A multifaceted picture of the dynamic concepts of time and temporality is demonstrated in medieval and Renaissance art, as adopted in speculative, ecclesiastical, socio-political, propagandist, moralistic, and poetic contexts. Questions regarding perception of time are investigated through innovative aspects of Renaissance iconography.
Author(s): Simona Cohen
Series: Brill’s Studies in Intellectual History 228.6
Publisher: Brill
Year: 2014
Language: English
Pages: 392
Contents......Page 5
List of Illustrations......Page 9
Acknowledgments......Page 19
Color Plates......Page 21
Introduction......Page 37
Part One Sources and Prototypes of the Renaissance Iconography of Time......Page 39
Chapter One Concepts of Time in Classical Philosophy......Page 41
Chronos......Page 49
Aion/Aeternitas......Page 50
Phanes and the Leontocephaline......Page 55
Time and Solar Symbolism......Page 61
Mithraic Time Imagery......Page 65
Saturn......Page 68
Janus......Page 71
The Negation of Time in Early Christian Art......Page 75
Nox intempesta—The Problem of Defining Time......Page 79
The Medieval Concretization of Time......Page 82
Technology, Society and the Clock......Page 85
The Cosmic Diagram......Page 89
Annus and the tempora......Page 93
Macrocosm and Microcosm......Page 102
Fortuna and the Ages of Man......Page 109
Time and Death......Page 115
Chapter Five The Romanesque Zodiac: Its Symbolic Function on the Church Facade......Page 123
The Earliest Monumental Zodiacs......Page 124
The Symbolic Context of the Portal Zodiac......Page 128
Omnia Tempus Habent......Page 129
The Medieval Zodiac......Page 136
The Architectural Context of the Zodiac......Page 142
Part Two Changing Concepts of Time in the Renaissance......Page 149
Introduction Changing Concepts of Time in the Renaissance......Page 151
Questioning Assumptions: The Problem of “Father Time”......Page 153
Petrarch’s Description of Time......Page 155
Illustrations of the Trionfo del Tempo—the initial stage......Page 157
Time and Temporality: Stage II, 1450–60......Page 170
Eclecticism and Experimentation: 1460–80......Page 174
Antique Revival and Renaissance Innovations: 1480–1500......Page 187
Transformations of Time in the Sixteenth Century......Page 199
Fantasia per mostrare l’arte......Page 209
Objects and Maxims—the Visual Evidence......Page 211
Defining the Frame of Reference......Page 218
Liberal and Mechanical Arts......Page 220
Arms and Armor......Page 222
The Function of the Maxims......Page 223
Images of Virtue......Page 224
Images of Time......Page 226
Contrasts of Virtues and Vices......Page 228
Virtutis laus omnis in actione consistit......Page 230
Lysippos and the Classical Literary Tradition......Page 235
Medieval Mediators......Page 0
Classical Reliefs of Kairos......Page 1
The Fate of Kairos/Occasio in Medieval Art......Page 253
Pigliar il Tempo: Kairos/Occasio and Fortuna in the Early Renaissance......Page 258
Occasio & Fortuna—the Literary Tradition of the Early Cinquecento......Page 260
Occasio and the Fata Morgana......Page 268
Modifications of Kairos/Occasio in Painting and Emblems......Page 269
Early Renaissance Precedents......Page 281
Cinquecento Innovations: Michelangelo and Pontormo......Page 282
Veritas filia temporis in the mid Cinquecento......Page 288
The Emblem of Time as a Printers Device......Page 289
Personifications of Time: North Italian Monumental Art of the Mid Century......Page 300
Time in the Artistic Propaganda of Cosimo I—Francesco Salviati: Time in Political Strategy......Page 305
Angelo Bronzino: Time and Moralization......Page 321
Giorgio Vasari: Time Recruited......Page 331
Epilogue......Page 341
Appendix I Catalogue of Illuminated Manuscripts of Petrarch’s Trionfi Located in European and American Collections......Page 349
Appendix II Illustrated Incunabula and Books Containing Petrarch’s Trionfi, 1478–1610......Page 372
Select Bibliography......Page 375
Index......Page 389
