globe for various exhibitions. A few of its temporary residencies are listed below:
- Hiratsuka Museum of Art and Tobu Museum of Art, Japan
- Birmingham Museum of Art, Alabama
- Yale University Art Gallery, Connecticut
- North Carolina Museum of Art, Raleigh
Jessica Hargett, former M&G Secondary Education Coordinator
Published in 2017
Stipo Bambocci, walnut Stipo Bambocci, walnut
Italian, 16th century Italian, late 16th to early 17th century
Click on links for additional reference information.
Most of us at one time or another have treasured and tucked away some poem, theme paper, or letter. Your paper valuables may have been stashed in a simple cardboard box, but if you were living in Italy between 1560 and the early 1600s in the thriving cities of Genoa or Florence, your written mementos may have been stored in a tall, desk-like piece of furniture called a Stipo a Bambocci, loosely translated “a cabinet with carved babies.” As the style became popular, more iconographic carvings embellished the desk’s exterior, which is typical of the emerging Baroque period. Yet, the name’s association with “babies” persisted.
Beautifully fashioned out of two kinds of wood—burled-walnut and Caucasian walnut, the upper portions of the desks (not usually created at the same time as the lower cabinets) are completely removable, allowing a nobleman to tote just the top portion of his desk on his travels. The interiors, laden with multiple drawers and hidden caverns, beckon the imagination as to what might have been secretly stored within! Most often, a stipo a bambocci was secured with a lockable, fall front writing surface. Supported by lopers when lowered, the false front becomes positioned at a comfortable height for writing.
Mimicking the design of an Iberian desk called a bargueño, the production of stipi (plural for stipo) was short lived, a mere 60 to 70 years. Yet their substantial influence can be seen in a more common piece of furniture today known today as an escritoire or secretary.
Little is known about these early furniture makers; however art historian, Dr. Thomas Meyer, discovered in 2008 that Riccardo Taurini and his workshop were craftsmen of a specific stipo. Meyer notes that the family of Taurini is considered to be the “fathers” of the stipi, blending their designs with inspiration from famous artists, architects and sculptors such as Rosso Fiorentino, Jacques I Androuet du Cerceau, Hugues Sambin, Leon Battista Alberti, Giacomo Barozzi da Vignola, and Andrea Palladio.
Almost as interesting as the desks’ construction are the various personages who formerly owned M&G’s unique pieces—the Royal Family of Savoy; an Austrian Archduke living in Lichtenstein Palace, Vienna; Myron C. Taylor, President Roosevelt’s personal representative to Pope Pius XII during World War II; and the industrialist and avid collector, Carl W. Hamilton of Philippine Refining Corporation. It is intriguing to consider what documents might have once been composed upon or stored within these beautiful pieces of furniture!
Though stipi are most often found today in house museums such as Museo Poldi-Pezzoli, Bagatti-Valsecchi and in the Castello Sforzesco, it is no surprise that M&G has two such unusual desks. M&G’s furniture collection (which includes approximately 100 pieces predominately from the 1400s and 1500s) is almost as renowned as its collection of Old Masters. Joseph Aronson (1898-1976), an international European furniture authority, once remarked that “it is one of the finest collections of Renaissance furniture in America.” Aronson’s work, Furniture in the Bob Jones University Collection, as well as other significant volumes such as A Concise History of Interior Decoration by George Savage and A History of Italian Furniture by William M. Odom, both review these two stipi, and qualify M&G’s collection as a must-see for furniture lovers and historians everywhere.
Bonnie Merkle, Collection Database Manager and Docent
Published in 2017
Bust of Henri II, King of France
Bust of Catherine de’ Medici, Queen of France
Glazed Terracotta
Girolamo della Robbia (attr. to)
Italian, 1488–1566
Click on the links throughout the article to view additional artists’ works and reference material.
Heading into the month of November, the themes of family and tradition are strongly emphasized. Throughout the Museum & Gallery, there are many examples of studio traditions passed down between family members such as father to son, uncle to nephew and even father to daughter. Of these there are few families who have achieved such renowned fame as the Della Robbia family. Founded in Florence by Luca Della Robbia, the family workshop produced sculpture for more than 100 years and was considered one of the most successful studios of the Renaissance.
What made the Della Robbia family so successful was their contemporary approach to sculpture and their luminescent glazing. Sculpture began to take new forms in the Renaissance, especially in the use of a forgotten medium—clay, which was revived for many reasons. It was easy to model and cast, which allowed delicate detail; and it was an inexpensive material. Clay was considered a humble medium that encouraged piety and did not distract from the holiness of the subject it depicted.
Luca is credited with the invention of the glaze, the family studio’s distinctive trademark, which effectively combined painting and sculpture. Many reasons are given why he developed the new glazing technique ranging from aesthetic to economical or both. The glaze was a ceramic treatment of the clay that protected the clay, making it impermeable. It also rendered sculpture, in Giorgi Vasari’s words, “almost eternal.” Hailed as a major artistic and scientific discovery, the glazed terracotta rapidly became desired throughout Florentine society.
After Luca, the studio was passed on to his nephew, Andrea, and then to Andrea’s sons. From Florence, the studio was carried to France in 1517 by Girolamo della Robbia, the youngest son of Andrea. At this time, King Francis I had been inviting many Italian artists such as Girolamo to encourage an artistic Renaissance in France. Girolamo created many sculptures, altarpieces and intricate architectural elements for the king and his court. After the death of King Francis, Girolamo went home to Florence but later followed Queen Catherine de’ Medici to Paris to continue making art until his death in 1566. Two years later, Vasari wrote “not only did [Girolamo’s] house die out…but art was deprived of the knowledge of the proper method of glazing.” Despite the family’s closely guarded glazing secrets, legend tells that a Della Robbia housemaid stole the glazing technique and passed it on to Benedetto Buglioni and his family.
Located in the Italian Mannerist gallery at M&G, two large terracotta busts immediately arrest the attention of guests. Their powerful presence and beautiful glazing draw viewers in to inquire the identity of the sitters. Both are attributed to Girolamo and are reminiscent of the works for which the della Robbia family is so famous.
When Dr. Bob Jones Jr., founder of M&G, purchased the pair, the figures were originally thought to be Cesare and Lucrezia Borgia, son and daughter of infamous Pope Alexander VI. However, due to Girolamo’s workshop being more centrally located in France, it is more likely the figures are King Henri II (son of Francis I) and Queen Catherine de’ Medici. The figures could also be French courtiers who were wealthy enough to afford their portraits in sculpture.
Even though the art of sculpture seeks to capture a likeness or identifiable features, it should be noted that most sculptural portraits remain unidentified. Whoever these two actually were, they have truly been immortalized and given as Vasari says an “almost eternal” look. From their pedestal, they stand as a testament to the artistic tradition and genius of the Della Robbia family.
KC Christmas, Docent and Guest Services Attendant
Published in 2016
