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	<title>Art History &#187; Uncategorized</title>
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	<description>&#039;&#039;A man paints with his brains and not with his hands.&#039;&#039;  Michelangelo</description>
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		<title>Electronic journal of Historians of Netherlandish Art</title>
		<link>http://www.arthistoryspot.com/2011/07/electronic-journal-of-historians-of-netherlandish-art/</link>
		<comments>http://www.arthistoryspot.com/2011/07/electronic-journal-of-historians-of-netherlandish-art/#comments</comments>
		<pubDate>Sat, 09 Jul 2011 09:33:50 +0000</pubDate>
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		<description><![CDATA[Dear friends, take a look at this wonderful web site. It is the electronic journal of Historians of Netherlandish Art. Every summer and winter, the journal publishes issues of peer-reviewed articles that focus on art produced in the Netherlands (north and south) during the early modern period (c. 1400-c.1750), and in other countries and later [...]]]></description>
			<content:encoded><![CDATA[<p> <a href="http://www.arthistoryspot.com/wp-content/uploads/2011/07/Fig.-1.jpg"><img src="http://www.arthistoryspot.com/wp-content/uploads/2011/07/Fig.-1-150x150.jpg" alt="" title="Fig.-1" width="150" height="150" class="alignleft size-thumbnail wp-image-829" /></a><br />
Dear friends, take a look at this wonderful web site.</p>
<p>It is the electronic journal of Historians of Netherlandish Art.  Every summer and winter, the journal publishes issues of peer-reviewed articles that focus on art produced in the Netherlands (north and south) during the early modern period (c. 1400-c.1750), and in other countries and later periods as they relate to Netherlandish art.  Submissions are encouraged on painting, sculpture, graphic arts, tapestry, architecture, and decoration, from the perspectives of art history, art conservation, technical studies, museum studies, historiography, and collecting history. </p>
<p>http://www.jhna.org/</p>
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		<title>Art History Genres : What Is Baroque?</title>
		<link>http://www.arthistoryspot.com/2010/09/art-history-genres-what-is-baroque/</link>
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		<pubDate>Mon, 13 Sep 2010 23:16:20 +0000</pubDate>
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				<category><![CDATA[Renaissance and Baroque art]]></category>
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			<content:encoded><![CDATA[<p><object width="500" height="306"><param name="movie" value="http://www.youtube.com/v/gxZIu4SEpz8?version=3"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/gxZIu4SEpz8?version=3" type="application/x-shockwave-flash" width="500" height="306" allowscriptaccess="always" allowfullscreen="true"></embed></object></p>
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		<title>Cranach Lucas the Elder</title>
		<link>http://www.arthistoryspot.com/2010/09/cranach-lucas-the-elder/</link>
		<comments>http://www.arthistoryspot.com/2010/09/cranach-lucas-the-elder/#comments</comments>
		<pubDate>Sat, 04 Sep 2010 23:08:36 +0000</pubDate>
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		<guid isPermaLink="false">http://www.arthistoryspot.com/?p=688</guid>
		<description><![CDATA[One of the pivotal figures in early sixteenth-century German art, Cranach the Elder was the Reformation artist par excellence. A close friend and follower of Martin Luther (they were godfathers to one another&#8217;s children), Cranach collaborated with Luther in producing numerous single-sheet woodcuts and book illustrations that were crucial for the spread of the new [...]]]></description>
			<content:encoded><![CDATA[<p><a href="http://www.arthistoryspot.com/wp-content/uploads/2010/09/8656-adam-and-eve-lucas-the-elder-cranach.jpg"><img class="alignleft size-thumbnail wp-image-689" title="8656-adam-and-eve-lucas-the-elder-cranach" src="http://www.arthistoryspot.com/wp-content/uploads/2010/09/8656-adam-and-eve-lucas-the-elder-cranach-150x150.jpg" alt="" width="150" height="150" /></a>One of the pivotal figures in early sixteenth-century German art, Cranach the Elder was the Reformation artist <em>par excellence</em>.  