7 10 177 https://venice.dahvc.org/fall-2020/files/original/October_7_National_Gallery_of_Art_London_[Visual_Analysis]/The_Adoration_of_the_Kings/N-0268-00-000062-wpu.jpg 5194ab54378f42281019d1b97fc7e768 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource October 7: National Gallery of Art, London (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Gallery of Art, London, UK Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Adoration of the Kings Creator An entity primarily responsible for making the resource Paolo Veronese (1528-1588) Publisher An entity responsible for making the resource available Church of Saint Silvestro Image Source: Veronese, Paolo. The Adoration of the Kings. The National Gallery. Accessed September 29, 2020. https://www.nationalgallery.org.uk/paintings/paolo-veronese-the-adoration-of-the-kings Date A point or period of time associated with an event in the lifecycle of the resource 1573 Contributor An entity responsible for making contributions to the resource Carmel Falek Format The file format, physical medium, or dimensions of the resource Oil on canvas, 355.6 x 320.0 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The National Gallery, London, United Kingdom Description An account of the resource Paolo Veronese was commissioned to paint The Adoration of the Kings by the Church of Saint Silvestro in Venice because the church wanted a painting for the nave of the building [1]. Born in 1528 to a family of stonecutters in Verona, Paolo made a name for himself as a revolutionary mannerist painter. As Nicholas Penny analyzes, Veronese's style drew from Raphael's techniques with an added aspect of looseness and fluidity [2]. He was comissioned by various churches and government departments in Venice as he was a popular painter there at the time [3]. During the time Veronese worked on The Adoration of the Kings, his workshop was also comissioned by another church, Santa Corona in Vicenza, to create a painting depicting the same biblical story, which can be seen in the striking similarities of both paintings [1]. The Adoration of the Kings was created by Veronese with the purpose of narrating a biblical story for the audience, the members of the church, to see when looking toward the nave of the building. He was commissioned to depict the biblical story of the three kings visiting baby Christ after his birth in the stable. The Virgin Mary sits on a throne off center holding the child as the men, including the kings, are on their knees, representing their praise and devotion to her and the newborn. Alluding to the birth of Christ in a farm stable, Veronese details cattle, goats, and horses, making the viewer feel as if they are in the scene, witnessing the miracle of Christ. He combines the run down stable architecture with the classical arches and columns from Greek and Roman building styles in the background. In addition, Veronese paints cherubs up above, looking down in awe of the newborn child, as a way to connect the heavenly realm to this scene on Earth. Veronese utilizes light to signify the key roles of Mary and Christ. This can be seen with the beam of light hitting only the Virgin, illuminating her and the child in the painting. They are the source of brightness, representing their importance in the scene. The rest of the painting is dark, illustrating the dichotomy between the holy and bright Virgin and Christ compared to the other humans. Veronese uses lines to shape the painting and highlight important aspects of the scene. He creates a straight diagonal line of light to draw the viewer's attention to Mary and Christ as it beams down on them. In addition, Veronese utilizes rich colors when depicting the clothing of the kings, emphasizing their position and importance in this religious scene. This can be seen with rich yellow and red fabrics that Veronese paints for the kings' robes. Specifically, he paints the fabrics with great detail, indicating the folding and patterns of the clothes. The use of these rich colors and precision with the small details draws the viewer's attention to the kings as well, demonstrating their key role in the story. He also composes the painting with a combination of free and compact space, as the ground is filled with people and animals looking and adoring the newborn child, conveying the biblical story. Meanwhile, Veronese incorperates free space in the upper half of the painting in order to focus more on the architectural and scenic background than on the characters and story. [1] “Paolo Veronese: The Adoration of the Kings: NG268: National Gallery, London,” The National Gallery, accessed September 29, 2020, https://www.nationalgallery.org.uk/paintings/paolo-veronese-the-adoration-of-the-kings. [2] Nicholas Penny, "Composition, Gesture and Meaning in an Early Painting by Veronese," Artibus Et Historiae 35, no. 70 (2014): 211-212. [3] Barry Jones, "V," Dictionary of World Biography, 894. Source A related resource from which the described resource is derived Brooke, Irene. “Veronese.” Renaissance Studies 30, no. 3 (2015): 457–68. Jones, Barry. "V." In Dictionary of World Biography, 887-902. Acton ACT, Australia: ANU Press, 2019. “Paolo Veronese.” The National Gallery. Accessed September 29, 2020. https://www.nationalgallery.org.uk/artists/paolo-veronese. “Paolo Veronese: The Adoration of the Kings: NG268: National Gallery, London.” The National Gallery. Accessed September 29, 2020. https://www.nationalgallery.org.uk/paintings/paolo-veronese-the-adoration-of-the-kings. Penny, Nicholas. "Composition, Gesture and Meaning in an Early Painting by Veronese." Artibus Et Historiae 35, no. 70 (2014): 211-19. Tuohy, Thomas. "Works by Paolo Veronese in British Collections." The British Art Journal 14, no. 3 (2013): 3-8. Image Source: Veronese, Paolo. The Adoration of the Kings. The National Gallery. Accessed September 29, 2020. https://www.nationalgallery.org.uk/paintings/paolo-veronese-the-adoration-of-the-kings. Rights Information about rights held in and over the resource Public Domain. Image Source: Veronese, Paolo. The Adoration of the Kings. The National Gallery. Accessed September 29, 2020. https://www.nationalgallery.org.uk/paintings/paolo-veronese-the-adoration-of-the-kings https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/Feast_in_the_House_of_Levi/paolo-veronese-feast-at-the-house-of-levi-1573.jpg 006db3110218b5b1e2c8ebf69e1e6b67 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 30: Gallerie dell'Accademia (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia, Venice, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Feast in the House of Levi Creator An entity primarily responsible for making the resource Paolo Veronese Source A related resource from which the described resource is derived Gisolfi, Diana. "Veronese [Caliari], Paolo." Grove Art Online. 