Death and salvation in renaissance Florence: Masaccio, The Holy Trinity
Masaccio, The Holy Trinity, c. 1427, fresco, 640 x 317 cm (Basilica of Santa Maria Novella, Florence)
Speakers: Dr. Beth Harris and Dr. Steven Zucker
Italy. Florence. Church of Santa Trinita
Santa Trinita (Holy Trinity) is a church in central Florence, Italy. It is the mother church of the Vallumbrosan Order of monks, founded in 1092 by a Florentine nobleman. Nearby is the Ponte Santa Trinita over the river Arno.
The church is famous for its Sassetti Chapel, containing notable frescoes by Domenico Ghirlandaio, ranked amongst 15th century painting's masterworks.
Even though the Italian word for trinity is trinità, with an accent indicating stress on the last vowel, the Florentine pronunciation puts the stress on the first vowel, and the name is therefore written without an accent; sometimes, it is accented as trìnita to indicate the unusual pronunciation.
Holy Trinity (Masaccio)
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Holy Trinity (Masaccio)
The Holy Trinity, with the Virgin and Saint John and donors (Italian: Santa Trinità ) is a fresco by the Early Italian Renaissance painter Masaccio.It is located in the Dominican church of Santa Maria Novella, in Florence.
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Artist-Info: Masaccio (1401–1428) Alternative names Birth name: Tommaso di Ser Giovanni di Simone Description Italian painter Date of birth/death 21 December 1401 1428 Location of birth/death San Giovanni Valdarno Rome Work location Florence Authority control VIAF: 7368513 LCCN: n79006973 GND: 118578618 BnF: cb11945583s ULAN: 500026649 ISNI: 0000 0001 2119 1860 WorldCat WP-Person
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04 Florence 19 Masaccio, Holy Trinity
Basilica of Santa Maria Novella, Florence, Tuscany, Italy, Europe
Santa Maria Novella is a church in Florence, Italy, situated just across from the main railway station which shares its name. Chronologically, it is the first great basilica in Florence, and is the city's principal Dominican church. The church, the adjoining cloister, and chapterhouse contain a store of art treasures and funerary monuments. Especially famous are frescoes by masters of Gothic and early Renaissance. They were financed through the generosity of the most important Florentine families, who ensured themselves of funerary chapels on consecrated ground. The vast interior is based on a basilica plan, designed as a Latin cross and is divided into a nave, two aisles with stained-glass windows and a short transept. The large nave is 100 metres long and gives an impression of austerity. There is a trompe l'oeil-effect by which this nave towards the apse seems longer than its actual length. The slender compound piers between the nave and the aisles are ever closer when you go deeper into the nave. The ceiling in the vault consists of pointed arches with the four diagonal buttresses in black and white. The interior also contains corinthian columns that were inspired by the Classical era of Greek and Roman times.
The stained-glass windows date from the 14th and 15th century, such as 15th century Madonna and Child and St. John and St. Philip (designed by Filippino Lippi), both in the Filippo Strozzi Chapel. Some stained glass windows have been damaged in the course of centuries and have been replaced. The one on the facade, a depiction of the Coronation of Mary dates from the 14th century, based on a design of Andrea di Bonaiuto da Firenze.
The pulpit, commissioned by the Rucellai family in 1443, was designed by Filippo Brunelleschi and executed by his adopted child Andrea Calvalcanti. This pulpit has a particular historical significance, because from this pulpit the first attack came on Galileo Galilei, leading eventually to his indictment. The Holy Trinity, situated almost halfway in the left aisle, is a pioneering early renaissance work of Masaccio, showing his new ideas about perspective and mathematical proportions. Its meaning for the art of painting can easily be compared by the importance of Brunelleschi for architecture and Donatello for sculpture. The patrons are the kneeling figures of the judge and his wife, members of the Lenzi family. The cadaver tomb below carries the epigram: I was once what you are, and what I am you will become.
