Books by Anastazja Buttitta
L’arte non è né pura né applicata, 2021
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Artes (Palermo University Press), 2020
Gli atti del convegno Oltre l’ornamento: il gioiello tra identità, lusso e moderazione (2019), ch... more Gli atti del convegno Oltre l’ornamento: il gioiello tra identità, lusso e moderazione (2019), che escono entro l’anno successivo e oltrepassata la difficile stagione del COVID-19, trovano una sede adeguata e felice nella collana Artes della Palermo University Press. Questi atti, inseriti in tale contesto, si pongono come un tracciato di ricerca in riferimento a epoche e ambiti geografici diversi, che hanno però a denominatore comune il senso e il ruolo del gioiello: nel suo dialogo con l’apparato vestimentario personale, nei suoi significati sacrali e devozionali, nel confronto e nello scambio tra artisti attivi in altre tecniche e materiali, nel contesto intrigante e rappresentativo delle corti italiane, o nella produzione della nostra contemporaneità.
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U. Nahon Museum of Italian Jewish Art, 2020
On the 5th of March 2020, the U. Nahon Museum of Italian Jewish Art has unveiled its newest exhib... more On the 5th of March 2020, the U. Nahon Museum of Italian Jewish Art has unveiled its newest exhibition – “The Crown”.
This exhibition engages with the symbol of the crown and its meanings, in the spirit of Pirke Avot (4:13): “Rabbi Shimon said: There are three crowns: the crown of Torah, the crown of priesthood, and the crown of royalty, but the crown of a good name is superior to them all.”
“The Crown” exhibition presents the complexities of the encounter between Jewish culture and monarchy, through magnificent royal artefacts, aristocratic emblems, and historical works of art. As we move through the galleries, we explore the concepts of kingship, monarchy and royalty in Jewish tradition.
On display in this exhibition are priceless crowns from Italy, rare objets d’art, in all their majesty and grandeur. A visit to this exhibition is like walking into a treasure chest filled with precious objects, attesting to a rich cultural tradition in which religious and aesthetic motifs were intertwined.
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Italia Ebraica Storie Ritrovate - Scritti in onore di Vivian Mann z.l., 2019
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U. Nahon Museum of Italian Jewish Art in Jerusalem, 2019
In this exhibition, the role of the Italian Jewish woman is explored in all its shades and textur... more In this exhibition, the role of the Italian Jewish woman is explored in all its shades and textures, represented in the unique and precious textile collection of the Umberto Nahon Museum of Italian Jewish Art. The exhibition acquaints us with the names of a number of Italian Jewish women who sought to leave a lasting mark of their devotion, love, and labor, and whose voice found its best expression through fabrics and textiles.
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Gibellina and the Museum of Mediterranean Wefts
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Papers by Anastazja Buttitta
Giornale di Storia, 2024
Un Ciborio sconosciuto di Giorgio Vasari si trova nella Chiesa di Santa Lucia in Savignano sul Ru... more Un Ciborio sconosciuto di Giorgio Vasari si trova nella Chiesa di Santa Lucia in Savignano sul Rubicone. Eseguito durante la permanenza dell’artista toscano presso l’abbazia olivetana di Santa Maria a Scolca, tra il 1547 e il 1548. In questo articolo si analizzerà l’oggetto, si avvalorerà l’attribuzione e si cercheranno di tracciare brevemente alcune connessioni con la descrizione del Tempio di Gerusalemme ne "I Tre Libri de la Humanita di Christo" di Pietro Aretino. Artisti e pensatori della prima età moderna erano interessati e influenzati dall’immagine del Tempio di Gerusalemme come edificio a pianta centrale, di sapore classico, che richiamasse la cupola celeste del Paradiso, secondo un prototipo trasmesso da edifici paleocristiani e bizantini. L’idea è che la descrizione del Tempio fornita dall’Aretino, possa aver influenzato l’immaginazione vasariana, ispirandone il lavoro sul ciborio di Savignano.
