Christ Among the Doctors (Dürer)

Prompt: Explain the Mantegna and Bellini about the The tradition of the composition of this artwork, Christ Among the Doctors (Dürer).

The conception of a composition with several half-figures (maximal height) in a neutral dark space was introduced by Andrea Mantegna, but may be traced back to reliefs by Donatello. There are no additions like furniture or architecture that would constitute a space, only the clothes of the figures and accessoires on them or held in their hands transmit meaning, but the dramatic aspect of the theme is exclusively displayed by facial expression, gesture and the spacial relation between the figures.Mantegna probably painted The Presentation at the Temple around 1455, when he married the sister of Giovanni Bellini, or on the occasion of the birth of their first child. The scene's protagonists are Mary, the Infant Jesus, Joseph (slightly subordinated in the center) and Simeon, who is about to recognise the Messiah. The two added figures are sometimes considered to be portraits of Mantegna himself and his wife (since the woman is to young to be the 84-year-old Hannah of the story, who propagates the news). Decades later Mantegna's brother-in-law painted a version of Presentation at the Temple traced from the original. Expanded with two more figures it was often similarly considered a Bellini family portrait (including Mantegna).Mantegna died in Mantua in 1506, and there are no sources that would confirm Dürer ever met him personally, but through Bellini he learned about his work. In 1494 Dürer copied at least two engravings by Mantegna, Battle of the Sea Gods and Bacchanal with Silenus.Dürer became acquainted with Bellini on his (disputed) first stay in Venice in the mid-1490s. They very much respected each other. Bellini asked Dürer to paint a piece for him, and it was considered that Dürer maybe gave the Christ among the Doctors to him. Dürer wrote to his humanist friend Willibald Pirckheimer in Nuremberg that Bellini was "old, but that he was still the best" ("Er ist sehr alt und ist noch, der best in Gemäl"). At the time Dürer arrived in Venice in the summer of 1505, Bellini's San Zaccaria Altarpiece was erected and surely was an event talked about not only in artists circles. Dürer paid homage to him by incorporating the figure of the single lute-playing angel sitting in front of Mary's throne into his Feast of the Rosary. The free interpretation of Bellini's original figure shows how Dürer used to respond autonomously to inspirational ideas of others. (The angel's head Dürer had prepared with a study drawn on the same sheet of Venetian paper as the head of the young Christ, now separated.)The half-figure on the far right side of Christ Among the Doctors is said to be perhaps a citation of Giovanni Bellini, but it is more likely that the figure was copied from a painting by Mantegna. In his Adoration of the Magi from around 1500, conceived too as a picture-filling sacra conversazione, the figure is also placed in the lower right corner. Dürer used this figure several times, in the Feast of the Rosary he was also working on at the time, the head appears somewhat hidden at the far left side of the panel.Both Presentation panels of Mantegna and Bellini have all personage and the beholder on almost equal height, whereas Dürer had tilted the ground plane resulting in a perspectival view from slightly above seemingly to gain depth of space and rectify the overcrowded scene. But the composition is "conceived flatly, and the spatial relations between the figures are so much neglected that we must interpret this lack of three-dimensionality as intentional." Maybe this was caused by the short time he spend on it, or he purposefully aimed for a contrasting statement against the Venetian sense for calmness and harmonic composition, as well as his own Feast of the Rosary. Without fail he emphasised the drama in his own Northern way.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In Christ Among the Doctors (Dürer), how is the Mantegna and Bellini of the The tradition of the composition explained?

The conception of a composition with several half-figures (maximal height) in a neutral dark space was introduced by Andrea Mantegna, but may be traced back to reliefs by Donatello. There are no additions like furniture or architecture that would constitute a space, only the clothes of the figures and accessoires on them or held in their hands transmit meaning, but the dramatic aspect of the theme is exclusively displayed by facial expression, gesture and the spacial relation between the figures.Mantegna probably painted The Presentation at the Temple around 1455, when he married the sister of Giovanni Bellini, or on the occasion of the birth of their first child. The scene's protagonists are Mary, the Infant Jesus, Joseph (slightly subordinated in the center) and Simeon, who is about to recognise the Messiah. The two added figures are sometimes considered to be portraits of Mantegna himself and his wife (since the woman is to young to be the 84-year-old Hannah of the story, who propagates the news). Decades later Mantegna's brother-in-law painted a version of Presentation at the Temple traced from the original. Expanded with two more figures it was often similarly considered a Bellini family portrait (including Mantegna).Mantegna died in Mantua in 1506, and there are no sources that would confirm Dürer ever met him personally, but through Bellini he learned about his work. In 1494 Dürer copied at least two engravings by Mantegna, Battle of the Sea Gods and Bacchanal with Silenus.Dürer became acquainted with Bellini on his (disputed) first stay in Venice in the mid-1490s. They very much respected each other. Bellini asked Dürer to paint a piece for him, and it was considered that Dürer maybe gave the Christ among the Doctors to him. Dürer wrote to his humanist friend Willibald Pirckheimer in Nuremberg that Bellini was "old, but that he was still the best" ("Er ist sehr alt und ist noch, der best in Gemäl"). At the time Dürer arrived in Venice in the summer of 1505, Bellini's San Zaccaria Altarpiece was erected and surely was an event talked about not only in artists circles. Dürer paid homage to him by incorporating the figure of the single lute-playing angel sitting in front of Mary's throne into his Feast of the Rosary. The free interpretation of Bellini's original figure shows how Dürer used to respond autonomously to inspirational ideas of others. (The angel's head Dürer had prepared with a study drawn on the same sheet of Venetian paper as the head of the young Christ, now separated.)The half-figure on the far right side of Christ Among the Doctors is said to be perhaps a citation of Giovanni Bellini, but it is more likely that the figure was copied from a painting by Mantegna. In his Adoration of the Magi from around 1500, conceived too as a picture-filling sacra conversazione, the figure is also placed in the lower right corner. Dürer used this figure several times, in the Feast of the Rosary he was also working on at the time, the head appears somewhat hidden at the far left side of the panel.Both Presentation panels of Mantegna and Bellini have all personage and the beholder on almost equal height, whereas Dürer had tilted the ground plane resulting in a perspectival view from slightly above seemingly to gain depth of space and rectify the overcrowded scene. But the composition is "conceived flatly, and the spatial relations between the figures are so much neglected that we must interpret this lack of three-dimensionality as intentional." Maybe this was caused by the short time he spend on it, or he purposefully aimed for a contrasting statement against the Venetian sense for calmness and harmonic composition, as well as his own Feast of the Rosary. Without fail he emphasised the drama in his own Northern way.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Describe the characteristics of the Mantegna and Bellini in Christ Among the Doctors (Dürer)'s The tradition of the composition.

The conception of a composition with several half-figures (maximal height) in a neutral dark space was introduced by Andrea Mantegna, but may be traced back to reliefs by Donatello. There are no additions like furniture or architecture that would constitute a space, only the clothes of the figures and accessoires on them or held in their hands transmit meaning, but the dramatic aspect of the theme is exclusively displayed by facial expression, gesture and the spacial relation between the figures.Mantegna probably painted The Presentation at the Temple around 1455, when he married the sister of Giovanni Bellini, or on the occasion of the birth of their first child. The scene's protagonists are Mary, the Infant Jesus, Joseph (slightly subordinated in the center) and Simeon, who is about to recognise the Messiah. The two added figures are sometimes considered to be portraits of Mantegna himself and his wife (since the woman is to young to be the 84-year-old Hannah of the story, who propagates the news). Decades later Mantegna's brother-in-law painted a version of Presentation at the Temple traced from the original. Expanded with two more figures it was often similarly considered a Bellini family portrait (including Mantegna).Mantegna died in Mantua in 1506, and there are no sources that would confirm Dürer ever met him personally, but through Bellini he learned about his work. In 1494 Dürer copied at least two engravings by Mantegna, Battle of the Sea Gods and Bacchanal with Silenus.Dürer became acquainted with Bellini on his (disputed) first stay in Venice in the mid-1490s. They very much respected each other. Bellini asked Dürer to paint a piece for him, and it was considered that Dürer maybe gave the Christ among the Doctors to him. Dürer wrote to his humanist friend Willibald Pirckheimer in Nuremberg that Bellini was "old, but that he was still the best" ("Er ist sehr alt und ist noch, der best in Gemäl"). At the time Dürer arrived in Venice in the summer of 1505, Bellini's San Zaccaria Altarpiece was erected and surely was an event talked about not only in artists circles. Dürer paid homage to him by incorporating the figure of the single lute-playing angel sitting in front of Mary's throne into his Feast of the Rosary. The free interpretation of Bellini's original figure shows how Dürer used to respond autonomously to inspirational ideas of others. (The angel's head Dürer had prepared with a study drawn on the same sheet of Venetian paper as the head of the young Christ, now separated.)The half-figure on the far right side of Christ Among the Doctors is said to be perhaps a citation of Giovanni Bellini, but it is more likely that the figure was copied from a painting by Mantegna. In his Adoration of the Magi from around 1500, conceived too as a picture-filling sacra conversazione, the figure is also placed in the lower right corner. Dürer used this figure several times, in the Feast of the Rosary he was also working on at the time, the head appears somewhat hidden at the far left side of the panel.Both Presentation panels of Mantegna and Bellini have all personage and the beholder on almost equal height, whereas Dürer had tilted the ground plane resulting in a perspectival view from slightly above seemingly to gain depth of space and rectify the overcrowded scene. But the composition is "conceived flatly, and the spatial relations between the figures are so much neglected that we must interpret this lack of three-dimensionality as intentional." Maybe this was caused by the short time he spend on it, or he purposefully aimed for a contrasting statement against the Venetian sense for calmness and harmonic composition, as well as his own Feast of the Rosary. Without fail he emphasised the drama in his own Northern way.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In the context of Christ Among the Doctors (Dürer), explain the Cima daConegliano and Bernardino Luini and the The tradition of the composition.