Of particular note in the right aisle is the Tomba della Beata Villana, a monument by Bernardo Rossellino in 1451. In the same aisle, you can find the tombs of the Bishop of Fiesole by Tino di Camaino and another one by Nino Pisano. Giorgio Vasari was the architect, commissioned in 1567 by Grand Duke Cosimo I, for the first remodeling of the church, which included removing its original rood screen and loft, and adding six chapels between the columns. An armillary sphere (on the left) and a gnomon (on the right) were added to the end blind arches of the lower façade by Ignazio Danti, astronomer of Cosimo I, in 1572. The second remodeling was designed by Enrico Romoli, and was carried out between 1858 and 1860. The square in front the church was used by Cosimo I for the yearly chariot race (Palio dei Cocchi). This custom existed between 1563 and late in the 19th century. The two obelisks marked the start and the finish of the race. They were set up to imitate an antique Roman circus. The obelisks rest on bronze tortoises, made in 1608 by the sculptor Giambologna. This church was called Novella (New) because it was built on the site of the 9th-century oratory of Santa Maria delle Vigne. When the site was assigned to Dominican Order in 1221, they decided to build a new church and an adjoining cloister. The church was designed by two Dominican friars, Fra Sisto Fiorentino and Fra Ristoro da Campi. Building began in the mid-13th century (about 1246), and was finished about 1360 under the supervision of Friar Iacopo Talenti with the completion of the Romanesque-Gothic bell tower and sacristy. At that time, only the lower part of the Tuscan gothic facade was finished. The three portals are spanned by round arches, while the rest of the lower part of the facade is spanned by blind arches, separated by pilasters, with below Gothic pointed arches, striped in green and white, capping noblemen's tombs. This same design continues in the adjoining wall around the old churchyard. The church was consecrated in 1420.
Florence: Masaccio's Trinity
Masaccio's masterpiece The Trinity in Santa Maria Novella gets a quick scan here, the best part of which is in trying to give a sense of the scale of the work. Erik and I visited the Dominican church on Sunday 23 July 2006.
Part of my journal entry at:
Masaccio's Holy Trinity by L Zoger
Bentley School AP Art History
Bella Florence, Italy!
Hello travellers! Must I say, Florence is my absolute favourite. Cradle of the Renaissance, romantic, enchanting and utterly irresistible, Florence (Firenze) is a place to feast on world-class art and gourmet Tuscan cuisine.
The urban fabric of this small city, on the banks of the Arno river in northeastern Tuscany, has hardly changed since the Renaissance and its narrow cobbled streets are a cinematic feast of elegant 15th- and 16th-century palazzi (palaces), medieval candle-lit chapels, fresco-decorated churches, marble basilicas and world-class art museums brimming with paintings and sculptures by Botticcelli, Michelangelo et al. Unsurprisingly, the entire city centre is a Unesco World Heritage site.
The fashion is updated and in tread, homegrown designers Guccio Gucci and Salvatore Ferragamo opened haute-couture boutiques in Florence in the 1920s and shopping in the Tuscan capital has been stylish ever since. A-lister fashion houses lace Via de' Tornabuoni and a Pandora's box of specialist boutiques selling all manner of beautiful objects parade alongside family-run botteghe (workshops) in a glorious tangle of medieval backstreets.
The food is absolutely amazing, quality produce sourced locally, seasonally and sustainably is the Holy Trinity and Florentines share an enormous pride in their culinary tradition. Their city, surrounded by wine-rich hills, is a gourmet paradise where eating and drinking exceedingly well is mandatory.
