
Discover the stories of Art
Paolo Uccello
Paolo Uccello (/ uːˈtʃɛloʊ / oo-CHEL-oh, Italian: [ˈpaːolo utˈtʃɛllo]; 1397 – 10 December 1475),
born Paolo di Dono, was an Italian
Renaissance painter and mathematician
from Florence who was notable for his
pioneering work on visual perspective in art.



The Hunt
The Miracle of the Desecrated Host
The Battle of San Romano
The Hunt in the Forest (also known as The Hunt by Night or simply The Hunt) is a painting by the Italian artist Paolo Uccello, made around 1470. It is in the collection of the Ashmolean Museum, Oxford, England.[1]
The painting is an example of linear perspective in Renaissance art, a mathematical system developed to create the appearance of depth on a flat surface.[2] To do this, Uccello created a grid on the panel and diminished the scale of the figures, animals, and objects in relation to a central vanishing point.[3]
The panel was probably part of a cassone, a painted chest associated with marriage in the Italian Renaissance.[4]
It was Uccello's last known work before his death in 1475.[5]
In popular culture
Uccello's painting is featured in the "Point of Vanishing" episode of the British TV series, Lewis. A postcard of the painting is discovered as a clue to a murder. Lewis and his colleague visit the painting at the Ashmolean Museum on more than one occasion and are instructed on its significant features by a museum expert. The painting provides Lewis with an insight that allows him to solve the case.[citation needed]
John Fowles mentions the painting twice, in The Ebony Tower and The Collector: "...the design hits you the moment you see it. Apart from all the other technical things. You know it's faultless."[citation needed]
Brian Catling also mentions the painting in his 2017 novel The Erstwhile, describing a "hunt where men ran into darkness, sending dogs and spears darting lie violets into the vanishing point of flickering trees."
Wikipedia
The Miracle of the Desecrated Host (also known as The Miracle of the Profaned Host[1]) is a six-panel tempera-on-panel predella by Paolo Uccello, painted between 1467 and 1469 for the Confraternity of the Corpus Domini and their oratory in the Corpus Domini church in Urbino. The predella was completed before van Wassenhove's work and Uccello received his last payment on 17 October 1469 (folio 37v) and the rules made by folio 38r (a total of 18 florins and 16 bolognini).
Uccello had also originally been commissioned to paint the altarpiece to which this predella would be attached, but that work was instead entrusted to Justus van Gent, who completed the main altarpiece Communion of the Apostles in 1474.[2]
Measuring 42 cm by 361 cm, the predella was moved to Santa Agatha then to the Scolopi College. It was then lost until 1858, when it was rediscovered in a barn and moved to the Ducal Palace. It had probably been used as a masons' bench and had been damaged, with the colours altered by traces of lime. It was restored in 1954, revealing previous repainting and repairs. It is now in the Galleria Nazionale delle Marche in Urbino.
It shows a story of host desecration, possibly inspired by Bernardino of Siena's sermons, running from left to right and with each scene separated from the next by separately-painted half-balustrades. From left to right these show
-
a woman exchanges a host with a Jewish merchant for a mantle or a Jewish usurer for money
-
the Jew tries to burn the host, but it starts to bleed, alerting the guards
-
a procession is organised to re-consecrate the host
-
despite repenting, the woman is going to be hanged from a tree, however an angel descends from heaven to save her soul
-
the Jew and his family are burned at the stake
-
two angels and two devils argue over the woman's body - Wikipedia
The Battle of San Romano is a set of three paintings by the Florentine painter Paolo Uccello depicting events that took place at the Battle of San Romano between Florentine and Sienese forces in 1432. They are significant as revealing the development of linear perspective in early Italian Renaissance painting, and are unusual as a major secular commission. The paintings are in egg tempera on wooden panels, each over 3 metres long. According to the National Gallery,[1] the panels were commissioned by a member of the Bartolini Salimbeni family in Florence sometime between 1435 and 1460. The paintings were much admired in the 15th century; Lorenzo de' Medici so coveted them that he purchased one and had the remaining two forcibly removed to the Palazzo Medici. They are now divided among three collections, the National Gallery, London, the Galleria degli Uffizi, Florence, and the Musée du Louvre, Paris.
The Uffizi panel was probably designed to be the central painting of the triptych and is the only one signed by the artist. The sequence most widely agreed among art historians is: London, Uffizi, Louvre, although others have been proposed. They may represent different times of day: dawn (London), mid-day (Florence) and dusk (Paris) – the battle lasted six or seven hours.
In the London painting, Niccolò da Tolentino, with his large gold and red patterned hat, is seen leading the Florentine cavalry. He had a reputation for recklessness, and doesn't even wear a helmet, though he sent two messengers (the departure of the two messengers, depicted centre, top) to tell his allied army of Attendolo to hurry to his aid as he is facing a superior force.[4] In the foreground, broken lances and a dead soldier are carefully aligned into orthogonals, so as to create an impression of perspective. Similar to that of a tapestry, the landscape rises up in a picture plane as opposed to receding deeply into space. This illusion of a backdrop and a perspective theme resembling a stage, depicts the war as a theatrical ceremony.[5] The three paintings were designed to be hung high on three different walls of a room, and the perspective designed with that height in mind, which accounts for many apparent anomalies in the perspective when seen in photos or at normal gallery height.
Many areas of the paintings were covered with gold and silver leaf. While the gold leaf, such as that found on the decorations of the bridles, has remained bright, the silver leaf, found particularly on the armour of the soldiers, has oxidized to a dull grey or black. The original impression of the burnished silver would have been dazzling. All of the paintings, especially that in the Louvre, have suffered from time and early restoration, and many areas have lost their modelling.[2]
The panels were a subject in the BBC series The Private Life of a Masterpiece (2005). Wikipedia


