The Hermit Saints

Prompt: How does The Hermit Saints explain its abstract?

The Hermit Saints is a religious oil on panel painting displayed as a triptych which was painted c. 1493 by the Early Netherlandish artist Hieronymus Bosch. The entirety of the triptych painting measures 86 by 60 centimetres (34 in × 24 in). This artwork is currently being housed at the Gallerie dell'Accademia, Venice.Saints are a common theme in Bosch's artwork; for him, they are a reference to the living and also to suffering against what was considered sinful. Likewise, there is often the portrayal of brutality and agony that far outweighs the beauty in Bosch's work since he uses saints as a moral paradigm of the artist's time. He represents them as those who are most faithful in their beliefs.Within this triptych the viewer is introduced to three hermit saints depicted in separate lands of the heavenly and hellish manifestations of mankind's sin and moral obligations. The hermit saints are a reference to the life of solitude and devotion to their faith and practice of the religion Christianity. Each panel is rich with symbolic imagery that gives insight into the frame of mind of each saint's devotion and empathy towards Christ through iconography and symbolism.

Triptych of the Temptation of St. Anthony

File:Jheronimus Bosch 006 central panel 03 detail 01.jpg


The Hermit Saints

Prompt: In The Hermit Saints, how is the abstract discussed?

The Hermit Saints is a religious oil on panel painting displayed as a triptych which was painted c. 1493 by the Early Netherlandish artist Hieronymus Bosch. The entirety of the triptych painting measures 86 by 60 centimetres (34 in × 24 in). This artwork is currently being housed at the Gallerie dell'Accademia, Venice.Saints are a common theme in Bosch's artwork; for him, they are a reference to the living and also to suffering against what was considered sinful. Likewise, there is often the portrayal of brutality and agony that far outweighs the beauty in Bosch's work since he uses saints as a moral paradigm of the artist's time. He represents them as those who are most faithful in their beliefs.Within this triptych the viewer is introduced to three hermit saints depicted in separate lands of the heavenly and hellish manifestations of mankind's sin and moral obligations. The hermit saints are a reference to the life of solitude and devotion to their faith and practice of the religion Christianity. Each panel is rich with symbolic imagery that gives insight into the frame of mind of each saint's devotion and empathy towards Christ through iconography and symbolism.

Triptych of the Temptation of St. Anthony

File:Jheronimus Bosch 006 central panel 03 detail 01.jpg


The Hermit Saints

Prompt: Focus on The Hermit Saints and explain the History.

The triptych is mentioned at the Palazzo Ducale in 1771, as hanging in the Eccelso Tribunale Hall. In 1838 it was removed by the Austrian authorities, then ruling Venice, to the Imperial Gallery of Vienna in Austria, from which, in 1893, it went to the Kunsthistorisches Museum. In 1919 it was returned to Venice.The work has been badly damaged, perhaps by a fire; in particular, in the central part, the sky, the landscape and the head of St. Jerome have been repainted. The date of 1493 has been confirmed by dendochronological analysis.

Triptych of the Temptation of St. Anthony

File:Jheronimus Bosch 006 central panel 03 detail 01.jpg


The Hermit Saints

Prompt: Explain the History of this artwork, The Hermit Saints.

The triptych is mentioned at the Palazzo Ducale in 1771, as hanging in the Eccelso Tribunale Hall. In 1838 it was removed by the Austrian authorities, then ruling Venice, to the Imperial Gallery of Vienna in Austria, from which, in 1893, it went to the Kunsthistorisches Museum. In 1919 it was returned to Venice.The work has been badly damaged, perhaps by a fire; in particular, in the central part, the sky, the landscape and the head of St. Jerome have been repainted. The date of 1493 has been confirmed by dendochronological analysis.

Triptych of the Temptation of St. Anthony

File:Jheronimus Bosch 006 central panel 03 detail 01.jpg


The Hermit Saints

Prompt: How does The Hermit Saints explain its History?

The triptych is mentioned at the Palazzo Ducale in 1771, as hanging in the Eccelso Tribunale Hall. In 1838 it was removed by the Austrian authorities, then ruling Venice, to the Imperial Gallery of Vienna in Austria, from which, in 1893, it went to the Kunsthistorisches Museum. In 1919 it was returned to Venice.The work has been badly damaged, perhaps by a fire; in particular, in the central part, the sky, the landscape and the head of St. Jerome have been repainted. The date of 1493 has been confirmed by dendochronological analysis.

Triptych of the Temptation of St. Anthony

File:Jheronimus Bosch 006 central panel 03 detail 01.jpg


The Hermit Saints

Prompt: In The Hermit Saints, how is the History discussed?

The triptych is mentioned at the Palazzo Ducale in 1771, as hanging in the Eccelso Tribunale Hall. In 1838 it was removed by the Austrian authorities, then ruling Venice, to the Imperial Gallery of Vienna in Austria, from which, in 1893, it went to the Kunsthistorisches Museum. In 1919 it was returned to Venice.The work has been badly damaged, perhaps by a fire; in particular, in the central part, the sky, the landscape and the head of St. Jerome have been repainted. The date of 1493 has been confirmed by dendochronological analysis.

Triptych of the Temptation of St. Anthony

File:Jheronimus Bosch 006 central panel 03 detail 01.jpg


The Hermit Saints

Prompt: Focus on The Hermit Saints and explain the Description.

The depictions of hell, heaven, and earth in Bosch's artwork showcase the varying stages of existence as the panels move from scenes of heaven to Earth, and finally, shift onwards into Bosch's visions of hell.  The left panel in The Hermit Saints depicts a hierarchal depiction of hell and each of the hermit saints devotion to Christ.In the background of the left panel a church, a well, a bridge, two human figures, and carious trees can be seen silhouetted amongst the glow of fires ominous light. Nearest in the foreground resides the first saint, St. Anthony, an older man who is gathering water in a small vessel as he is surrounded by various creatures of hell, both on land and within the small body of water near the man. To the older man's right stands a tree with a white sheet as two smaller human figures push through the sheet to enter the body of water. Within this triptych Saint Anthony appears secluded, a juxtaposition with Bosch's more chaotic depictions of St. Anthony, like that of the Triptych of the Temptation of St. Anthony. In this painting, the saint appears in agony, surrounded by monstrous figures of hell actively attacking one another. The seclusion of the figure in The Hermit Saints  connects to the devotion exhibited  by the other two saints in second and third panels and likewise, contrasting with the chaotic scenes of passion displayed in the Bosch's Temptation of Saint Anthony.The middle panel is an Earthly scene with recognizable lifeforms such as deer, birds, and iguanas inhabiting the land. The second saint depicted is St. Jerome, another older man, who can be seen in the midst of worship, as a small crucifix stands slanted before him. To the left of the crucifix is a small relief depicting a human figure and a unicorn. The small relief is echoed as another small column depicts a celestial scene with  a human figure bent down on their knees, gazing up to a distinctly separate scene of the sun and the moon. In the entirety of this panel, the faith St. Jerome has for Christ is symbolized by the physical space of the vastness of the land. The focal point of St. Jerome showcases the pain and suffering of Christ, allowing St. Jerome to contemplate and empathize with Christ's experiences with suffering in life.The third panel portrays third saint, who appears to be St. Giles, who remains dwelling in a cave, deep in prayer with an arrow lodged in his chest, a deer by his feet, and a face peering out of the darkness of the cave.

File:Jheronimus Bosch 006 central panel 03 detail 01.jpg


The Hermit Saints

Prompt: Explain the Description of this artwork, The Hermit Saints.

The depictions of hell, heaven, and earth in Bosch's artwork showcase the varying stages of existence as the panels move from scenes of heaven to Earth, and finally, shift onwards into Bosch's visions of hell.  The left panel in The Hermit Saints depicts a hierarchal depiction of hell and each of the hermit saints devotion to Christ.In the background of the left panel a church, a well, a bridge, two human figures, and carious trees can be seen silhouetted amongst the glow of fires ominous light. Nearest in the foreground resides the first saint, St. Anthony, an older man who is gathering water in a small vessel as he is surrounded by various creatures of hell, both on land and within the small body of water near the man. To the older man's right stands a tree with a white sheet as two smaller human figures push through the sheet to enter the body of water. Within this triptych Saint Anthony appears secluded, a juxtaposition with Bosch's more chaotic depictions of St. Anthony, like that of the Triptych of the Temptation of St. Anthony. In this painting, the saint appears in agony, surrounded by monstrous figures of hell actively attacking one another. The seclusion of the figure in The Hermit Saints  connects to the devotion exhibited  by the other two saints in second and third panels and likewise, contrasting with the chaotic scenes of passion displayed in the Bosch's Temptation of Saint Anthony.The middle panel is an Earthly scene with recognizable lifeforms such as deer, birds, and iguanas inhabiting the land. The second saint depicted is St. Jerome, another older man, who can be seen in the midst of worship, as a small crucifix stands slanted before him. To the left of the crucifix is a small relief depicting a human figure and a unicorn. The small relief is echoed as another small column depicts a celestial scene with  a human figure bent down on their knees, gazing up to a distinctly separate scene of the sun and the moon. In the entirety of this panel, the faith St. Jerome has for Christ is symbolized by the physical space of the vastness of the land. The focal point of St. Jerome showcases the pain and suffering of Christ, allowing St. Jerome to contemplate and empathize with Christ's experiences with suffering in life.The third panel portrays third saint, who appears to be St. Giles, who remains dwelling in a cave, deep in prayer with an arrow lodged in his chest, a deer by his feet, and a face peering out of the darkness of the cave.

File:Jheronimus Bosch 006 central panel 03 detail 01.jpg


The Hermit Saints

Prompt: How does The Hermit Saints explain its Description?

The depictions of hell, heaven, and earth in Bosch's artwork showcase the varying stages of existence as the panels move from scenes of heaven to Earth, and finally, shift onwards into Bosch's visions of hell.  The left panel in The Hermit Saints depicts a hierarchal depiction of hell and each of the hermit saints devotion to Christ.In the background of the left panel a church, a well, a bridge, two human figures, and carious trees can be seen silhouetted amongst the glow of fires ominous light. Nearest in the foreground resides the first saint, St. Anthony, an older man who is gathering water in a small vessel as he is surrounded by various creatures of hell, both on land and within the small body of water near the man. To the older man's right stands a tree with a white sheet as two smaller human figures push through the sheet to enter the body of water. Within this triptych Saint Anthony appears secluded, a juxtaposition with Bosch's more chaotic depictions of St. Anthony, like that of the Triptych of the Temptation of St. Anthony. In this painting, the saint appears in agony, surrounded by monstrous figures of hell actively attacking one another. The seclusion of the figure in The Hermit Saints  connects to the devotion exhibited  by the other two saints in second and third panels and likewise, contrasting with the chaotic scenes of passion displayed in the Bosch's Temptation of Saint Anthony.The middle panel is an Earthly scene with recognizable lifeforms such as deer, birds, and iguanas inhabiting the land. The second saint depicted is St. Jerome, another older man, who can be seen in the midst of worship, as a small crucifix stands slanted before him. To the left of the crucifix is a small relief depicting a human figure and a unicorn. The small relief is echoed as another small column depicts a celestial scene with  a human figure bent down on their knees, gazing up to a distinctly separate scene of the sun and the moon. In the entirety of this panel, the faith St. Jerome has for Christ is symbolized by the physical space of the vastness of the land. The focal point of St. Jerome showcases the pain and suffering of Christ, allowing St. Jerome to contemplate and empathize with Christ's experiences with suffering in life.The third panel portrays third saint, who appears to be St. Giles, who remains dwelling in a cave, deep in prayer with an arrow lodged in his chest, a deer by his feet, and a face peering out of the darkness of the cave.