A close friend and follower of Martin Luther (they were godfathers to  one another&#8217;s children), Cranach collaborated with Luther in producing  numerous single-sheet woodcuts and book illustrations that were crucial  for the spread of the new evangelical theology in the early years of the  Reformation in Germany. The “Passional Christi et Antichristi”  (Wittenberg, 1521), for example, contrasts the holy life of Christ with  the decadent life of the pope and the venal customs of the Curia Romana  in thirteen antithetical pairs of woodcuts, with brief texts from the  Bible and papal decretals composed by Philipp Melanchthon and Johann  Schwertfeger. The epilogue was perhaps written by Luther himself. In  1529 Cranach created the quintessential new Reformation image, the  “Allegory of Law and Grace,” contrasting mankind&#8217;s damnation under the  law of Moses with his hope of salvation under the New Testament&#8217;s offer  of grace in Luther&#8217;s interpretation. The allegory was typically produced  both as a woodcut (London, British Museum) and as a panel painting  (Gotha, Schloßmuseum) and was often copied. Portraits by Cranach and his  son, Lucas the Younger, of Luther (Weimar, Schloßmuseum), Melanchthon  (Frankfurt am Main, Städel), and the other reformers (Toledo Museum of  Art), as well as the many copies and variants made from them by workshop  assistants, have determined our perception of the reformers to the  present day.</p>
<p><span id="more-688"></span>Cranach took his name from the town of his birth,  Kronach, near Bamberg. He was probably trained by his father, the  painter Hans Maler. By 1503 he was working among a circle of humanists  at the University of Vienna. His earliest known works, created at this  time, were characterized by a religious and spiritual intensity and an  emphasis on man&#8217;s relationship to nature and constituted the beginning  of the stylistic movement known as the Danube School.</p>
<p>In 1504  Cranach was called to Wittenberg by Elector Frederick the Wise of  Saxony. There he developed the smooth, linear style that became the  standard form of expression of his large and productive workshop and  that determined the appearance of painting in Saxony throughout the  sixteenth century. Until his death Cranach served as court artist to  Frederick the Wise and successors John the Steadfast and John Frederick  the Magnanimous, decorating the elector&#8217;s favorite residences, such as  the Veste Coburg and Torgau castles, but no traces of his mural  paintings survive. In addition to the many portraits of members of the  Saxon nobility, produced as woodcuts or painted on panel, Cranach served  their more private tastes with small paintings of a tantalizing, mildly  erotic nature, showing nude Venuses or Lucretias. After 1508 he used a  winged serpent as a signature on his own work and on the products of his  workshop. In Wittenberg he was one of the two wealthiest citizens, the  result of earnings not only from the workshop but also from the  pharmacy, wine store, bookstore, and printer&#8217;s shop he owned.</p>
<p>From  1519 to 1545 he served on the Wittenberg city council and was elected  burgomaster on three occasions. After Charles V took John Frederick  prisoner at the Battle of Mühlberg in 1547, Cranach followed him into  exile at Augsburg and Innsbruck, and after the elector&#8217;s release in  1552, he accompanied him to Weimar, where the artist died in 1553.</p>
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		<title>Van Gogh-the letters</title>
		<link>http://www.arthistoryspot.com/2010/08/van-gogh-the-letters/</link>
		<comments>http://www.arthistoryspot.com/2010/08/van-gogh-the-letters/#comments</comments>
		<pubDate>Tue, 24 Aug 2010 12:19:11 +0000</pubDate>
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		<description><![CDATA[My dear friends, I have  just found one great database where you can find all letters that Van Gogh have written&#8230; Hope  you will enjoy it&#8230; http://vangoghletters.org/vg/letters.html]]></description>
			<content:encoded><![CDATA[<p>My dear friends,</p>
<p><a href="http://www.arthistoryspot.com/wp-content/uploads/2010/08/van-gogh-self-portrait.jpg"><img class="alignleft size-thumbnail wp-image-669" title="van-gogh-self-portrait" src="http://www.arthistoryspot.com/wp-content/uploads/2010/08/van-gogh-self-portrait-150x150.jpg" alt="" width="150" height="150" /></a></p>
<p>I have  just found one great database where you can find all letters that Van Gogh have written&#8230; Hope  you will enjoy it&#8230;</p>
<p>http://vangoghletters.org/vg/letters.html</p>
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		<title>Pamphlets</title>
		<link>http://www.arthistoryspot.com/2010/05/pamphlets/</link>
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		<pubDate>Mon, 31 May 2010 09:37:54 +0000</pubDate>
