At approximately the midpoint of the fourteenth century a new political statement came to the fore in Venice, a personification of the state, clearly labeled VeneÃ§ia (Fig. 1). Enthroned in a roundel high up on the Piazzetta faÃ§ade of the Palazzo Ducale, her enemies bowed beneath her feet, she is a powerful figure that draws on the secular iconography of virtue personifications and on the religious iconography of representations of the Virgin. VeneÃ§ia is no less distinctive for the stylistic currents she brings together. On one hand, her bulk and presence link her to the Giotto-related line of sculpture that is represented in the Veneto in fourteenth-century sculpture above all by the shop of Andriolo de Santi. On the other hand, her well-turned curls and jeweled ornaments together with her captivating charm link her to the courtly style coming out of Paris that spreads across much of Italy during the course of the fourteenth century. These two stylistic lines embedded in the VeneÃ§ia are the focus of this article... [This is a chapter excerpted from "Medieval Renaissance Baroque: A Cat's Cradle for Marilyn Aronberg Lavin," edited by David A. Levine and Jack Freiberg (Italica Press, New York, 201
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|Size: ||1.6 MB|
|Publisher: ||Italica Press, Inc.|
|Date published: ||Jan 2010|
|ISBN: ||9781599101750 (DRM-PDF)|
|Read Aloud: ||not allowed|