The panel of Christ among the Doctors by Cima da Conegliano is assessed to have preceded Dürer's painting about a year or two. Cima followed the local tradition established by Mantegna and Bellini. About thirty copies and variations of their composition alone are known. And the conception with half-figures with a neutral background lend itself to other biblical episodes and sacred conversations produced in northern Italy.Cima took the scene out of its narrative context and created an autonomous symbolic composition. The overriding theme is the divine knowledge through Christ as Alpha and Omega. He left Mary and Joseph out of the picture and concentrated the image on the theological debate, emphasised by the traditional motif of hands enumerating points on the fingers (computus digitalis). The gesture is depicted slightly off center to the right, the right hand reaching for the left, just like in the Dürer painting. But here it forms a diagonal with Christ's head, which reruns in parallels elegantly through the whole composition. And the personage, whose diversity is illustrated by their clothes, form a half-circle around the Christ Child, already generating a deeper space than the panels by Mantegna and Bellini. Still further similarities with Dürer's panel can be seen on the left side of Cima's painting, where a scholar tries to interrupt Jesus by touching him at his arm, while the doctor on the extreme left seems to have understood the child and begins to rip of the pages from his folio. Since Cima's "classical composition could not have been produced as an echo of Dürer's "Gothic" unrest," it seems more likely that Dürer developed his composition from Cima's, than the other way around.The theme of Jesus among the Doctors became popular in Italy in the 16th century. In 1504 Isabella d'Este commissioned Leonardo to paint the Infant Jesus, but nothing came of that. The later painting by Bernardino Luini was assumed to have been inspired by or even copied from an assumed lost composition by Leonardo. But this dependency is rejected and the lost work by Leonardo dismissed, despite some resemblance particularly of the young Jesus with Leonardo's style. Apart from that, Luni's work appears more like a devotional image in a traditional way. Christ stands in the foreground, faces the beholder and addresses him, leaving the doctors behind him merely as staffage, the conflict muted.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Explain the Cima daConegliano and Bernardino Luini about the The tradition of the composition of this artwork, Christ Among the Doctors (Dürer).

The panel of Christ among the Doctors by Cima da Conegliano is assessed to have preceded Dürer's painting about a year or two. Cima followed the local tradition established by Mantegna and Bellini. About thirty copies and variations of their composition alone are known. And the conception with half-figures with a neutral background lend itself to other biblical episodes and sacred conversations produced in northern Italy.Cima took the scene out of its narrative context and created an autonomous symbolic composition. The overriding theme is the divine knowledge through Christ as Alpha and Omega. He left Mary and Joseph out of the picture and concentrated the image on the theological debate, emphasised by the traditional motif of hands enumerating points on the fingers (computus digitalis). The gesture is depicted slightly off center to the right, the right hand reaching for the left, just like in the Dürer painting. But here it forms a diagonal with Christ's head, which reruns in parallels elegantly through the whole composition. And the personage, whose diversity is illustrated by their clothes, form a half-circle around the Christ Child, already generating a deeper space than the panels by Mantegna and Bellini. Still further similarities with Dürer's panel can be seen on the left side of Cima's painting, where a scholar tries to interrupt Jesus by touching him at his arm, while the doctor on the extreme left seems to have understood the child and begins to rip of the pages from his folio. Since Cima's "classical composition could not have been produced as an echo of Dürer's "Gothic" unrest," it seems more likely that Dürer developed his composition from Cima's, than the other way around.The theme of Jesus among the Doctors became popular in Italy in the 16th century. In 1504 Isabella d'Este commissioned Leonardo to paint the Infant Jesus, but nothing came of that. The later painting by Bernardino Luini was assumed to have been inspired by or even copied from an assumed lost composition by Leonardo. But this dependency is rejected and the lost work by Leonardo dismissed, despite some resemblance particularly of the young Jesus with Leonardo's style. Apart from that, Luni's work appears more like a devotional image in a traditional way. Christ stands in the foreground, faces the beholder and addresses him, leaving the doctors behind him merely as staffage, the conflict muted.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: In Christ Among the Doctors (Dürer), how is the Cima daConegliano and Bernardino Luini of the The tradition of the composition explained?

The panel of Christ among the Doctors by Cima da Conegliano is assessed to have preceded Dürer's painting about a year or two. Cima followed the local tradition established by Mantegna and Bellini. About thirty copies and variations of their composition alone are known. And the conception with half-figures with a neutral background lend itself to other biblical episodes and sacred conversations produced in northern Italy.Cima took the scene out of its narrative context and created an autonomous symbolic composition. The overriding theme is the divine knowledge through Christ as Alpha and Omega. He left Mary and Joseph out of the picture and concentrated the image on the theological debate, emphasised by the traditional motif of hands enumerating points on the fingers (computus digitalis). The gesture is depicted slightly off center to the right, the right hand reaching for the left, just like in the Dürer painting. But here it forms a diagonal with Christ's head, which reruns in parallels elegantly through the whole composition. And the personage, whose diversity is illustrated by their clothes, form a half-circle around the Christ Child, already generating a deeper space than the panels by Mantegna and Bellini. Still further similarities with Dürer's panel can be seen on the left side of Cima's painting, where a scholar tries to interrupt Jesus by touching him at his arm, while the doctor on the extreme left seems to have understood the child and begins to rip of the pages from his folio. Since Cima's "classical composition could not have been produced as an echo of Dürer's "Gothic" unrest," it seems more likely that Dürer developed his composition from Cima's, than the other way around.The theme of Jesus among the Doctors became popular in Italy in the 16th century. In 1504 Isabella d'Este commissioned Leonardo to paint the Infant Jesus, but nothing came of that. The later painting by Bernardino Luini was assumed to have been inspired by or even copied from an assumed lost composition by Leonardo. But this dependency is rejected and the lost work by Leonardo dismissed, despite some resemblance particularly of the young Jesus with Leonardo's style. Apart from that, Luni's work appears more like a devotional image in a traditional way. Christ stands in the foreground, faces the beholder and addresses him, leaving the doctors behind him merely as staffage, the conflict muted.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Christ Among the Doctors (Dürer)

Prompt: Describe the characteristics of the Cima daConegliano and Bernardino Luini in Christ Among the Doctors (Dürer)'s The tradition of the composition.

The panel of Christ among the Doctors by Cima da Conegliano is assessed to have preceded Dürer's painting about a year or two. Cima followed the local tradition established by Mantegna and Bellini. About thirty copies and variations of their composition alone are known. And the conception with half-figures with a neutral background lend itself to other biblical episodes and sacred conversations produced in northern Italy.Cima took the scene out of its narrative context and created an autonomous symbolic composition. The overriding theme is the divine knowledge through Christ as Alpha and Omega. He left Mary and Joseph out of the picture and concentrated the image on the theological debate, emphasised by the traditional motif of hands enumerating points on the fingers (computus digitalis). The gesture is depicted slightly off center to the right, the right hand reaching for the left, just like in the Dürer painting. But here it forms a diagonal with Christ's head, which reruns in parallels elegantly through the whole composition. And the personage, whose diversity is illustrated by their clothes, form a half-circle around the Christ Child, already generating a deeper space than the panels by Mantegna and Bellini. Still further similarities with Dürer's panel can be seen on the left side of Cima's painting, where a scholar tries to interrupt Jesus by touching him at his arm, while the doctor on the extreme left seems to have understood the child and begins to rip of the pages from his folio. Since Cima's "classical composition could not have been produced as an echo of Dürer's "Gothic" unrest," it seems more likely that Dürer developed his composition from Cima's, than the other way around.The theme of Jesus among the Doctors became popular in Italy in the 16th century. In 1504 Isabella d'Este commissioned Leonardo to paint the Infant Jesus, but nothing came of that. The later painting by Bernardino Luini was assumed to have been inspired by or even copied from an assumed lost composition by Leonardo. But this dependency is rejected and the lost work by Leonardo dismissed, despite some resemblance particularly of the young Jesus with Leonardo's style. Apart from that, Luni's work appears more like a devotional image in a traditional way. Christ stands in the foreground, faces the beholder and addresses him, leaving the doctors behind him merely as staffage, the conflict muted.

File:De twaalfjarige Christus in de tempel Leven van Maria (serietitel), RP-P-OB-1422.jpg

File:Cima da Conegliano Christ among the doctors.jpg

''Christ among the Doctors'' from the ''[[Life of the Virgin (Dürer)

File:Bernardino Luini, Christ among the Doctors, c.1515-30, oil on poplar, 72.4 x 85.7 cm, National Gallery, London.jpg

Dürer and workshop, ''Christ among the Doctors'' from the ''[[Seven Sorrows Polyptych

c:Bacchanal with Silenus by Andrea Mantegna

c:Battle of the Sea Gods by Andrea Mantegna

Leonardo da Vinci, ''Heads of an Old Man and a Youth, c. 1495, red chalk on paper, [[Uffizi

Category:Paintings in the Thyssen-Bornemisza Museum

Christ Among the Doctors (Dürer)#'"Made in five days"''


Statue of James II, Trafalgar Square

Prompt: Focus on Statue of James II, Trafalgar Square and explain the abstract.