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		<guid isPermaLink="false">http://www.arthistoryspot.com/?p=659</guid>
		<description><![CDATA[In the eighteenth century, the pamphlet was ubiquitous in western Europe and in the British colonies of North America. As brief, topical publications, pamphlets ranged in length from a few pages to well over one hundred; their print runs were as low as a few hundred copies or as high as several thousand. Once printed [...]]]></description>
			<content:encoded><![CDATA[<p><a href="http://www.arthistoryspot.com/wp-content/uploads/2010/05/french22.jpg"><img class="alignleft size-thumbnail wp-image-662" title="french2" src="http://www.arthistoryspot.com/wp-content/uploads/2010/05/french22-150x150.jpg" alt="" width="150" height="150" /></a>In the eighteenth century, the pamphlet was ubiquitous in western  Europe and in the British colonies of North America. As brief, topical  publications, pamphlets ranged in length from a few pages to well over  one hundred; their print runs were as low as a few hundred copies or as  high as several thousand. Once printed and published, they were sold at  modest prices or distributed free (<em>gratis</em>). This favored form  of publication offered authors a means of expressing themselves openly,  anonymously, and relatively inexpensively. In countries with severe  publication restrictions, individuals were able to produce illegal  brochures and usually avoided detection or arrest because neither the  authors nor the printers were readily identifiable. Even in locales like  England, with no overt government censorship, the anonymous pamphlet  allowed its author to speak boldly, with little fear of running afoul of  the libel laws.</p>
<p><span id="more-659"></span>Pamphlets remained the principal polemical instrument for most of the  eighteenth century. Opinion could rapidly follow events, and authors  could respond quickly to the arguments of their opponents. Long pamphlet  wars on specific topics were frequent. Pamphlets provided the perfect  instrument for personal attacks on individuals. Known as <em>libelles</em> in France, they targeted important persons, sparing no one, including  Louis XV and his mistresses, as well as Louis XVI and Marie Antoinette,  his wife. The ideal medium of persuasion, pamphlets were the preferred  instrument of argument in every area of eighteenth-century contestation.  Authors wrote on all subjects, no matter how sensitive, in an effort to  persuade the public of the truth of their particular viewpoints. Thus,  pamphlets played an important role in the development of public opinion.</p>
<p><strong>Distinguished authors</strong> The  literature of the Enlightenment, which had its fair share of contested  issues, frequently appeared in pamphlet form. The great philosophes  often wrote as pamphleteers even when their publications expanded beyond  the limits of the typical pamphlet. For example, from 1757 to 1765, the  character and political structure of Geneva (Switzerland), the  birthplace of Jean-Jacques Rousseau and for a time the residence of  Voltaire, proved to be a subject of considerable philosophic dispute and  pamphlet debate. While opposing the oligarchic structure of Geneva&#8217;s  government, Rousseau argued for maintaining the city&#8217;s ban on theaters  to prevent the development of aristocratic artificiality. Defending  enlightened culture, Jean Le Rond d&#8217;Alembert and Voltaire opposed the  ban on theaters, but Voltaire undercut the local aristocracy by favoring  political reform of the city. Another dispute, the <em>Querelle des  Bouffons</em>, which was initiated in Paris in 1753, concerned the  relative merits of French opera versus Italian opera. Eventually  involving d&#8217;Alembert, Rousseau, Denis Diderot, and the composer  Jean-Philippe Rameau, this pamphlet debate ultimately centered on the  quality of Rameau&#8217;s French operas. A similar <em>querelle</em> (“quarrel”) emerged in the 1770s in Paris between defenders of the  operas of Christoph Willibald von Gluck and the advocates of his rival  Niccolò Piccinni, which resulted in the appearance of scores of  philosophic pamphlets. In Italy, a considerable pamphlet war began in  1749 between enlightened writers, who attacked superstitious belief in  witchcraft and magic, and Christian authors, who feared that denying the  supernatural would undermine the very basis of religious truth.  Voltaire, perhaps the Enlightenment&#8217;s premier philosophe-pamphleteer,  waged his best-known pamphlet campaign against the religious fanaticism  and judicial improprieties of the Calas Affair, which involved the  Parlement of Toulouse&#8217;s notorious decision in 1762 to condemn and  execute, on very weak evidence, Jean Calas, a Huguenot, for the murder  of his son. Although Calas was executed, Voltaire&#8217;s publications played  an important role in persuading Louis XV to reverse the Parlement&#8217;s  judgment. In the end, the enterprise of the Enlightenment became the  subject of a polemical debate; it was initiated by authors who attacked  the entire philosophic establishment and its work.</p>