File:Jheronimus Bosch 006 central panel 03 detail 01.jpg


The Hermit Saints

Prompt: In The Hermit Saints, how is the Description discussed?

The depictions of hell, heaven, and earth in Bosch's artwork showcase the varying stages of existence as the panels move from scenes of heaven to Earth, and finally, shift onwards into Bosch's visions of hell.  The left panel in The Hermit Saints depicts a hierarchal depiction of hell and each of the hermit saints devotion to Christ.In the background of the left panel a church, a well, a bridge, two human figures, and carious trees can be seen silhouetted amongst the glow of fires ominous light. Nearest in the foreground resides the first saint, St. Anthony, an older man who is gathering water in a small vessel as he is surrounded by various creatures of hell, both on land and within the small body of water near the man. To the older man's right stands a tree with a white sheet as two smaller human figures push through the sheet to enter the body of water. Within this triptych Saint Anthony appears secluded, a juxtaposition with Bosch's more chaotic depictions of St. Anthony, like that of the Triptych of the Temptation of St. Anthony. In this painting, the saint appears in agony, surrounded by monstrous figures of hell actively attacking one another. The seclusion of the figure in The Hermit Saints  connects to the devotion exhibited  by the other two saints in second and third panels and likewise, contrasting with the chaotic scenes of passion displayed in the Bosch's Temptation of Saint Anthony.The middle panel is an Earthly scene with recognizable lifeforms such as deer, birds, and iguanas inhabiting the land. The second saint depicted is St. Jerome, another older man, who can be seen in the midst of worship, as a small crucifix stands slanted before him. To the left of the crucifix is a small relief depicting a human figure and a unicorn. The small relief is echoed as another small column depicts a celestial scene with  a human figure bent down on their knees, gazing up to a distinctly separate scene of the sun and the moon. In the entirety of this panel, the faith St. Jerome has for Christ is symbolized by the physical space of the vastness of the land. The focal point of St. Jerome showcases the pain and suffering of Christ, allowing St. Jerome to contemplate and empathize with Christ's experiences with suffering in life.The third panel portrays third saint, who appears to be St. Giles, who remains dwelling in a cave, deep in prayer with an arrow lodged in his chest, a deer by his feet, and a face peering out of the darkness of the cave.

File:Jheronimus Bosch 006 central panel 03 detail 01.jpg


The Hermit Saints

Prompt: Focus on The Hermit Saints and explain the Iconography.

Each of the three panels portrays a different Christian anchorite saint.Saint AnthonyThe left panel portrays St. Anthony the Abbot in a nocturnal landscape. The village in fire is perhaps an allegory of the ergotism plague, or of the saint's alleged capability to quench fires. The saint is collecting the marshy water of a pool with a jar, surrounded by demonic visions such as the naked woman appearing behind a tent in company of several devils. Under her, a devil-fish is pouring wine from a jar, while around it are deformed crickets portrayed in grotesque postures: one is reading a missal, one has a prolonged beak and a peacock tail, while another is composed by a nun head with feet, which carries a little owl and its nest above.The inclusion of Saint Anthony functions as a moral compass for those within Catholic communities; Saint Anthony represents the action of resisting humanly temptation. Born in Egypt, Saint Anthony was raised within a Christian environment and did not pursue education in his youth. Saint Anthony preferred a life of solitude in his home as well as in his attendance of Church; earlier on in his youth Saint Anthony showed a profound appreciation for his faith. With the death of Saint Anthony's parents in his young adult life, he entered a state of reflection on his walk to church one day and felt he must live an ascetic way of life. Through manual labor Saint Anthony gains the admiration of many, including men who seek him out to obtain his ascetic lifestyle.  Saint JeromeIn the center is Saint Jerome, kneeling in the desert and praying at a crucifix on a stick. The setting is an altar resembling a sculpted Roman sarcophagus, located within a ruined oratory. The reliefs depicts scenes connected to the redemption theme, such as Judith and Holophernes (symbolizing the victory of the soul, or Mary killing the devil), a knight and a unicorn, symbol of virginity. In the lower part is a man diving into a beehive and covering himself with honey, perhaps an allusion to carnal love or to alchemic mercury. This detail is depicted in a drawing housed in the Albertina in Vienna. All around are symbols of evil, scattered in a desert and dark landscape and surrounded by a sinister vegetation. They include, at left, a column with an idolater adoring the atmospheric phenomena, skeletons, monstrous animals fighting each other and dried bush. At right are instead Jerome's traditional symbols, the red cardinal's hat and the lion, identifiable with the bony animal drinking at the pool.The rise of imagery of Saint Jerome was significant within the Catholic art community, specifically for Dutch Catholic artists. The hermit saints are a reference to the navigation of devotion and virtue within a solitary way of life. Saint Jerome imposed a vision of philosophical devotion and intellect, Saint Jerome's studies allowed him to travel through Rome, Trier, and finally Chalcis, a desert surrounding Antioch. The studies of Saint Jerome included Greek and Hebrew and upon his return to Rome, his language efforts allowed him to adapt the Latin Gospels for Pope Damasus I. Later, Saint Jerome translated texts from the Hebrew Bible into Latin and he became recognized within Catholic communities for his scholarly efforts and thus celebrated for these efforts.Saint GilesThe right panel shows Saint Giles, who is praying in a grotto; this houses a roll which, according to the Golden Legend, contained all the names of those to be saved thanks to his intercession. The saint has been shot by an arrow, originally destined for the fawn at his feet. The landscape, the less dark of the triptych, is dominated by a sharp rock.Known as a “Patron of Beggars” and a “Patron Saint of Cripples”, the imagery of Saint Giles provides something of hope for miracles most notable to those in physical need. From early life, he was known for the display of his appreciation and ambition for life. Originally from Greece, his parentage may have been that of royalty. Saint Giles received a superior education in contrast to that of Saint Anthony and Saint Jerome. After the death of his parents, Saint Giles gave many of his earthly belongings to people within poor communities as a means of proving his holiness. He was famous for healing those with disabilities.

Triptych of the Temptation of St. Anthony

File:Jheronimus Bosch 006 central panel 03 detail 01.jpg


The Hermit Saints

Prompt: Explain the Iconography of this artwork, The Hermit Saints.

Each of the three panels portrays a different Christian anchorite saint.Saint AnthonyThe left panel portrays St. Anthony the Abbot in a nocturnal landscape. The village in fire is perhaps an allegory of the ergotism plague, or of the saint's alleged capability to quench fires. The saint is collecting the marshy water of a pool with a jar, surrounded by demonic visions such as the naked woman appearing behind a tent in company of several devils. Under her, a devil-fish is pouring wine from a jar, while around it are deformed crickets portrayed in grotesque postures: one is reading a missal, one has a prolonged beak and a peacock tail, while another is composed by a nun head with feet, which carries a little owl and its nest above.The inclusion of Saint Anthony functions as a moral compass for those within Catholic communities; Saint Anthony represents the action of resisting humanly temptation. Born in Egypt, Saint Anthony was raised within a Christian environment and did not pursue education in his youth. Saint Anthony preferred a life of solitude in his home as well as in his attendance of Church; earlier on in his youth Saint Anthony showed a profound appreciation for his faith. With the death of Saint Anthony's parents in his young adult life, he entered a state of reflection on his walk to church one day and felt he must live an ascetic way of life. Through manual labor Saint Anthony gains the admiration of many, including men who seek him out to obtain his ascetic lifestyle.  Saint JeromeIn the center is Saint Jerome, kneeling in the desert and praying at a crucifix on a stick. The setting is an altar resembling a sculpted Roman sarcophagus, located within a ruined oratory. The reliefs depicts scenes connected to the redemption theme, such as Judith and Holophernes (symbolizing the victory of the soul, or Mary killing the devil), a knight and a unicorn, symbol of virginity. In the lower part is a man diving into a beehive and covering himself with honey, perhaps an allusion to carnal love or to alchemic mercury. This detail is depicted in a drawing housed in the Albertina in Vienna. All around are symbols of evil, scattered in a desert and dark landscape and surrounded by a sinister vegetation. They include, at left, a column with an idolater adoring the atmospheric phenomena, skeletons, monstrous animals fighting each other and dried bush. At right are instead Jerome's traditional symbols, the red cardinal's hat and the lion, identifiable with the bony animal drinking at the pool.The rise of imagery of Saint Jerome was significant within the Catholic art community, specifically for Dutch Catholic artists. The hermit saints are a reference to the navigation of devotion and virtue within a solitary way of life. Saint Jerome imposed a vision of philosophical devotion and intellect, Saint Jerome's studies allowed him to travel through Rome, Trier, and finally Chalcis, a desert surrounding Antioch. The studies of Saint Jerome included Greek and Hebrew and upon his return to Rome, his language efforts allowed him to adapt the Latin Gospels for Pope Damasus I. Later, Saint Jerome translated texts from the Hebrew Bible into Latin and he became recognized within Catholic communities for his scholarly efforts and thus celebrated for these efforts.Saint GilesThe right panel shows Saint Giles, who is praying in a grotto; this houses a roll which, according to the Golden Legend, contained all the names of those to be saved thanks to his intercession. The saint has been shot by an arrow, originally destined for the fawn at his feet. The landscape, the less dark of the triptych, is dominated by a sharp rock.Known as a “Patron of Beggars” and a “Patron Saint of Cripples”, the imagery of Saint Giles provides something of hope for miracles most notable to those in physical need. From early life, he was known for the display of his appreciation and ambition for life. Originally from Greece, his parentage may have been that of royalty. Saint Giles received a superior education in contrast to that of Saint Anthony and Saint Jerome. After the death of his parents, Saint Giles gave many of his earthly belongings to people within poor communities as a means of proving his holiness. He was famous for healing those with disabilities.

Triptych of the Temptation of St. Anthony

File:Jheronimus Bosch 006 central panel 03 detail 01.jpg


The Hermit Saints

Prompt: How does The Hermit Saints explain its Iconography?