The statue of James II is a bronze sculpture located in the front garden of the National Gallery in Trafalgar Square, London, United Kingdom. Probably inspired by French statues of the same period, it depicts James II of England as a Roman emperor, wearing Roman armour and a laurel wreath (traditionally awarded to a victorious Roman commander). It originally also depicted him holding a baton. It was produced by the workshop of Grinling Gibbons. The execution was most likely, according to contemporary accounts, the work of the Flemish sculptors Peter van Dievoet from Brussels and Laurens van der Meulen from Mechlin, rather than of Gibbons himself. The statue has been relocated several times since it was first erected in the grounds of the old Palace of Whitehall in 1686, only two years before James II was deposed.

Category:Grade I listed statues in the City of Westminster

The Privy Gardens of Whitehall in 1741. The statue is visible on the right.

Category:Relocated buildings and structures in the United Kingdom

The statue outside the [[Banqueting House, Whitehall

Category:Bronze sculptures in the City of Westminster

Category:Cultural depictions of James II of England

Equestrian statue of Charles II, Windsor Castle

Category:Royal monuments in the United Kingdom

Statue of Charles II, Royal Hospital Chelsea

Category:Sculptures of men in the United Kingdom


Statue of James II, Trafalgar Square

Prompt: Explain the abstract of this artwork, Statue of James II, Trafalgar Square.

The statue of James II is a bronze sculpture located in the front garden of the National Gallery in Trafalgar Square, London, United Kingdom. Probably inspired by French statues of the same period, it depicts James II of England as a Roman emperor, wearing Roman armour and a laurel wreath (traditionally awarded to a victorious Roman commander). It originally also depicted him holding a baton. It was produced by the workshop of Grinling Gibbons. The execution was most likely, according to contemporary accounts, the work of the Flemish sculptors Peter van Dievoet from Brussels and Laurens van der Meulen from Mechlin, rather than of Gibbons himself. The statue has been relocated several times since it was first erected in the grounds of the old Palace of Whitehall in 1686, only two years before James II was deposed.

Category:Grade I listed statues in the City of Westminster

The Privy Gardens of Whitehall in 1741. The statue is visible on the right.

Category:Relocated buildings and structures in the United Kingdom

The statue outside the [[Banqueting House, Whitehall

Category:Bronze sculptures in the City of Westminster

Category:Cultural depictions of James II of England

Equestrian statue of Charles II, Windsor Castle

Category:Royal monuments in the United Kingdom

Statue of Charles II, Royal Hospital Chelsea

Category:Sculptures of men in the United Kingdom


Statue of James II, Trafalgar Square

Prompt: How does Statue of James II, Trafalgar Square explain its abstract?

The statue of James II is a bronze sculpture located in the front garden of the National Gallery in Trafalgar Square, London, United Kingdom. Probably inspired by French statues of the same period, it depicts James II of England as a Roman emperor, wearing Roman armour and a laurel wreath (traditionally awarded to a victorious Roman commander). It originally also depicted him holding a baton. It was produced by the workshop of Grinling Gibbons. The execution was most likely, according to contemporary accounts, the work of the Flemish sculptors Peter van Dievoet from Brussels and Laurens van der Meulen from Mechlin, rather than of Gibbons himself. The statue has been relocated several times since it was first erected in the grounds of the old Palace of Whitehall in 1686, only two years before James II was deposed.

Category:Grade I listed statues in the City of Westminster

The Privy Gardens of Whitehall in 1741. The statue is visible on the right.

Category:Relocated buildings and structures in the United Kingdom

The statue outside the [[Banqueting House, Whitehall

Category:Bronze sculptures in the City of Westminster

Category:Cultural depictions of James II of England

Equestrian statue of Charles II, Windsor Castle

Category:Royal monuments in the United Kingdom

Statue of Charles II, Royal Hospital Chelsea

Category:Sculptures of men in the United Kingdom


Statue of James II, Trafalgar Square

Prompt: In Statue of James II, Trafalgar Square, how is the abstract discussed?

The statue of James II is a bronze sculpture located in the front garden of the National Gallery in Trafalgar Square, London, United Kingdom. Probably inspired by French statues of the same period, it depicts James II of England as a Roman emperor, wearing Roman armour and a laurel wreath (traditionally awarded to a victorious Roman commander). It originally also depicted him holding a baton. It was produced by the workshop of Grinling Gibbons. The execution was most likely, according to contemporary accounts, the work of the Flemish sculptors Peter van Dievoet from Brussels and Laurens van der Meulen from Mechlin, rather than of Gibbons himself. The statue has been relocated several times since it was first erected in the grounds of the old Palace of Whitehall in 1686, only two years before James II was deposed.

Category:Grade I listed statues in the City of Westminster

The Privy Gardens of Whitehall in 1741. The statue is visible on the right.

Category:Relocated buildings and structures in the United Kingdom

The statue outside the [[Banqueting House, Whitehall

Category:Bronze sculptures in the City of Westminster

Category:Cultural depictions of James II of England

Equestrian statue of Charles II, Windsor Castle

Category:Royal monuments in the United Kingdom

Statue of Charles II, Royal Hospital Chelsea

Category:Sculptures of men in the United Kingdom


Statue of James II, Trafalgar Square

Prompt: Focus on Statue of James II, Trafalgar Square and explain the Description.

The statue is executed in bronze and depicts James II as a Roman emperor. He is shown standing in a contrapposto pose and pointing downwards in "great ease of attitude and a certain serenity of air", as Allan Cunningham described it. It formerly held a baton in its right hand, though this is now missing. The face is said to be an excellent depiction of the king. Unusually for the time, the sculptor sought a degree of fidelity to original classical styles; James is depicted wearing a laurel wreath on top of short hair, whereas other imperial-style statues of both Charles II and James II depicted the two kings with an anachronistic combination of Roman armour and a 17th-century periwig.The statue was probably inspired by similar imperial portrayals of Louis XIV of France. One in particular, a colossal statue by Martin Desjardins of the French king wearing Roman armour with a laurel wreath and baton, is so similar in type to the figures of Charles II and James II that it may have been their direct inspiration.The plinth is inscribed with the legend JACOBUS SECUNDUS/ DEI GRATIA/ ANGLIÆ SCOTIÆ/ FRANCIÆ ET/ HIBERNIÆ/ REX/ FIDEI DEFENSOR/ ANNO M.D.C.LXXXVI, which translates to: "James II, by the grace of God, King of England, Scotland, France and Ireland. Defender of the Faith. 1686."

Category:Grade I listed statues in the City of Westminster

The Privy Gardens of Whitehall in 1741. The statue is visible on the right.

Category:Relocated buildings and structures in the United Kingdom

The statue outside the [[Banqueting House, Whitehall

Category:Bronze sculptures in the City of Westminster

Category:Cultural depictions of James II of England

Equestrian statue of Charles II, Windsor Castle

Category:Royal monuments in the United Kingdom

Statue of Charles II, Royal Hospital Chelsea

Category:Sculptures of men in the United Kingdom


Statue of James II, Trafalgar Square

Prompt: Explain the Description of this artwork, Statue of James II, Trafalgar Square.

The statue is executed in bronze and depicts James II as a Roman emperor. He is shown standing in a contrapposto pose and pointing downwards in "great ease of attitude and a certain serenity of air", as Allan Cunningham described it. It formerly held a baton in its right hand, though this is now missing. The face is said to be an excellent depiction of the king. Unusually for the time, the sculptor sought a degree of fidelity to original classical styles; James is depicted wearing a laurel wreath on top of short hair, whereas other imperial-style statues of both Charles II and James II depicted the two kings with an anachronistic combination of Roman armour and a 17th-century periwig.The statue was probably inspired by similar imperial portrayals of Louis XIV of France. One in particular, a colossal statue by Martin Desjardins of the French king wearing Roman armour with a laurel wreath and baton, is so similar in type to the figures of Charles II and James II that it may have been their direct inspiration.The plinth is inscribed with the legend JACOBUS SECUNDUS/ DEI GRATIA/ ANGLIÆ SCOTIÆ/ FRANCIÆ ET/ HIBERNIÆ/ REX/ FIDEI DEFENSOR/ ANNO M.D.C.LXXXVI, which translates to: "James II, by the grace of God, King of England, Scotland, France and Ireland. Defender of the Faith. 1686."

Category:Grade I listed statues in the City of Westminster

The Privy Gardens of Whitehall in 1741. The statue is visible on the right.

Category:Relocated buildings and structures in the United Kingdom

The statue outside the [[Banqueting House, Whitehall

Category:Bronze sculptures in the City of Westminster

Category:Cultural depictions of James II of England

Equestrian statue of Charles II, Windsor Castle

Category:Royal monuments in the United Kingdom

Statue of Charles II, Royal Hospital Chelsea

Category:Sculptures of men in the United Kingdom


Statue of James II, Trafalgar Square

Prompt: How does Statue of James II, Trafalgar Square explain its Description?

The statue is executed in bronze and depicts James II as a Roman emperor. He is shown standing in a contrapposto pose and pointing downwards in "great ease of attitude and a certain serenity of air", as Allan Cunningham described it. It formerly held a baton in its right hand, though this is now missing. The face is said to be an excellent depiction of the king. Unusually for the time, the sculptor sought a degree of fidelity to original classical styles; James is depicted wearing a laurel wreath on top of short hair, whereas other imperial-style statues of both Charles II and James II depicted the two kings with an anachronistic combination of Roman armour and a 17th-century periwig.The statue was probably inspired by similar imperial portrayals of Louis XIV of France. One in particular, a colossal statue by Martin Desjardins of the French king wearing Roman armour with a laurel wreath and baton, is so similar in type to the figures of Charles II and James II that it may have been their direct inspiration.The plinth is inscribed with the legend JACOBUS SECUNDUS/ DEI GRATIA/ ANGLIÆ SCOTIÆ/ FRANCIÆ ET/ HIBERNIÆ/ REX/ FIDEI DEFENSOR/ ANNO M.D.C.LXXXVI, which translates to: "James II, by the grace of God, King of England, Scotland, France and Ireland. Defender of the Faith. 1686."