Guillaume Du Fay (/djuːˈfaɪ/ dyoo-FEYE, French: [ɡijom dy fa(j)i]; also Dufay, Du Fayt; 5 August 1397 – 27 November 1474) was a composer and music theorist of early Renaissance music, who is variously described as French or Franco-Flemish. Considered the leading European composer of his time, his music was widely performed and reproduced.[2] Du Fay was well-associated with composers of the Burgundian School, particularly his colleague Gilles Binchois, but was never a regular member of the Burgundian chapel himself.[3][4]
While he is among the best-documented composers of his time, Du Fay's birth and family are shrouded with uncertainty, though he was probably the illegitimate child of a priest. He was educated at Cambrai Cathedral, where his teachers included Nicolas Grenon and Richard Loqueville. For the next decade, Du Fay worked throughout Europe: as a subdeacon in Cambrai, under Carlo I Malatesta in Rimini, for the House of Malatesta in Pesaro, and under Louis Aleman in Bologna, where he was ordained priest. As his fame began to spread, he settled in Rome in 1428 as musician of the prestigious papal choir, first under Pope Martin V and then Pope Eugene IV, where he wrote the motets Balsamus et munda cera, Ecclesie militantis and Supremum est mortalibus. Amid Rome's financial and political disorder in the 1430s, Du Fay took a leave of absence from the choir to serve Amadeus VIII, Duke of Savoy.
Du Fay has been described as leading the first generation of European musicians who were primarily considered 'composers' by occupation. His erratic career took him throughout Western Europe, resulting in a 'cosmopolitan style' and an extensive oeuvre which included representatives of virtually every polyphonic genre of his time.[2] Like Binchois, Du Fay was deeply influenced by the contenance angloise style of John Dunstaple, and synthesized it with a wide variety of other styles, including that of the famous Missa Caput, and the techniques of his younger contemporaries, Ockeghem and Busnois.[5] Wikipedia
Guillaume Dufay
Dufay, Du Fayt; 5 August 1397 – 27 November 1474)

Discover the Beauty of Music
Guillaume Dufay



Inspiration
Creativity
Wisdom
Connection
When we are no longer able to change a situation, we are challenged to change ourselves.”
― Viktor E. Frankl, Man's Search for Meaning
Reflection
-
“It really boils down to this: that all life is interrelated. We are all caught in an inescapable network of mutuality, tied into a single garment of destiny. Whatever affects one destiny, affects all indirectly.” – Martin Luther King Jr.
Gratitude
“One can have no smaller or greater mastery than mastery of oneself.” – Leonardo da Vinci
"Challenges are gifts that force us to search for a new center of gravity. Don't fight them. Just find a new way to stand." —Oprah Winfrey
The Legend of:
Image from Wikipedia

