4. In 1817 the young French novelist Marie-Henri Beyle, better known by his pen name "Stendhal", was overcome by Florence's rich tapestry of art and history on a visit to the city. He wrote in his diary, I was in a sort of ecstasy, from the idea of being in Florence, close to the great men whose tombs I had seen. Absorbed in the contemplation of sublime beauty ... I reached the point where one encounters celestial sensations ... Everything spoke so vividly to my soul. Ah, if I could only forget. I had palpitations of the heart, what in Berlin they call 'nerves.' Life was drained from me. I walked with the fear of falling. In the 1970s, Doctor Graziella Magherini, chief psychiatrist at Florence's Santa Maria Nuova Hospital remembered Stendhal's affliction when she noticed that many tourists to the city were similarly overwhelmed and suffered panic attacks and bouts of madness. She named the condition Stendhal's Syndrome
5. Florence Flood of 1966 Rescuing Florence’s masterpieces after the flood of 1966 The Arno River flood of 1966 in Florence
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8. Lorenzo Ghiberti. Sacrifice of Isaac , 1401-1402. Gilded bronze relief, 21" x 17". Museo Nazionale del Bargello, Florence Filippo Brunelleschi. Sacrifice of Isaac, 1401-1402. Gilded bronze relief, 21" x 17". Museo Nazionale del Bargello, Florence foreshortening - a technique used to suggest that forms are sharply advancing or receding
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10. Lorenzo Ghiberti. Self-portrait from the Gates of Paradise, east doors of the baptistery, Florence. ca. 1445–1448. Lorenzo Ghiberti (c.1381-1455)
18. Once inside, the guests heard a new musical work, picking up the floral theme of the day, Nuper rosarum flores composed especially for the consecration by French composer Guillaume Dufay Nuper rosarum flores, Flowers of the Roses , or Il Duomo motet
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22. Music CD Track 7.1 (#6 on the Faculty drive) Dufay, Nuper rosarum flores The whole space of the temple was filled with such choruses of harmony, and such a concert of diverse instruments, that it seemed (not without reason) as though the symphonies and songs of the angels and of divine paradise had been sent forth from Heaven to whisper in our ears an unbelievable celestial sweetness
27. Giorgio Vasari Vasari, Self-portrait (detail), Oil on canvas, Galleria degli Uffizi, Florence
28. Masaccio. Holy Trinity , c. 1425. Fresco, 21' 9" x 9' 4". Santa Maria Novella, Florence
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30. Masaccio, Tribute Money, from left side of the Brancacci Chapel, Santa Maria del Carmine, Florence Giotto. Kiss of Judas (The Betrayal) , Arena Chapel , Padua, c. 1305. Fresco
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32. Donatello. David, details, c. 1430-1440. Bronze, 5' 2 1/2" high. Museo Nazionale del Bargello, Florence
33. Donatello. David, c. 1430-1440. Bronze, 5' 2 1/2" high. Museo Nazionale del Bargello, Florence Polykleitos, Doryphoros (Spear Bearer), c. 450-440 B.C.E. Marble copy of bronze original, 6' 11 1/2" high. Museo Nazionale Archeologico, Naples.