Basilica of Santa Maria Novella, Florence, Tuscany, Italy, Europe
Santa Maria Novella is a church in Florence, Italy, situated just across from the main railway station which shares its name. Chronologically, it is the first great basilica in Florence, and is the city's principal Dominican church. The church, the adjoining cloister, and chapterhouse contain a store of art treasures and funerary monuments. Especially famous are frescoes by masters of Gothic and early Renaissance. They were financed through the generosity of the most important Florentine families, who ensured themselves of funerary chapels on consecrated ground. The vast interior is based on a basilica plan, designed as a Latin cross and is divided into a nave, two aisles with stained-glass windows and a short transept. The large nave is 100 metres long and gives an impression of austerity. There is a trompe l'oeil-effect by which this nave towards the apse seems longer than its actual length. The slender compound piers between the nave and the aisles are ever closer when you go deeper into the nave. The ceiling in the vault consists of pointed arches with the four diagonal buttresses in black and white. The interior also contains corinthian columns that were inspired by the Classical era of Greek and Roman times.
The stained-glass windows date from the 14th and 15th century, such as 15th century Madonna and Child and St. John and St. Philip (designed by Filippino Lippi), both in the Filippo Strozzi Chapel. Some stained glass windows have been damaged in the course of centuries and have been replaced. The one on the facade, a depiction of the Coronation of Mary dates from the 14th century, based on a design of Andrea di Bonaiuto da Firenze.
The pulpit, commissioned by the Rucellai family in 1443, was designed by Filippo Brunelleschi and executed by his adopted child Andrea Calvalcanti. This pulpit has a particular historical significance, because from this pulpit the first attack came on Galileo Galilei, leading eventually to his indictment. The Holy Trinity, situated almost halfway in the left aisle, is a pioneering early renaissance work of Masaccio, showing his new ideas about perspective and mathematical proportions. Its meaning for the art of painting can easily be compared by the importance of Brunelleschi for architecture and Donatello for sculpture. The patrons are the kneeling figures of the judge and his wife, members of the Lenzi family. The cadaver tomb below carries the epigram: I was once what you are, and what I am you will become.
Of particular note in the right aisle is the Tomba della Beata Villana, a monument by Bernardo Rossellino in 1451. In the same aisle, you can find the tombs of the Bishop of Fiesole by Tino di Camaino and another one by Nino Pisano. Giorgio Vasari was the architect, commissioned in 1567 by Grand Duke Cosimo I, for the first remodeling of the church, which included removing its original rood screen and loft, and adding six chapels between the columns. An armillary sphere (on the left) and a gnomon (on the right) were added to the end blind arches of the lower façade by Ignazio Danti, astronomer of Cosimo I, in 1572. The second remodeling was designed by Enrico Romoli, and was carried out between 1858 and 1860. The square in front the church was used by Cosimo I for the yearly chariot race (Palio dei Cocchi). This custom existed between 1563 and late in the 19th century. The two obelisks marked the start and the finish of the race. They were set up to imitate an antique Roman circus. The obelisks rest on bronze tortoises, made in 1608 by the sculptor Giambologna. This church was called Novella (New) because it was built on the site of the 9th-century oratory of Santa Maria delle Vigne. When the site was assigned to Dominican Order in 1221, they decided to build a new church and an adjoining cloister. The church was designed by two Dominican friars, Fra Sisto Fiorentino and Fra Ristoro da Campi. Building began in the mid-13th century (about 1246), and was finished about 1360 under the supervision of Friar Iacopo Talenti with the completion of the Romanesque-Gothic bell tower and sacristy. At that time, only the lower part of the Tuscan gothic facade was finished. The three portals are spanned by round arches, while the rest of the lower part of the facade is spanned by blind arches, separated by pilasters, with below Gothic pointed arches, striped in green and white, capping noblemen's tombs. This same design continues in the adjoining wall around the old churchyard. The church was consecrated in 1420.
Empire of the Eye: The Magic of Illusion: The Trinity—Masaccio, Part 2
The Magic of Illusion—presented here in a seven-part podcast series—is a film about how we see, what we see, or what it is we think we see.
The Bridges of Florence Italy - By visitaflorencia.com
THE BRIDGES OF FLORENCE
The Etruscans, as early as the 7th century BC, probably had either a bridge or a ferry near the present day Ponte Vecchio. The first documentation of a bridge appears in 996 and notes a wood and stone structure at the point where the Roman city street, via Cassia, crossed the river.
