Box 302
Contains 183 Results:
Hercules Slaying the Nemean Lion, Sculpture depicts the first of Hercules' twelve labors, in which he was sent by King Eurystheus of Cleonae to kill the invulnerable Nemean Lion. During the battle, Hercules realized his arrows could not penetrate the lions skin and resorted to hand to hand combat. This sculpture depicts Hercules' stretching the jaws of the mighty lion in traditional Neo-Classical Greek clothing and hair. The sculpture rests on a raised dais in an outdoor setting.
Vanderbilt photo identifier: SC.MSS.088.SCUL.0269; Public Notes:
Hercules Slaying the Nemean Lion, Sculpture depicts the first of Hercules' twelve labors, in which he was sent by King Eurystheus of Cleonae to kill the invulnerable Nemean Lion. During the battle, Hercules realized his arrows could not penetrate the lions skin and resorted to hand to hand combat. This sculpture depicts Hercules' stretching the jaws of the mighty lion in traditional Neo-Classical Greek clothing and hair. The sculpture rests on a raised dais in an outdoor setting.
Vanderbilt photo identifier: SC.MSS.088.SCUL.0270; Public Notes: This is a basic record created to enable public access to scanned images. Full research on this image is pending. For assistance, please e-mail us at specialcollections@vanderbilt.edu
Deposizione della Croce; Deposition from the Cross, Marble relief adorns the walls of the Cathedral of Parma in Italy depicts the deposition of Jesus from the cross by the disciples. The relief showcases the disciples in morning to the left of the cross along with the Three Mary's and the personification of Ecclesia. On the right, Synagoga and the Roman soldiers stand. Above, two angels offer comfort to women., 1178
Vanderbilt photo identifier: SC.MSS.088.SCUL.0271; Public Notes:
San Bernardo Degli Uberti, The sculpture depicts Bernardo Degli Uberti, the 12th century abbot of the San Salvio Monastery and later Bishop of Parma, seated in papal regalia depicting his bishop status and hold a book on his knee and has a scepter in one hand and two angels stand behind him.
Vanderbilt photo identifier: SC.MSS.088.SCUL.0272; Public Notes:
Saint Michael Archangel; San Michele Arcangelo, Marble relief depicts the Archangel Michael carrying his sword and scales to weigh the souls of humanity. Below his feet is the defeated Satan in his dragon form,
Vanderbilt photo identifier: SC.MSS.088.SCUL.0273; Public Notes:
Adoration of the Child, Marble relief depicts the Virgin Mary and Saint Joseph in adoration of the child with the heavenly host and God the Father above them. Below them, small clusters of angels stand and a rocky dessert path appears, perhaps representing the flight to Egypt. At the very bottom of the image, a family crest is displayed.
Vanderbilt photo identifier: SC.MSS.088.SCUL.0274; Public Notes:
Madonna with the Child, Painting depicts the Nursing Madonna and Child. The virgin Mary is depicted lovingly gazing at the Christ child, both are adorned with halos but no other mark of divinity is placed on this intimate scene of mother and child.
Vanderbilt photo identifier: SC.MSS.088.SCUL.0275; Public Notes:
San Francesco che traversa un rogo ardente, Marble relief depicts a scene from the life of Saint Francis in which he traveled to Egypt in an attempt to convert the Muslim Satan al-Kamil to Christianity during the fifth crusade. Once received by the Sultan, Saint Francis apparently began a trial by fire in which he challenged the Muslim priests to walk through the fire to see who remained unburned. The priests did not wish to enter the challenge so Saint Francis alone walked through the flames and remained unburned. Here, the image depicts Sultan al-Kamil sitting on an elevated dais with his priests on the left and Saint Francis with his fellow Franciscans on the right. At Saint Francis' feet, an open flame burns., 1472-76
Vanderbilt photo identifier: SC.MSS.088.SCUL.0276; Public Notes: Marble relief belongs to a series of scenes depicted on the Pulpit of Santa Croce, commissioned by Pietro Mellini, a wealthy banker, relief was to be a funeral monument.
La Morte di S. Francesco, Marble relief depicts the death of Saint Francis in 1226. The saint is surrounded by his monastic order performing last rites. The scene takes place indoors surrounded by elaborate columns., 1472-76
Vanderbilt photo identifier: SC.MSS.088.SCUL.0277; Public Notes: Marble relief belongs to a series of scenes depicted on the Pulpit of Santa Croce, commissioned by Pietro Mellini, a wealthy banker, relief was to be a funeral monument.
