Italian sculptor. According to Baglione, he went to Rome from his native Brescia as a youth. He studied anatomy and the art of ancient Rome, and he gained fame for his anatomical models and small bozzetti. His skill as a modeller resulted in several commissions from ...
Steven F. Ostrow
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....
F. B. Sear, Dericksen Brinkerhoff and John Pinto
The summer palace of the emperor Hadrian, built between AD 118 and 134 and situated on an elevated plateau south-west of Tivoli. Its unusual architecture and wealth of sculpture and mosaics have fascinated artists and scholars since the Renaissance.
F. B. Sear
The buildings on the 120 ha site (...
Italian painter and printmaker. He occupies a pre-eminent position among Italian artists of the 15th century. The profound enthusiasm for the civilization of ancient Rome that infuses his entire oeuvre was unprecedented in a painter. In addition to its antiquarian content, his art is characterized by brilliant compositional solutions, the bold and innovative use of perspective and foreshortening and a precise and deliberate manner of execution, an aspect that was commented on during his lifetime. He was held in great esteem by his contemporaries for his learning and skill and, significantly, he is the only artist of the period to have left a small corpus of self-portraits: two in the Ovetari Chapel; his presumed self-portrait in the ...
William E. Metcalf
Large medal struck normally in commemoration of an event or as a reward of merit and used here to refer to Roman pieces; for Renaissance and later periods see
In the standard study of Roman medallions, J. M. C. Toynbee struggled to distinguish them from coins on the one hand and medals on the other, while admitting that medallions share features of each. She defined medallions as monetiform (coinlike) pieces that do not correspond completely to a denomination in regular use; they were ‘struck by the Emperor for special or solemn commemoration’ and were intended as ‘individual, personal gifts, any idea of their circulation as currency being either wholly absent or, at the most, quite secondary and subordinate’. This functional definition omits mention of the high level of artistry that characterizes the pieces and constitutes the internal evidence for their status as presentation pieces. For while medallions were produced at imperial mints using the same techniques as those employed for regular coinage, they uniformly display a higher level of artistry; their larger format invited more ambitious and original compositions even when they commemorated events otherwise noted in contemporary coinage....
Circular temple dedicated to all the gods. The best-known example is the Pantheon in Rome, built by the Emperor Hadrian in