Category:Grade I listed statues in the City of Westminster

The Privy Gardens of Whitehall in 1741. The statue is visible on the right.

Category:Relocated buildings and structures in the United Kingdom

The statue outside the [[Banqueting House, Whitehall

Category:Bronze sculptures in the City of Westminster

Category:Cultural depictions of James II of England

Equestrian statue of Charles II, Windsor Castle

Category:Royal monuments in the United Kingdom

Statue of Charles II, Royal Hospital Chelsea

Category:Sculptures of men in the United Kingdom


Statue of James II, Trafalgar Square

Prompt: In Statue of James II, Trafalgar Square, how is the Description discussed?

The statue is executed in bronze and depicts James II as a Roman emperor. He is shown standing in a contrapposto pose and pointing downwards in "great ease of attitude and a certain serenity of air", as Allan Cunningham described it. It formerly held a baton in its right hand, though this is now missing. The face is said to be an excellent depiction of the king. Unusually for the time, the sculptor sought a degree of fidelity to original classical styles; James is depicted wearing a laurel wreath on top of short hair, whereas other imperial-style statues of both Charles II and James II depicted the two kings with an anachronistic combination of Roman armour and a 17th-century periwig.The statue was probably inspired by similar imperial portrayals of Louis XIV of France. One in particular, a colossal statue by Martin Desjardins of the French king wearing Roman armour with a laurel wreath and baton, is so similar in type to the figures of Charles II and James II that it may have been their direct inspiration.The plinth is inscribed with the legend JACOBUS SECUNDUS/ DEI GRATIA/ ANGLIÆ SCOTIÆ/ FRANCIÆ ET/ HIBERNIÆ/ REX/ FIDEI DEFENSOR/ ANNO M.D.C.LXXXVI, which translates to: "James II, by the grace of God, King of England, Scotland, France and Ireland. Defender of the Faith. 1686."

Category:Grade I listed statues in the City of Westminster

The Privy Gardens of Whitehall in 1741. The statue is visible on the right.

Category:Relocated buildings and structures in the United Kingdom

The statue outside the [[Banqueting House, Whitehall

Category:Bronze sculptures in the City of Westminster

Category:Cultural depictions of James II of England

Equestrian statue of Charles II, Windsor Castle

Category:Royal monuments in the United Kingdom

Statue of Charles II, Royal Hospital Chelsea

Category:Sculptures of men in the United Kingdom


Statue of James II, Trafalgar Square

Prompt: Focus on Statue of James II, Trafalgar Square and explain the History.

The statue of James II is one of three of the Stuart monarchs commissioned by the royal servant Tobias Rustat from Grinling Gibbons's workshop in the 1670s and '80s, the others being of James's brother and predecessor Charles II: an equestrian statue in Windsor Castle and a standing figure at the Royal Hospital in Chelsea. The statue of James II was commissioned for the Palace of Whitehall, apparently at the same time as the standing Charles II, and the two works might have been intended as pendant pieces.  It was produced in the workshop of Grinling Gibbons at a reported cost of £300 (equivalent to about £42,000 at 2014 prices). While the work was long attributed to Gibbons himself, large-scale sculptures were not his forte. Contemporary accounts attribute it to sculptors Peter van Dievoet of Brussels who came to London to cast this statue, and Laurens van der Meulen of Mechelen.The James II was erected at the Palace of Whitehall on 24 March 1686, as recorded by a contemporary, Sir John Bramston the Younger. George Vertue, who found an agreement and a receipt of payment for the work, wrote that it was "modelled & made by Lawrence Vandermeulen (of Brussels) [sic] ... & Devoot [i.e. Peter Van Dievoet] (of Mechlin) [sic] who was imployed [sic] by ... Gibbons", and that Thomas Benniere was involved in the casting. A series of five drawings in the British Museum, which might be for either the standing Charles II or the James II, is attributed variously to Gibbons or to Van Dievoet. Its artistic qualities were praised by J. P. Malcolm in his 1803 history, London Redivivum, in which he wrote:There is but one fault in the figure, and that is the attitude. The King seems to point with a baton at the earth, to which his eyes are directed; but why? Surely this is an egregious error. However, perhaps the artist may have been commanded to model the statue thus; and if not, his mistake is more than counter-balanced by the beautiful turns of the muscles, the excellence of the features, and the true folds of the drapery.James II's statue has stood in several locations since it was first erected. It originally stood in the Palace of Whitehall's Pebble Court, where it was installed on New Year's Day, 1686. It was situated behind the Banqueting House and faced the river, a position which attracted much satirical comment after James' flight from London during the Glorious Revolution of 1688; it was said that the statue's location indicated his method of escape.It was taken down after the Glorious Revolution but was replaced by order of William III. In 1898 it was moved to a location in the garden of Gwydyr House. It was taken down four years later to make room for the stands for the coronation of Edward VII. It lay on its back amid grass and weeds in a state of total neglect until it was re-erected in 1903 outside the New Admiralty building. It was displaced again when the Admiralty Citadel was built in 1940. During the Second World War it was put into storage at Aldwych tube station. It was relocated to its present site in 1947. The statue is listed by Historic England as a Grade I listed building, a status which it was granted in 1970.

Category:Grade I listed statues in the City of Westminster

The Privy Gardens of Whitehall in 1741. The statue is visible on the right.

Category:Relocated buildings and structures in the United Kingdom

The statue outside the [[Banqueting House, Whitehall

Category:Bronze sculptures in the City of Westminster

Category:Cultural depictions of James II of England

Equestrian statue of Charles II, Windsor Castle

Category:Royal monuments in the United Kingdom

Statue of Charles II, Royal Hospital Chelsea

Category:Sculptures of men in the United Kingdom


Statue of James II, Trafalgar Square

Prompt: Explain the History of this artwork, Statue of James II, Trafalgar Square.

The statue of James II is one of three of the Stuart monarchs commissioned by the royal servant Tobias Rustat from Grinling Gibbons's workshop in the 1670s and '80s, the others being of James's brother and predecessor Charles II: an equestrian statue in Windsor Castle and a standing figure at the Royal Hospital in Chelsea. The statue of James II was commissioned for the Palace of Whitehall, apparently at the same time as the standing Charles II, and the two works might have been intended as pendant pieces.  It was produced in the workshop of Grinling Gibbons at a reported cost of £300 (equivalent to about £42,000 at 2014 prices). While the work was long attributed to Gibbons himself, large-scale sculptures were not his forte. Contemporary accounts attribute it to sculptors Peter van Dievoet of Brussels who came to London to cast this statue, and Laurens van der Meulen of Mechelen.The James II was erected at the Palace of Whitehall on 24 March 1686, as recorded by a contemporary, Sir John Bramston the Younger. George Vertue, who found an agreement and a receipt of payment for the work, wrote that it was "modelled & made by Lawrence Vandermeulen (of Brussels) [sic] ... & Devoot [i.e. Peter Van Dievoet] (of Mechlin) [sic] who was imployed [sic] by ... Gibbons", and that Thomas Benniere was involved in the casting. A series of five drawings in the British Museum, which might be for either the standing Charles II or the James II, is attributed variously to Gibbons or to Van Dievoet. Its artistic qualities were praised by J. P. Malcolm in his 1803 history, London Redivivum, in which he wrote:There is but one fault in the figure, and that is the attitude. The King seems to point with a baton at the earth, to which his eyes are directed; but why? Surely this is an egregious error. However, perhaps the artist may have been commanded to model the statue thus; and if not, his mistake is more than counter-balanced by the beautiful turns of the muscles, the excellence of the features, and the true folds of the drapery.James II's statue has stood in several locations since it was first erected. It originally stood in the Palace of Whitehall's Pebble Court, where it was installed on New Year's Day, 1686. It was situated behind the Banqueting House and faced the river, a position which attracted much satirical comment after James' flight from London during the Glorious Revolution of 1688; it was said that the statue's location indicated his method of escape.It was taken down after the Glorious Revolution but was replaced by order of William III. In 1898 it was moved to a location in the garden of Gwydyr House. It was taken down four years later to make room for the stands for the coronation of Edward VII. It lay on its back amid grass and weeds in a state of total neglect until it was re-erected in 1903 outside the New Admiralty building. It was displaced again when the Admiralty Citadel was built in 1940. During the Second World War it was put into storage at Aldwych tube station. It was relocated to its present site in 1947. The statue is listed by Historic England as a Grade I listed building, a status which it was granted in 1970.

Category:Grade I listed statues in the City of Westminster

The Privy Gardens of Whitehall in 1741. The statue is visible on the right.

Category:Relocated buildings and structures in the United Kingdom

The statue outside the [[Banqueting House, Whitehall

Category:Bronze sculptures in the City of Westminster

Category:Cultural depictions of James II of England

Equestrian statue of Charles II, Windsor Castle

Category:Royal monuments in the United Kingdom

Statue of Charles II, Royal Hospital Chelsea

Category:Sculptures of men in the United Kingdom


Statue of James II, Trafalgar Square

Prompt: How does Statue of James II, Trafalgar Square explain its History?