Each of the three panels portrays a different Christian anchorite saint.Saint AnthonyThe left panel portrays St. Anthony the Abbot in a nocturnal landscape. The village in fire is perhaps an allegory of the ergotism plague, or of the saint's alleged capability to quench fires. The saint is collecting the marshy water of a pool with a jar, surrounded by demonic visions such as the naked woman appearing behind a tent in company of several devils. Under her, a devil-fish is pouring wine from a jar, while around it are deformed crickets portrayed in grotesque postures: one is reading a missal, one has a prolonged beak and a peacock tail, while another is composed by a nun head with feet, which carries a little owl and its nest above.The inclusion of Saint Anthony functions as a moral compass for those within Catholic communities; Saint Anthony represents the action of resisting humanly temptation. Born in Egypt, Saint Anthony was raised within a Christian environment and did not pursue education in his youth. Saint Anthony preferred a life of solitude in his home as well as in his attendance of Church; earlier on in his youth Saint Anthony showed a profound appreciation for his faith. With the death of Saint Anthony's parents in his young adult life, he entered a state of reflection on his walk to church one day and felt he must live an ascetic way of life. Through manual labor Saint Anthony gains the admiration of many, including men who seek him out to obtain his ascetic lifestyle.  Saint JeromeIn the center is Saint Jerome, kneeling in the desert and praying at a crucifix on a stick. The setting is an altar resembling a sculpted Roman sarcophagus, located within a ruined oratory. The reliefs depicts scenes connected to the redemption theme, such as Judith and Holophernes (symbolizing the victory of the soul, or Mary killing the devil), a knight and a unicorn, symbol of virginity. In the lower part is a man diving into a beehive and covering himself with honey, perhaps an allusion to carnal love or to alchemic mercury. This detail is depicted in a drawing housed in the Albertina in Vienna. All around are symbols of evil, scattered in a desert and dark landscape and surrounded by a sinister vegetation. They include, at left, a column with an idolater adoring the atmospheric phenomena, skeletons, monstrous animals fighting each other and dried bush. At right are instead Jerome's traditional symbols, the red cardinal's hat and the lion, identifiable with the bony animal drinking at the pool.The rise of imagery of Saint Jerome was significant within the Catholic art community, specifically for Dutch Catholic artists. The hermit saints are a reference to the navigation of devotion and virtue within a solitary way of life. Saint Jerome imposed a vision of philosophical devotion and intellect, Saint Jerome's studies allowed him to travel through Rome, Trier, and finally Chalcis, a desert surrounding Antioch. The studies of Saint Jerome included Greek and Hebrew and upon his return to Rome, his language efforts allowed him to adapt the Latin Gospels for Pope Damasus I. Later, Saint Jerome translated texts from the Hebrew Bible into Latin and he became recognized within Catholic communities for his scholarly efforts and thus celebrated for these efforts.Saint GilesThe right panel shows Saint Giles, who is praying in a grotto; this houses a roll which, according to the Golden Legend, contained all the names of those to be saved thanks to his intercession. The saint has been shot by an arrow, originally destined for the fawn at his feet. The landscape, the less dark of the triptych, is dominated by a sharp rock.Known as a “Patron of Beggars” and a “Patron Saint of Cripples”, the imagery of Saint Giles provides something of hope for miracles most notable to those in physical need. From early life, he was known for the display of his appreciation and ambition for life. Originally from Greece, his parentage may have been that of royalty. Saint Giles received a superior education in contrast to that of Saint Anthony and Saint Jerome. After the death of his parents, Saint Giles gave many of his earthly belongings to people within poor communities as a means of proving his holiness. He was famous for healing those with disabilities.

Triptych of the Temptation of St. Anthony

File:Jheronimus Bosch 006 central panel 03 detail 01.jpg


The Hermit Saints

Prompt: In The Hermit Saints, how is the Iconography discussed?

Each of the three panels portrays a different Christian anchorite saint.Saint AnthonyThe left panel portrays St. Anthony the Abbot in a nocturnal landscape. The village in fire is perhaps an allegory of the ergotism plague, or of the saint's alleged capability to quench fires. The saint is collecting the marshy water of a pool with a jar, surrounded by demonic visions such as the naked woman appearing behind a tent in company of several devils. Under her, a devil-fish is pouring wine from a jar, while around it are deformed crickets portrayed in grotesque postures: one is reading a missal, one has a prolonged beak and a peacock tail, while another is composed by a nun head with feet, which carries a little owl and its nest above.The inclusion of Saint Anthony functions as a moral compass for those within Catholic communities; Saint Anthony represents the action of resisting humanly temptation. Born in Egypt, Saint Anthony was raised within a Christian environment and did not pursue education in his youth. Saint Anthony preferred a life of solitude in his home as well as in his attendance of Church; earlier on in his youth Saint Anthony showed a profound appreciation for his faith. With the death of Saint Anthony's parents in his young adult life, he entered a state of reflection on his walk to church one day and felt he must live an ascetic way of life. Through manual labor Saint Anthony gains the admiration of many, including men who seek him out to obtain his ascetic lifestyle.  Saint JeromeIn the center is Saint Jerome, kneeling in the desert and praying at a crucifix on a stick. The setting is an altar resembling a sculpted Roman sarcophagus, located within a ruined oratory. The reliefs depicts scenes connected to the redemption theme, such as Judith and Holophernes (symbolizing the victory of the soul, or Mary killing the devil), a knight and a unicorn, symbol of virginity. In the lower part is a man diving into a beehive and covering himself with honey, perhaps an allusion to carnal love or to alchemic mercury. This detail is depicted in a drawing housed in the Albertina in Vienna. All around are symbols of evil, scattered in a desert and dark landscape and surrounded by a sinister vegetation. They include, at left, a column with an idolater adoring the atmospheric phenomena, skeletons, monstrous animals fighting each other and dried bush. At right are instead Jerome's traditional symbols, the red cardinal's hat and the lion, identifiable with the bony animal drinking at the pool.The rise of imagery of Saint Jerome was significant within the Catholic art community, specifically for Dutch Catholic artists. The hermit saints are a reference to the navigation of devotion and virtue within a solitary way of life. Saint Jerome imposed a vision of philosophical devotion and intellect, Saint Jerome's studies allowed him to travel through Rome, Trier, and finally Chalcis, a desert surrounding Antioch. The studies of Saint Jerome included Greek and Hebrew and upon his return to Rome, his language efforts allowed him to adapt the Latin Gospels for Pope Damasus I. Later, Saint Jerome translated texts from the Hebrew Bible into Latin and he became recognized within Catholic communities for his scholarly efforts and thus celebrated for these efforts.Saint GilesThe right panel shows Saint Giles, who is praying in a grotto; this houses a roll which, according to the Golden Legend, contained all the names of those to be saved thanks to his intercession. The saint has been shot by an arrow, originally destined for the fawn at his feet. The landscape, the less dark of the triptych, is dominated by a sharp rock.Known as a “Patron of Beggars” and a “Patron Saint of Cripples”, the imagery of Saint Giles provides something of hope for miracles most notable to those in physical need. From early life, he was known for the display of his appreciation and ambition for life. Originally from Greece, his parentage may have been that of royalty. Saint Giles received a superior education in contrast to that of Saint Anthony and Saint Jerome. After the death of his parents, Saint Giles gave many of his earthly belongings to people within poor communities as a means of proving his holiness. He was famous for healing those with disabilities.

Triptych of the Temptation of St. Anthony

File:Jheronimus Bosch 006 central panel 03 detail 01.jpg


The Hermit Saints

Prompt: Focus on The Hermit Saints and explain the Painting materials.

The scientists at The Bosch Research and Conservation Project investigated all the technical aspects of this triptych. Bosch employed the usual pigments of the Renaissance period, such as azurite, lead-tin-yellow, vermilion and ochres omitting the expensive natural ultramarine.

Triptych of the Temptation of St. Anthony

File:Jheronimus Bosch 006 central panel 03 detail 01.jpg


The Hermit Saints

Prompt: Explain the Painting materials of this artwork, The Hermit Saints.

The scientists at The Bosch Research and Conservation Project investigated all the technical aspects of this triptych. Bosch employed the usual pigments of the Renaissance period, such as azurite, lead-tin-yellow, vermilion and ochres omitting the expensive natural ultramarine.

Triptych of the Temptation of St. Anthony

File:Jheronimus Bosch 006 central panel 03 detail 01.jpg


The Hermit Saints

Prompt: How does The Hermit Saints explain its Painting materials?

The scientists at The Bosch Research and Conservation Project investigated all the technical aspects of this triptych. Bosch employed the usual pigments of the Renaissance period, such as azurite, lead-tin-yellow, vermilion and ochres omitting the expensive natural ultramarine.

Triptych of the Temptation of St. Anthony

File:Jheronimus Bosch 006 central panel 03 detail 01.jpg


The Hermit Saints

Prompt: In The Hermit Saints, how is the Painting materials discussed?

The scientists at The Bosch Research and Conservation Project investigated all the technical aspects of this triptych. Bosch employed the usual pigments of the Renaissance period, such as azurite, lead-tin-yellow, vermilion and ochres omitting the expensive natural ultramarine.

Triptych of the Temptation of St. Anthony

File:Jheronimus Bosch 006 central panel 03 detail 01.jpg


Portinari Altarpiece

Prompt: Focus on Portinari Altarpiece and explain the abstract.

The Portinari Altarpiece or Portinari Triptych (c. 1475) is an oil-on-wood triptych painting by the Flemish painter Hugo van der Goes, commissioned by Tommaso Portinari, representing the Adoration of the Shepherds. It measures 253 x 304 cm, and is now in the Galleria degli Uffizi in Florence, Italy. This altarpiece is filled with figures and religious symbols. Of all the late-fifteenth-century Flemish artworks, this painting is said to be the most studied.

Details of the flowers within the Arabella lusterware ceramic

Category:Adoration of the Shepherds in art

File:Hospital of Santa Maria Nuova, Florence, Italy. Etching by B Wellcome V0014713.jpg

:File:Cappella Sassetti Adoration of the Shepherds.jpg


Portinari Altarpiece

Prompt: Explain the abstract of this artwork, Portinari Altarpiece.

The Portinari Altarpiece or Portinari Triptych (c. 1475) is an oil-on-wood triptych painting by the Flemish painter Hugo van der Goes, commissioned by Tommaso Portinari, representing the Adoration of the Shepherds. It measures 253 x 304 cm, and is now in the Galleria degli Uffizi in Florence, Italy. This altarpiece is filled with figures and religious symbols. Of all the late-fifteenth-century Flemish artworks, this painting is said to be the most studied.