Con la collaborazione di Serena Franzon
a questo link (articolo completo in pdf in fondo alla pagina):
https://www.giornaledistoria.net/saggi/mestiere-di-storico/lattribuzione-a-giorgio-vasari-del-ciborio-nella-chiesa-di-santa-lucia-in-savignano-sul-rubicone-nuove-considerazioni/
GIORNALE DI STORIA, 42 (2023)
ISSN 2036-4938
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Oltre l'Ornamento - Artes (Palermo University Press), 2020
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"The Jewel in Art and Art in Jewel"
3rd European Congress on Jewellery
17th and 18th November 201... more "The Jewel in Art and Art in Jewel"
3rd European Congress on Jewellery
17th and 18th November 2016, Barcelona, Museu Nacional d'Art de Catalunya
For the complete Conference Proceedings
https://www.museunacional.cat/sites/default/files/af_congres_joieria_interactiu_1.pdf
This paper will focus on an analysis of a popular object in Venetian jewellery in the Early Modern period: the pendant in the form of a ship. It will examine its sources, stylistic features, its connections with Spanish and southern German jewellery, and especially the oriental influences on the production techniques. In addition, special focus will be placed on ship pendants and their links with Venetian maritime culture, which probably influenced patrons and goldsmiths in their choices of subjects and ornamental motifs.
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"Birth of a jewel, the Venetian Moretto"
The author analyzes a fundamental theme of Venetian ico... more "Birth of a jewel, the Venetian Moretto"
The author analyzes a fundamental theme of Venetian iconography during the early modern age, the Moro, or the black man. From this subject was born a typical jewel for the Venetian goldsmith’s production, the so-called Venetian Moretto, whose origins and development have never been investigated so far. The author studies some unpublished works of art coming from the deposits of the Correr Museum in Venice.
AT THIS LINK
http://www1.unipa.it/oadi/oadiriv/?page_id=3127
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OADI, 2013
The article analyzes a cupboard from the middle of the 18th century, painted with scenes from the... more The article analyzes a cupboard from the middle of the 18th century, painted with scenes from the Old Testament; currently part of the collection Cirafici-Ricevuto in Bagheria. The cabinet was formerly owned by the Baron Carlo Drago di Ferro from Trapani. The decoration of the wooden-work is attributed to the painter Domenico La Bruna, from Trapani.
This article traces also an exhaustive profile of the artist with a further addition to his rich catalogue.
AT THIS LINK
http://www1.unipa.it/oadi/oadiriv/?page_id=1794
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Conferences by Anastazja Buttitta
The life of Jewish women in Italy in the Early modern period was uniquely complex. Though confine... more The life of Jewish women in Italy in the Early modern period was uniquely complex. Though confined to traditional feminine roles in a patriarchal society, they managed to find a voice of their own and to establish an independent identity. The role of the Italian Jewish woman is explored in all its shades and textures, represented in the unique and precious textile collection of the Umberto Nahon Museum of Italian Jewish Art. This paper acquaints us with the names of a number of Italian Jewish women who sought to leave a lasting mark of their devotion, love, and labor, and whose voice found its best expression through fabrics and textiles.
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More at this link: https://moreshet.eu/seminars/mantova/
This talk will be an overall outlook at... more More at this link: https://moreshet.eu/seminars/mantova/
This talk will be an overall outlook at the Synagogue in Dąbrowa Tarnowska. Topics like the history of the city, known in Yiddish as “Dombrov”, and the history of the local Jewish community will be discussed. The history, architecture and the recovery of the building, before and after World War II, will be analyzed. Today’s structure, mission and cultural resources of the Synagogue will be presented.
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Si presenterà qui una ricerca volta ad identificare, per la prima volta, le caratteristiche tecni... more Si presenterà qui una ricerca volta ad identificare, per la prima volta, le caratteristiche tecniche e stilistiche del gioiello veneziano della Prima età moderna. Inoltre, si cercherà di porre i monili nel loro contesto socio-storico e di analizzare approfonditamente tre importanti tipologie di gioiello veneziano: il moretto, il pendente a nave, l'anello matrimoniale ebraico; oggetti simbolici strettamente connessi alle minoranze etniche presenti nella Serenissima e al potere economico veneziano.
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The world of Jewish art is based on a rich network of contacts and cultural relations, starting f... more The world of Jewish art is based on a rich network of contacts and cultural relations, starting from Northern and Eastern Europe, across North Africa to the Far East. Venice is at the centre of this network, and marriage rings are an excellent example for this cultural encounter owing to their various and heterogenous artistic features: the oriental filigree, the temple and polychromic enamels.