37. Sandro Botticelli, Primaver a Tempera on panel, 6' 8" 10' 4", early 1480s Botticelli, Primavera , c. 1482, Tempera on wood, 203 x 314 cm, Galleria degli Uffizi, Florence
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50. Reading 7.1 Song of Bacchus or Triumph of Bacchus and Ariadne, from Lorenzo de Medici: Selected Poems and Prose Vasari, Portrait of Lorenzo the Magnificent , Oil on wood, 90 x 72 cm, Galleria degli Uffizi, Florence Lorenzo de Medici
51. Portrait of Girolamo Savonarola c. 1498, Oil on wood, 47 x 31 cm, Museo di San Marco, Florence
52. Leonardo da Vinci, Self-Portrait, c. 1512, Red chalk, 33.3 x 21.3 cm (13 1/8 x 8 3/8 in), Biblioteca Reale, Turin Leonardo da Vinci (1452-1519)
53. Leonardo da Vinci. Vitruvian Man. ca. 1485–1490. 13 1/2" 9 5/8"
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55. Leonardo da Vinci. Mona Lisa , detail, c. 1503-1505. Oil on wood, 30 1/4" x 21". Louvre, Paris
56. Leonardo da Vinci. Mona Lisa , c. 1503-1505. Oil on wood, 30 1/4" x 21". Louvre, Paris Duchamp, L..H.O.O.Q ., 1919, reproduction of Leonardo’s, Mona Lisa altered with pencil, 7 3/4x4 1/8”, Private Collection, Paris
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59. Leonardo da Vinci, The Last Supper , c. 1495-97. mural, 15' 1 1/8" x 28' 10 1/2". Refectory, Santa Maria delle Grazie, Milan
61. Leonardo da Vinci, Last Supper , 1498, pre-WWII photograph of the refectory of the Convent of Santa Maria delle Grazie, Milan Il refettorio di Santa Maria delle Grazie dopo il bombardamento dell'agosto 1943. E' possibile vedere chiaramente la crocifissione del Monfortano sulla parete corta non crollata. Il Cenacolo di Leonardo gli è esattamente di fronte, non visibile nella foto
71. Diameter of the shaft defines the entire plan. Each shaft is spaced four diameters from the next, and the colonnade they form is two diameters from the circular walls The frieze above the columns is decorated with a relief relating to objects of the Christian liturgy The Tempietto embodies Italian humanist architecture in the Renaissance in its: classical reference proportional coherence of its parts Donato Bramante, Tempietto 1502
95. 1. Plato (portrait of Leonardo) 7. Heraclitus (portrait of Michelangelo) 2. Aristotle 8. Pythagoras 3. Diogenes 9. Apollo 4. Euclid (portrait of Bramante) 10. Socrates 5. Ptolemy 11. Minerva 6. Raphael (self-portrait)
96. Raphael, detail of Plato (portrait of Leonardo) and Aristotle, The School of Athens , 1510-11, fresco, Vatican, Stanza della Segnatura, Rome
97. Raphael, detail of Heracleitus (features of Michelangelo) The School of Athens , 1510-11, fresco, Vatican, Stanza della Segnatura, Rome
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99. Raphael, detail of Euclid (features of Bramante) The School of Athens , 1510-11, fresco, Vatican, Stanza della Segnatura, Rome
100. Raphael, detail of Zoroaster, Ptolemy, Raphael (wearing dark cap), Sodoma, The School of Athens , 1510-11, fresco, Vatican, Stanza della Segnatura, Rome
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104. Score for the opening bars of Josquin des Prez’s Pange Lingua Mass. 16th century. Music CD Track 7.2 (#7 on the Faculty drive) De Prez, Pangue lingua Mass
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107. View of the Doge’s Palace, with Saint Mark’s Cathedral to the Left
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109. Giorgione giorgio da castelfranco (1478-1510) Giorgione, Copy of a lost Self-Portrait , Paper on wood, 31,5 x 21,5 cm Museum of Fine Arts, Budapest
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112. Giorgione, Pastoral Concert Oil on canvas, 43¼" 54-3/8", ca. 1510
113. titian Tiziano Vecello (c1478-1576) Titian, Self-Portrait, c. 1562 Oil on canvas, 96 x 75 cm Staatliche Museen, Berlin
114. Titian, Sacred and Profane Love Oil on canvas, 46½" 109-7/8", ca. 1514 Two female figures—nude is sacred love and luxuriously clothed is earthly or profane love—probably represent two aspects of the same woman.
115. Titian, Reclining Nude (Venus of Urbino) Oil on canvas, 47" 65", ca. 1538 More real woman than ethereal goddess, this “Venus” stares out at the viewer with matter-of-factness, suggesting she is totally comfortable with her nudity.
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