2003; Accessed 28 Sep. 2020. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000089003. Grasman, Edward. "On Closer Inspection - The Interrogation of Paolo Veronese." Artibus Et Historiae 30, no. 59 (2009): 125-34. Accessed September 28, 2020. http://www.jstor.org/stable/40343668. Harris, Beth, and Steven Zucker. “Paolo Veronese. Feast in the House of Levi (Video).” Khan Academy. Khan Academy. Accessed September 28, 2020. https://www.khanacademy.org/humanities/renaissance-reformation/high-ren-florence-rome/late-renaissance-venice/v/paolo-veronese-feast-in-the-house-of-levi-1573. Rosand, David. "Theater and Structure in the Art of Paolo Veronese." The Art Bulletin 55, no. 2 (1973): 217-39. Accessed September 29, 2020. doi:10.2307/3049096. Image Source: Paolo Veronese. 1571-73. Feast in the House of Levi. painting. Place: Gallerie dell'Accademia di Venezia. https://library.artstor.org/asset/SCALA_ARCHIVES_1031314658. Publisher An entity responsible for making the resource available Image Source: Paolo Veronese. 1571-73. Feast in the House of Levi. painting. Place: Gallerie dell'Accademia di Venezia. https://library.artstor.org/asset/SCALA_ARCHIVES_1031314658. Date A point or period of time associated with an event in the lifecycle of the resource 1571-1573 Contributor An entity responsible for making contributions to the resource Rafael Salazar-Paranhos Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 5.56 x 12.8 m Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia di Venezia, Venice, Italy Description An account of the resource The painting Feast in the House of Levi by Paolo Veronese was made from 1571 to 1573 and today is located in the Gallerie dell'Accademia in Venice, Italy. At first, this painting was created as a replacement to Titian’s Last Supper, yet over time it became known as the Feast in the House of Levi for many different reasons. To start it is important to analyze the painting as a whole. At 556 x 1280cm, it is one of the largest paintings in the gallery. On the background of the image, there are many buildings displayed which provides depth to the art and shows the style of the artist for emphasizing on the atmosphere. There are also three large arches and several large columns representing the architectural features present in Venice at the time. This representation with the arches is significant for dividing the attention of the painting into three different sections for the audience. There are numerous figures displayed in the painting due to its incredible size. On the left and right sides there are darker colors being utilized while the center is lighter and drags more attention to it since that is where Jesus Christ is. This was supposed be the main focus of the painting, yet there is much chaos surrounding it. To start, every person is involved in an action and moving in some kind of way. For example, Jesus is seen talking to someone on his right, while to his left there are others enjoying a piece of lamb. On the other hand there are many Venetian figures scattered with fancy clothing in order to display the prominence and wealth of the city state at the time [1]. There are also very specific details such as the table cloth lines, the floor design, and the staircase rails which show the attention to detail from Veronese. However, there are also small aspects of the figure which created argument and confusion over time. For example, there are midgets displayed, along with dogs and drunks which led to problems for the artists. Veronese explained that he depicted a scene where the holy and religious figures were pictured in the center, without many distractions, but that outside of this, in his creative mind, there were multiple things going on including these confusing animals and foreigners [2] He is simply trying to paint a different picture for the Venetian audience, while still focusing on the religious aspects. In 1573, the artist was taken to trial during the time of the Inquisition, for the church suspected him of heresy and did not appreciate his depiction of the Last Supper. He argued it was simply his creative mind and freedom as an artist and that the main portions of the painting still had religious importance [3]. However, it was revealed that the court said they did not appreciate the iconography displayed by the artist. Some reports also say that this was simply a political matter that ended up involving Veronese, yet in the end, he was still asked to change these ideas and therefore changed the painting's name to Feast in the House of Levi. [4] As a whole, the grand yet detailed nature of this painting is what has made it so significant and relevant for its time. Yet, what is most interesting is the history behind the production and how the church held Veronese to a trial and required him to alter his creation after it had been finished. [1] Beth Harris, Steven Zucker, “Paolo Veronese. Feast in the House of Levi (Video).” (Khan Academy, 2013) [2] David Rosand, "Theater and Structure in the Art of Paolo Veronese." (The Art Bulletin, 1973) [3] Diana Gisolfi, "Veronese [Caliari], Paolo." (Grove Art Online, 2003) [4] Edward Grasman, "On Closer Inspection - The Interrogation of Paolo Veronese." (Artibus Et Historiae, 2009), 125-34 https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/The_Tempest/TheTempestGiorgione.jpg