Details of the flowers within the Arabella lusterware ceramic

Category:Adoration of the Shepherds in art

File:Hospital of Santa Maria Nuova, Florence, Italy. Etching by B Wellcome V0014713.jpg

:File:Cappella Sassetti Adoration of the Shepherds.jpg


Portinari Altarpiece

Prompt: How does Portinari Altarpiece explain its abstract?

The Portinari Altarpiece or Portinari Triptych (c. 1475) is an oil-on-wood triptych painting by the Flemish painter Hugo van der Goes, commissioned by Tommaso Portinari, representing the Adoration of the Shepherds. It measures 253 x 304 cm, and is now in the Galleria degli Uffizi in Florence, Italy. This altarpiece is filled with figures and religious symbols. Of all the late-fifteenth-century Flemish artworks, this painting is said to be the most studied.

Details of the flowers within the Arabella lusterware ceramic

Category:Adoration of the Shepherds in art

File:Hospital of Santa Maria Nuova, Florence, Italy. Etching by B Wellcome V0014713.jpg

:File:Cappella Sassetti Adoration of the Shepherds.jpg


Portinari Altarpiece

Prompt: In Portinari Altarpiece, how is the abstract discussed?

The Portinari Altarpiece or Portinari Triptych (c. 1475) is an oil-on-wood triptych painting by the Flemish painter Hugo van der Goes, commissioned by Tommaso Portinari, representing the Adoration of the Shepherds. It measures 253 x 304 cm, and is now in the Galleria degli Uffizi in Florence, Italy. This altarpiece is filled with figures and religious symbols. Of all the late-fifteenth-century Flemish artworks, this painting is said to be the most studied.

Details of the flowers within the Arabella lusterware ceramic

Category:Adoration of the Shepherds in art

File:Hospital of Santa Maria Nuova, Florence, Italy. Etching by B Wellcome V0014713.jpg

:File:Cappella Sassetti Adoration of the Shepherds.jpg


Portinari Altarpiece

Prompt: Focus on Portinari Altarpiece and explain the History.

The work was commissioned for the church inside of one of the largest hospitals in Florence, hospital of Santa Maria Nuova by the Italian banker Tommaso Portinari, a descendant of the hospital's founder.  Portinari lived for more than forty years in Bruges as a representative for the Medici family's bank. Portinari himself is depicted on the left panel with his two sons Antonio and Pigello; his wife Maria di Francesco Baroncelli is shown on the right panel with their daughter Margarita. All, except Pigello, are accompanied by their patron saints: Saint Thomas (with the spear), Saint Anthony (with the bell), Mary Magdalen (with the pot of ointment) and Saint Margaret (with the book and the dragon). When the work arrived in Florence in 1483, it was installed in the Portinari family chapel where it was deeply admired by the Italian artists who saw it, many of whom sought to emulate it. A good example is the Adoration of the Shepherds (1485) which Domenico Ghirlandaio painted for the Sassetti Chapel in the church of Santa Trinita in Florence. However, the naturalistic depiction of the shepherds is already present in Andrea Mantegna's Adoration of the Shepherds (Metropolitan Museum, New York), which dates from around 1450.

Details of the flowers within the Arabella lusterware ceramic

Category:Adoration of the Shepherds in art

File:Hospital of Santa Maria Nuova, Florence, Italy. Etching by B Wellcome V0014713.jpg

:File:Cappella Sassetti Adoration of the Shepherds.jpg


Portinari Altarpiece

Prompt: Explain the History of this artwork, Portinari Altarpiece.

The work was commissioned for the church inside of one of the largest hospitals in Florence, hospital of Santa Maria Nuova by the Italian banker Tommaso Portinari, a descendant of the hospital's founder.  Portinari lived for more than forty years in Bruges as a representative for the Medici family's bank. Portinari himself is depicted on the left panel with his two sons Antonio and Pigello; his wife Maria di Francesco Baroncelli is shown on the right panel with their daughter Margarita. All, except Pigello, are accompanied by their patron saints: Saint Thomas (with the spear), Saint Anthony (with the bell), Mary Magdalen (with the pot of ointment) and Saint Margaret (with the book and the dragon). When the work arrived in Florence in 1483, it was installed in the Portinari family chapel where it was deeply admired by the Italian artists who saw it, many of whom sought to emulate it. A good example is the Adoration of the Shepherds (1485) which Domenico Ghirlandaio painted for the Sassetti Chapel in the church of Santa Trinita in Florence. However, the naturalistic depiction of the shepherds is already present in Andrea Mantegna's Adoration of the Shepherds (Metropolitan Museum, New York), which dates from around 1450.

Details of the flowers within the Arabella lusterware ceramic

Category:Adoration of the Shepherds in art

File:Hospital of Santa Maria Nuova, Florence, Italy. Etching by B Wellcome V0014713.jpg

:File:Cappella Sassetti Adoration of the Shepherds.jpg


Portinari Altarpiece

Prompt: How does Portinari Altarpiece explain its History?

The work was commissioned for the church inside of one of the largest hospitals in Florence, hospital of Santa Maria Nuova by the Italian banker Tommaso Portinari, a descendant of the hospital's founder.  Portinari lived for more than forty years in Bruges as a representative for the Medici family's bank. Portinari himself is depicted on the left panel with his two sons Antonio and Pigello; his wife Maria di Francesco Baroncelli is shown on the right panel with their daughter Margarita. All, except Pigello, are accompanied by their patron saints: Saint Thomas (with the spear), Saint Anthony (with the bell), Mary Magdalen (with the pot of ointment) and Saint Margaret (with the book and the dragon). When the work arrived in Florence in 1483, it was installed in the Portinari family chapel where it was deeply admired by the Italian artists who saw it, many of whom sought to emulate it. A good example is the Adoration of the Shepherds (1485) which Domenico Ghirlandaio painted for the Sassetti Chapel in the church of Santa Trinita in Florence. However, the naturalistic depiction of the shepherds is already present in Andrea Mantegna's Adoration of the Shepherds (Metropolitan Museum, New York), which dates from around 1450.

Details of the flowers within the Arabella lusterware ceramic

Category:Adoration of the Shepherds in art

File:Hospital of Santa Maria Nuova, Florence, Italy. Etching by B Wellcome V0014713.jpg

:File:Cappella Sassetti Adoration of the Shepherds.jpg


Portinari Altarpiece

Prompt: In Portinari Altarpiece, how is the History discussed?

The work was commissioned for the church inside of one of the largest hospitals in Florence, hospital of Santa Maria Nuova by the Italian banker Tommaso Portinari, a descendant of the hospital's founder.  Portinari lived for more than forty years in Bruges as a representative for the Medici family's bank. Portinari himself is depicted on the left panel with his two sons Antonio and Pigello; his wife Maria di Francesco Baroncelli is shown on the right panel with their daughter Margarita. All, except Pigello, are accompanied by their patron saints: Saint Thomas (with the spear), Saint Anthony (with the bell), Mary Magdalen (with the pot of ointment) and Saint Margaret (with the book and the dragon). When the work arrived in Florence in 1483, it was installed in the Portinari family chapel where it was deeply admired by the Italian artists who saw it, many of whom sought to emulate it. A good example is the Adoration of the Shepherds (1485) which Domenico Ghirlandaio painted for the Sassetti Chapel in the church of Santa Trinita in Florence. However, the naturalistic depiction of the shepherds is already present in Andrea Mantegna's Adoration of the Shepherds (Metropolitan Museum, New York), which dates from around 1450.

Details of the flowers within the Arabella lusterware ceramic

Category:Adoration of the Shepherds in art

File:Hospital of Santa Maria Nuova, Florence, Italy. Etching by B Wellcome V0014713.jpg

:File:Cappella Sassetti Adoration of the Shepherds.jpg


Portinari Altarpiece

Prompt: Focus on Portinari Altarpiece and explain the Patron.

The hospital of S. Maria Nuova in which the altarpiece was originally held, was built in 1285 by Folco Portinari. The hospital was founded with only twelve beds and by the fifteenth century it grew to house around two hundred of them. Because of the hospital's prestige and growth, the hospital became well known throughout Florence as well as many other cities in Europe. The hospital was built for charitable purposes, but later became part of the Portinari legacy that created honor for the family and its generations to come after Folco.The timing of the commission for the Portinari altarpiece was during the peak of Tommaso Portinari's career while in Bruges around the 1470s. The enormous size and choice of artist of this altarpiece is a statement of the patron's wealth and power.

Details of the flowers within the Arabella lusterware ceramic

Category:Adoration of the Shepherds in art

File:Hospital of Santa Maria Nuova, Florence, Italy. Etching by B Wellcome V0014713.jpg

:File:Cappella Sassetti Adoration of the Shepherds.jpg


Portinari Altarpiece

Prompt: Explain the Patron of this artwork, Portinari Altarpiece.

The hospital of S. Maria Nuova in which the altarpiece was originally held, was built in 1285 by Folco Portinari. The hospital was founded with only twelve beds and by the fifteenth century it grew to house around two hundred of them. Because of the hospital's prestige and growth, the hospital became well known throughout Florence as well as many other cities in Europe. The hospital was built for charitable purposes, but later became part of the Portinari legacy that created honor for the family and its generations to come after Folco.The timing of the commission for the Portinari altarpiece was during the peak of Tommaso Portinari's career while in Bruges around the 1470s. The enormous size and choice of artist of this altarpiece is a statement of the patron's wealth and power.

Details of the flowers within the Arabella lusterware ceramic

Category:Adoration of the Shepherds in art

File:Hospital of Santa Maria Nuova, Florence, Italy. Etching by B Wellcome V0014713.jpg

:File:Cappella Sassetti Adoration of the Shepherds.jpg


Portinari Altarpiece

Prompt: How does Portinari Altarpiece explain its Patron?

The hospital of S. Maria Nuova in which the altarpiece was originally held, was built in 1285 by Folco Portinari. The hospital was founded with only twelve beds and by the fifteenth century it grew to house around two hundred of them. Because of the hospital's prestige and growth, the hospital became well known throughout Florence as well as many other cities in Europe. The hospital was built for charitable purposes, but later became part of the Portinari legacy that created honor for the family and its generations to come after Folco.The timing of the commission for the Portinari altarpiece was during the peak of Tommaso Portinari's career while in Bruges around the 1470s. The enormous size and choice of artist of this altarpiece is a statement of the patron's wealth and power.

Details of the flowers within the Arabella lusterware ceramic

Category:Adoration of the Shepherds in art

File:Hospital of Santa Maria Nuova, Florence, Italy. Etching by B Wellcome V0014713.jpg

:File:Cappella Sassetti Adoration of the Shepherds.jpg


Portinari Altarpiece

Prompt: In Portinari Altarpiece, how is the Patron discussed?

