This study elaborates on the decoration of the ceiling in the refectory of the former Monteoliveto monastery in Naples,today part of the church of Sant’Anna dei Lombardi.It consists of three parts:an explanation of t...This study elaborates on the decoration of the ceiling in the refectory of the former Monteoliveto monastery in Naples,today part of the church of Sant’Anna dei Lombardi.It consists of three parts:an explanation of the ceiling design with its geometrical configurations of circles,octagons,hexagons,ovals,and squares;an iconographical analysis solely focusing on the ceiling decoration,which consists of grotesques,constellations,and zodiac signs;and a discussion of some of the literary and visual sources employed in the decoration.The Florentine Mannerist painter Giorgio Vasari,aided by several assistants,renovated and painted the ceilings between 1544 and 1545.Don Giammateo d’Anversa,the Abbot General of the Monteolivetan Order in Naples,composed the iconographical program with the assistance of insightful suggestions from the Florentine Monteolivetan prior Don Miniato Pitti,who was Vasari’s patron and friend as well.This oversight inspired Vasari to paint a celestial utopia of hilarity and whimsicality on the Neapolitan ceiling,thus leavening the other imagery,which combined both religious and secular representations of moral virtues and divine laws.展开更多
Among the numerous themes on the suppers cited in the Bible, the Last Supper of Christ with His twelve apostles is the most poignant and rewarding for Christianity. Florentine Renaissance depictions of the theme are n...Among the numerous themes on the suppers cited in the Bible, the Last Supper of Christ with His twelve apostles is the most poignant and rewarding for Christianity. Florentine Renaissance depictions of the theme are numerous and varied, traditionally represented as a predella （step） panel and as an altarpiece in dining halls or sacristies of churches and convents. Vasari＇s Last Supper for the Refectory ofLe Murate （The Walled） in Florence is an unusual depiction of Christ＇s thanksgiving. This imposing religious structure was painted for a poor Benedictine nunnery＇s cenacolo （refectory） in Florence. Vasari completed two drawings for the commission in 1546. The drawings and painting reveal how Vasari drew upon the work of his predecessors to create an innovative expression of thanksgiving, betrayal, and departure. This large masterpiece was severely damaged, almost irreparably, by several mishaps and floods in 1583 and 1718 and, more recently, by the major Florentine alluvione （flood） of 1966. In commemoration of the 50th year anniversary of this last catastrophic event, Vasari＇s Le Mutate Last Supper was carefully and magically restored by a group of masterful technicians, artists, and scientists. Their collaboration and support from the private sector demonstrate the successful bond among art, technology, science, and patronage.展开更多
文摘This study elaborates on the decoration of the ceiling in the refectory of the former Monteoliveto monastery in Naples,today part of the church of Sant’Anna dei Lombardi.It consists of three parts:an explanation of the ceiling design with its geometrical configurations of circles,octagons,hexagons,ovals,and squares;an iconographical analysis solely focusing on the ceiling decoration,which consists of grotesques,constellations,and zodiac signs;and a discussion of some of the literary and visual sources employed in the decoration.The Florentine Mannerist painter Giorgio Vasari,aided by several assistants,renovated and painted the ceilings between 1544 and 1545.Don Giammateo d’Anversa,the Abbot General of the Monteolivetan Order in Naples,composed the iconographical program with the assistance of insightful suggestions from the Florentine Monteolivetan prior Don Miniato Pitti,who was Vasari’s patron and friend as well.This oversight inspired Vasari to paint a celestial utopia of hilarity and whimsicality on the Neapolitan ceiling,thus leavening the other imagery,which combined both religious and secular representations of moral virtues and divine laws.
文摘Among the numerous themes on the suppers cited in the Bible, the Last Supper of Christ with His twelve apostles is the most poignant and rewarding for Christianity. Florentine Renaissance depictions of the theme are numerous and varied, traditionally represented as a predella （step） panel and as an altarpiece in dining halls or sacristies of churches and convents. Vasari＇s Last Supper for the Refectory ofLe Murate （The Walled） in Florence is an unusual depiction of Christ＇s thanksgiving. This imposing religious structure was painted for a poor Benedictine nunnery＇s cenacolo （refectory） in Florence. Vasari completed two drawings for the commission in 1546. The drawings and painting reveal how Vasari drew upon the work of his predecessors to create an innovative expression of thanksgiving, betrayal, and departure. This large masterpiece was severely damaged, almost irreparably, by several mishaps and floods in 1583 and 1718 and, more recently, by the major Florentine alluvione （flood） of 1966. In commemoration of the 50th year anniversary of this last catastrophic event, Vasari＇s Le Mutate Last Supper was carefully and magically restored by a group of masterful technicians, artists, and scientists. Their collaboration and support from the private sector demonstrate the successful bond among art, technology, science, and patronage.