a5948c94158ace18aa3fcb807dff2dba Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 30: Gallerie dell'Accademia (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia, Venice, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Tempest Description An account of the resource The Tempest was one of the first landscape dominant works of the Venetian Renaissance. The work was commissioned by Gabriele Vendramin, and was completed only a few short years before Giorgione’s early death from the plague [1]. Due to the timing, it serves to represent the culmination of Giorgione's artistic skill and the advanced structure his career led him to develop. The image can be divided into two halves, one half containing the prominent human figures and the second half focusing on the surrounding landscape. In the front of the painting there is a woman with a baby in her arms feeding from her breasts. She is wearing a shiny white garment over her shoulders but the rest of her body remains exposed. Some analysts have interpreted her as a representation of Eve as a biblical reference [1]. To the right of the woman is a man standing tall with a stave in his right hand. His richly colored clothing design points to his association with the Companions of the Order of the Stocking, an aristocratic society of Venice [2]. However, this male figure is also interpreted as a representation of Adam, in conjunction with the reference to the female figure as Eve. As evident from a first glance, the human figures are only a fraction of the images composition. The top half of the painting is dominated by dark, ominous clouds that fill the entirety of the sky above. A lightning bolt is evident in the middle, as if it was frozen in time, to express the violent nature of the scene. The landscape below is illuminated but heavy shadows and darker shades prove the overcast’s eminence. Dark green trees, shrubs, and grass fill the image from front to back, especially lining the stream of water. Further back into the city are white urban buildings that line the river, and at the very end is a domed temple. This urban complex is believed to allude to either heaven or the city of Padua (which was annexed by Venice after resistance), depending on the viewers interpretation [2]. Furthermore this composition emphasizes the balance between the urban landscape and the natural landscape and moves the viewers through the painting. Lastly, on the tower in the distance is an inscription of the lion of saint mark, a correlation to the Venetian origin and nature of the work. [1] Campbell, Stephen J. "Giorgione's Tempest, studiolo culture, and the Renaissance Lucretius *," Renaissance Quarterly 56, no. 2 (2003): 299+, Gale Academic OneFile Select, accessed September 28, 2020, https://link-gale-com.proxy.lib.duke.edu/apps/doc/A102659361/EAIM?u=duke_perkins&sid=EAIM&xid=de8b877f. [2]"The Tempest (1508)." The Tempest, Giorgione: Analysis, http://www.visual-arts-cork.com/famous-paintings/tempest-giorgione.htm. Creator An entity primarily responsible for making the resource Giorgione Source A related resource from which the described resource is derived Campbell, Stephen J. "Giorgione's Tempest, studiolo culture, and the Renaissance Lucretius *." Renaissance Quarterly 56, no. 2 (2003): 299+. Gale Academic OneFile Select (accessed September 28, 2020). https://link-gale-com.proxy.lib.duke.edu/apps/doc/A102659361/EAIM?u=duke_perkins&sid=EAIM&xid=de8b877f. Settis, Salvatore. Giorgione's Tempest: Interpreting the Hidden Subject. University of Chicago Press, 1990. "The Tempest (1508)." The Tempest, Giorgione: Analysis, Meaning. http://www.visual-arts-cork.com/famous-paintings/tempest-giorgione.htm. Image Source: Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. Publisher An entity responsible for making the resource available Commissioned by Gabriele Vendramin. Image Source: Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1510 Contributor An entity responsible for making contributions to the resource Jackson Huether Rights Information about rights held in and over the resource Use of this image is in accordance with the Artstor Terms & Conditions. Image Source: Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. Data From: Art Images for College Teaching. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 78.7 x 73.7 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Accademia, Venice, Italy https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/Feast_in_the_House_of_Levi/ART53.jpg 7c48b19f34ad077e06f132d5a825c50e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 30: Gallerie dell'Accademia (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia, Venice, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Contributor An entity responsible for making contributions to the resource Olivia Migli Title A name given to the resource Feast in the House of Levi Creator An entity primarily responsible for making the resource Paolo Veronese Publisher An entity responsible for making the resource available Comissioned by the convent of San Giovanni e Paolo. Image Source: Veronese, Paolo. The Feast in the House of Levi. Art Resource. Accessed 2020. https://www.artres.com/C.aspx?VP3=ViewBox_VPage&VBID=2UN365G43D9HL&IT=ZoomImageTemplate01_VForm&IID=2UNTWAG0AC&PN=3&CT=Search&SF=0. Date A point or period of time associated with an event in the lifecycle of the resource 1571-1573 Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 5.56 x 12.8 m Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia di Venezia, Venice, Italy Description An account of the resource Veronese was commissioned in 1573 to paint a great banqueting picture for the convent of San Giovanni e Paolo [1]. It is a large oil painting, that now resides in the Galleria dell’Accademia in Venice. Its original name, The Last Supper, was indicative to the religious matter it was meant to portray. However, the Inquisition during the Reformation of the Catholic Church was furious with the way Veronese painted the sacred event of Christ’s last supper and he was forced to rename the painting, Feast in the