The hospital of S. Maria Nuova in which the altarpiece was originally held, was built in 1285 by Folco Portinari. The hospital was founded with only twelve beds and by the fifteenth century it grew to house around two hundred of them. Because of the hospital's prestige and growth, the hospital became well known throughout Florence as well as many other cities in Europe. The hospital was built for charitable purposes, but later became part of the Portinari legacy that created honor for the family and its generations to come after Folco.The timing of the commission for the Portinari altarpiece was during the peak of Tommaso Portinari's career while in Bruges around the 1470s. The enormous size and choice of artist of this altarpiece is a statement of the patron's wealth and power.

Details of the flowers within the Arabella lusterware ceramic

Category:Adoration of the Shepherds in art

File:Hospital of Santa Maria Nuova, Florence, Italy. Etching by B Wellcome V0014713.jpg

:File:Cappella Sassetti Adoration of the Shepherds.jpg


Portinari Altarpiece

Prompt: Focus on Portinari Altarpiece and explain the Description.

In the central panel, three shepherds fall to their knees before the child Jesus. Van der Goes painted these rustic characters very realistically. Kneeling angels surround the Virgin and the Child, who is not in a crib but lies on the ground surrounded by an aureole of golden rays. This unusual representation of the adoration of Jesus is probably based on one of the visions of Saint Bridget of Sweden.In the background, van der Goes painted scenes related to the main subject: on the left panel, Joseph and Mary on the road to Bethlehem; on the central panel (to the right), the shepherds visited by the angel; on the right panel, the Three Magi on the road to Bethlehem. Hugo van der Goes used continuous narrative to show the same characters repeated in one painting. In the central panel, he sets the characters up in the background first. Here, the shepherds are seen with an angel over their heads. This scene is the Annunciation of the Shepherds where the angel comes to tell the shepherds of the news of Christ's birth. In the foreground of the central panel, the shepherds are seen now adoring Christ across from the Virgin Mary.Because most triptych altarpieces are usually kept unopened, the Portinari Altarpiece would have been closed except for special occasions such as holidays and feast days when it would have been opened. The exterior of Hugo van der Goes's triptych has decorative depictions of the Annunciation scene. The artist Hugo van der Goes painted the figures of the Virgin Mary and of the Angel Gabriel in grisaille, meaning to paint it in a style that imitates sculpture. The two figures are placed in shallow niches. During the completion of this work in the Netherlands, to depict grisaille on the exterior of altarpieces was a tradition for artists. This tradition came from the Middle Ages, when sculpture was considered the chief medium for devotional art. In the fifteenth and sixteenth centuries, some places in Germany continued to see sculpture as superior and that it belonged in the middle of a folding altarpiece like the one by Van der Goes.It was more economical for a patron to have an artist like Hugo van der Goes who could create a painting and a sculpture with paint itself. This allowed the patron to only have to contract the artist instead of multiple craftsmen. This also helped Van der Goes because the entire commission could be kept for the artist and his assistants. Another concept that was popular during the time of Hugo van der Goes was depicting the scene of The Annunciation on the exterior of the triptych while the scene from the life of Christ would be in the interior of the altarpiece once the panels were opened since The Annunciation gave way for the Incarnation of Christ.

Details of the flowers within the Arabella lusterware ceramic

Category:Adoration of the Shepherds in art

File:Hospital of Santa Maria Nuova, Florence, Italy. Etching by B Wellcome V0014713.jpg

:File:Cappella Sassetti Adoration of the Shepherds.jpg


Portinari Altarpiece

Prompt: Explain the Description of this artwork, Portinari Altarpiece.

In the central panel, three shepherds fall to their knees before the child Jesus. Van der Goes painted these rustic characters very realistically. Kneeling angels surround the Virgin and the Child, who is not in a crib but lies on the ground surrounded by an aureole of golden rays. This unusual representation of the adoration of Jesus is probably based on one of the visions of Saint Bridget of Sweden.In the background, van der Goes painted scenes related to the main subject: on the left panel, Joseph and Mary on the road to Bethlehem; on the central panel (to the right), the shepherds visited by the angel; on the right panel, the Three Magi on the road to Bethlehem. Hugo van der Goes used continuous narrative to show the same characters repeated in one painting. In the central panel, he sets the characters up in the background first. Here, the shepherds are seen with an angel over their heads. This scene is the Annunciation of the Shepherds where the angel comes to tell the shepherds of the news of Christ's birth. In the foreground of the central panel, the shepherds are seen now adoring Christ across from the Virgin Mary.Because most triptych altarpieces are usually kept unopened, the Portinari Altarpiece would have been closed except for special occasions such as holidays and feast days when it would have been opened. The exterior of Hugo van der Goes's triptych has decorative depictions of the Annunciation scene. The artist Hugo van der Goes painted the figures of the Virgin Mary and of the Angel Gabriel in grisaille, meaning to paint it in a style that imitates sculpture. The two figures are placed in shallow niches. During the completion of this work in the Netherlands, to depict grisaille on the exterior of altarpieces was a tradition for artists. This tradition came from the Middle Ages, when sculpture was considered the chief medium for devotional art. In the fifteenth and sixteenth centuries, some places in Germany continued to see sculpture as superior and that it belonged in the middle of a folding altarpiece like the one by Van der Goes.It was more economical for a patron to have an artist like Hugo van der Goes who could create a painting and a sculpture with paint itself. This allowed the patron to only have to contract the artist instead of multiple craftsmen. This also helped Van der Goes because the entire commission could be kept for the artist and his assistants. Another concept that was popular during the time of Hugo van der Goes was depicting the scene of The Annunciation on the exterior of the triptych while the scene from the life of Christ would be in the interior of the altarpiece once the panels were opened since The Annunciation gave way for the Incarnation of Christ.

Details of the flowers within the Arabella lusterware ceramic

Category:Adoration of the Shepherds in art

File:Hospital of Santa Maria Nuova, Florence, Italy. Etching by B Wellcome V0014713.jpg

:File:Cappella Sassetti Adoration of the Shepherds.jpg


Portinari Altarpiece

Prompt: How does Portinari Altarpiece explain its Description?

In the central panel, three shepherds fall to their knees before the child Jesus. Van der Goes painted these rustic characters very realistically. Kneeling angels surround the Virgin and the Child, who is not in a crib but lies on the ground surrounded by an aureole of golden rays. This unusual representation of the adoration of Jesus is probably based on one of the visions of Saint Bridget of Sweden.In the background, van der Goes painted scenes related to the main subject: on the left panel, Joseph and Mary on the road to Bethlehem; on the central panel (to the right), the shepherds visited by the angel; on the right panel, the Three Magi on the road to Bethlehem. Hugo van der Goes used continuous narrative to show the same characters repeated in one painting. In the central panel, he sets the characters up in the background first. Here, the shepherds are seen with an angel over their heads. This scene is the Annunciation of the Shepherds where the angel comes to tell the shepherds of the news of Christ's birth. In the foreground of the central panel, the shepherds are seen now adoring Christ across from the Virgin Mary.Because most triptych altarpieces are usually kept unopened, the Portinari Altarpiece would have been closed except for special occasions such as holidays and feast days when it would have been opened. The exterior of Hugo van der Goes's triptych has decorative depictions of the Annunciation scene. The artist Hugo van der Goes painted the figures of the Virgin Mary and of the Angel Gabriel in grisaille, meaning to paint it in a style that imitates sculpture. The two figures are placed in shallow niches. During the completion of this work in the Netherlands, to depict grisaille on the exterior of altarpieces was a tradition for artists. This tradition came from the Middle Ages, when sculpture was considered the chief medium for devotional art. In the fifteenth and sixteenth centuries, some places in Germany continued to see sculpture as superior and that it belonged in the middle of a folding altarpiece like the one by Van der Goes.It was more economical for a patron to have an artist like Hugo van der Goes who could create a painting and a sculpture with paint itself. This allowed the patron to only have to contract the artist instead of multiple craftsmen. This also helped Van der Goes because the entire commission could be kept for the artist and his assistants. Another concept that was popular during the time of Hugo van der Goes was depicting the scene of The Annunciation on the exterior of the triptych while the scene from the life of Christ would be in the interior of the altarpiece once the panels were opened since The Annunciation gave way for the Incarnation of Christ.

Details of the flowers within the Arabella lusterware ceramic

Category:Adoration of the Shepherds in art

File:Hospital of Santa Maria Nuova, Florence, Italy. Etching by B Wellcome V0014713.jpg

:File:Cappella Sassetti Adoration of the Shepherds.jpg


Portinari Altarpiece

Prompt: In Portinari Altarpiece, how is the Description discussed?

In the central panel, three shepherds fall to their knees before the child Jesus. Van der Goes painted these rustic characters very realistically. Kneeling angels surround the Virgin and the Child, who is not in a crib but lies on the ground surrounded by an aureole of golden rays. This unusual representation of the adoration of Jesus is probably based on one of the visions of Saint Bridget of Sweden.In the background, van der Goes painted scenes related to the main subject: on the left panel, Joseph and Mary on the road to Bethlehem; on the central panel (to the right), the shepherds visited by the angel; on the right panel, the Three Magi on the road to Bethlehem. Hugo van der Goes used continuous narrative to show the same characters repeated in one painting. In the central panel, he sets the characters up in the background first. Here, the shepherds are seen with an angel over their heads. This scene is the Annunciation of the Shepherds where the angel comes to tell the shepherds of the news of Christ's birth. In the foreground of the central panel, the shepherds are seen now adoring Christ across from the Virgin Mary.Because most triptych altarpieces are usually kept unopened, the Portinari Altarpiece would have been closed except for special occasions such as holidays and feast days when it would have been opened. The exterior of Hugo van der Goes's triptych has decorative depictions of the Annunciation scene. The artist Hugo van der Goes painted the figures of the Virgin Mary and of the Angel Gabriel in grisaille, meaning to paint it in a style that imitates sculpture. The two figures are placed in shallow niches. During the completion of this work in the Netherlands, to depict grisaille on the exterior of altarpieces was a tradition for artists. This tradition came from the Middle Ages, when sculpture was considered the chief medium for devotional art. In the fifteenth and sixteenth centuries, some places in Germany continued to see sculpture as superior and that it belonged in the middle of a folding altarpiece like the one by Van der Goes.It was more economical for a patron to have an artist like Hugo van der Goes who could create a painting and a sculpture with paint itself. This allowed the patron to only have to contract the artist instead of multiple craftsmen. This also helped Van der Goes because the entire commission could be kept for the artist and his assistants. Another concept that was popular during the time of Hugo van der Goes was depicting the scene of The Annunciation on the exterior of the triptych while the scene from the life of Christ would be in the interior of the altarpiece once the panels were opened since The Annunciation gave way for the Incarnation of Christ.

