Page 82 - Art In The Age Of Exploration (Great Section on Chinese Art Ming Dynasty)

scholars such as Nicholas de Cusa and Aeneas Renaissance, Voraussetzungen, Entivicklung und en partie inedits (Paris, 1888); Josef von Karabacek
Sylvius attempted to view the world of Islam Wandel eines bildnerischen Vokabulars, Stockholm 1918; compare to Jiirg Meyer zur Capellen, Gentile
with reason and clarity. Sir Richard Southern Studies in History of Art 21 (Stockholm, 1970), Bellini (Stuttgart, 1985), 87-102; Klinger and Raby
chapter 4.
1989.
31
has termed it "The Moment of Vision/' The 6. Soulier 1924, 161-174, 274-281; Sylvia Auld "Kufi- 16. George F. Hill, A Corpus of Italian Medals of the
drawings of Costanzo da Ferrara and the paint- cising Inscriptions in the Work of Gentile da Fabria- Renaissance before Cellini (London, 1930), 80, cat.
ing of the Reception of the Ambassadors lacked no," in Oriental Art 32 (1986), 246-265; on the nos. 321-322. On Costanzo, Maria Andaloro, "Cos-
the intellectual horizons of such scholarship, but Magi, Hugo Kehrer, Die »Heiligen Drei Konige« in tanzo da Ferrara. Gli anni a Costantinopoli alia corte
they were based on experience and dispassion- der Legende und in der deutschen Kunst bis Albrecht di Maometto n," in Storia dell'Arte 12 (1980), 185-
212 and Andrea S. Norris "Costanzo," Dizionario
Diirer (Strassbourg, 1904); H. Zehnder, Die Hei-
ate in tone, devoid of Christian or Classical ligen Drei Konige. Darstellung und Verehrung [exh. Biografico degli Italiani 30 (1984), 394—396.
glosses, and free of the emotional overtones of cat. Wallraf-Richartz-Museums] (Cologne, 1982). 17. Julian Raby, "Venice, Diirer and the Oriental Mode,"
popular illustration; mutatis mutandis, they 7. For example, Martin Schongauer's engraving of The in Hans Huth Memorial Studies I, ed. Ernst J.
can be regarded as "a moment of vision/' By the March to Calvary, c. 1475-1480, in Bartsch VI, 21: Grube and David Revere McFadden (London, 1982).
end of the fifteenth century, however, Europe R.A. Koch, in "Martin Schongauer's Christ Bearing 18. In his woodcut Apocalypse of 1496-1498: Willi
Record of
was becoming increasingly concerned with the Cross," 14 (i955)/ the Art Museum, Princeton Kurth, The Complete Woodcuts of Albrecht Diirer
Figural Alpha-
(London, 1927;
1963),
reprinted New York,
University
22—30;
on the
106,
pi.
apocalyptic visions. It was a fitting commentary bet of the Master E.S., Pochat 1970, 142-144. 117, compare to pis. 119,122—123.
on Europe's perception of the Levant that, in 8. For example, Europa und der orient 800-1900, ed. 19. Kehrer 1904, no; Zehnder 1982, 101-105, cat.
Dtirer's woodcut series of the Apocalypse of Ge-eon Sievernich and Hendrik Budde [exh. cat. no. 112.
1496-1498, it was the Ottomans who served as Berliner Festspiele] (Berlin, 1989), 131, pi. 149; 20. Diirer made Plato wear the headgear of an Ottoman
the Emissaries of the Bottomless Pit. 32 compare pi. 153. Janissary in his woodcut illustration to Konrad
9. Michael Vickers, "Some Preparatory Drawings for Celtis' Quatuor libri amorum, Nuremberg 1502:
Pisanello's Medallion of John vm Palaeologus," in Fedja Anzelewsky, Durer-Studien (Berlin, 1983),
Art Bulletin 60 (September 1978), 417-424. A tex- 119.
tile origin seems more likely than Reich's proposal 21. Compare to Washington 1971, 113-114, cat. no. 4
that the inscription was derived from an enameled ("Five Soldiers and Turk on Horseback," 1495-
NOTES lamp: S. Reich, "Une Inscription mamlouke sur un 1496).
1. Corrado Ricci, Pinturicchio (Bernardino di Betto of dessin italien du quinzieme siecle," in Bulletin de 22. P. Paoletti, La Scuola Grande di San Marco (Venice,
Perugia), His Life, Work and Times, trans. Florence I'lnstitut d'Egypte 22 (1940), 123-131; compare to 1929), 137—142; Meyer zur Capellen 1985, 24—26,
Simmonds (London, 1902), 103-119. Josef von Karabacek, Abendldndische Kunstler zu 87-94,112-113.