Much focus in academic research has been recently dedicated to Jewish marriage rings. The discussion has been quite controversial because according to some scholars these rings are simply fakes, which were counterfeited in the 19th century in order to be sold in the antiquities’ market; while according to others, even if they accept the chronologic attribution of the rings to the Early Modern Period, the origins of such filigree and enamels is in Eastern Europe either in Hungary or Transylvania. In this paper, based on stylistic evidence, a theory is suggested that some of these rings (with a stress on ‘some’) were in fact made in Venice during the Early Modern period. Moreover, for the first time, a connection is offered between Jewish marriage rings from Venice and some jewellery from the Far East and North Africa, showing that Venice was a centre of intensive cultural exchanges. Jewellery was part of the material culture of the Venetian Jewish community and demonstrate the wide network of cultural exchanges with goldsmiths around the world.
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"This talk has offered some evidence that the rings, today preserved in various museums and colle... more "This talk has offered some evidence that the rings, today preserved in various museums and collections all over the world, may have been made in Venice, most likely by some Christian jewellers guided by their Jewish clients, and probably influenced by artefacts that those clients showed them. It has also shed a light on the status and importance of women in the Jewish Venetian community, both in embroidery and lace business, which was inspired by the filigree, but also as modern ladies followed the fashion trends in the Serenissima..."
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This paper focuses on a popular object in Venetian Jewellery of the Early Modern Period: the ship... more This paper focuses on a popular object in Venetian Jewellery of the Early Modern Period: the ship-shaped pendant.
This analysis is part of my doctoral research on Renaissance Venetian Jewellery. My project takes an analytical approach to this object, and departs from the prevalent, catalogue-based research, which is mainly focused on stylistic aspects and written from a chronological and aesthetic point of view. Through examples of ship-shaped pendants, I intend to offer insight into Early Modern Venetian Jewellery.
In the world of geographical discoveries, the sea has been a fundamental subject of art - not only in jewellery and applied arts - and has been adopted in the whole Europe in painting, sculpture, literature and music.
But there is an obvious and more specific symbolism to the ship-pendant in Venice, produced in a city-state whose power and economy were based on marine trades and naval conquests.
Since the Early Middle Ages, Venice was a highly important artistic center, in particular for the applied arts; these arts were shaped in the context of Venezia being a melting pot of different nations, a city that bridged between the Western and Eastern World. During the Medioevo, the economical and political extension of its influence and its huge financial power contributed to an artistic development almost unrivaled compared to the rest of Europe.
In this paper I will try to analyze how the Serenissima was producing not only real ships in wood, but also ships in jewellery as a symbol of its power. In addition, I will examine the sources, the stylistic features, the formal influences on the production techniques, and the relations with European jewellery. Thanks to the presented examples, we will also be able to define the characteristics of the Venetian Jewel.
La Serenissima was a multicultural state, where different nations were living and producing objects. The Venetian identity was not based on the idea of nationality but on the idea of the Maritime Republic. A Republic that after the glorious Middle Ages, was striving to keep its status as a marine and an economical power.
In Europe during the Early Modern period jewels were usually representing flowers or beautiful geometrical forms. Here we have a jewel that is representing a real object and, on the other hand, is a symbol of a State.
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This paper examines a popular and intriguing motif in Venetian Jewelry: il Moretto, the head of a... more This paper examines a popular and intriguing motif in Venetian Jewelry: il Moretto, the head of a black man. It is one of the most emblematic ornaments of the eastern Mediterranean goldsmith tradition and a well-known feature of Venetian Art. Although this ornament has been acknowledged in modern scholarship as central to Venetian artistic tradition, it has never been studied in any detail. Some of the objects that will be presented here have never been published. This talk examines il Moretto from a sociological perspective while tracing its multicultural characteristics. The Moretto Veneziano represents a taste for the exotic and has a role in the growth of orientalism as it developed in centers beyond Italy.
