1-2 of 2 results  for:

  • Renaissance/Baroque Art x
  • Patron, Collector, or Dealer x
  • Egyptian/Ancient Near Eastern Art x
  • Renaissance and Mannerism x
Clear all

Article

Sophie Page

Astrology is the art of predicting events on earth as well as human character and disposition from the movements of the planets and fixed stars. Medieval astrology encompassed both general concepts of celestial influence, and the technical art of making predictions with horoscopes, symbolic maps of the heavens at particular moments and places constructed from astronomical information. The scientific foundations of the art were developed in ancient Greece, largely lost in early medieval Europe and recovered by the Latin West from Arabic sources in the 12th and 13th centuries. Late medieval astrological images were successfully Christianized and were adapted to particular contexts, acquired local meanings and changed over time.

Astrology developed into a scientific branch of learning in ancient Greece, but because of the opposition of the Church Fathers it was transmitted to early medieval Europe in only fragmentary form in technically unsophisticated textbooks and popular divinatory genres. Literary and scientific texts provided more general ideas about the nature and attributes of the planets which were influential on later iconography. The first significant astrological images appear in 11th-century illustrated astronomical texts (e.g. London, BL, Cotton MS. Tiberius BV), which were acquired and produced by monasteries to aid with time-keeping and the construction of the Christian calendar....

Article

C. A. Keller

(reg c. 1290–c. 1279 bc). Egyptian ruler and patron, second ruler of the 19th Dynasty. The inclusion in his own titulary of the expression wehem–meswt (Egyp.: ‘renaissance’) explicitly stated the rationale for his vigorous political and architectural activity: in his aggressive military policy he sought to emulate the achievements of Tuthmosis III (reg c. 1479–c. 1426 bc) by re-establishing Egyptian power in Nubia and north Syria, and in his extensive building programme he attempted to restore monuments defaced during the Amarna period by iconoclastic followers of the sun god Aten. His repairs were frequently accompanied by a text, such as ‘a renewal of this monument that Sethos I made’.

His own monuments were fashioned on a large scale, possibly in imitation of the massive projects of Amenophis III (reg c. 1390–c. 1353 bc), and were decorated with characteristically fine reliefs. At Thebes, his most significant accomplishment was the completion of the ‘...