Details of the flowers within the Arabella lusterware ceramic

Category:Adoration of the Shepherds in art

File:Hospital of Santa Maria Nuova, Florence, Italy. Etching by B Wellcome V0014713.jpg

:File:Cappella Sassetti Adoration of the Shepherds.jpg


Portinari Altarpiece

Prompt: Focus on Portinari Altarpiece and explain the Symbolism.

Hugo van der Goes's Altarpiece is considered to have some of the most complicated and hidden symbolism in any Nativity scene from the fifteenth century. The scenes of the Nativity and the Adoration of the Shepherds are seen in the central panels of the triptych, whereas in the background to the right side, is the scene of the Annunciation of the Shepherds.There are certain symbols in the painting that represent the devotion of the Eucharist. The angels in the central panel wear liturgical vestments. Those liturgical vestments are the same ones worn during the first Solemn High Mass by the assistant ministers. In the upper left part of the central panel as well as the lower right corner, are two angels wearing the liturgical cope that is worn traditionally by the archpriest in a first Solemn High Mass. There are two angels on the righthand side of the angel who is on his knees. Those two angels wear a Dalmatic cope, which is a short sleeved garment with slits going up the side. The Dalmatic is usually worn in Solemn High Masses by a Deacon or Subdeacon. In a Solemn High Mass, a linen alb is worn under the vestments of every assistant minister. The same linen alb is worn by every angel in the painting. The angel who is kneeling at the bottom left of the frame, wears a linen alb and a stole. The angel behind him, wears only the alb. The liturgical vestments of the angels together with the sheaf of wheat—also found in the central panel, create a symbol for the Eucharist. The vestments of the angels are created so that whoever is gazing at this altarpiece, is reminded of the holy sacrament that took place at the altar, where the triptych altarpiece would have been placed. There is one angel above the ox and donkey, that wears the darkest color robing looking almost like a shadow. This angel represents the presence and threat of Satan. The dark angel is in the air almost, as if he is flying away because of the arrival of Christ, symbolizing how Christ will vanquish all sin. The angel that represents Satan is also a representation of how Satan is always lurking with his temptations and sins, making Christ's future sacrifice necessary. However, the prayerfully joined hands of this angel and also his respectful bowing put that interpretation into question. The figure is perhaps represented intentionally with ambiguity.There are two structures that symbolize the Old Testament coming to an end once the arrival of Christ comes, the old shed on the right and the Romanesque architecture to the left are starting to deteriorate. The column near the shed is thought to have been a support for Mary while she as giving birth. The ox and ass also have religious significances. The ox represents the Church the one who accepted Christ; its head is raised in recognition of Christ while the ass tilts his head downward representing the way the people who worshiped In the Jewish Synagogue lived in blindness against Christ.Dressed in a red robe is Joseph, the husband of Mary. In front of Joseph and behind the white cloaked angels is a clog or sandal. The sandal symbolizes the removal of a shoe before entering a holy place or stepping on sacred ground. Therefore, the ground in which Joseph is stepping on, the ground on which the Christ child lays, is holy.The flowers on the foreground were used to represent certain symbols. These flowers include scarlet lilies and white and purple irises representing the Passion, violets for humility, three red carnations that symbolize the three nails on the cross and columbines that represent the Holy Spirit. The flowers are held in an albarello lusterware ceramic. A vessel like this was known to be used as an apothecary jar and was used to store and carry herbs, spices, and other organic compounds used for therapeutic reasons. All the flowers mentioned earlier such as the iris and lily, columbine and carnation and as well as the violet, have medicinal properties.

Details of the flowers within the Arabella lusterware ceramic

Category:Adoration of the Shepherds in art

File:Hospital of Santa Maria Nuova, Florence, Italy. Etching by B Wellcome V0014713.jpg

:File:Cappella Sassetti Adoration of the Shepherds.jpg


Portinari Altarpiece

Prompt: Explain the Symbolism of this artwork, Portinari Altarpiece.

Hugo van der Goes's Altarpiece is considered to have some of the most complicated and hidden symbolism in any Nativity scene from the fifteenth century. The scenes of the Nativity and the Adoration of the Shepherds are seen in the central panels of the triptych, whereas in the background to the right side, is the scene of the Annunciation of the Shepherds.There are certain symbols in the painting that represent the devotion of the Eucharist. The angels in the central panel wear liturgical vestments. Those liturgical vestments are the same ones worn during the first Solemn High Mass by the assistant ministers. In the upper left part of the central panel as well as the lower right corner, are two angels wearing the liturgical cope that is worn traditionally by the archpriest in a first Solemn High Mass. There are two angels on the righthand side of the angel who is on his knees. Those two angels wear a Dalmatic cope, which is a short sleeved garment with slits going up the side. The Dalmatic is usually worn in Solemn High Masses by a Deacon or Subdeacon. In a Solemn High Mass, a linen alb is worn under the vestments of every assistant minister. The same linen alb is worn by every angel in the painting. The angel who is kneeling at the bottom left of the frame, wears a linen alb and a stole. The angel behind him, wears only the alb. The liturgical vestments of the angels together with the sheaf of wheat—also found in the central panel, create a symbol for the Eucharist. The vestments of the angels are created so that whoever is gazing at this altarpiece, is reminded of the holy sacrament that took place at the altar, where the triptych altarpiece would have been placed. There is one angel above the ox and donkey, that wears the darkest color robing looking almost like a shadow. This angel represents the presence and threat of Satan. The dark angel is in the air almost, as if he is flying away because of the arrival of Christ, symbolizing how Christ will vanquish all sin. The angel that represents Satan is also a representation of how Satan is always lurking with his temptations and sins, making Christ's future sacrifice necessary. However, the prayerfully joined hands of this angel and also his respectful bowing put that interpretation into question. The figure is perhaps represented intentionally with ambiguity.There are two structures that symbolize the Old Testament coming to an end once the arrival of Christ comes, the old shed on the right and the Romanesque architecture to the left are starting to deteriorate. The column near the shed is thought to have been a support for Mary while she as giving birth. The ox and ass also have religious significances. The ox represents the Church the one who accepted Christ; its head is raised in recognition of Christ while the ass tilts his head downward representing the way the people who worshiped In the Jewish Synagogue lived in blindness against Christ.Dressed in a red robe is Joseph, the husband of Mary. In front of Joseph and behind the white cloaked angels is a clog or sandal. The sandal symbolizes the removal of a shoe before entering a holy place or stepping on sacred ground. Therefore, the ground in which Joseph is stepping on, the ground on which the Christ child lays, is holy.The flowers on the foreground were used to represent certain symbols. These flowers include scarlet lilies and white and purple irises representing the Passion, violets for humility, three red carnations that symbolize the three nails on the cross and columbines that represent the Holy Spirit. The flowers are held in an albarello lusterware ceramic. A vessel like this was known to be used as an apothecary jar and was used to store and carry herbs, spices, and other organic compounds used for therapeutic reasons. All the flowers mentioned earlier such as the iris and lily, columbine and carnation and as well as the violet, have medicinal properties.

Details of the flowers within the Arabella lusterware ceramic

Category:Adoration of the Shepherds in art

File:Hospital of Santa Maria Nuova, Florence, Italy. Etching by B Wellcome V0014713.jpg

:File:Cappella Sassetti Adoration of the Shepherds.jpg


Portinari Altarpiece

Prompt: How does Portinari Altarpiece explain its Symbolism?

Hugo van der Goes's Altarpiece is considered to have some of the most complicated and hidden symbolism in any Nativity scene from the fifteenth century. The scenes of the Nativity and the Adoration of the Shepherds are seen in the central panels of the triptych, whereas in the background to the right side, is the scene of the Annunciation of the Shepherds.There are certain symbols in the painting that represent the devotion of the Eucharist. The angels in the central panel wear liturgical vestments. Those liturgical vestments are the same ones worn during the first Solemn High Mass by the assistant ministers. In the upper left part of the central panel as well as the lower right corner, are two angels wearing the liturgical cope that is worn traditionally by the archpriest in a first Solemn High Mass. There are two angels on the righthand side of the angel who is on his knees. Those two angels wear a Dalmatic cope, which is a short sleeved garment with slits going up the side. The Dalmatic is usually worn in Solemn High Masses by a Deacon or Subdeacon. In a Solemn High Mass, a linen alb is worn under the vestments of every assistant minister. The same linen alb is worn by every angel in the painting. The angel who is kneeling at the bottom left of the frame, wears a linen alb and a stole. The angel behind him, wears only the alb. The liturgical vestments of the angels together with the sheaf of wheat—also found in the central panel, create a symbol for the Eucharist. The vestments of the angels are created so that whoever is gazing at this altarpiece, is reminded of the holy sacrament that took place at the altar, where the triptych altarpiece would have been placed. There is one angel above the ox and donkey, that wears the darkest color robing looking almost like a shadow. This angel represents the presence and threat of Satan. The dark angel is in the air almost, as if he is flying away because of the arrival of Christ, symbolizing how Christ will vanquish all sin. The angel that represents Satan is also a representation of how Satan is always lurking with his temptations and sins, making Christ's future sacrifice necessary. However, the prayerfully joined hands of this angel and also his respectful bowing put that interpretation into question. The figure is perhaps represented intentionally with ambiguity.There are two structures that symbolize the Old Testament coming to an end once the arrival of Christ comes, the old shed on the right and the Romanesque architecture to the left are starting to deteriorate. The column near the shed is thought to have been a support for Mary while she as giving birth. The ox and ass also have religious significances. The ox represents the Church the one who accepted Christ; its head is raised in recognition of Christ while the ass tilts his head downward representing the way the people who worshiped In the Jewish Synagogue lived in blindness against Christ.Dressed in a red robe is Joseph, the husband of Mary. In front of Joseph and behind the white cloaked angels is a clog or sandal. The sandal symbolizes the removal of a shoe before entering a holy place or stepping on sacred ground. Therefore, the ground in which Joseph is stepping on, the ground on which the Christ child lays, is holy.The flowers on the foreground were used to represent certain symbols. These flowers include scarlet lilies and white and purple irises representing the Passion, violets for humility, three red carnations that symbolize the three nails on the cross and columbines that represent the Holy Spirit. The flowers are held in an albarello lusterware ceramic. A vessel like this was known to be used as an apothecary jar and was used to store and carry herbs, spices, and other organic compounds used for therapeutic reasons. All the flowers mentioned earlier such as the iris and lily, columbine and carnation and as well as the violet, have medicinal properties.

Details of the flowers within the Arabella lusterware ceramic

Category:Adoration of the Shepherds in art

File:Hospital of Santa Maria Nuova, Florence, Italy. Etching by B Wellcome V0014713.jpg

:File:Cappella Sassetti Adoration of the Shepherds.jpg


Portinari Altarpiece

Prompt: In Portinari Altarpiece, how is the Symbolism discussed?