House of Levi [2]. This painting is last in a series of monumental banquet paintings including, The Wedding Feast at Cana and Supper in the House of Gregory the Great [3]. Feast in the House of Levi depicts the biblical event of the last supper of Christ where he declares that one of his disciples would betray him. The picture is split into three parts by grandeur arches and two large columns reminiscent of Renaissance architecture popular in Venice. The background is made up of indistinct, hazy buildings consisting of very little color, which is brightly contrasted against the middle and foreground of vivid colors and lively figures. Jesus Christ is the center of the painting but the bustling crown is very loud and expressive. This effectively draws the eye away from him and to the commotion of a social event happening all around him, rather than to the spiritual event taking place and being the main focus. Veronese was well know for his painting of figures, and this painting does not disappoint [2]. Each figure has its own distinct physical appearance and action, the attention to detail in his figures can be seen with Judas. Judas, the traitor to Christ, is sat opposite of Christ facing slightly away and wearing a weary, uncomfortable face as well as being draped in bright red colors making him stand out even more as suspicious. There are figures from all different cultures such as German soldiers located to the far right and men wearing turbans to the opposite side. This is an indicator of the cultural center that Venice was due to its role as an important trade city, full of life and people from all over visiting. [1] Haldane MacFall, “Feast in the House of Levi,” Feast in the House of Levi, 1911, http://www.law.harvard.edu/faculty/martin/art_law/feast_in_the_house_of_levi.htm. [2] Dr. Beth Harris and Dr. Steven Zucker, “Paolo Veronese, Feast in the House of Levi,” Smarthistory, accessed September 30, 2020, https://smarthistory.org/paolo-veronese-feast-in-the-house-of-levi/. [3] “The Feast in the House of Levi (1573),” Feast in the House of Levi, Paolo Veronese: Analysis, accessed September 30, 2020, http://www.visual-arts-cork.com/famous-paintings/feast-in-the-house-of-levi.htm. Source A related resource from which the described resource is derived Cocke, Richard. "Wit and Humour in the Work of Paolo Veronese." Artibus Et Historiae 11, no. 21 (1990): 125-45. Accessed September 30, 2020. doi:10.2307/1483387. Harris, Dr. Beth, and Dr. Steven Zucker. “Paolo Veronese, Feast in the House of Levi.” Smarthistory. Accessed September 30, 2020. https://smarthistory.org/paolo-veronese-feast-in-the-house-of-levi/. “The Feast in the House of Levi (1573).” Feast in the House of Levi, Paolo Veronese: Analysis. Accessed September 30, 2020. http://www.visual-arts-cork.com/famous-paintings/feast-in-the-house-of-levi.htm. Feast in the House of Levi. painting. Place: Gallerie dell'Accademia di Venezia. https://library.artstor.org/asset/SCALA_ARCHIVES_1031314658. MacFall, Haldane. Feast in the House of Levi, 1911. http://www.law.harvard.edu/faculty/martin/art_law/feast_in_the_house_of_levi.htm. Paolo Veronese. 1571-73. Type The nature or genre of the resource Painting https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/The_Tempest/AHSC_ORPHANS_1071313534.jpg a5948c94158ace18aa3fcb807dff2dba Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 30: Gallerie dell'Accademia (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia, Venice, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <a href="https://library.artstor.org/#/asset/AHSC_ORPHANS_1071313534">The Tempest</a> Creator An entity primarily responsible for making the resource Giorgione (Giorgio da Castelfranco) Source A related resource from which the described resource is derived Bosch, Lynette M. F. "GIORGIONE'S "TEMPEST" REVISITED." Source: Notes in the History of Art 10, no. 2 (1991): 7-15. Accessed September 30, 2020. <a href="https://www.jstor.org/stable/23202635">http://www.jstor.org/stable/23202635</a>. Dr. James R. Jewitt, “Giorgione, The Tempest,” Smarthistory, April 17, 2020, <a href="https://smarthistory.org/giorgione-the-tempest/">https://smarthistory.org/giorgione-the-tempest/</a>. Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. <a href="https://library.artstor.org/asset/AHSC_ORPHANS_1071313534">https://library.artstor.org/asset/AHSC_ORPHANS_1071313534</a>. “The Tempest (1508).” The Tempest, Giorgione: Analysis, Meaning, 2020. <a href="http://www.visual-arts-cork.com/famous-paintings/tempest-giorgione.htm">http://www.visual-arts-cork.com/famous-paintings/tempest-giorgione.htm</a>. Publisher An entity responsible for making the resource available Commissioner : Gabriele Vendramin Image Source : Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1510 Contributor An entity responsible for making contributions to the resource Seamus Harding Rights Information about rights held in and over the resource Use of this image is in accordance with the Artstor Terms & Conditions Data : Art Images for College Teaching Image Source : Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 31x29" Type The nature or genre of the resource painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria dell"Accademia, Venice, Italy Description An account of the resource The Tempest was created by Giorgione (Giorgio da Castelfranco) around 1510. The enigma behind this painting baffled many historians over the years and there are different interpretations of this painting. This wasn’t on display for many years as it traveled but in the rendition of the Gallerie dell'Accademia, it is now on display. What is very interesting about this painting is that there has been an x-ray analysis done that shows that there was supposed to be another woman where the man is now [1]. This painting is a classic Renaissance landscape. It sets a scene of two figures sitting by a river with a storm approaching. In the right foreground appears a nude woman breastfeeding her child and the baby is protected by her breast and her thigh. She is looking at the audience with a blank