Ponte all Carraia:
Ponte alla Carraia is the next bridge to the east after Ponte Santa Trinita. The first mention of a bridge at this site is 1218. Like the other Florentine Arno bridges, Ponte alla Carraia was destroyed by floods and rebuilt many times.
Ponte Santa Trinita:
Ponte Santa Trìnita, Holy Trinity Bridge, is the first bridge to the east of the Ponte Vecchio. Like the Ponte Vecchio, Ponte Santa Trinita has a long, Florentine history. The first bridge at this site was built in the 1250s.
PonteVecchio:
The Ponte Vecchio, old bridge, is the oldest surviving bridge in Florence and has existed in one form or another since Roman times as noted above. Repeated floods destroyed the bridge many times, but it was always rebuilt. Today’s version dates from a reconstruction in 1345 as noted by Giorgio Visari.
Ponte alle Grazie:
The first bridge at the site of Ponte alle Grazie was built in 1227. In 1345, a nine arch bridge replaced it, but it was soon modified with arches reduced to 7 when 2 were filled to create a wider Piazza dei Mozzi.
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Via De' Tornabuoni – Santa Trinita' – Florence – Audio Guide – MyWoWo Travel App
After Palazzo Strozzi the road widens and opens up in Piazza Santa Trinità, a nearly-triangular shaped square that opens towards the Arno River. The tall stone block you see in the center crowned by a statue of the late 1500s is the Column of Justice, and comes from the Caracalla Baths in Rome. You can admire several historic buildings overlooking the square here. On the left, one next to the other, are two beautiful palaces from the early 1500s. At the back you can see the stern Palazzo Spini Ferroni, built in the 1200s as a turreted castle to guard the river. In the 1800s it hosted town hall, and today after thorough restorations, you can visit the Salvatore Ferragamo Museum, a fascinating exhibition on the work of the fashion designer and brilliant creator of high fashion footwear, but the palace is also a venue for temporary exhibitions.
In front of the museum is the Church of the Santa Trinità, or Holy Trinity, which hides a pleasant surprise: the façade dates back to the end of the 1500s but the interior is a 14th-century architectural jewel, with slender rectangular pillars supporting Gothic arches. I'd especially like to point out the late-Gothic frescoes in the fourth chapel on the right side, and above all, continuing down the same side the beautiful Sassetti Chapel that was decorated in the second half of the 1400s with bright frescoes by Domenico Ghirlandaio, who also painted the dazzling altarpiece. You can recognize episodes from the life of St. Francis in the frescoes, set in the urban and social reality of Florence at the time of Lorenzo the Magnificent. Don't miss the tomb of a bishop carved by Luca della Robbia on the left side, with a marble sepulcher with a magnificent glazed, multicolored, terracotta, ornamental band decorated with leaves, fruits, and flowers…
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Masaccio and the Italian Renaissance Part 1
A discussion of the contributions of Masaccio in the early 15th century focusing on the Tribute Money fresco in the Brancacci chapel in Florence. Narrated by Peter Beal, art history and humanities faculty at Front Range Community College in Colorado.
The Holy Trinity by Masaccio
The Holy Trinity is one of the greatest applications of perspective, but explore where it ignores it why that is.
AR and the linear perspective of The Holy Trinity (Masaccio, 1426)
This work shows how augmented reality can help the comprehen- sion of the geometric construction of the perspective in the Holy Trinity fresco (Masaccio, 1426) in the church of Santa Maria Novel- la in Florence,opening new scenarios in the demonstration of the subtle underlying geometric principles.There has been a long debate about the actual geometrical fidelity of the fake architec- ture painted in perspective in the Masaccio's fresco. Recent stud- ies demonstrated that Masaccio's perspective is one of the best and commendable applications of the Brunelleschi's lesson about linear perspective and its geometric construction.We here use AR to follow step by step the geometric construction of Masaccio's perspective.This approach takes advantage of the possibilities that AR offers to explore in realtime the relations between 3d and its 2d representations.