The statue of James II is one of three of the Stuart monarchs commissioned by the royal servant Tobias Rustat from Grinling Gibbons's workshop in the 1670s and '80s, the others being of James's brother and predecessor Charles II: an equestrian statue in Windsor Castle and a standing figure at the Royal Hospital in Chelsea. The statue of James II was commissioned for the Palace of Whitehall, apparently at the same time as the standing Charles II, and the two works might have been intended as pendant pieces.  It was produced in the workshop of Grinling Gibbons at a reported cost of £300 (equivalent to about £42,000 at 2014 prices). While the work was long attributed to Gibbons himself, large-scale sculptures were not his forte. Contemporary accounts attribute it to sculptors Peter van Dievoet of Brussels who came to London to cast this statue, and Laurens van der Meulen of Mechelen.The James II was erected at the Palace of Whitehall on 24 March 1686, as recorded by a contemporary, Sir John Bramston the Younger. George Vertue, who found an agreement and a receipt of payment for the work, wrote that it was "modelled & made by Lawrence Vandermeulen (of Brussels) [sic] ... & Devoot [i.e. Peter Van Dievoet] (of Mechlin) [sic] who was imployed [sic] by ... Gibbons", and that Thomas Benniere was involved in the casting. A series of five drawings in the British Museum, which might be for either the standing Charles II or the James II, is attributed variously to Gibbons or to Van Dievoet. Its artistic qualities were praised by J. P. Malcolm in his 1803 history, London Redivivum, in which he wrote:There is but one fault in the figure, and that is the attitude. The King seems to point with a baton at the earth, to which his eyes are directed; but why? Surely this is an egregious error. However, perhaps the artist may have been commanded to model the statue thus; and if not, his mistake is more than counter-balanced by the beautiful turns of the muscles, the excellence of the features, and the true folds of the drapery.James II's statue has stood in several locations since it was first erected. It originally stood in the Palace of Whitehall's Pebble Court, where it was installed on New Year's Day, 1686. It was situated behind the Banqueting House and faced the river, a position which attracted much satirical comment after James' flight from London during the Glorious Revolution of 1688; it was said that the statue's location indicated his method of escape.It was taken down after the Glorious Revolution but was replaced by order of William III. In 1898 it was moved to a location in the garden of Gwydyr House. It was taken down four years later to make room for the stands for the coronation of Edward VII. It lay on its back amid grass and weeds in a state of total neglect until it was re-erected in 1903 outside the New Admiralty building. It was displaced again when the Admiralty Citadel was built in 1940. During the Second World War it was put into storage at Aldwych tube station. It was relocated to its present site in 1947. The statue is listed by Historic England as a Grade I listed building, a status which it was granted in 1970.

Category:Grade I listed statues in the City of Westminster

The Privy Gardens of Whitehall in 1741. The statue is visible on the right.

Category:Relocated buildings and structures in the United Kingdom

The statue outside the [[Banqueting House, Whitehall

Category:Bronze sculptures in the City of Westminster

Category:Cultural depictions of James II of England

Equestrian statue of Charles II, Windsor Castle

Category:Royal monuments in the United Kingdom

Statue of Charles II, Royal Hospital Chelsea

Category:Sculptures of men in the United Kingdom


Statue of James II, Trafalgar Square

Prompt: In Statue of James II, Trafalgar Square, how is the History discussed?

The statue of James II is one of three of the Stuart monarchs commissioned by the royal servant Tobias Rustat from Grinling Gibbons's workshop in the 1670s and '80s, the others being of James's brother and predecessor Charles II: an equestrian statue in Windsor Castle and a standing figure at the Royal Hospital in Chelsea. The statue of James II was commissioned for the Palace of Whitehall, apparently at the same time as the standing Charles II, and the two works might have been intended as pendant pieces.  It was produced in the workshop of Grinling Gibbons at a reported cost of £300 (equivalent to about £42,000 at 2014 prices). While the work was long attributed to Gibbons himself, large-scale sculptures were not his forte. Contemporary accounts attribute it to sculptors Peter van Dievoet of Brussels who came to London to cast this statue, and Laurens van der Meulen of Mechelen.The James II was erected at the Palace of Whitehall on 24 March 1686, as recorded by a contemporary, Sir John Bramston the Younger. George Vertue, who found an agreement and a receipt of payment for the work, wrote that it was "modelled & made by Lawrence Vandermeulen (of Brussels) [sic] ... & Devoot [i.e. Peter Van Dievoet] (of Mechlin) [sic] who was imployed [sic] by ... Gibbons", and that Thomas Benniere was involved in the casting. A series of five drawings in the British Museum, which might be for either the standing Charles II or the James II, is attributed variously to Gibbons or to Van Dievoet. Its artistic qualities were praised by J. P. Malcolm in his 1803 history, London Redivivum, in which he wrote:There is but one fault in the figure, and that is the attitude. The King seems to point with a baton at the earth, to which his eyes are directed; but why? Surely this is an egregious error. However, perhaps the artist may have been commanded to model the statue thus; and if not, his mistake is more than counter-balanced by the beautiful turns of the muscles, the excellence of the features, and the true folds of the drapery.James II's statue has stood in several locations since it was first erected. It originally stood in the Palace of Whitehall's Pebble Court, where it was installed on New Year's Day, 1686. It was situated behind the Banqueting House and faced the river, a position which attracted much satirical comment after James' flight from London during the Glorious Revolution of 1688; it was said that the statue's location indicated his method of escape.It was taken down after the Glorious Revolution but was replaced by order of William III. In 1898 it was moved to a location in the garden of Gwydyr House. It was taken down four years later to make room for the stands for the coronation of Edward VII. It lay on its back amid grass and weeds in a state of total neglect until it was re-erected in 1903 outside the New Admiralty building. It was displaced again when the Admiralty Citadel was built in 1940. During the Second World War it was put into storage at Aldwych tube station. It was relocated to its present site in 1947. The statue is listed by Historic England as a Grade I listed building, a status which it was granted in 1970.

Category:Grade I listed statues in the City of Westminster

The Privy Gardens of Whitehall in 1741. The statue is visible on the right.

Category:Relocated buildings and structures in the United Kingdom

The statue outside the [[Banqueting House, Whitehall

Category:Bronze sculptures in the City of Westminster

Category:Cultural depictions of James II of England

Equestrian statue of Charles II, Windsor Castle

Category:Royal monuments in the United Kingdom

Statue of Charles II, Royal Hospital Chelsea

Category:Sculptures of men in the United Kingdom


Pallas and the Centaur

Prompt: Focus on Pallas and the Centaur and explain the abstract.

Pallas and the Centaur is a painting by the Italian Renaissance painter Sandro Botticelli, c. 1482. It is now in the Uffizi Gallery in Florence.  It has been proposed as a companion piece to his Primavera, though it is a different shape.  The medium used is tempera paints on canvas and its size is 207 x 148 cm.  The painting has been retouched in many places, and these retouchings have faded.The life-size figures are from classical mythology and probably form an allegory.  There is a centaur on the left, and a female figure holding a very elaborate halberd on the right. She is clutching the hair of the centaur, who was evidently about to shoot from his bow. The female figure was called Camilla in the earliest record of the painting, an inventory of 1499, but in an inventory of 1516 she is called Minerva, the Roman equivalent of Pallas Athene; Pallas remains her usual modern identification, but Camilla has supporters. Arthur Frothingham suggested that she is Florencia, the personification of the city of Florence. The fine cloth of her dress is decorated with the Medici's three-ring insignia.A figure specifically originating from Roman mythology, Camilla was a princess raised in the forest by her father, the exiled King Metabus, to be dedicated to Diana as a virgin warrior huntress, for whom subduing a centaur might be considered ordinary. Pallas/Minerva, by contrast, is a major deity, representing wisdom, trade, and more. Centaurs are associated with uncontrolled passion, lust and sensuality. The painting's meaning is clearly at least in part about the submission of passion to chastity and/or reason. Various more specific personal, political and philosophical meanings along these general lines have been proposed.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: Explain the abstract of this artwork, Pallas and the Centaur.

Pallas and the Centaur is a painting by the Italian Renaissance painter Sandro Botticelli, c. 1482. It is now in the Uffizi Gallery in Florence.  It has been proposed as a companion piece to his Primavera, though it is a different shape.  The medium used is tempera paints on canvas and its size is 207 x 148 cm.  The painting has been retouched in many places, and these retouchings have faded.The life-size figures are from classical mythology and probably form an allegory.  There is a centaur on the left, and a female figure holding a very elaborate halberd on the right. She is clutching the hair of the centaur, who was evidently about to shoot from his bow. The female figure was called Camilla in the earliest record of the painting, an inventory of 1499, but in an inventory of 1516 she is called Minerva, the Roman equivalent of Pallas Athene; Pallas remains her usual modern identification, but Camilla has supporters. Arthur Frothingham suggested that she is Florencia, the personification of the city of Florence. The fine cloth of her dress is decorated with the Medici's three-ring insignia.A figure specifically originating from Roman mythology, Camilla was a princess raised in the forest by her father, the exiled King Metabus, to be dedicated to Diana as a virgin warrior huntress, for whom subduing a centaur might be considered ordinary. Pallas/Minerva, by contrast, is a major deity, representing wisdom, trade, and more. Centaurs are associated with uncontrolled passion, lust and sensuality. The painting's meaning is clearly at least in part about the submission of passion to chastity and/or reason. Various more specific personal, political and philosophical meanings along these general lines have been proposed.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: How does Pallas and the Centaur explain its abstract?