<div><a name="head1"></a><big><strong>Pamphleteers and Patrons</strong></big></div>
<p>Most eighteenth-century pamphlets were not written by the great  literary figures of the Enlightenment. Anyone with an opinion and the  resources to pay for its publication could produce a pamphlet. In  France, for example, pamphlets on such diverse subjects as economics,  agricultural practices, relations with Great Britain, royal finances,  and the private life of the king were written and published by clergy,  nobility, and members of the urban middle classes. <em>Mémoires  judiciares</em>, pamphletlike legal briefs of civil cases that could be  legally published and circulated in huge numbers, allowed barristers to  bring numerous social, moral, and even political issues before the  public in the guise of discussing their cases before the courts.  Important personages, lacking the talent or inclination to write their  own pamphlets, could always engage writers willing to undertake the task  for them. Much of the eighteenth-century political pamphlet literature  in England and France was sponsored by patrons. Some of their writers  were great literary figures, like Daniel Defoe, who served both Tory and  Whig ministries in England in the early 1700s, but others were Grub  Street hacks, hoping to acquire literary reputations while earning  meager livings. Both the English and French governments employed writers  to justify ministerial policies to the public. In contrast, American  pamphleteers tended to be individuals—clergymen, merchants, lawyers, or  planters—who wanted to express their views publicly.</p>
<div><a name="head2"></a><big><strong>Political Pamphlets</strong></big></div>
<p>Although all pamphlets were intended to influence and shape public  opinion, the overtly political pamphlets had the greatest impact on  society. During the 1700s, as politics moved increasingly into the  public sphere in much of western Europe and in Britain&#8217;s American  colonies, pamphlets provided a basic medium for political discussion.  Some well-developed political newspapers and journals existed in both  Britain and its American colonies, but the traditional pamphlet with its  unique characteristics and potential of complete anonymity remained a  vital part of all political discussion. Many of the journals were little  more than periodical pamphlets.</p>
<p>Lively political-pamphlet debate  occurred, as well, in the 1700s in Switzerland, the United Provinces  (Low Countries) and the Austrian Netherlands. Perhaps most significant  was the body of French pamphlet literature, which grew in both volume  and intensity during that century. Such pamphlets helped transform  France—where the government was committed to the maintenance of the  sovereign authority of the monarch and the prevention of public  discussion of matters of state—into a society in which all parties  entered the public sphere and sovereign authority was ultimately  transferred to the citizenry.</p>
<p>Eighteenth-century political  pamphlets developed the language of patriotism, which, in the context of  the era, implied the restoration of ancient constitutional rights that  had been usurped by monarchical government. In England, this was the  language of the Country Party, which expressed deep distrust of the  ministry, its placemen (members of the House of Commons on the  ministerial payroll), a standing army, British involvement on the  European continent, modern public finance, and government bureaucracy.  Country ideology, which had its origins in seventeenth-century English  republicanism [<em>see</em> Republicanism], called for Parliament&#8217;s reform  and a return to the ancient constitution of England. The Country Party  argued that the independent landowners of the kingdom, rather than the  ministers, should control Parliament, thereby restoring the traditional  balance between the king, the House of Lords, and the House of Commons.  