Hello from San Giovanni Rotondo - Florence Piazza Republica
Sightseeing in Florence. Listening to some jazz in the Piazza Republica. Viewing a courtyard in an old Florentine Villa. Saying hello to Padre Pio in the Church of the Holy Trinity. Link to Padre Pio TV:
Secret Florence
To license this clip go to The figure of Christ is depicted on the crucifix in Masaccio's Holy Trinity fresco.
360 video: Inside Basilica of Santa Maria Novella, Florence, Italy
Built between 1246 and 1360 by Dominicans on the site of a former oratory, the church boasts a marble facade and it is a great example of the Florentine Renaissance style. It features a Romanesque-Gothic bell tower.
The vast interior contains Corinthian columns and many artworks by the best Italian painters and sculptors. Six chapels were added between the columns by Giorgio Vasari during a reconstruction commissioned by Cosimo de' Medici in the 16th century.
One of the many highlights is the Giotto's Crucifix, which is perfectly restored and located in the center of the main nave. It shows the body of Christ painted in gold on a wood panel. The Gondi Chapel houses another famous wooden Crucifix made by Brunelleschi at the beginning of the 15th century.
The Bardi Chapel contains a stone altar with a painting of the Madonna del Rosario made by Giorgio Vasari. The Filippo Strozzi Chapel takes its name after the Italian banker and statesman who has his tomb here. It's worth visiting for the frescoes painted by Filippino Lippi.
Buy your ticket online to get priority access and to avoid long lines. The ticket is valid for five days from the date selected in the calendar.
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Sardinia - Basilica of the Holy Trinity of Saccargia
The Basilica della Santissima Trinità di Saccargia (English: Basilica of the Holy Trinity of Saccargia) is a church in the comune of Codrongianos, northern Sardinia, Italy. It is the most important Romanesque site in the island. The construction is entirely in local stone (black basalt and white limestone), with a typical appearance of Tuscan Romanesque style. The church was finished in 1116 over the ruins of a pre-existing monastery, and consecrated on October 5 of the same year. Its construction was ordered by the giudice (judge) of Torres. It was entrusted to Camaldolese monks who here founded an abbey. It was later enlarged in Pisane style, including the addition of the tall bell tower. The portico on the façade is also probably a late addition, and is attributed to workers from Lucca. The church was abandoned in the 16th century, until it was restored and reopened in the early 20th century.
La basilica della Santissima Trinità di Saccargia è una chiesa in stile romanico situata nel territorio del comune di Codrongianos in provincia di Sassari, una delle realizzazioni più importanti di questo stile in Sardegna.
Die Abteikirche Santissima Trinità di Saccargia des ehemaligen, heute völlig zerstörten Kamaldulenser-Klosters liegt in einem Tal zwischen den Orten Ploaghe und Codrongianus im Logudoro (Ort des Goldes) in der Provinz Sassari auf Sardinien. Sie ist neben San Pietro di Sorres das bedeutendste Beispiel für romanisch - pisanische Architektur des 12. Jahrhunderts.
La basilique de Saccargia (en italien : Basilica della Santissima Trinità di Saccargia) est une église située dans la commune de Codrongianos en Sardaigne en Italie.
SS. Trinidade de Saccargia est una creja de un'antiga abbazia, sola in sa campagna, affacca a Codrongianus.
Sa basilica est istada fraigada a s'incomintzu de su seculu XII. Sa pianta este a rughe commissa (o a tau). In s'abside b'hat pinturas antigas, in affresco. Su campanile, in pedra bianca e niedda, est istadu realizzadu in d'una segunda fase, gai coment su portice in vazzada. Affacca a sa basilica bi sun sos avantzos de su monasteriu.
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The Holy Trinity in Olomouc
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The Holy Trinity Column in Olomouc is a magnificent Baroque monument built in 17161754.
