ego habeo factum:

Latin- I have done

 

auxiliaries:

in grammar, a helping element, typically a verb that adds meaning to the main verb in a clause; they convey information about tense, mood, person & number; it occurs with a main verb that is in the form of an infinitive or a participle.  Some condition an associated change in or addition to the main verb, such as the English expanded form in “Mary is washing her hair now,” in which the auxiliary verb “is” occurs with the present participle “washing.” Another example is the French past indefinite form, as in il a donné and its English equivalent “he has given,” in which there is not only an auxiliary verb (French avoir, English “have”) but also a change of the main verb to the past participle.

 

feci:

Latin- done

 

Hellenistic portrait: * See EndNote<A>

Before the Hellenistic period (i.e. before Alexander’s death in 323 BC), Greek sculptors created idealized representations (e.g. the famous bust of Themistocles).   Unlike Roamn sculpters, they did not reproduce the subject accurately.  In the Hellenistic Age (323-27 BC) they sculpted heads of rulers & famous personalities (like Socrates, see EndNote).  Like the individualized busts of Hellenistic rulers on coins, Greek portraiture could achieve a good likeness, with relatively little flattery - Socrates' portraits show why he had a reputation for being ugly.  The successors of Alexander the Great began the practice of adding his head (as a deified figure) to their coins & were soon using their own.  However, when scrutinized closely, Hellenistic portrait reverts back to reflecting the idea of “types” rather than a desire for realistic physical capture.

 

sui generis:

adjective Latin, of his, her, its, or their own kind; unique.

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Myron (Discobulus): * see EndNote<B>

see Chapter VII, page 220, 225

 

Paeonius (Nike): * see EndNote<C>

Greek sculptor, late 5th century BC; trained in Northern Greece, later adapted Athenian  (Attic) stylistic elements into his own work, based on his interaction with the Olympia workshop of Phidias.   He won the commission to decorate the acroteria & the front (east) pediment sculptures of the Temple of Zeus (Olympia).  The Nike Temple parapet at Athens is attributed to him, based on similarities between the styles of drapery on both monuments.

 

Notre Dame cathedral (Madonna of the St. Anne portal): * see EndNote<D>

cathedral in Paris, outstanding example of French Gothic; built 1160-1260; consecrated to the Virgin Mary; a pioneer in use of the rib vaults & flying buttresses,  enormous, colourful rose windows  & sculptural decoration- reflecting a decisive break with earlier Romanesque.  The St Anne portal (south or right entry) dates from 1200 & shows scenes from the childhood of Jesus from the Annunciation of Mary to the Adoration of the Magi. 

 

Madonna with the Bean-blossom (Meister Wilhelm): * see EndNote <E>

aka Wilhelm of Herle or Wilhelm of Cologne; painter born in Herle, Dutch Limburg, active in Koln 1358-1380, producing some of the best paintings & frescoes of early Cologne.  Well known works include Christ on the Cross surrounded by saints (Cologne), and St. Veronica (Munich).  Among the works of this school is the altar of St. Clare (Cologne cathedral) in which the Sacrifice of the Mass in the centre is surrounded by 12 scenes from the youth & Passion of Christ.  

 

Suter [sic] (Well of Moses, Chartreuse, Dijon): * see EndNote<F>

Sluter, Klaus, 1340s-1406, Dutch sculptor, most important northern European sculptor of his age, a pioneer of the "northern realism" Early Netherlandish painting which would flower with Jan van Eyck in the next generation.  He worked in Brussels 1379-80, moved to Dijon (capital of Burgundy) working 1385 to 1389 as an assistant to Jean de Marville, Court Sculptor to Philip the Bold, Duke of Burgundy.  From 1389 to his death he was Court Sculptor himself, with the rank of valet de chambre.  His most significant work is the so-called Well of Moses.

 

Giovanni Pisano (Sant' Andrea at Pistoia): * see EndNote<G>

see Chapter VI page 212 and Chapter VII page 235

 

resting figures on the Gothic tombs:  * see EndNote<H>

The display of temporary or permanent effigies in wood,  wax or marble sculptures of the deceased was a common part of the funeral ceremonies of important people over a long stretch of European history.  They were shown lying on the coffin at the funeral, and then often displayed beside or over the tomb. The figures were dressed in the clothes of the deceased; only the face and hands needed to be modelled.

 

stelae (Attic cemeteries): * see EndNote<I>

Greek funerary markers, especially in Attica; during the Archaic period in Athens (600 BC) stele often showed certain archetypes of figures, such as the male athlete,  the figures were usually singular.  During the 6th and 5th centuries BC, Greek stelai declined & then rose in popularity in Athens.  Here we find scenes with multiple figures, a family unit or household scene. Typically grave stelai are made of marble, carved in relief, vibrantly painted.