expression. There appears to be sunlight in the top left corner shining down onto the nude woman. The beautiful scenery, which is aesthetic variations of plants, along with the nude woman, is illuminated by sunlight that hasn’t been covered by the storm. The left foreground shows a man who is dressed very thrillingly, holding a stave and looking at the naked woman. You can tell he is a member of the Campagnia della Calza, a fraternity composed of young nobles in Venice, because of his two-toned hosiery [1]. He has a white shirt on, a red throw over that looks like a cape, and multi-colored pants. The red really pops in this painting because that is the only red shown throughout the artwork. He casts a shadow on the right side of his body due to the sun's angle right on top of him. In between the two figures appears a small pond which is shaded by the man. The river, on the other hand, is a lighter blue that has reflections of the wildlife on it. The background reveals several things: a city, a stream that turns in a river, a bridge crossing over the river, and a storm with a lightning bolt appearing through the dark clouds. The figures do not seem very worried about this storm approaching. There is a shadow on the buildings in the background either representing rain or the gloomy darkness of the clouds. There have been several interpretations as to what this painting really represents. Marcantonio Michiel portrays this painting as a small landscape with a gypsy and a soldier [2]. To the more specific details, historians believe that the incoming storm has significance. It could have referred to the war of the League of Cambrai or from a biblical point of view, The Flight of Egypt [1]. The town is believed to be either Padua but other historians claim that it signifies Heaven. [1] “The Tempest (1508).” The Tempest, Giorgione: Analysis, Meaning, 2020. http://www.visual-arts-cork.com/famous-paintings/tempest-giorgione.htm. [2] Bosch, Lynette M. F. "GIORGIONE'S "TEMPEST" REVISITED." Source: Notes in the History of Art 10, no. 2 (1991): Page 7. Accessed September 30, 2020. http://www.jstor.org/stable/23202635. https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/Titian_Pieta.png b465b7626f830f4803197b92712bb6c2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 30: Gallerie dell'Accademia (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia, Venice, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pietà Creator An entity primarily responsible for making the resource Titian, completed by Jacopo Palma Giovane Source A related resource from which the described resource is derived Grabski, Józef. "The Contribution of Collaborators in Titian's Late Works." Artibus Et Historiae 34, no. 67 (2013): 285-310. <a href="http://www.jstor.org/stable/23510256">http://www.jstor.org/stable/23510256</a>. Nygren, Christopher J. "Titian's Miracles: Artistry and Efficacy between the San Rocco Christ and the Accademia Pietà." Mitteilungen Des Kunsthistorischen Institutes in Florenz 57, no. 3 (2015): 320-49. <a href="http://www.jstor.org/stable/43738211">http://www.jstor.org/stable/43738211</a>. Rona, Goffen. Renaissance Rivals: Michelangelo, Leonardo, Raphael, Titian. New Haven: Yale University Press, 2002. Image Source: Artstor, accessed September 27, 2020. https://library.artstor.org/asset/SCALA_ARCHIVES_1031314659. Date A point or period of time associated with an event in the lifecycle of the resource 1576 Contributor An entity responsible for making contributions to the resource Vik Manocha Rights Information about rights held in and over the resource Public Domain. Image Source: Artstor, accessed September 27, 2020. https://library.artstor.org/asset/SCALA_ARCHIVES_1031314659. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 378.0 x 347.0 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia, Venice, Italy Subject The topic of the resource The Virgin Mary cradles the dead body of Christ in the presence of Mary Magdalene and St. Jerome. Publisher An entity responsible for making the resource available Image Source: Artstor, accessed September 27, 2020. https://library.artstor.org/asset/SCALA_ARCHIVES_1031314659. Description An account of the resource The scene depicted in Titian’s Pietà shows a dead Jesus Christ in the arms of his mother the Virgin Mary. St. Jerome clutches his arm while a startled Mary Magdalene rushes either towards or away from the corpse in horror. Behind the scene is a golden dome-like structure framed by a set of statues representing Moses and Hellespontine Sibyl as well as a vegetation-covered pediment [1]. The dome features an image of a Pelican picking at its own blood to feed its young, a common allegory for the Passion of Christ. All lines and the flow of action seem to direct the audience's gaze radially inwards towards the limp head of Jesus, the subject of the painting. The muted colors create a sombre mood devoid of life––the result of the vast absence left by the loss of the son of God. The body of Jesus alone is canvassed with a grim, silvery, and unnatural light. We can also see a shift from religious to pastoral imagery as we move up through the work. This symbolizes the natural progression towards death and an inevitable reunification with God. Pietà was the last work of Titian before his demise by plague in 1576. He modeled the figure of St. Jerome after himself as a prayer to protect himself from the epidemic, the death of Christ symbolic of his own impending one [2]. It was originally meant to be placed on Titian’s grave to earn a spot at the burial site, but following his death it ended up in the church of St. Angelo in Venice prior to being moved to the Gallerie dell'Accademia. The piece was finished by Jacopo Palma Giovane, but why it ended up in his hands is unclear. What is known is that he saw himself as the natural artistic successor to the greatness of Titian, even inscribing on the work his own name [3]. [1] Goffen Rona, Renaissance Rivals: Michelangelo, Leonardo, Raphael, Titian (New Haven: Yale University Press, 2002), 385. [2] Christopher J Nygren, "Titian's