2. Ricci 1902, 111. Konstantinopel im 15. und 16. Jh. (Vienna, 1918), 23. Phyllis W Lehmann, Cyriacus of Ancona's Egyptian
3. N. Randolph Parks, "On the meaning of Pinturic- 37-42. Visit and its Reflection in Gentile Bellini and
chio's Sala dei Santi" in Art History 2 (September 10. George F. Hill, Pisanello (London, 1905), 87, 92. Hieronymus Bosch (New York, 1977); Meyer zur
1979), 291-317. G.A. DellAcqua and R. Chiarelli, Uopera completa Capellen 1985, 87-94.
4. Ricci 1902 expresses severe doubts about the value del Pisanello (Milan, 1972), pis. 18-19, 26. On the 24. Raby 1982.
of such identifications, but the identification of Cem steppe origin of the Emperor's horses, Vickers 1978; 25. Raby 1982. The Renaissance architecture of Giovanni
is much older than Ricci realized, and was given cre- Leo Olschki, "Asiatic Exoticism in Italian Art of Mansueti's paintings may seem to contradict the
dence by Paolo Giovio, who put together his portrait the Early Renaissance," in Art Bulletin 26 (1944), idea of an Alexandrian setting; but Mansueti re-
collection in the 15305 and 15405: Gli Uffizi. Cata- 95-106. peated the Mamluk blazon in his paintings as a clear
logo Generate (Florence, 1979); compare to Franz 11. Vickers 1978; Roberto Weiss, Pisanello's Medallion reference to the Mamluk domains. On western
Babinger, "Dschem-Sultan im Bilde des Abend- of the Emperor John vm Palaeologus (London, interpretations of Qa'it-Bay's blazon, O. Kurz,
lands/ in Aus der Welt der islamischen Kunst. Fest- 1966); Soulier 1924,168. For Apollonio, Ernst Gom- "Mamluk Heraldry and Interpretatio Christiana,"
schrift fur Ernst Ktihnel zum yj.Geburtstag am brich, "Apollonio di Giovanni. A Florentine Cassone in Studies in Memory of Gaston Wiet, ed. M.
26.10.1957 (Berlin 1959), 254-266. On Giovio and Workshop Seen Through the Eyes of a Humanist Rosen-Ayalon (Jerusalem, 1977), 297-307.
the Turks, Linda Klinger and Julian Raby, "Bar- Poet," in Norm and Form. Studies in the Art of the 26. Raby 1982.
barossa and Sinan: A Portrait of Two Ottoman Renaissance (London, 1966), 11-28, reprinted from 27. Raby 1982.
Corsairs from the Collection of Paolo Giovio/' in the Journal of the Warburg & Courtauld Institutes 28. Patricia F. Brown, "Painting and History in Renais-
Venezia e I'Oriente Vicino. Primo Simposio Interna- (1955); Ellen Callmann, Apollonio di Giovanni sance Venice," in Art History 7 (1984), 264-294.
zionale sull'Arte Veneziana e I'Arte Islamica, Ateneo (Oxford, Clarendon Press, 1974); compare to 29. Klinger and Raby 1989.
Veneto (Venice, 1989), 47-59. Olschki 1944, 101-102. 30. Maria-Magdalena Miiller-Haas, "Ein Kunstler am
5. An example is Lorenzo Monaco's Adoration of 1420- 12. Vespasiano da Bisticci, Vite di Uomini Illustri del Bosporus. Melchior Lorch," in (Berlin, 1989), 239-
1422 in the Uffizi; Gustave Soulier, Les Influences secolo XV, ed. Paolo D'Ancona and Erhard Aeschli- 244.
orientales dans la peinture toscane (Paris, 1924), mann (Milan, 1951), 14—16. 31. Richard W. Southern, Western Views of Islam in the
166, pi. xi. In general, Donald F. Lach, Asia in the 13. Julian Raby, "Pride and Prejudice: Mehmed the Middle Ages (Cambridge, Mass., and London, 1962;
making of Europe. II. A Century of Wonder, Book Conqueror and the Italian Portrait Medal," in Italian second printing 1978), 67-109.
One: The Visual Arts (Chicago and London 1970); Medals. Studies in the History of Art, ed. J. Graham 32. Kurth 1927, 1973, 20-21, pi. 119; Washington 1971,
Maria G. Chiappori, "Riflessi figurativi dei contatti Pollard (Washington, DC. 1987), no. 21, 171-194. 171, cat. no. 105; W. Waetzoldt, Diirer and his
Oriente-Occidente e dell'opera poliana nell'arte 14. Klinger and Raby 1989. Times (London, 1950), 37-38; compare to Kenneth
medievale," in Marco Polo. Venezia e I'Oriente, ed. 15. Louis Thuasne, Gentile Bellini et Sultan Mohammed M. Setton, "Lutheranism and the Turkish Peril," in
Alvise Zorzi (Milan, 1981), 281-288; Gotz Pochat, ii. Notes sur le sejour du peintre venitien a Constan- Balkan Studies (Thessalonica) 3, (1962), 133-168.
Der Exotismus wahrend des Mittelalters und der tinople (1479-1480) d'apres les documents originaux

EUROPE AND THE MEDITERRANEAN WORLD 8l