Pallas and the Centaur is a painting by the Italian Renaissance painter Sandro Botticelli, c. 1482. It is now in the Uffizi Gallery in Florence.  It has been proposed as a companion piece to his Primavera, though it is a different shape.  The medium used is tempera paints on canvas and its size is 207 x 148 cm.  The painting has been retouched in many places, and these retouchings have faded.The life-size figures are from classical mythology and probably form an allegory.  There is a centaur on the left, and a female figure holding a very elaborate halberd on the right. She is clutching the hair of the centaur, who was evidently about to shoot from his bow. The female figure was called Camilla in the earliest record of the painting, an inventory of 1499, but in an inventory of 1516 she is called Minerva, the Roman equivalent of Pallas Athene; Pallas remains her usual modern identification, but Camilla has supporters. Arthur Frothingham suggested that she is Florencia, the personification of the city of Florence. The fine cloth of her dress is decorated with the Medici's three-ring insignia.A figure specifically originating from Roman mythology, Camilla was a princess raised in the forest by her father, the exiled King Metabus, to be dedicated to Diana as a virgin warrior huntress, for whom subduing a centaur might be considered ordinary. Pallas/Minerva, by contrast, is a major deity, representing wisdom, trade, and more. Centaurs are associated with uncontrolled passion, lust and sensuality. The painting's meaning is clearly at least in part about the submission of passion to chastity and/or reason. Various more specific personal, political and philosophical meanings along these general lines have been proposed.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: In Pallas and the Centaur, how is the abstract discussed?

Pallas and the Centaur is a painting by the Italian Renaissance painter Sandro Botticelli, c. 1482. It is now in the Uffizi Gallery in Florence.  It has been proposed as a companion piece to his Primavera, though it is a different shape.  The medium used is tempera paints on canvas and its size is 207 x 148 cm.  The painting has been retouched in many places, and these retouchings have faded.The life-size figures are from classical mythology and probably form an allegory.  There is a centaur on the left, and a female figure holding a very elaborate halberd on the right. She is clutching the hair of the centaur, who was evidently about to shoot from his bow. The female figure was called Camilla in the earliest record of the painting, an inventory of 1499, but in an inventory of 1516 she is called Minerva, the Roman equivalent of Pallas Athene; Pallas remains her usual modern identification, but Camilla has supporters. Arthur Frothingham suggested that she is Florencia, the personification of the city of Florence. The fine cloth of her dress is decorated with the Medici's three-ring insignia.A figure specifically originating from Roman mythology, Camilla was a princess raised in the forest by her father, the exiled King Metabus, to be dedicated to Diana as a virgin warrior huntress, for whom subduing a centaur might be considered ordinary. Pallas/Minerva, by contrast, is a major deity, representing wisdom, trade, and more. Centaurs are associated with uncontrolled passion, lust and sensuality. The painting's meaning is clearly at least in part about the submission of passion to chastity and/or reason. Various more specific personal, political and philosophical meanings along these general lines have been proposed.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: Focus on Pallas and the Centaur and explain the History.

The painting is usually dated to about 1482 or 1483 on stylistic grounds, soon after Botticelli's return from Rome, where he had been part of the project to paint the Sistine Chapel.  The features of the centaur are close to those of Moses in one of his frescos there.  The painting is often connected with the wedding in 1482 of Lorenzo di Pierfrancesco de' Medici to Semiramide Appiano, perhaps as a wedding gift from Lorenzo de' Medici ("Lorenzo il Magnifico").Given the Medici device on Pallas' dress, it was presumably commissioned by the Medici family, as were many of Botticelli’s paintings, and has passed to the Uffizi with much of their collection.  In 1499 an inventory lists it in the same room as Botticelli's Primavera, in the town palace in Florence of Lorenzo di Pierfrancesco de' Medici and his brother Giovanni "Il Popolano".  They were the cousins of Lorenzo de' Medici, de facto ruler of Florence, and after their father's early death had been his wards.  In the later 16th century it hung in the Palazzo Vecchio.  In 1638 it was at the Medici Villa di Castello, as was the Primavera, then it is recorded in the Pitti Palace by about 1830, by which time Botticelli was unfashionable and regarded as mainly of historical interest.The painting was then little-known until it was noticed in 1895 in one of the ante-rooms of the Palazzo Pitti by the English artist, living in Florence, William Blundell Spence.  The painting was in the Uffizi gallery from 1922.  It has perhaps been transferred from panel to canvas.In 2015, this painting among other Botticelli paintings was in an exhibition that opened in Berlin before moving to London. It showed Botticelli’s works and other artists’ versions of his paintings such as his The Birth of Venus.Linda Proud has written an eponymous novel which centres on an account of Botticelli's creation of this painting, and its possible interpretations.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: Explain the History of this artwork, Pallas and the Centaur.

The painting is usually dated to about 1482 or 1483 on stylistic grounds, soon after Botticelli's return from Rome, where he had been part of the project to paint the Sistine Chapel.  The features of the centaur are close to those of Moses in one of his frescos there.  The painting is often connected with the wedding in 1482 of Lorenzo di Pierfrancesco de' Medici to Semiramide Appiano, perhaps as a wedding gift from Lorenzo de' Medici ("Lorenzo il Magnifico").Given the Medici device on Pallas' dress, it was presumably commissioned by the Medici family, as were many of Botticelli’s paintings, and has passed to the Uffizi with much of their collection.  In 1499 an inventory lists it in the same room as Botticelli's Primavera, in the town palace in Florence of Lorenzo di Pierfrancesco de' Medici and his brother Giovanni "Il Popolano".  They were the cousins of Lorenzo de' Medici, de facto ruler of Florence, and after their father's early death had been his wards.  In the later 16th century it hung in the Palazzo Vecchio.  In 1638 it was at the Medici Villa di Castello, as was the Primavera, then it is recorded in the Pitti Palace by about 1830, by which time Botticelli was unfashionable and regarded as mainly of historical interest.The painting was then little-known until it was noticed in 1895 in one of the ante-rooms of the Palazzo Pitti by the English artist, living in Florence, William Blundell Spence.  The painting was in the Uffizi gallery from 1922.  It has perhaps been transferred from panel to canvas.In 2015, this painting among other Botticelli paintings was in an exhibition that opened in Berlin before moving to London. It showed Botticelli’s works and other artists’ versions of his paintings such as his The Birth of Venus.Linda Proud has written an eponymous novel which centres on an account of Botticelli's creation of this painting, and its possible interpretations.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: How does Pallas and the Centaur explain its History?

The painting is usually dated to about 1482 or 1483 on stylistic grounds, soon after Botticelli's return from Rome, where he had been part of the project to paint the Sistine Chapel.  The features of the centaur are close to those of Moses in one of his frescos there.  The painting is often connected with the wedding in 1482 of Lorenzo di Pierfrancesco de' Medici to Semiramide Appiano, perhaps as a wedding gift from Lorenzo de' Medici ("Lorenzo il Magnifico").Given the Medici device on Pallas' dress, it was presumably commissioned by the Medici family, as were many of Botticelli’s paintings, and has passed to the Uffizi with much of their collection.  In 1499 an inventory lists it in the same room as Botticelli's Primavera, in the town palace in Florence of Lorenzo di Pierfrancesco de' Medici and his brother Giovanni "Il Popolano".  They were the cousins of Lorenzo de' Medici, de facto ruler of Florence, and after their father's early death had been his wards.  In the later 16th century it hung in the Palazzo Vecchio.  In 1638 it was at the Medici Villa di Castello, as was the Primavera, then it is recorded in the Pitti Palace by about 1830, by which time Botticelli was unfashionable and regarded as mainly of historical interest.The painting was then little-known until it was noticed in 1895 in one of the ante-rooms of the Palazzo Pitti by the English artist, living in Florence, William Blundell Spence.  The painting was in the Uffizi gallery from 1922.  It has perhaps been transferred from panel to canvas.In 2015, this painting among other Botticelli paintings was in an exhibition that opened in Berlin before moving to London. It showed Botticelli’s works and other artists’ versions of his paintings such as his The Birth of Venus.Linda Proud has written an eponymous novel which centres on an account of Botticelli's creation of this painting, and its possible interpretations.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: In Pallas and the Centaur, how is the History discussed?

The painting is usually dated to about 1482 or 1483 on stylistic grounds, soon after Botticelli's return from Rome, where he had been part of the project to paint the Sistine Chapel.  The features of the centaur are close to those of Moses in one of his frescos there.  The painting is often connected with the wedding in 1482 of Lorenzo di Pierfrancesco de' Medici to Semiramide Appiano, perhaps as a wedding gift from Lorenzo de' Medici ("Lorenzo il Magnifico").Given the Medici device on Pallas' dress, it was presumably commissioned by the Medici family, as were many of Botticelli’s paintings, and has passed to the Uffizi with much of their collection.  In 1499 an inventory lists it in the same room as Botticelli's Primavera, in the town palace in Florence of Lorenzo di Pierfrancesco de' Medici and his brother Giovanni "Il Popolano".  They were the cousins of Lorenzo de' Medici, de facto ruler of Florence, and after their father's early death had been his wards.  In the later 16th century it hung in the Palazzo Vecchio.  In 1638 it was at the Medici Villa di Castello, as was the Primavera, then it is recorded in the Pitti Palace by about 1830, by which time Botticelli was unfashionable and regarded as mainly of historical interest.The painting was then little-known until it was noticed in 1895 in one of the ante-rooms of the Palazzo Pitti by the English artist, living in Florence, William Blundell Spence.  The painting was in the Uffizi gallery from 1922.  It has perhaps been transferred from panel to canvas.In 2015, this painting among other Botticelli paintings was in an exhibition that opened in Berlin before moving to London. It showed Botticelli’s works and other artists’ versions of his paintings such as his The Birth of Venus.Linda Proud has written an eponymous novel which centres on an account of Botticelli's creation of this painting, and its possible interpretations.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: Focus on Pallas and the Centaur and explain the Interpretations.

