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VASARI'S EARLY DECORATIVE CYCLES: THE VENETIAN COMMISSIONS PART II

VASARI'S EARLY DECORATIVE CYCLES: THE VENETIAN COMMISSIONS PART II VASAJR]['S EARLY DlECOlRATKVlE CYClLlES~ THlE \ENETKAN COMMKSSKONS PART XX LIANA DE GIROLAMI CHENEY For my fother, Ettore De Girolami, MD THIS STUDY CONSIDERS TWO COMMISSIONS that Giorgio Vasari executed in Venice in 1541-42-one secular (the apparato or stage settings for Aretino's comedy La Talanta, which I have examined in "Part I" published in the previous issue of this journal) and the other religious (the ceiling decoration of Giovanni Cornaro's nuptial chamber, to be examined here in "Part 11"). Unfortunately, these two decorative structures have been dismantled or destroyed. Their reconstruction rests mostly on Vasari's descriptions, along with a few surviving drawings and paintings. Examination of these two Venetian commissions, however, reveals Vasari's formation of a repertoire of personifications and a new artistic formula, or quadro riportato, for decorative cycles, revolutionizing ceiling decorations in the sixteenth century: the central concept based on the quadro riportato, where scenes representing an istoria in a landscape or architecrural setting are framed by flanking herms and niches (tabernacles) that contain allegorical figures or personifications symbolizing moral or aesthetic virtues and then are ornamented overall with all'antica and grotesque motifs. Here, the analysis of the second Venetian commission, the ceiling decoration of Giovanni Cornaro's http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Explorations in Renaissance Culture Brill

VASARI'S EARLY DECORATIVE CYCLES: THE VENETIAN COMMISSIONS PART II

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Publisher
Brill
Copyright
© Copyright 2003 by Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0098-2474
eISSN
2352-6963
DOI
10.1163/23526963-90000257
Publisher site
See Article on Publisher Site

Abstract

VASAJR]['S EARLY DlECOlRATKVlE CYClLlES~ THlE \ENETKAN COMMKSSKONS PART XX LIANA DE GIROLAMI CHENEY For my fother, Ettore De Girolami, MD THIS STUDY CONSIDERS TWO COMMISSIONS that Giorgio Vasari executed in Venice in 1541-42-one secular (the apparato or stage settings for Aretino's comedy La Talanta, which I have examined in "Part I" published in the previous issue of this journal) and the other religious (the ceiling decoration of Giovanni Cornaro's nuptial chamber, to be examined here in "Part 11"). Unfortunately, these two decorative structures have been dismantled or destroyed. Their reconstruction rests mostly on Vasari's descriptions, along with a few surviving drawings and paintings. Examination of these two Venetian commissions, however, reveals Vasari's formation of a repertoire of personifications and a new artistic formula, or quadro riportato, for decorative cycles, revolutionizing ceiling decorations in the sixteenth century: the central concept based on the quadro riportato, where scenes representing an istoria in a landscape or architecrural setting are framed by flanking herms and niches (tabernacles) that contain allegorical figures or personifications symbolizing moral or aesthetic virtues and then are ornamented overall with all'antica and grotesque motifs. Here, the analysis of the second Venetian commission, the ceiling decoration of Giovanni Cornaro's

Journal

Explorations in Renaissance Culture – Brill

Published: Dec 2, 2003

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