Discover the magic of Myth
Merlin
Merlin (Welsh: Myrddin)[note 2] is a mythical figure prominently featured in the legend of King Arthur and best known as a prophet and a magician, along with several other main roles.[note 3] The familiar depiction of Merlin, based on an amalgamation of historical and legendary figures, was introduced by the 12th-century Catholic cleric Geoffrey of Monmouth and then built on by the French poet Robert de Boron and prose successors in the 13th century. Geoffrey's account presented Merlin as a prophet and royal advisor to Arthur's father, Uther Pendragon.[6]
Geoffrey seems to have combined earlier Welsh tales of Myrddin and Emrys (Ambrosius), two legendary Briton prophets with no connection to Arthur, to form the composite figure that he called Merlinus Ambrosius. His rendering of the character became immediately popular, especially in Wales.[7] Later chronicle and romance writers in France and elsewhere expanded the account to produce a more full, multifaceted character, creating one of the most important figures in the imagination and literature of the Middle Ages. Today, he continues to be highly popular in the modern era (see also the article fiction featuring Merlin).
Merlin's traditional biography casts him as an often-mad cambion, born of a mortal woman and an incubus, from whom he inherits his supernatural powers and abilities.[8] His most notable abilities commonly include prophecy and shapeshifting. Merlin matures into an ascendant sage and engineers Arthur's birth through magic and intrigue.[9] Later stories have Merlin as an advisor and mentor to the young king until he disappears from the tale, leaving behind a series of prophecies foretelling events to come. A popular version from the French prose cycles tells of Merlin being bewitched and forever sealed up or killed by his student, Lady of the Lake, after having fallen in love with her. Other texts variously describe his retirement, at times supernatural, or death.
Name
Merlinus (Merlin) in the Nuremberg Chronicle (1493)
A male merle, the bird whose name may have inspired that of Merlin
The name Merlin is derived from the Welsh name of the legendary bard Myrddin that Geoffrey of Monmouth Latinised to Merlinus in his works. Medievalist Gaston Paris suggests that Geoffrey chose the form Merlinus rather than the expected *Merdinus to avoid a resemblance to the Anglo-Norman word merde (from Latin merda) for feces.[10][11] Henri d'Arbois de Jubainville reduced it to the result of the "tendency of d to change into l in Indo-European languages."[12]
'Merlin' may also be an adjective, in which case he should be called "The Merlin", from the French merle meaning common blackbird (Turdus merula).[13]: 79 An association with this bird in French was deemed logical by Philippe Walter.[14] According to Martin Aurell, the Latin form Merlinus is a euphony of the Welsh form Myrddin to bring him closer to the white blackbird (merle blanc[note 4]) into which he could metamorphose through his shamanic powers, as was notably the case for Merlin's Irish counterpart.[16][17] Folklorist Jean Markale proposed that the name of Merlin is of French origin and means 'little blackbird', an allusion to the mocking and provocative personality usually attributed to him in medieval stories.[18] According to Jean-Charles Berthet, however, the analogies between Merlin and the blackbird are more akin to a later establishment than to a real etymology, since the French name of Merlin is later than the other forms.[19]
Myrddin may be a combination of *mer (mad) and the Welsh dyn (man), to mean 'madman'.[20] It may also mean '[of] many names' if it was derived from the Welsh myrdd, myriad.[21][22] In his Myrdhinn, ou l'Enchanteur Merlin (1868), La Villemarqué derived Marz[h]in, which he considered the original form of Merlin's name, from the Breton word marz (wonder) to mean 'wonder man'.[23] Clas Myrddin or Merlin's Enclosure is an early name for Great Britain as stated in the third series of Welsh Triads.[24]
Celticist Alfred Owen Hughes Jarman suggested that the Welsh name Myrddin (Welsh pronunciation: [ˈmərðɪn]) was derived from the toponym Caerfyrddin, the Welsh name for the town known in English as Carmarthen.[25] This contrasts with the popular folk etymology that the town was named after the bard (Henri d'Arbois de Jubainville, who questioned the historical origins of Merlin, concluded that the legend was fabricated to retroactively explain the name of the town[26]). The name Carmarthen is derived from the town's previous Roman name Moridunum,[10][25] which was in turn derived from the Celtic Brittonic moridunon, 'sea fort[ress]'.[27] Eric P. Hamp proposed a similar etymology: Morij:n, 'the maritime' or 'born of the sea'.[28] There is no obvious connection between Merlin and the sea in the texts about him, but Claude Sterckx has suggested that Merlin's father in the Welsh texts, Morfryn, might have been a sea spirit.[29][note 5]
The Welsh Myrddin could also be phonetically connected to the name Martin.[31] Some of the powers and other attributes of the 4th-century French saint Martin of Tours (and his disciple Saint Hilaire) in hagiography and folklore are similar to these of Merlin (albeit coming from God[32]). If a relationship between the two figures does exist, however, it may rather be a reverse one in which the Merlin tradition inspired the later accounts of the saint's miracles and life.[33] Wikipedia
by Joshua J. Mark
published on 24 April 2019
Merlin Constructs Stonehenge, Roman de BrutBritish Library (Public Domain)
Merlin (also known as Myrddin, Merlinus) is the great wizard of the Arthurian Legends best known from Sir Thomas Malory's Le Morte D'Arthur (1469 CE). The character was created by Geoffrey of Monmouth in his History of the Kings of Britain (1136 CE) where he first appears as a wise and precocious youth with prophetic powers. The French poet Robert Wace (c. 1110-1174 CE) then translated Geoffrey's work and added to it in his Roman de Brut (c. 1160 CE). Merlin was later featured as the central character of the Merlin by Robert de Boron (12th century CE) who cast him as a Christian prophet, and this depiction, with some variation, would continue in the Vulgate Cycle (1215-1235 CE) and the Post-Vulgate Cycle (c. 1240-1250 CE) to influence Malory's final characterization of the seer.
In Malory, Merlin is Arthur's mentor, instrumental in every aspect of his life from his conception to his education, his rise to power, and his vision of a kingdom ruled through justice and goodwill. Merlin is central to the lives of all the main characters of the legend, able to see both past and future, eager to advise and be of service, but unable to alter what he knows must be.
From his earliest appearance in medieval literature, Merlin has remained among the most popular characters in the legends. He may have originally been a fertility god or spirit, feared or revered for his great wisdom and magical abilities, and this concept of Merlin was revived in 19th-century CE romantic literature. Since then, he has appeared in or influenced numerous works of fiction, film, and other media, almost always depicted or referenced in this same way, as a powerful mage.
“And what is the use of knowing many things if, when you have learned the dimensions of heaven and earth, the measure of the seas, the courses of stars, the virtues of plants and stones, the secrets of nature, you still don’t know yourself?”
― Francesco Petrarca
Good Reads
Love is the crowning grace of humanity, the holiest right of the soul, the golden link which binds us to duty and truth, the redeeming principle that chiefly reconciles the heart to life, and is prophetic of eternal good.
Petrarch
https://www.brainyquote.com/quotes/petrarch_211775
Quote of the Week
Francis Petrarch[a] (born Francesco di Petracco; 20 July 1304 – 19 July 1374) was an Italian scholar and poet of the early Italian Renaissance, as well as one of the earliest Renaissance humanists.[1]