Miracles: Artistry and Efficacy between the San Rocco Christ and the Accademia Pietà," Mitteilungen Des Kunsthistorischen Institutes in Florenz 57, no. 3 (2015): 321. [3] Józef Grabski, "The Contribution of Collaborators in Titian's Late Works," Artibus Et Historiae 34, no. 67 (2013): 289. https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/The_Tempest/The_Tempest_Giorgione.png 2cd80e333157cd39494c750a3ae96ddf Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 30: Gallerie dell'Accademia (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia, Venice, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Tempest Description An account of the resource The Tempest, painted by Giorgione c. 1505, is considered a groundbreaking piece of artwork for the time it was created in. Breaking traditional Venetian style, Giorgione painted a piece highly focused on the landscape, with a variety of hidden meanings inserted throughout the image. While Giorgione faced an untimely death in 1510 due to the plague, The Tempest outlives him as an incredible piece of art that analysts debate and discuss to this day. In the painting, two large figures appear in the foreground – a mother sitting on a small, grassy hill nursing her baby, while a man watches her. The man is striking a casual, but regal pose, and is dressed in clothing that was typically worn by affluent members of society. While the man watches the woman nurse her baby, she stares out of the painting with a rather blank look on her face. All but the baby's face is obscured by the mother, as she sits in a shielding, protective position. The figures in the foreground have been subject to various interpretations, some stating that the figures are representations of Adam and Eve with child, a soldier watching over a gypsy, or simply two civilians of Venice. [1] The background, or "top" of the painting, however, contains the truly celebrated aspects of Giorgione's genius. The vast difference between the fore and background has led analysts to claim the painting can be split into two halves that have no relation to one another. While Giorgione uses bright, warm colors in the foreground, creating the illusion of sun and heat, the background is filled with dark colors to show the storm brewing. A bolt of lightning is seen cutting across the dark blue and grey clouds, and both the city and trees in the background are shaded, creating an ominous sense. Giorgione uses depth in the painting to make the storm appear very far away from the figures in the foreground, as well as the stark contrast in lightning, thus allowing the two scenes to exist separately from one another, but occur simultaneously. A singular, agreed-upon meaning has yet to be derived from The Tempest. In agreement with the theory that the figures symbolize Adam and Eve, some scholars have claimed that the storm represents God's wrath and their looming banishment. The separation of the figures from the storm in the background plays into Adam and Eve's blissful unawareness and their temporary time in the Garden of Eden. A more common theory, however, suggests that Giorgione had little biblical meaning, and rather was making a statement about the impending war between Venice and the League of Cambria. In accord with the theory that the figures are simply civilians of Venice or a soldier with a civilian, Giorgione was believed to be illustrating the hurt and harm that would come to the people of Venice if the two nations did in fact come to battle.[2] [1] Wethey, Harold E. “Giorgione” April 18, 2019. https://www.britannica.com/biography/Giorgione. <div>[2] Settis, Salvatore. "Giorgione's Tempest: Interpreting the Hidden Subject." University of Chicago Press, 1990. </div> Creator An entity primarily responsible for making the resource Giorgione Source A related resource from which the described resource is derived Image Source: Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. Wethey, Harold E. “Giorgione” April 18, 2019. https://www.britannica.com/biography/Giorgione. Settis, Salvatore. "Giorgione's Tempest: Interpreting the Hidden Subject." University of Chicago Press, 1990. Jewitt, Dr. James R. “Giorgione, The Tempest.” Smarthistory, May 2018. https://smarthistory.org/giorgione-the-tempest/. <div></div> Publisher An entity responsible for making the resource available Commissioner: Gabriele Vendramin c. 1505 Image Source: Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. Date A point or period of time associated with an event in the lifecycle of the resource c. 1505-1510 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan Rights Information about rights held in and over the resource Use of this image is in accordance with the Artstor Terms & Conditions. Image Source: Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 31 cm x 29 cm Type The nature or genre of the resource Oil on canvas painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria dell'Accademia, Venice, Italy https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/Scenes_from_the_Life_of_Saint_Ursula_Martyrdom_of_the_Pilgrims_and_the_Funeral_of_Saint_Ursula/80martyr.jpg e7f733c9594368b4c75521218b508c98 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 30: Gallerie dell'Accademia (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia, Venice, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Scenes from the Life of Saint Ursula: Martyrdom of the Pilgrims and the Funeral of Saint Ursula Description An account of the resource The Martyrdom of the Pilgrims and the Funeral of Saint Ursula was a single painting in a cycle created by the Vittore Carpaccio for the Scuole Piccola [1] and commissioned by the Loredan family [2]. The cycle narrates the life, marriage, and martyrdom of St. Ursula, with this specific piece focusing on her martyrdom. It depicts how she refused to marry the Hun prince and accepted her fate of death in order to remain dutiful to her fiancé as well as to her Christian ideals. [3] This piece is divided into two sections with the left-most section focusing on St. Ursula’s martyrdom and the right-most section