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THE ART OF ORNAMENT
Meanings, Archetypes, Forms and Uses
INTERNATIONAL CONFERENCE
23-24 Novembe... more THE ART OF ORNAMENT
Meanings, Archetypes, Forms and Uses
INTERNATIONAL CONFERENCE
23-24 November 2017
Calouste Gulbenkian Foundation, Lisbon
25 November 2017
Parques de Sintra - Monte da Lua
Isabel Mendonça, Maria João Pereira Coutinho, Sílvia Ferreira (ORGANIZAÇÃO)
Instituto de História da Arte da Faculdade de Ciências Sociais e Humanas Universidade NOVA de Lisboa
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Uploads
Books by Anastazja Buttitta
https://edifir.it/prodotto/larte-non-e-ne-pura-ne-applicata/?fbclid=IwAR2eL_42b-nk6VgYuKqAJn1SnHJoV8C2K2g9qCfZ5fu_NtCgTdEHS0LBi1M
This exhibition engages with the symbol of the crown and its meanings, in the spirit of Pirke Avot (4:13): “Rabbi Shimon said: There are three crowns: the crown of Torah, the crown of priesthood, and the crown of royalty, but the crown of a good name is superior to them all.”
“The Crown” exhibition presents the complexities of the encounter between Jewish culture and monarchy, through magnificent royal artefacts, aristocratic emblems, and historical works of art. As we move through the galleries, we explore the concepts of kingship, monarchy and royalty in Jewish tradition.
On display in this exhibition are priceless crowns from Italy, rare objets d’art, in all their majesty and grandeur. A visit to this exhibition is like walking into a treasure chest filled with precious objects, attesting to a rich cultural tradition in which religious and aesthetic motifs were intertwined.
http://www.cricd.it/produzioni%20editoriali/Gibellina%20Museum%20Mediterranean.pdf
Papers by Anastazja Buttitta
Con la collaborazione di Serena Franzon
a questo link (articolo completo in pdf in fondo alla pagina):
https://www.giornaledistoria.net/saggi/mestiere-di-storico/lattribuzione-a-giorgio-vasari-del-ciborio-nella-chiesa-di-santa-lucia-in-savignano-sul-rubicone-nuove-considerazioni/
GIORNALE DI STORIA, 42 (2023)
ISSN 2036-4938
https://www.unipapress.it/it/book/oltre-l’ornamento-_279/
3rd European Congress on Jewellery
17th and 18th November 2016, Barcelona, Museu Nacional d'Art de Catalunya
For the complete Conference Proceedings
https://www.museunacional.cat/sites/default/files/af_congres_joieria_interactiu_1.pdf
This paper will focus on an analysis of a popular object in Venetian jewellery in the Early Modern period: the pendant in the form of a ship. It will examine its sources, stylistic features, its connections with Spanish and southern German jewellery, and especially the oriental influences on the production techniques. In addition, special focus will be placed on ship pendants and their links with Venetian maritime culture, which probably influenced patrons and goldsmiths in their choices of subjects and ornamental motifs.
The author analyzes a fundamental theme of Venetian iconography during the early modern age, the Moro, or the black man. From this subject was born a typical jewel for the Venetian goldsmith’s production, the so-called Venetian Moretto, whose origins and development have never been investigated so far. The author studies some unpublished works of art coming from the deposits of the Correr Museum in Venice.
AT THIS LINK
http://www1.unipa.it/oadi/oadiriv/?page_id=3127
This article traces also an exhaustive profile of the artist with a further addition to his rich catalogue.
AT THIS LINK
http://www1.unipa.it/oadi/oadiriv/?page_id=1794
Conferences by Anastazja Buttitta
This talk will be an overall outlook at the Synagogue in Dąbrowa Tarnowska. Topics like the history of the city, known in Yiddish as “Dombrov”, and the history of the local Jewish community will be discussed. The history, architecture and the recovery of the building, before and after World War II, will be analyzed. Today’s structure, mission and cultural resources of the Synagogue will be presented.
Much focus in academic research has been recently dedicated to Jewish marriage rings. The discussion has been quite controversial because according to some scholars these rings are simply fakes, which were counterfeited in the 19th century in order to be sold in the antiquities’ market; while according to others, even if they accept the chronologic attribution of the rings to the Early Modern Period, the origins of such filigree and enamels is in Eastern Europe either in Hungary or Transylvania. In this paper, based on stylistic evidence, a theory is suggested that some of these rings (with a stress on ‘some’) were in fact made in Venice during the Early Modern period. Moreover, for the first time, a connection is offered between Jewish marriage rings from Venice and some jewellery from the Far East and North Africa, showing that Venice was a centre of intensive cultural exchanges. Jewellery was part of the material culture of the Venetian Jewish community and demonstrate the wide network of cultural exchanges with goldsmiths around the world.