Ciao!
Florence Cathedral with Brunelleschi Duomo
Florence Cathedral (Italian: Duomo di Firenze), formally the Cathedral of Saint Mary of the Flower (Italian: Cattedrale di Santa Maria del Fiore [katteˈdraːle di ˈsanta maˈriːa del ˈfjoːre]), is the cathedral of the Catholic Archdiocese of Florence in Florence, Italy. Commenced in 1296 in the Gothic style to a design of Arnolfo di Cambio and completed by 1436 with a dome engineered by Filippo Brunelleschi,[1] the basilica's exterior is faced with polychrome marble panels in various shades of green and pink, alternated by white, and features an elaborate 19th-century Gothic Revival western façade by Emilio De Fabris.
The cathedral complex, in Piazza del Duomo, includes the Florence Baptistery and Giotto's Campanile. These three buildings are part of the UNESCO World Heritage Site covering the historic centre of Florence and are a major tourist attraction of Tuscany. The basilica is one of world's largest churches and its dome is still the largest masonry dome ever constructed.[2][3] The cathedral is the mother church and seat of the Archdiocese of Florence, whose archbishop is Gherardo Gambelli.[4]
The 19th century Neo-Gothic façade -Wikipedia
Discover the ingenuity of Architecture
Santa Maria del Fiore was built on the site of Florence's second cathedral dedicated to Saint Reparata;[5] the first bishop's seat was the Basilica of San Lorenzo, the initial building of which was consecrated as a church in 393 by St. Ambrose of Milan.[6][7] The ancient structure, founded in the early 5th century and having undergone many repairs, was crumbling with age, according to the 14th-century Nuova Cronica of Giovanni Villani,[8] and was no longer large enough to serve the growing population of the city.[8] Other major Tuscan cities had undertaken ambitious reconstructions of their cathedrals during the Late Medieval period, such as Pisa and particularly Siena where the enormous proposed extensions were never completed.
The Cathedral as depicted in the Codex Rustici of 1447
The city council of Florence approved Arnolfo di Cambio's design for the new church in 1294.[9] Di Cambio was also architect of the church of Santa Croce and the Palazzo Vecchio.[10][11] He designed three wide naves ending under an octagonal dome, with the middle nave covering the area of Santa Reparata. The first stone was laid on 9 September 1296, by Cardinal Valeriana, the first papal legate ever sent to Florence. The building of this vast project was to last 140 years; Arnolfo's plan for the eastern end, although maintained in concept, was greatly expanded in size.
The Duomo, as if completed, in a fresco by Andrea di Bonaiuto, painted in the 1360s, before the commencement of the dome
After Arnolfo died in 1302, building of the cathedral slowed for almost 50 years. When the relics of Saint Zenobius were discovered in 1330 in Santa Reparata, the project gained a new impetus. In 1331, the Arte della Lana, the guild of wool merchants, took over patronage for the construction of the cathedral and in 1334 appointed Giotto to oversee the work. Assisted by Andrea Pisano, Giotto continued di Cambio's design. His major contribution was to design and begin the construction of the campanile. When Giotto died on 8 January 1337, Andrea Pisano continued the building until work was halted due to the Black Death in 1348.
Wikipedia
The Library of Strohov Monastery

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