telling the story of her funeral. The two parts of this piece are divided by a large pole that is depicted with the Loredan family’s coat of arms. In the left section of the painting, the immediate chaos of this piece can be observed. The chaotic nature of this piece is created by the tight spatial organization that Carpaccio has created with both the fighting army as well as the group of virgins that stand near St. Ursula. This feature along with Carpaccio’s manipulation of form, by making St. Ursula’s figure appear larger than the figures that surround her, places St. Ursula in the role of an active figure in this piece. Though she may be serenely accepting her fate, Carpaccio has shown her as a figure that has actively chosen to protect her Christian ideals, even if the result of that decision is her untimely demise. On the right-most side of the piece, Carpaccio uses another form of spatial organization to highlight St. Ursula. Specifically, the way St. Ursula is depicted on the bier makes her appear more elevated than those around her. By physically and spatially placing her above the rest of the scene, Carpaccio is emphasizing her connection to God. He furthers this connection to God by manipulating light. Again, compared to the other figures in this scene, St. Ursula has been depicted more brightly and vividly. This shows that her active choice to live with God led to her martyrdom and, thus, closer to God. In this piece, Carpaccio has utilized numerous stylistic elements to not only emphasize St. Ursula as an important divine figure but also capture the essence of her active choice to protect Christianity by accepting her death. By choosing to live by her Christian ideals, she marks her as a model and example of Christian piety. [1] Benezit Dictionary of Artists, “Carpaccio, Vittore.” Benezit Dictionary of Artists, (2011). [2] "Martyrdom of the Pilgrims (Saint Ursula and the Eleven Thousand Virgins) and Funeral of Saint Ursula,” Gallerie Accademia, accessed September 29, 2020, http://www.gallerieaccademia.it/en/martyrdom-pilgrims-saint-ursula-and-eleven-thousand-virgins-and-funeral-saint-ursula. [3] Elizabeth Rodini. "The Politics of Marriage in Carpaccio's St. Ursula Cycle," Early Modern Women 8, (Fall 2013): 85-117. Creator An entity primarily responsible for making the resource Vittore Carpaccio Source A related resource from which the described resource is derived <ul> <li>Rodini, Elizabeth. “The Politics of Marriage in Carpaccio’s St. Ursula Cycle.” Early Modern Women 8, (Fall 2013): 85-117. http://www.jstor.org/stable/23617847.</li> <li>Benezit Dictionary of Artists. “Carpaccio, Vittore.” Benezit Dictionary of Artists, (2011). doi:10.1093/benz/9780199773787.article.b00032555.</li> <li>Gallerie Accademia. "Martyrdom of the Pilgrims (Saint Ursula and the Eleven Thousand Virgins) and Funeral of Saint Ursula,” Gallerie Accademia. Accessed September 29, 2020. http://www.gallerieaccademia.it/en/martyrdom-pilgrims-saint-ursula-and-eleven-thousand-virgins-and-funeral-saint-ursula. </li> </ul> Publisher An entity responsible for making the resource available Scuole piccola Date A point or period of time associated with an event in the lifecycle of the resource 1493 Contributor An entity responsible for making contributions to the resource Riya Mohan Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 271 x 560 cm Type The nature or genre of the resource painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia, Venice, Italy https://venice.dahvc.org/fall-2020/files/original/September_30_Gallerie_dell_Accademia_[Visual_Analysis]/The_Tempest/1200px-Giorgione_019.jpg 8deeb98345289dc633b8a90737cde659 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 30: Gallerie dell'Accademia (Visual Analysis) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia, Venice, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Tempest Creator An entity primarily responsible for making the resource Giorgione (Giorgio da Castelfranco) Publisher An entity responsible for making the resource available Commissioned by Gabrielle Vendramin (in 1504) Date A point or period of time associated with an event in the lifecycle of the resource 1510 Contributor An entity responsible for making contributions to the resource Raj Kumar Rights Information about rights held in and over the resource Use of this image is in accordance with the Artstor Terms & Conditions. Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 78.7 cm x 73.7 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia, Venice, Italy Description An account of the resource Giorgione was and Italian painter during the High Renaissance and achieved effect and distinctiveness in his paintings through color and mood. He was known as one of the most mysterious artists for always creating uncertainty in the meaning of his paintings [1]. His use of color, mood, and mystery were embodied in his landscape painting The Tempest, which is one of the first paintings in which landscape plays such a big role [1]. The Tempest is a painting of two, unrelated halves (foreground and background). In the forefront, three figures are clearly depicted. On the right, a woman, draped in a bright white robe with most of her body exposed, is seen suckling her baby. On the left, a manly figure is dressed very formal and fancy holding a staff, which may indicate he is a soldier. Many have identified this male figure, who is admiring the woman, as a member of a club of unmarried men called The Campagnia dell Calza [2]. Unlike other Venetian paintings, the painter does not put great emphasis on the figures (even though they are clearly present) like placing extra light on them or using lighter colors to depict them. The colors used to illustrate the individuals are similar to their surroundings making them blend into this landscape, which adds to their mystery. The representation of the figures has long been debated as some people believe it is a Gypsy and a solider, while others believe that the figure represent Adam and Eve [3]. Moving on, the background of the painting is indicative of some