This analysis is part of my doctoral research on Renaissance Venetian Jewellery. My project takes an analytical approach to this object, and departs from the prevalent, catalogue-based research, which is mainly focused on stylistic aspects and written from a chronological and aesthetic point of view. Through examples of ship-shaped pendants, I intend to offer insight into Early Modern Venetian Jewellery.
In the world of geographical discoveries, the sea has been a fundamental subject of art - not only in jewellery and applied arts - and has been adopted in the whole Europe in painting, sculpture, literature and music.
But there is an obvious and more specific symbolism to the ship-pendant in Venice, produced in a city-state whose power and economy were based on marine trades and naval conquests.
Since the Early Middle Ages, Venice was a highly important artistic center, in particular for the applied arts; these arts were shaped in the context of Venezia being a melting pot of different nations, a city that bridged between the Western and Eastern World. During the Medioevo, the economical and political extension of its influence and its huge financial power contributed to an artistic development almost unrivaled compared to the rest of Europe.
In this paper I will try to analyze how the Serenissima was producing not only real ships in wood, but also ships in jewellery as a symbol of its power. In addition, I will examine the sources, the stylistic features, the formal influences on the production techniques, and the relations with European jewellery. Thanks to the presented examples, we will also be able to define the characteristics of the Venetian Jewel.
La Serenissima was a multicultural state, where different nations were living and producing objects. The Venetian identity was not based on the idea of nationality but on the idea of the Maritime Republic. A Republic that after the glorious Middle Ages, was striving to keep its status as a marine and an economical power.
In Europe during the Early Modern period jewels were usually representing flowers or beautiful geometrical forms. Here we have a jewel that is representing a real object and, on the other hand, is a symbol of a State.
Meanings, Archetypes, Forms and Uses
INTERNATIONAL CONFERENCE
23-24 November 2017
Calouste Gulbenkian Foundation, Lisbon
25 November 2017
Parques de Sintra - Monte da Lua
Isabel Mendonça, Maria João Pereira Coutinho, Sílvia Ferreira (ORGANIZAÇÃO)
Instituto de História da Arte da Faculdade de Ciências Sociais e Humanas Universidade NOVA de Lisboa
https://edifir.it/prodotto/larte-non-e-ne-pura-ne-applicata/?fbclid=IwAR2eL_42b-nk6VgYuKqAJn1SnHJoV8C2K2g9qCfZ5fu_NtCgTdEHS0LBi1M
This exhibition engages with the symbol of the crown and its meanings, in the spirit of Pirke Avot (4:13): “Rabbi Shimon said: There are three crowns: the crown of Torah, the crown of priesthood, and the crown of royalty, but the crown of a good name is superior to them all.”
“The Crown” exhibition presents the complexities of the encounter between Jewish culture and monarchy, through magnificent royal artefacts, aristocratic emblems, and historical works of art. As we move through the galleries, we explore the concepts of kingship, monarchy and royalty in Jewish tradition.
On display in this exhibition are priceless crowns from Italy, rare objets d’art, in all their majesty and grandeur. A visit to this exhibition is like walking into a treasure chest filled with precious objects, attesting to a rich cultural tradition in which religious and aesthetic motifs were intertwined.
http://www.cricd.it/produzioni%20editoriali/Gibellina%20Museum%20Mediterranean.pdf
Con la collaborazione di Serena Franzon
a questo link (articolo completo in pdf in fondo alla pagina):
https://www.giornaledistoria.net/saggi/mestiere-di-storico/lattribuzione-a-giorgio-vasari-del-ciborio-nella-chiesa-di-santa-lucia-in-savignano-sul-rubicone-nuove-considerazioni/
GIORNALE DI STORIA, 42 (2023)
ISSN 2036-4938
https://www.unipapress.it/it/book/oltre-l’ornamento-_279/
3rd European Congress on Jewellery
17th and 18th November 2016, Barcelona, Museu Nacional d'Art de Catalunya
For the complete Conference Proceedings
https://www.museunacional.cat/sites/default/files/af_congres_joieria_interactiu_1.pdf
This paper will focus on an analysis of a popular object in Venetian jewellery in the Early Modern period: the pendant in the form of a ship. It will examine its sources, stylistic features, its connections with Spanish and southern German jewellery, and especially the oriental influences on the production techniques. In addition, special focus will be placed on ship pendants and their links with Venetian maritime culture, which probably influenced patrons and goldsmiths in their choices of subjects and ornamental motifs.