If given by Lorenzo de' Medici for his cousin's wedding, the two figures may represent the couple, aside from any other interpretations.  The lands of the bride's father, lord of Piombino on the Ligurian coast, and the island of Elba just off it, might be considered as part of Camilla's hunting grounds. The Italian for the balls in the Medici coat of arms is palle, and their supporters were sometimes called palleschi, which adds to the plausibility of political interpretations. Additionally, Pallas wears either olive branches (the tree of Pallas) or laurel sprays, entwined around her head, arms, breasts, and hips, held together by diamant rings similar to those forming the Medici sign; laurel was often used as a reference to the Medici and more specifically as a pun alluding to Lorenzo de' Medici.Pallas is a figure of reason, restraining the beast of our nature – also represented by the centaur – by the hair and looking at it with no fear. This has been connected with Sigmund Freud’s theory of the unconscious, and also to the Renaissance Neo-Platonist Marsilio Ficino's idea of the human soul as part animal and part human.   It has been interpreted as an allegory on the peace after the Pazzi wars.Frothingham posited that Botticelli’s idea for the painting could have come from an image in the Chronography of 354, a Roman calendar by Furius Dionysius Filocalus, the secretary to Pope Damasus I. The calendar depicts the personification of the city of Trier as a female warrior with a spear and shield holding the hair of a male figure with a bow and arrows by his feet. The male is smaller than the female and looks as if he is trying to escape her grasp. The two works are very similar and it is possible Botticelli got his idea for his painting from this image, having seen a copy.John Rigby Hale interprets the work as affirming Lorenzo de' Medici's diplomatic encounter with King Ferdinand I of Naples and subsequent constitutional changes within the Florentine Republic which increased Lorenzo's power. Hale states:Pallas Taming the Centaur—wisdom overcoming a barbarian—symbolized, for 15th Century Florence, the boldness with which their own Lorenzo de' Medici had bested his enemy, the King of Naples, and the wisdom of his peace terms.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: Explain the Interpretations of this artwork, Pallas and the Centaur.

If given by Lorenzo de' Medici for his cousin's wedding, the two figures may represent the couple, aside from any other interpretations.  The lands of the bride's father, lord of Piombino on the Ligurian coast, and the island of Elba just off it, might be considered as part of Camilla's hunting grounds. The Italian for the balls in the Medici coat of arms is palle, and their supporters were sometimes called palleschi, which adds to the plausibility of political interpretations. Additionally, Pallas wears either olive branches (the tree of Pallas) or laurel sprays, entwined around her head, arms, breasts, and hips, held together by diamant rings similar to those forming the Medici sign; laurel was often used as a reference to the Medici and more specifically as a pun alluding to Lorenzo de' Medici.Pallas is a figure of reason, restraining the beast of our nature – also represented by the centaur – by the hair and looking at it with no fear. This has been connected with Sigmund Freud’s theory of the unconscious, and also to the Renaissance Neo-Platonist Marsilio Ficino's idea of the human soul as part animal and part human.   It has been interpreted as an allegory on the peace after the Pazzi wars.Frothingham posited that Botticelli’s idea for the painting could have come from an image in the Chronography of 354, a Roman calendar by Furius Dionysius Filocalus, the secretary to Pope Damasus I. The calendar depicts the personification of the city of Trier as a female warrior with a spear and shield holding the hair of a male figure with a bow and arrows by his feet. The male is smaller than the female and looks as if he is trying to escape her grasp. The two works are very similar and it is possible Botticelli got his idea for his painting from this image, having seen a copy.John Rigby Hale interprets the work as affirming Lorenzo de' Medici's diplomatic encounter with King Ferdinand I of Naples and subsequent constitutional changes within the Florentine Republic which increased Lorenzo's power. Hale states:Pallas Taming the Centaur—wisdom overcoming a barbarian—symbolized, for 15th Century Florence, the boldness with which their own Lorenzo de' Medici had bested his enemy, the King of Naples, and the wisdom of his peace terms.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: How does Pallas and the Centaur explain its Interpretations?

If given by Lorenzo de' Medici for his cousin's wedding, the two figures may represent the couple, aside from any other interpretations.  The lands of the bride's father, lord of Piombino on the Ligurian coast, and the island of Elba just off it, might be considered as part of Camilla's hunting grounds. The Italian for the balls in the Medici coat of arms is palle, and their supporters were sometimes called palleschi, which adds to the plausibility of political interpretations. Additionally, Pallas wears either olive branches (the tree of Pallas) or laurel sprays, entwined around her head, arms, breasts, and hips, held together by diamant rings similar to those forming the Medici sign; laurel was often used as a reference to the Medici and more specifically as a pun alluding to Lorenzo de' Medici.Pallas is a figure of reason, restraining the beast of our nature – also represented by the centaur – by the hair and looking at it with no fear. This has been connected with Sigmund Freud’s theory of the unconscious, and also to the Renaissance Neo-Platonist Marsilio Ficino's idea of the human soul as part animal and part human.   It has been interpreted as an allegory on the peace after the Pazzi wars.Frothingham posited that Botticelli’s idea for the painting could have come from an image in the Chronography of 354, a Roman calendar by Furius Dionysius Filocalus, the secretary to Pope Damasus I. The calendar depicts the personification of the city of Trier as a female warrior with a spear and shield holding the hair of a male figure with a bow and arrows by his feet. The male is smaller than the female and looks as if he is trying to escape her grasp. The two works are very similar and it is possible Botticelli got his idea for his painting from this image, having seen a copy.John Rigby Hale interprets the work as affirming Lorenzo de' Medici's diplomatic encounter with King Ferdinand I of Naples and subsequent constitutional changes within the Florentine Republic which increased Lorenzo's power. Hale states:Pallas Taming the Centaur—wisdom overcoming a barbarian—symbolized, for 15th Century Florence, the boldness with which their own Lorenzo de' Medici had bested his enemy, the King of Naples, and the wisdom of his peace terms.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: In Pallas and the Centaur, how is the Interpretations discussed?

If given by Lorenzo de' Medici for his cousin's wedding, the two figures may represent the couple, aside from any other interpretations.  The lands of the bride's father, lord of Piombino on the Ligurian coast, and the island of Elba just off it, might be considered as part of Camilla's hunting grounds. The Italian for the balls in the Medici coat of arms is palle, and their supporters were sometimes called palleschi, which adds to the plausibility of political interpretations. Additionally, Pallas wears either olive branches (the tree of Pallas) or laurel sprays, entwined around her head, arms, breasts, and hips, held together by diamant rings similar to those forming the Medici sign; laurel was often used as a reference to the Medici and more specifically as a pun alluding to Lorenzo de' Medici.Pallas is a figure of reason, restraining the beast of our nature – also represented by the centaur – by the hair and looking at it with no fear. This has been connected with Sigmund Freud’s theory of the unconscious, and also to the Renaissance Neo-Platonist Marsilio Ficino's idea of the human soul as part animal and part human.   It has been interpreted as an allegory on the peace after the Pazzi wars.Frothingham posited that Botticelli’s idea for the painting could have come from an image in the Chronography of 354, a Roman calendar by Furius Dionysius Filocalus, the secretary to Pope Damasus I. The calendar depicts the personification of the city of Trier as a female warrior with a spear and shield holding the hair of a male figure with a bow and arrows by his feet. The male is smaller than the female and looks as if he is trying to escape her grasp. The two works are very similar and it is possible Botticelli got his idea for his painting from this image, having seen a copy.John Rigby Hale interprets the work as affirming Lorenzo de' Medici's diplomatic encounter with King Ferdinand I of Naples and subsequent constitutional changes within the Florentine Republic which increased Lorenzo's power. Hale states:Pallas Taming the Centaur—wisdom overcoming a barbarian—symbolized, for 15th Century Florence, the boldness with which their own Lorenzo de' Medici had bested his enemy, the King of Naples, and the wisdom of his peace terms.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: Focus on Pallas and the Centaur and explain the Drawings.

There are three drawings in Botticelli's style of Pallas, which may possibly be early ideas for the painting, though none are very close to the final figure, and all seem to be studies for a single standing figure.  In two she carries a large olive branch and holds a helmet.  They are in the Uffizi, the Ashmolean Museum in Oxford, and the Pinacoteca Ambrosiana in Milan.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: Explain the Drawings of this artwork, Pallas and the Centaur.

There are three drawings in Botticelli's style of Pallas, which may possibly be early ideas for the painting, though none are very close to the final figure, and all seem to be studies for a single standing figure.  In two she carries a large olive branch and holds a helmet.  They are in the Uffizi, the Ashmolean Museum in Oxford, and the Pinacoteca Ambrosiana in Milan.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: How does Pallas and the Centaur explain its Drawings?

There are three drawings in Botticelli's style of Pallas, which may possibly be early ideas for the painting, though none are very close to the final figure, and all seem to be studies for a single standing figure.  In two she carries a large olive branch and holds a helmet.  They are in the Uffizi, the Ashmolean Museum in Oxford, and the Pinacoteca Ambrosiana in Milan.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Pallas and the Centaur

Prompt: In Pallas and the Centaur, how is the Drawings discussed?