The Martyrdom of Franciscan Friars, Marble relief depicts the first recorded martyrdom of Franciscan friars in the 13th century. According to the hagiography, Francis of Assisi had sent a group of friars to the Islamic controlled Morocco to evangelize. The group was eventually arrested for both refusing to stop preaching nor leave. While imprisoned, the friars resisted Islamic conversion and were eventually brought before the king and beheaded. Here, the relief depicts the Sultan enthroned in a courtyard with attendants around him. The friars are grouped to the left, one lifts his eyes heavenward with his hand open another kneels in prayer. In the center, an executioner stands with his scimitar raised and beheaded friars at his feet. In the background a landscape appears depicting a group of friars kneel and receive a blessing from a fellow friar. In the sky Saint Francis appears with two hands emerging. The relief belongs to a series of four other reliefs from the pulpit of Santa Croce, Florence that are remembered as the most important relief cycle in terracotta from the 15th century., 1480-1481
Vanderbilt photo identifier: SC.MSS.088.SCUL.0278; Public Notes:
Le Stimate di S. Francesco; The Stigmata of Saint Francis, Marble relief depicts the Stigmata of St. Francis near Mount La Verna in 1224. According to the hagiography, Saint Francis had spent forty days fasting and on the last day, the day of the Exaultation of the Cross, he looked up into the sky to see a six winged Seraphim in the sky. When he fell to his knees to pray he realized the angel was crucified and in turn, Francis too experienced the wounds of the crucifixion. Here, the marble relief depicts Francis in the moment right before his stigmata. He kneels at the sight of the crucified angel in the sky, to the right of the relief. He is joined by a fellow friar to the left, who also kneels in awe. The scene takes place in the foothills before a city, possibly Arezzo, Italy, the providence in which Mount La Verna resides., 1472-76
Vanderbilt photo identifier: SC.MSS.088.SCUL.0279; Public Notes: Marble relief belongs to a series of scenes depicted on the Pulpit of Santa Croce, commissioned by Pietro Mellini, a wealthy banker, relief was to be a funeral monument.
Honorius III Ratifying the Order of Saint Francis; Onorio III che ratifica l'ordine di S.Francesco, Marble relief depicts the confirmation of the Franciscan order by Pope Honorius III in 1223. The relief depicts the Pope enthroned with one hand raised in blessing over a kneeling Saint Francis and the other holds the rolled document of the order. To the left, a cluster of monks gather and surrounding the pope are two nuns and two attendants., 1480-81
Vanderbilt photo identifier: SC.MSS.088.SCUL.0280; Public Notes:
The Annunciation, The marble altar at the Mastrogiudici chapel depicts the Annunciation in which the Archangel Gabriel announces the birth of Christ to the Virgin Mary, from the Gospel of Luke. The scene is set in an indoor courtyard, beneath a predella in which three angels observe. The niches are decorated with four saints holding books, two standing males and two female. The base of the altar is decorated with scenes from the life of Christ, including: the Adoration of the Magi, Presentation at the Temple, the Agony in the Garden, the Entombment of Christ, Pentecost, the Assumption of Mary., before 1489
Vanderbilt photo identifier: SC.MSS.088.SCUL.0281; Public Notes: Altare in marmo nella cappella Mastrogiudici
Altare di S.Bartolo (dettaglio), Marble relief from the altar of Saint Bartolo depicting the Madonna and Child surrounded them in four sides, to the right and left standing archangels appear, above and below bust statues of cherubim angels. The bottom of the altar is decorated with more cherubim heads., 15th century
Vanderbilt photo identifier: SC.MSS.088.SCUL.0282; Public Notes:
Altare della cappella di S.Fina, Image depicts the altar of Saint Fina inside the Collegiata di San Gimignano. The elevated tomb sits within a niche. There are angels on each side and a Madonna and Child with two angels above. The structure holds an inscription stating the resting place of the Saint Fina. There are small decorative figures throughout the piece., 1473-75
Vanderbilt photo identifier: SC.MSS.088.SCUL.0283; Public Notes:
Saint John the Baptist and Puttis, Image depicts the pediment above the doors at the Palazzo Vecchio in the Hall of Lilies. The statue depicts a standing John the Baptist wearing camel hair, holding his staff, and scroll that reads " Ecce Agnus Dei- the lamb of God." To the left and right two puttis stand., 1470-1472
Vanderbilt photo identifier: SC.MSS.088.SCUL.0284; Public Notes:
Madonna and Child, Marble relief depicts the Madonna and Child with four angels at the Chapel of Filippo Strozzi, dedicated to the Apostles Philip and James. The relief sits behind the altar and above the tomb of Filippo Strozzi., 1487-1497
Vanderbilt photo identifier: SC.MSS.088.SCUL.0285; Public Notes:
Saint John the Baptist and Puttis, Image depicts a detail from the pediment above the doors at the Palazzo Vecchio in the Hall of Lilies. The statue depicts a standing John the Baptist wearing camel hair, holding his staff, and scroll that reads " Ecce Agnus Dei- the lamb of God.", 1470-1472
Vanderbilt photo identifier: SC.MSS.088.SCUL.0286; Public Notes:
Tombstone of Cardinal Leonardo Buonafede, Sculpture depicts the effigy of Bishop Leonardo Bonafede, Bishop of Ostia, at his tomb. Bishop Bonafede was to be the next pope before dying suddenly. His tomb rests at the Certosa del Galluzzo. Exceptionally, this piece depicts a man in old age, without his cardinal's robe but still wearing his Mitre. Stylistically, this effigy is very similar to Roman Republic portraiture and represents Sangallo's mature workmanship.
Vanderbilt photo identifier: SC.MSS.088.SCUL.0287; Public Notes:
Melancholy Self Portrait, Image of Bernini's melancholic self portrait, part of a series of self portraits the artist did throughout his life. This particular portrait illustrates the influence of Diego Velazquez. The bust portrait depicts an adult artist, against a dark backdrop wearing dark clothes with a wide, white collar., circa 1630, Photographed in 22978
Vanderbilt photo identifier: SC.MSS.088.SCUL.0288; Public Notes: Painting was sold into a private collection, facilitated by Sotheby's in November 1962.
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