type of storm approaching. The dark clouds and the subtle flash of lighting create a gloomy mood. Many details are encompassed in the background including a stream widening to a river, several buildings, and even a temple, which all contribute to this countryside and urban landscape. The use of dark blue and green color hues foreshadows an impending doom coming into this well-constructed Venetian city and upon the figures [2]. The strategic use of strokes when painting the trees and other parts of nature creates a rough-feeling texture in the painting that contributes to the gloomy mood. While this painting has been left to interpretation to historians and viewers, I believe that it represents a nostalgic view of Venetian society as a serene republic even though it was under siege from foreign armies at the time (War of Cambria). [1] Harold E. Wethey, “Giorgione,” Encyclopedia Britannica, 2, 3 [2] Micahel L Shackman, “The Tempest,” Visual Arts Cork [3] Rudolf Schier, "Giorgione's Tempesta," Renaissance Studies 22 (2008), 478, 479 Source A related resource from which the described resource is derived Giorgione (Giorgio da Castelfranco), Venetian, ca. 1477-1510. ca. 1510. The Tempest. Accessed September 29, 2020 https://library.artstor.org/asset/AHSC_ORPHANS_1071313534. Schier, Rudolf. "Giorgione's "Tempesta": A Virgilian Pastoral." Renaissance Studies 22, no. 4 (2008): 476-506. Accessed September 29, 2020. http://www.jstor.org/stable/24417578. Wethey, Harold E. “Giorgione.” Encyclopædia Britannica. Encyclopædia Britannica, inc., April 18, 2019. Accessed September 29, 2020 https://www.britannica.com/biography/Giorgione. Shackman, Michael L. “The Tempest (1508).” The Tempest, Giorgione: Analysis, Meaning. Accessed September 29, 2020. http://www.visual-arts-cork.com/famous-paintings/tempest-giorgione.htm. Winkelmes, Mary-Ann. Speculum 74 (Painting in Sixteenth-Century Venice: Titian, Veronese, Tintoretto), no. 3 (1999): 822-24. Accessed September 29, 2020. doi:10.2307/2886844. https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Moderata_Fonte/Meritodelledonne007.jpg 6feebc123a3826cc412489d5c1c247b2 https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Moderata_Fonte/Meritodelledonne001.jpg d602732ddf4275dd9d3dc6b9c5799b8e https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Moderata_Fonte/Moderata_Fonte.png a37688c3a4ab46ad14de744ee8089e16 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dana's Collection Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Moderata Fonte Subject The topic of the resource Portrait of Moderata Fonte (Modesta Dal Pozzo) printed in her book Il merito delle donne (1600) Creator An entity primarily responsible for making the resource Artist Unknown; printed by Domenico Imberti Source A related resource from which the described resource is derived <ul> <li>Deslauriers, Marguerite. "Patriarchal Power as Unjust: Tyranny in Seventeenth-Century Venice." British Journal for the History of Philosophy 27, no. 4 (2019): 718-737.</li> <li>Fonte, Moderata. Il merito delle donne. Venice, 1600.</li> <li>King, Margaret. Women of the Renaissance. Chicago: University of Chicago, 1991.</li> </ul> Image Source: Fonte, Moderata. Il merito delle donne. Venice: Domenico Imberti, 1600. Publisher An entity responsible for making the resource available Domenico Imberti Date A point or period of time associated with an event in the lifecycle of the resource 1600 Contributor An entity responsible for making contributions to the resource Dana Hogan Rights Information about rights held in and over the resource Public Domain Format The file format, physical medium, or dimensions of the resource Print, various dimensions Type The nature or genre of the resource Print Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Venice, Italy Description An account of the resource “I await fame and glory in life, and then in death” [1]. Like Tullia d’Aragona’s dialogue, Moderata Fonte’s Il merito delle donne (1600) is a commentary on the dialogues of philosophers and humanists, which were almost exclusively composed of male voices in early modern Italy. In a Venetian garden, virgins, matrons, and crones discuss the soul, knowledge, and virtues; they form a perfect female society in which women gain strength from one another and live autonomously [2]. While Fonte lauds the city of Venice, there is critique embedded in this praise: the political apparatus of Venice was an object of admiration to statesmen throughout Europe, but it remained oppressive to women [3]. The quote above foreshadows the author’s fate: Fonte died in childbirth one day after finishing her book. Eight years after her death, two of her children submitted her book for publication, which means that the author’s portrait is a posthumous portrait. Perhaps for this reason, her portrait is less individualized than the portraits of <a href="https://venice.dahvc.org/fall-2020/exhibits/show/womenofvenice/item/28">d’Aragona</a> and <a href="https://venice.dahvc.org/fall-2020/exhibits/show/womenofvenice/item/27">Franco</a>. She wears a fashionable Venetian costume with a starched lace collar and a horned hairstyle that was at one time synonymous with courtesans, though noblewomen also wore it. The intricacy of the lace detailing on her gown and her pearl necklace communicate her status as a reputable lady, yet there is little that is distinct about her appearance. This woodcut print can be understood as a generic image type rather than an individualized portrait of a historic woman. One detail that distinguishes this woman from similar images is the crown of laurel leaves signifying her achievement in letters, an honorific which nearly blends in with her curls, fading from view. Notably absent are the traditional literary attributes of books, letters, or a pen. The image of the author becomes first and foremost the image of anonymized female respectability. [1] Moderata Fonte, Il merito delle donne (Venice, 1600), 4. [2] Margaret King, Women of the Renaissance (Chicago: University of Chicago, 1991), 228. [3] King, Women of the Renaissance, 231.