The main purpose was a spectacular celebration of Catholic Church and faith, partly caused by feeling of gratitude for ending a plague, which struck Moravia between 1714 and 1716.
This monument was the work of several artists. The first to die during the work was Wenzel Render, a monumental mason and privileged imperial architect. He came first with the idea to build the column, enforced his will upon the city council, designed it, built the first stage and helped to finance it. His followers Franz Thoneck, Johann Wenzel Rokický and Augustin Scholtz also did not live long enough to see the column finished; it was completed by Johann Ignaz Rokický. The splendid sculptural decoration was started by Phillip Sattler. After his death Andreas Zahner continued and made 18 sculptures and 9 reliefs in 7 years before he died as well. Goldsmith Simon Forstner, who made gilded copper sculptures of the Holy Trinity and of the Assumption of the Virgin, was somewhat luckier and managed to finish his brilliant work. However he lost his health when working on the sculptures and using toxic mercury compounds during the gilding process.
After the Holy Trinity Column was finished in 1754, it became a source of great pride for Olomouc, since all people participating in its creation were citizens of the town. The column was consecrated in a great celebration attended by Empress Maria Theresa and her husband Francis I.
Only four years later, when Olomouc was besieged by a Prussian army and the Holy Trinity Column was hit by shots from Prussian cannons several times, Olomouc citizens went bravely in a procession to beg the Prussian general not to shoot at this sacred monument. General James Keith complied with their wishes. The column was repaired soon after the war and a replica of a stone shot was half-buried in its stem on the place where it was hit to remind people of this event.
The column is dominated by gilded copper sculptures of the Holy Trinity accompanied by the Archangel Gabriel on the top and the Assumption of the Virgin beneath it.
The base of the column, in three levels, is surrounded by 18 more stone sculptures of saints and 14 reliefs in elaborate cartouches. At the uppermost stage are saints connected with Jesus earth life his mothers parents St. Anne and St. Joachim, his foster-father St. Joseph, and St. John the Baptist, who was preparing his coming who are accompanied by St. Lawrence and St. Jerome, saints to whom the chapel in the Olomouc town hall was dedicated. Three reliefs represent the Three theological virtues Faith, Hope, and Love.
Below them, the second stage is dedicated to Moravian saints St. Cyril and St. Methodius (Czech Metoděj), who came to Great Moravia to spread Christianity in 863 (St. Methodius became Moravian Archbishop), St. Blaise, in whose name one of the main Olomouc churches is consecrated, and patrons of neighbouring Bohemia St. Adalbert of Prague (Czech Vojtěch) and St. John of Nepomuk (Czech Jan Nepomucký), whose cult was very strong here as well.
In the lowest stage one can see the figures of an Austrian patron St. Maurice and a Bohemian patron St. Wenceslas (Czech Václav), in whose names two important Olomouc churches were consecrated, another Austrian patron St. Florian, who was also viewed as a protector against various disasters, especially fire, St. John of Capistrano (Czech Jan Kapistránský), who used to preach in Olomouc, St. Anthony of Padua, a member of the Franciscan Order, which owned an important monastery in Olomouc, and St. Aloysius Gonzaga, a patron of students. His sculpture showed that Olomouc was very proud of its university.
Reliefs of all twelve apostles are placed among these sculptures.
The last missing in this list of saints is St. John Sarkander (Czech Jan Sarkander), whose statue (holding a lily as a symbol of purity) is on the second stage. John Sarkander was a priest who was tortured to death in Olomouc prison in the beginning of the Thirty Years' War, because he, as the legend says, refused to break the seal of confession. Decision to place him here was very extraordinary and violated the tradition, since Sarkander had not been canonized and not even beatified in that time yet, which could have resulted in problems with the Holy See. However, his cult of a martyr was so strong here that the craftsmen decided to take the risk. Sarkander was beatified in 1859 and canonized in 1995 on the occasion of the visit of Pope John Paul II in Olomouc.
There are a number of films here on the packaging industry. This is because I am the publisher of Central and Eastern European Packaging -- .