The author analyzes a fundamental theme of Venetian iconography during the early modern age, the Moro, or the black man. From this subject was born a typical jewel for the Venetian goldsmith’s production, the so-called Venetian Moretto, whose origins and development have never been investigated so far. The author studies some unpublished works of art coming from the deposits of the Correr Museum in Venice.
AT THIS LINK
http://www1.unipa.it/oadi/oadiriv/?page_id=3127
This article traces also an exhaustive profile of the artist with a further addition to his rich catalogue.
AT THIS LINK
http://www1.unipa.it/oadi/oadiriv/?page_id=1794
This talk will be an overall outlook at the Synagogue in Dąbrowa Tarnowska. Topics like the history of the city, known in Yiddish as “Dombrov”, and the history of the local Jewish community will be discussed. The history, architecture and the recovery of the building, before and after World War II, will be analyzed. Today’s structure, mission and cultural resources of the Synagogue will be presented.
Much focus in academic research has been recently dedicated to Jewish marriage rings. The discussion has been quite controversial because according to some scholars these rings are simply fakes, which were counterfeited in the 19th century in order to be sold in the antiquities’ market; while according to others, even if they accept the chronologic attribution of the rings to the Early Modern Period, the origins of such filigree and enamels is in Eastern Europe either in Hungary or Transylvania. In this paper, based on stylistic evidence, a theory is suggested that some of these rings (with a stress on ‘some’) were in fact made in Venice during the Early Modern period. Moreover, for the first time, a connection is offered between Jewish marriage rings from Venice and some jewellery from the Far East and North Africa, showing that Venice was a centre of intensive cultural exchanges. Jewellery was part of the material culture of the Venetian Jewish community and demonstrate the wide network of cultural exchanges with goldsmiths around the world.
This analysis is part of my doctoral research on Renaissance Venetian Jewellery. My project takes an analytical approach to this object, and departs from the prevalent, catalogue-based research, which is mainly focused on stylistic aspects and written from a chronological and aesthetic point of view. Through examples of ship-shaped pendants, I intend to offer insight into Early Modern Venetian Jewellery.
In the world of geographical discoveries, the sea has been a fundamental subject of art - not only in jewellery and applied arts - and has been adopted in the whole Europe in painting, sculpture, literature and music.
But there is an obvious and more specific symbolism to the ship-pendant in Venice, produced in a city-state whose power and economy were based on marine trades and naval conquests.
Since the Early Middle Ages, Venice was a highly important artistic center, in particular for the applied arts; these arts were shaped in the context of Venezia being a melting pot of different nations, a city that bridged between the Western and Eastern World. During the Medioevo, the economical and political extension of its influence and its huge financial power contributed to an artistic development almost unrivaled compared to the rest of Europe.
In this paper I will try to analyze how the Serenissima was producing not only real ships in wood, but also ships in jewellery as a symbol of its power. In addition, I will examine the sources, the stylistic features, the formal influences on the production techniques, and the relations with European jewellery. Thanks to the presented examples, we will also be able to define the characteristics of the Venetian Jewel.
La Serenissima was a multicultural state, where different nations were living and producing objects. The Venetian identity was not based on the idea of nationality but on the idea of the Maritime Republic. A Republic that after the glorious Middle Ages, was striving to keep its status as a marine and an economical power.
In Europe during the Early Modern period jewels were usually representing flowers or beautiful geometrical forms. Here we have a jewel that is representing a real object and, on the other hand, is a symbol of a State.
Meanings, Archetypes, Forms and Uses
INTERNATIONAL CONFERENCE
23-24 November 2017
Calouste Gulbenkian Foundation, Lisbon
25 November 2017
Parques de Sintra - Monte da Lua
Isabel Mendonça, Maria João Pereira Coutinho, Sílvia Ferreira (ORGANIZAÇÃO)
Instituto de História da Arte da Faculdade de Ciências Sociais e Humanas Universidade NOVA de Lisboa
In his account of Christ’s visit to the Temple, Aretino most likely followed the Bible's indications regarding the architecture and the sacred ornaments. The writer's description followes an architectonical plan known since the Paleochristian times and later developed by important architects - as Vasari and Sansovino - in the Early Modern period.