Hugo van der Goes's Altarpiece is considered to have some of the most complicated and hidden symbolism in any Nativity scene from the fifteenth century. The scenes of the Nativity and the Adoration of the Shepherds are seen in the central panels of the triptych, whereas in the background to the right side, is the scene of the Annunciation of the Shepherds.There are certain symbols in the painting that represent the devotion of the Eucharist. The angels in the central panel wear liturgical vestments. Those liturgical vestments are the same ones worn during the first Solemn High Mass by the assistant ministers. In the upper left part of the central panel as well as the lower right corner, are two angels wearing the liturgical cope that is worn traditionally by the archpriest in a first Solemn High Mass. There are two angels on the righthand side of the angel who is on his knees. Those two angels wear a Dalmatic cope, which is a short sleeved garment with slits going up the side. The Dalmatic is usually worn in Solemn High Masses by a Deacon or Subdeacon. In a Solemn High Mass, a linen alb is worn under the vestments of every assistant minister. The same linen alb is worn by every angel in the painting. The angel who is kneeling at the bottom left of the frame, wears a linen alb and a stole. The angel behind him, wears only the alb. The liturgical vestments of the angels together with the sheaf of wheat—also found in the central panel, create a symbol for the Eucharist. The vestments of the angels are created so that whoever is gazing at this altarpiece, is reminded of the holy sacrament that took place at the altar, where the triptych altarpiece would have been placed. There is one angel above the ox and donkey, that wears the darkest color robing looking almost like a shadow. This angel represents the presence and threat of Satan. The dark angel is in the air almost, as if he is flying away because of the arrival of Christ, symbolizing how Christ will vanquish all sin. The angel that represents Satan is also a representation of how Satan is always lurking with his temptations and sins, making Christ's future sacrifice necessary. However, the prayerfully joined hands of this angel and also his respectful bowing put that interpretation into question. The figure is perhaps represented intentionally with ambiguity.There are two structures that symbolize the Old Testament coming to an end once the arrival of Christ comes, the old shed on the right and the Romanesque architecture to the left are starting to deteriorate. The column near the shed is thought to have been a support for Mary while she as giving birth. The ox and ass also have religious significances. The ox represents the Church the one who accepted Christ; its head is raised in recognition of Christ while the ass tilts his head downward representing the way the people who worshiped In the Jewish Synagogue lived in blindness against Christ.Dressed in a red robe is Joseph, the husband of Mary. In front of Joseph and behind the white cloaked angels is a clog or sandal. The sandal symbolizes the removal of a shoe before entering a holy place or stepping on sacred ground. Therefore, the ground in which Joseph is stepping on, the ground on which the Christ child lays, is holy.The flowers on the foreground were used to represent certain symbols. These flowers include scarlet lilies and white and purple irises representing the Passion, violets for humility, three red carnations that symbolize the three nails on the cross and columbines that represent the Holy Spirit. The flowers are held in an albarello lusterware ceramic. A vessel like this was known to be used as an apothecary jar and was used to store and carry herbs, spices, and other organic compounds used for therapeutic reasons. All the flowers mentioned earlier such as the iris and lily, columbine and carnation and as well as the violet, have medicinal properties.

Details of the flowers within the Arabella lusterware ceramic

Category:Adoration of the Shepherds in art

File:Hospital of Santa Maria Nuova, Florence, Italy. Etching by B Wellcome V0014713.jpg

:File:Cappella Sassetti Adoration of the Shepherds.jpg


Napoleon as Mars the Peacemaker

Prompt: Focus on Napoleon as Mars the Peacemaker and explain the abstract.

Napoleon as Mars the Peacemaker is a colossal heroic nude statue by the Italian artist Antonio Canova, of Napoleon I of France in the guise of the Roman god Mars. He holds a gilded Nike or Victory standing on an orb in his right hand and a staff in his left. It was produced between 1802 and 1806 and stands 3.45 metres to the raised left hand. Once on display in the Louvre in Paris, it was purchased from Louis XVIII in 1816 by the British government, which granted it to the Duke of Wellington. It is now on display in Robert Adam's stairwell at the Duke's London residence, Apsley House.

Category:Nude sculptures in the United Kingdom

File:IMG 3972 - Canova - Napoleone Bonaparte - Milano, Cortile del Palazzo di Brera - Foto Giovanni Dall'Orto 19-jan 2007.jpg

Category:Statues in the City of Westminster

Category:Arthur Wellesley, 1st Duke of Wellington

The 1811 bronze copy of the statue in the courtyard of [[Palazzo Brera

Category:Marble sculptures in the United Kingdom


Napoleon as Mars the Peacemaker

Prompt: Explain the abstract of this artwork, Napoleon as Mars the Peacemaker.

Napoleon as Mars the Peacemaker is a colossal heroic nude statue by the Italian artist Antonio Canova, of Napoleon I of France in the guise of the Roman god Mars. He holds a gilded Nike or Victory standing on an orb in his right hand and a staff in his left. It was produced between 1802 and 1806 and stands 3.45 metres to the raised left hand. Once on display in the Louvre in Paris, it was purchased from Louis XVIII in 1816 by the British government, which granted it to the Duke of Wellington. It is now on display in Robert Adam's stairwell at the Duke's London residence, Apsley House.

Category:Nude sculptures in the United Kingdom

File:IMG 3972 - Canova - Napoleone Bonaparte - Milano, Cortile del Palazzo di Brera - Foto Giovanni Dall'Orto 19-jan 2007.jpg

Category:Statues in the City of Westminster

Category:Arthur Wellesley, 1st Duke of Wellington

The 1811 bronze copy of the statue in the courtyard of [[Palazzo Brera

Category:Marble sculptures in the United Kingdom


Napoleon as Mars the Peacemaker

Prompt: How does Napoleon as Mars the Peacemaker explain its abstract?

Napoleon as Mars the Peacemaker is a colossal heroic nude statue by the Italian artist Antonio Canova, of Napoleon I of France in the guise of the Roman god Mars. He holds a gilded Nike or Victory standing on an orb in his right hand and a staff in his left. It was produced between 1802 and 1806 and stands 3.45 metres to the raised left hand. Once on display in the Louvre in Paris, it was purchased from Louis XVIII in 1816 by the British government, which granted it to the Duke of Wellington. It is now on display in Robert Adam's stairwell at the Duke's London residence, Apsley House.

Category:Nude sculptures in the United Kingdom

File:IMG 3972 - Canova - Napoleone Bonaparte - Milano, Cortile del Palazzo di Brera - Foto Giovanni Dall'Orto 19-jan 2007.jpg

Category:Statues in the City of Westminster

Category:Arthur Wellesley, 1st Duke of Wellington

The 1811 bronze copy of the statue in the courtyard of [[Palazzo Brera

Category:Marble sculptures in the United Kingdom


Napoleon as Mars the Peacemaker

Prompt: In Napoleon as Mars the Peacemaker, how is the abstract discussed?

Napoleon as Mars the Peacemaker is a colossal heroic nude statue by the Italian artist Antonio Canova, of Napoleon I of France in the guise of the Roman god Mars. He holds a gilded Nike or Victory standing on an orb in his right hand and a staff in his left. It was produced between 1802 and 1806 and stands 3.45 metres to the raised left hand. Once on display in the Louvre in Paris, it was purchased from Louis XVIII in 1816 by the British government, which granted it to the Duke of Wellington. It is now on display in Robert Adam's stairwell at the Duke's London residence, Apsley House.

Category:Nude sculptures in the United Kingdom

File:IMG 3972 - Canova - Napoleone Bonaparte - Milano, Cortile del Palazzo di Brera - Foto Giovanni Dall'Orto 19-jan 2007.jpg

Category:Statues in the City of Westminster

Category:Arthur Wellesley, 1st Duke of Wellington

The 1811 bronze copy of the statue in the courtyard of [[Palazzo Brera

Category:Marble sculptures in the United Kingdom


Napoleon as Mars the Peacemaker

Prompt: Focus on Napoleon as Mars the Peacemaker and explain the History.

At Napoleon's personal and insistent demand, Canova went to Paris in 1802 to model a bust of him. In 1803, after his return to Rome, he began work on the full-length sculpture; it was completed in 1806.: 93  Its idealised nude physique draws on the iconography of Augustus, and it was always intended for an interior entrance-hall setting rather than as a freestanding piazza sculpture, though some accounts give the centre of the courtyard of the Palazzo del Senato as the original intended site for the sculpture, following plans drawn up by the architect Luigi Canonica. France's ambassador in Rome François Cacault and the director of French museums Vivant Denon both saw the sculpture while it was a work in progress: Cacault wrote in 1803 that it "must become the most perfect work of this century", whilst Denon wrote back to Napoleon in 1806 that it belonged indoors in the Musée Napoléon "among the emperors and in the niche where the Laocoon is, in such a manner that it would be the first object that one sees on entering". In late 1810 the sculpture was transported to France, reaching  Paris on 1 January 1811.: 100  When Napoleon saw it there in April 1811 he refused to accept it, calling it "too athletic" and banning the public from seeing it.By 1814, the sculpture was in the Salle des Hommes Illustres, hidden behind a canvas screen, where it was probably first seen by Wellington. In the era after the battle of Waterloo, Canova, who was still regarded as the best living artist, with his works in great demand from English patrons in particular, supported the return of looted sculptures from the Musée Napoléon to their original collections. The Musée Napoléon reverted to being the Louvre and its looted sculptures such as the Apollo Belvedere were returned to their original collections. The removal of the Napoleon was also mooted, and Canova offered to re-purchase it. It was sold to the British government in 1816 for 66,000 francs (then under £3,000), which the Louvre spent on re-installing its Salle des Antiques. Works by Canova were already being collected by the Duke, and the Prince Regent presented it to him later that year. It was moved to the stairwell in Apsley House in 1817, where the floor under the statue was specially strengthened in order to accommodate the additional weight. It is still on display there.

Category:Nude sculptures in the United Kingdom

File:IMG 3972 - Canova - Napoleone Bonaparte - Milano, Cortile del Palazzo di Brera - Foto Giovanni Dall'Orto 19-jan 2007.jpg

Category:Statues in the City of Westminster

Category:Arthur Wellesley, 1st Duke of Wellington

The 1811 bronze copy of the statue in the courtyard of [[Palazzo Brera

Category:Marble sculptures in the United Kingdom


Napoleon as Mars the Peacemaker

Prompt: Explain the History of this artwork, Napoleon as Mars the Peacemaker.

