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Astrology in medieval art  

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....

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Foscari, Francesco, Doge of Venice  

Deborah Howard

(b Venice, 1373; reg 15 April 1423–23 Oct 1457; d Nov 1, 1457).

Venetian ruler and patron. He was the longest-serving doge in the history of Venice. His reign was a period of constant warfare, during which Venice consolidated her hold on her mainland possessions and acquired further territory. His only surviving son, Jacopo Foscari (c. 1416–57), a celebrated humanist, was three times disgraced for alleged corruption. After his son’s final banishment and death, Francesco was persuaded by the Council of Ten to abdicate. He died a week later and was given a full ducal burial in the church of S Maria Gloriosa dei Frari, Venice. His tomb monument (for illustration see Bregno, (1)) in the same church, probably executed either by Niccolò di Giovanni Fiorentino or by members of the Bregno family, was erected at the instigation of the doge’s grandson Niccolò Foscari. Its mixture of Gothic and Renaissance elements echoes the hybrid character of public art and architecture during his reign....

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Mappa mundi  

Michael Curschmann

The medieval term mappa mundi (also forma mundi, historia/istoire) covers a broad array of maps of the world of which roughly 1100 survive. These have resisted systematic classification, but the clearly dominant type is one that aims at comprehensively symbolistic representation. Its early, schematic form is a disc composed of three continents surrounded and separated from one another by water (“T-O Map”) and associated with the three sons of Noah: Asia (Shem) occupies all of the upper half, Europe (Japhet) to the left and Africa (Ham) to the right share the lower half. Quadripartite cartographic schemes included the antipodes as a fourth continent, but the tripartite model was adopted by the large majority of the more developed world maps in use from the 11th century on and—with important variations—well into the Renaissance. While details were added as available space permitted, the Mediterranean continued to serve as the vertical axis and, with diminishing clarity, the rivers Don and Nile as the horizontal one. The map also continues to be ‘oriented’ towards Asia, where paradise sits at the very top. A circular ocean forms the perimeter and not infrequently the city of Jerusalem constitutes its centre....