There are three drawings in Botticelli's style of Pallas, which may possibly be early ideas for the painting, though none are very close to the final figure, and all seem to be studies for a single standing figure.  In two she carries a large olive branch and holds a helmet.  They are in the Uffizi, the Ashmolean Museum in Oxford, and the Pinacoteca Ambrosiana in Milan.

Personification of Trier from the Chronography of 354

File:Botticelli, disegno per la pallade.jpg

File:P1040669 Sandro Botticelli - Pallas et le centaure.jpg

Botticelli's drawing of Pallas at the Uffizi

Category:Paintings by Sandro Botticelli in the Uffizi


Chimera of Arezzo

Prompt: Focus on Chimera of Arezzo and explain the abstract.

The Chimera of Arezzo is regarded as the best example of ancient Etruscan art. The British art historian David Ekserdjian described the sculpture as "one of the most arresting of all animal sculptures and the supreme masterpiece of Etruscan bronze-casting".  Made entirely of bronze and measuring 78.5 cm high with a length of 129 cm, it was found alongside a small collection of other bronze statues in Arezzo, an ancient Etruscan and Roman city in Tuscany. The statue was originally part of a larger sculptural group representing a fight between a chimera and the Greek hero Bellerophon. This sculpture is likely to have been created as a votive offering to the Etruscan god Tinia and is held by the National Archaeological Museum, Florence.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: Explain the abstract of this artwork, Chimera of Arezzo.

The Chimera of Arezzo is regarded as the best example of ancient Etruscan art. The British art historian David Ekserdjian described the sculpture as "one of the most arresting of all animal sculptures and the supreme masterpiece of Etruscan bronze-casting".  Made entirely of bronze and measuring 78.5 cm high with a length of 129 cm, it was found alongside a small collection of other bronze statues in Arezzo, an ancient Etruscan and Roman city in Tuscany. The statue was originally part of a larger sculptural group representing a fight between a chimera and the Greek hero Bellerophon. This sculpture is likely to have been created as a votive offering to the Etruscan god Tinia and is held by the National Archaeological Museum, Florence.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: How does Chimera of Arezzo explain its abstract?

The Chimera of Arezzo is regarded as the best example of ancient Etruscan art. The British art historian David Ekserdjian described the sculpture as "one of the most arresting of all animal sculptures and the supreme masterpiece of Etruscan bronze-casting".  Made entirely of bronze and measuring 78.5 cm high with a length of 129 cm, it was found alongside a small collection of other bronze statues in Arezzo, an ancient Etruscan and Roman city in Tuscany. The statue was originally part of a larger sculptural group representing a fight between a chimera and the Greek hero Bellerophon. This sculpture is likely to have been created as a votive offering to the Etruscan god Tinia and is held by the National Archaeological Museum, Florence.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: In Chimera of Arezzo, how is the abstract discussed?

The Chimera of Arezzo is regarded as the best example of ancient Etruscan art. The British art historian David Ekserdjian described the sculpture as "one of the most arresting of all animal sculptures and the supreme masterpiece of Etruscan bronze-casting".  Made entirely of bronze and measuring 78.5 cm high with a length of 129 cm, it was found alongside a small collection of other bronze statues in Arezzo, an ancient Etruscan and Roman city in Tuscany. The statue was originally part of a larger sculptural group representing a fight between a chimera and the Greek hero Bellerophon. This sculpture is likely to have been created as a votive offering to the Etruscan god Tinia and is held by the National Archaeological Museum, Florence.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: Focus on Chimera of Arezzo and explain the History.

According to Greek mythology, the Chimera or "She-Goat" was a monstrous, fire-breathing hybrid creature of Lycia in Anatolia created by the binding of multiple animal parts to create a singular unnatural creature. As the offspring of Typhon and Echidna, the Chimera ravaged the lands of Lycia at a disastrous pace.Distressed by the destruction of his lands, Iobates, the king of Lycia, ordered a young warrior named Bellerophon to slay her. This was also a favor to a neighboring king, Proetus, who wanted Bellerophon dead because his wife accused Bellerophon of rape and he assumed that the warrior would perish in the attempt to kill the beast.Bellerophon set out on his winged horse, Pegasus, and emerged victorious from his battle, eventually winning not only the hand of Iobates' daughter but also his kingdom. It is this story that led art historians to believe that the Chimera of Arezzo was originally part of a group sculpture that included Bellerophon and Pegasus. Votive offerings for the gods often depicted mythological stories. A round hole on the left rump of the Chimera might suggest a spot where Bellerophon may have struck the beast with a now-missing spear.The first known literary reference was in Homer's Iliad and the epic poetry of Hesiod of the 8th century BCE also mentions the Chimera.In response to questions of the statue's true meaning, Giorgio Vasari wrote in his Reasonings Over the Inventions He Painted in Florence in the Palace of Their Serene Highnesses:Yes, sir, because there are the medals of the Duke my lord who came from Rome with a goat's head stuck in the neck of this lion, who as he sees VE, also has the serpent's belly, and we found the queue that was broken between those bronze fragments with many metal figurines that you've seen all, and the wounds that she has touched on show it, and yet the pain that is known in the readiness of the head of this animal ...The tail was not restored until 1785 when the Pistoiese sculptor Francesco Carradori (or his teacher, Innocenzo Spinazzi) fashioned a replacement, incorrectly positioning the serpent to bite the goat's horn. It is much more likely that the snake had to strike out against Bellerophon instead since biting the head of the goat meant it was biting itself.Inscribed on its right foreleg is an inscription in the ancient Etruscan language. It has been variously deciphered, but most recently it is thought to read tinscvil "Offering belonging to Tinia". The original statue is estimated to have been created around 400 BCE.In 1718, the sculpture was transported to the Uffizi Gallery and later, along with the remaining collection Cosimo I had originally seized, taken to the Palazzo della Crocetta. Court intellectuals of the time considered the Chimera of Arezzo to be a symbol of the Medici domination of the Grand Duchy of Tuscany. Its permanent residence is in the National Archaeological Museum from which it was placed on brief loan to the Getty Villa for an exhibition in 2010.The sculpture was probably commissioned by an aristocratic clan or a prosperous community and erected in a religious sanctuary near the ancient Etruscan town of Arezzo, about 50 miles southeast of Florence. The Chimera was one of a hoard of bronzes that had been carefully buried for safety sometime in classical antiquity. A bronze replica now stands near the spot of its original discovery.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany


Chimera of Arezzo

Prompt: Explain the History of this artwork, Chimera of Arezzo.

According to Greek mythology, the Chimera or "She-Goat" was a monstrous, fire-breathing hybrid creature of Lycia in Anatolia created by the binding of multiple animal parts to create a singular unnatural creature. As the offspring of Typhon and Echidna, the Chimera ravaged the lands of Lycia at a disastrous pace.Distressed by the destruction of his lands, Iobates, the king of Lycia, ordered a young warrior named Bellerophon to slay her. This was also a favor to a neighboring king, Proetus, who wanted Bellerophon dead because his wife accused Bellerophon of rape and he assumed that the warrior would perish in the attempt to kill the beast.Bellerophon set out on his winged horse, Pegasus, and emerged victorious from his battle, eventually winning not only the hand of Iobates' daughter but also his kingdom. It is this story that led art historians to believe that the Chimera of Arezzo was originally part of a group sculpture that included Bellerophon and Pegasus. Votive offerings for the gods often depicted mythological stories. A round hole on the left rump of the Chimera might suggest a spot where Bellerophon may have struck the beast with a now-missing spear.The first known literary reference was in Homer's Iliad and the epic poetry of Hesiod of the 8th century BCE also mentions the Chimera.In response to questions of the statue's true meaning, Giorgio Vasari wrote in his Reasonings Over the Inventions He Painted in Florence in the Palace of Their Serene Highnesses:Yes, sir, because there are the medals of the Duke my lord who came from Rome with a goat's head stuck in the neck of this lion, who as he sees VE, also has the serpent's belly, and we found the queue that was broken between those bronze fragments with many metal figurines that you've seen all, and the wounds that she has touched on show it, and yet the pain that is known in the readiness of the head of this animal ...The tail was not restored until 1785 when the Pistoiese sculptor Francesco Carradori (or his teacher, Innocenzo Spinazzi) fashioned a replacement, incorrectly positioning the serpent to bite the goat's horn. It is much more likely that the snake had to strike out against Bellerophon instead since biting the head of the goat meant it was biting itself.Inscribed on its right foreleg is an inscription in the ancient Etruscan language. It has been variously deciphered, but most recently it is thought to read tinscvil "Offering belonging to Tinia". The original statue is estimated to have been created around 400 BCE.In 1718, the sculpture was transported to the Uffizi Gallery and later, along with the remaining collection Cosimo I had originally seized, taken to the Palazzo della Crocetta. Court intellectuals of the time considered the Chimera of Arezzo to be a symbol of the Medici domination of the Grand Duchy of Tuscany. Its permanent residence is in the National Archaeological Museum from which it was placed on brief loan to the Getty Villa for an exhibition in 2010.The sculpture was probably commissioned by an aristocratic clan or a prosperous community and erected in a religious sanctuary near the ancient Etruscan town of Arezzo, about 50 miles southeast of Florence. The Chimera was one of a hoard of bronzes that had been carefully buried for safety sometime in classical antiquity. A bronze replica now stands near the spot of its original discovery.

Category:Archaeological discoveries in Italy

Category:National Archaeological Museum, Florence

Cosimo I de' Medici, Grand Duke of Tuscany