At Napoleon's personal and insistent demand, Canova went to Paris in 1802 to model a bust of him. In 1803, after his return to Rome, he began work on the full-length sculpture; it was completed in 1806.: 93  Its idealised nude physique draws on the iconography of Augustus, and it was always intended for an interior entrance-hall setting rather than as a freestanding piazza sculpture, though some accounts give the centre of the courtyard of the Palazzo del Senato as the original intended site for the sculpture, following plans drawn up by the architect Luigi Canonica. France's ambassador in Rome François Cacault and the director of French museums Vivant Denon both saw the sculpture while it was a work in progress: Cacault wrote in 1803 that it "must become the most perfect work of this century", whilst Denon wrote back to Napoleon in 1806 that it belonged indoors in the Musée Napoléon "among the emperors and in the niche where the Laocoon is, in such a manner that it would be the first object that one sees on entering". In late 1810 the sculpture was transported to France, reaching  Paris on 1 January 1811.: 100  When Napoleon saw it there in April 1811 he refused to accept it, calling it "too athletic" and banning the public from seeing it.By 1814, the sculpture was in the Salle des Hommes Illustres, hidden behind a canvas screen, where it was probably first seen by Wellington. In the era after the battle of Waterloo, Canova, who was still regarded as the best living artist, with his works in great demand from English patrons in particular, supported the return of looted sculptures from the Musée Napoléon to their original collections. The Musée Napoléon reverted to being the Louvre and its looted sculptures such as the Apollo Belvedere were returned to their original collections. The removal of the Napoleon was also mooted, and Canova offered to re-purchase it. It was sold to the British government in 1816 for 66,000 francs (then under £3,000), which the Louvre spent on re-installing its Salle des Antiques. Works by Canova were already being collected by the Duke, and the Prince Regent presented it to him later that year. It was moved to the stairwell in Apsley House in 1817, where the floor under the statue was specially strengthened in order to accommodate the additional weight. It is still on display there.

Category:Nude sculptures in the United Kingdom

File:IMG 3972 - Canova - Napoleone Bonaparte - Milano, Cortile del Palazzo di Brera - Foto Giovanni Dall'Orto 19-jan 2007.jpg

Category:Statues in the City of Westminster

Category:Arthur Wellesley, 1st Duke of Wellington

The 1811 bronze copy of the statue in the courtyard of [[Palazzo Brera

Category:Marble sculptures in the United Kingdom


Napoleon as Mars the Peacemaker

Prompt: How does Napoleon as Mars the Peacemaker explain its History?

At Napoleon's personal and insistent demand, Canova went to Paris in 1802 to model a bust of him. In 1803, after his return to Rome, he began work on the full-length sculpture; it was completed in 1806.: 93  Its idealised nude physique draws on the iconography of Augustus, and it was always intended for an interior entrance-hall setting rather than as a freestanding piazza sculpture, though some accounts give the centre of the courtyard of the Palazzo del Senato as the original intended site for the sculpture, following plans drawn up by the architect Luigi Canonica. France's ambassador in Rome François Cacault and the director of French museums Vivant Denon both saw the sculpture while it was a work in progress: Cacault wrote in 1803 that it "must become the most perfect work of this century", whilst Denon wrote back to Napoleon in 1806 that it belonged indoors in the Musée Napoléon "among the emperors and in the niche where the Laocoon is, in such a manner that it would be the first object that one sees on entering". In late 1810 the sculpture was transported to France, reaching  Paris on 1 January 1811.: 100  When Napoleon saw it there in April 1811 he refused to accept it, calling it "too athletic" and banning the public from seeing it.By 1814, the sculpture was in the Salle des Hommes Illustres, hidden behind a canvas screen, where it was probably first seen by Wellington. In the era after the battle of Waterloo, Canova, who was still regarded as the best living artist, with his works in great demand from English patrons in particular, supported the return of looted sculptures from the Musée Napoléon to their original collections. The Musée Napoléon reverted to being the Louvre and its looted sculptures such as the Apollo Belvedere were returned to their original collections. The removal of the Napoleon was also mooted, and Canova offered to re-purchase it. It was sold to the British government in 1816 for 66,000 francs (then under £3,000), which the Louvre spent on re-installing its Salle des Antiques. Works by Canova were already being collected by the Duke, and the Prince Regent presented it to him later that year. It was moved to the stairwell in Apsley House in 1817, where the floor under the statue was specially strengthened in order to accommodate the additional weight. It is still on display there.

Category:Nude sculptures in the United Kingdom

File:IMG 3972 - Canova - Napoleone Bonaparte - Milano, Cortile del Palazzo di Brera - Foto Giovanni Dall'Orto 19-jan 2007.jpg

Category:Statues in the City of Westminster

Category:Arthur Wellesley, 1st Duke of Wellington

The 1811 bronze copy of the statue in the courtyard of [[Palazzo Brera

Category:Marble sculptures in the United Kingdom


Napoleon as Mars the Peacemaker

Prompt: In Napoleon as Mars the Peacemaker, how is the History discussed?

At Napoleon's personal and insistent demand, Canova went to Paris in 1802 to model a bust of him. In 1803, after his return to Rome, he began work on the full-length sculpture; it was completed in 1806.: 93  Its idealised nude physique draws on the iconography of Augustus, and it was always intended for an interior entrance-hall setting rather than as a freestanding piazza sculpture, though some accounts give the centre of the courtyard of the Palazzo del Senato as the original intended site for the sculpture, following plans drawn up by the architect Luigi Canonica. France's ambassador in Rome François Cacault and the director of French museums Vivant Denon both saw the sculpture while it was a work in progress: Cacault wrote in 1803 that it "must become the most perfect work of this century", whilst Denon wrote back to Napoleon in 1806 that it belonged indoors in the Musée Napoléon "among the emperors and in the niche where the Laocoon is, in such a manner that it would be the first object that one sees on entering". In late 1810 the sculpture was transported to France, reaching  Paris on 1 January 1811.: 100  When Napoleon saw it there in April 1811 he refused to accept it, calling it "too athletic" and banning the public from seeing it.By 1814, the sculpture was in the Salle des Hommes Illustres, hidden behind a canvas screen, where it was probably first seen by Wellington. In the era after the battle of Waterloo, Canova, who was still regarded as the best living artist, with his works in great demand from English patrons in particular, supported the return of looted sculptures from the Musée Napoléon to their original collections. The Musée Napoléon reverted to being the Louvre and its looted sculptures such as the Apollo Belvedere were returned to their original collections. The removal of the Napoleon was also mooted, and Canova offered to re-purchase it. It was sold to the British government in 1816 for 66,000 francs (then under £3,000), which the Louvre spent on re-installing its Salle des Antiques. Works by Canova were already being collected by the Duke, and the Prince Regent presented it to him later that year. It was moved to the stairwell in Apsley House in 1817, where the floor under the statue was specially strengthened in order to accommodate the additional weight. It is still on display there.

Category:Nude sculptures in the United Kingdom

File:IMG 3972 - Canova - Napoleone Bonaparte - Milano, Cortile del Palazzo di Brera - Foto Giovanni Dall'Orto 19-jan 2007.jpg

Category:Statues in the City of Westminster

Category:Arthur Wellesley, 1st Duke of Wellington

The 1811 bronze copy of the statue in the courtyard of [[Palazzo Brera

Category:Marble sculptures in the United Kingdom


Napoleon as Mars the Peacemaker

Prompt: Focus on Napoleon as Mars the Peacemaker and explain the Bronze in Milan.

In 1811 a bronze copy of the statue was cast in Rome by Francesco Righetti and his son Luigi,: 266 : 200  using the bronze of the cannons of Castel Sant'Angelo in Rome. A previous attempt to cast the statue had failed. Since 1859 the bronze has stood in the main courtyard of Palazzo Brera, home of the Accademia di Belle Arti di Brera and the Pinacoteca di Brera, in Milan, in Lombardy in northern Italy.: 252  It was at first on a temporary base; this was replaced in 1864 with the present base designed by Luigi Bisi, in granite and Carrara marble, with bronze decorations. The gilded bronze winged victory on the globe in the right hand of the figure was stolen on 25 October 1978; it was replaced with a replica in the 1980s.

Category:Nude sculptures in the United Kingdom

File:IMG 3972 - Canova - Napoleone Bonaparte - Milano, Cortile del Palazzo di Brera - Foto Giovanni Dall'Orto 19-jan 2007.jpg

Category:Statues in the City of Westminster

Category:Arthur Wellesley, 1st Duke of Wellington

The 1811 bronze copy of the statue in the courtyard of [[Palazzo Brera

Category:Marble sculptures in the United Kingdom


Napoleon as Mars the Peacemaker

Prompt: Explain the Bronze in Milan of this artwork, Napoleon as Mars the Peacemaker.

In 1811 a bronze copy of the statue was cast in Rome by Francesco Righetti and his son Luigi,: 266 : 200  using the bronze of the cannons of Castel Sant'Angelo in Rome. A previous attempt to cast the statue had failed. Since 1859 the bronze has stood in the main courtyard of Palazzo Brera, home of the Accademia di Belle Arti di Brera and the Pinacoteca di Brera, in Milan, in Lombardy in northern Italy.: 252  It was at first on a temporary base; this was replaced in 1864 with the present base designed by Luigi Bisi, in granite and Carrara marble, with bronze decorations. The gilded bronze winged victory on the globe in the right hand of the figure was stolen on 25 October 1978; it was replaced with a replica in the 1980s.

Category:Nude sculptures in the United Kingdom

File:IMG 3972 - Canova - Napoleone Bonaparte - Milano, Cortile del Palazzo di Brera - Foto Giovanni Dall'Orto 19-jan 2007.jpg

Category:Statues in the City of Westminster

Category:Arthur Wellesley, 1st Duke of Wellington

The 1811 bronze copy of the statue in the courtyard of [[Palazzo Brera

Category:Marble sculptures in the United Kingdom


Napoleon as Mars the Peacemaker

Prompt: How does Napoleon as Mars the Peacemaker explain its Bronze in Milan?

In 1811 a bronze copy of the statue was cast in Rome by Francesco Righetti and his son Luigi,: 266 : 200  using the bronze of the cannons of Castel Sant'Angelo in Rome. A previous attempt to cast the statue had failed. Since 1859 the bronze has stood in the main courtyard of Palazzo Brera, home of the Accademia di Belle Arti di Brera and the Pinacoteca di Brera, in Milan, in Lombardy in northern Italy.: 252  It was at first on a temporary base; this was replaced in 1864 with the present base designed by Luigi Bisi, in granite and Carrara marble, with bronze decorations. The gilded bronze winged victory on the globe in the right hand of the figure was stolen on 25 October 1978; it was replaced with a replica in the 1980s.

Category:Nude sculptures in the United Kingdom

File:IMG 3972 - Canova - Napoleone Bonaparte - Milano, Cortile del Palazzo di Brera - Foto Giovanni Dall'Orto 19-jan 2007.jpg

Category:Statues in the City of Westminster

Category:Arthur Wellesley, 1st Duke of Wellington

The 1811 bronze copy of the statue in the courtyard of [[Palazzo Brera

Category:Marble sculptures in the United Kingdom