American colonists, some of whom fought the British attempts to tax them  in the 1760s and 1770s, utilized these Country arguments in pamphlets  that expressed opposition to ministerial policies. In France, patriot  ideology emerged from the attempts of the Parlement of Paris to  undermine royal support for <em>Unigenitus</em>, a papal bull  (pronouncement) of 1713, which condemned as a heresy the Roman Catholic  sect of Jansenism. In the 1750s, Jansenist barristers, writing in  support of the activities of Jansenist magistrates in the Parlement,  developed theories that were based on the ancient constitutional  structure of France, which established firm limits on royal authority.  These theories formed the ideological basis of much of the French  patriot pamphlet literature of the 1770s, which attacked the despotism  of Chancellor René-Nicholas de Maupeou in his attempt to destroy the  Parlement of Paris and, necessarily, the French constitution. Patriots  in the United Provinces (Low Countries) wrote pamphlets condemning the  monarchical pretensions of the House of Orange and demanded a return to  the pure republican system of the seventeenth century. Similar arguments  appeared in the Austrian Netherlands in an attempt to counter the  authority of the Austrian emperor, Joseph II. Only in republican Geneva  (Switzerland) did opposition-pamphlet literature not posit arguments  calling for the reestablishment of traditional constitutional forms.</p>
<p>The  political debate in England became explosive during the John Wilkes  affair. Wilkes had not only suffered from ministerial despotism (when  arrested in 1763 for publishing a libelous attack on King George III in  the <em>North Briton</em>) but had also been denied a seat in Parliament  after being duly elected three times in 1769. Wilkes then became the  focus of a political battle fought through pamphlets, newspapers, and  popular agitation. Although this agitation did not lead to revolution,  popular participation in the Wilkes affair offered a serious threat to  the political practices of the kingdom.</p>
<div><a name="head3"></a><big><strong>Pamphlets in North America</strong></big></div>
<p>After 1763, every act of the British Parliament that affected the  Thirteen Colonies in America met a hostile response in American  pamphlets and newspapers. Political writers, well acquainted with the  Country Party&#8217;s ideology, believed that Parliament under the domination  of corrupt ministers was despotic and that every new law undermined the  British constitution, thereby threatening liberty in America. After a  decade of such warnings, the implementation in 1774 of Britain&#8217;s  Coercive Acts, which severely limited the authority of the colonial  assembly of Massachusetts, made the despotic intentions of the ministry  clear to Americans. Soon, the arguments for independence from England  became increasingly compelling. In early 1776, Thomas Paine&#8217;s <em>Common  Sense</em>, the most startling pamphlet to appear during that crisis,  helped Americans to recognize the necessity of independence from  Britain; it advocated a republicanism that decisively rejected the  arguments in favor of the balance of the ancient English constitution.  Still, the traditions of Country ideology remained strong as evidenced  by the publications battling the proposed constitutional changes put  forward by the Philadelphia convention of 1787.</p>
<div><a name="head4"></a><big><strong>On the Eve of the French Revolution</strong></big></div>
<p>Meanwhile, the impending bankruptcy of the French monarchy, the  Parlement of Paris&#8217;s continued obstruction of ministerial financial  reforms, and the decision to recall the Estates General (the ancient  representative body of France) to solve those problems led to the  publication of thousands of pamphlets in 1788 and early 1789. Initially,  the debate was between the ministry, determined to control the Estates  General through a reorganization that would weaken the political  influence of the nobility, and the Parlement of Paris, the official  voice of the Patriot Party determined to maintain the traditional  constitution in the face of ministerial despotism. The debate quickly  expanded to include a third element, the National Party, which sought  the maintenance of the constitution through an alliance of the nobility  and the third estate against the ministry. Jansenist ideology and the  theories of the eighteenth-century political philosopher Montesquieu  continued to inform the language of political publications.  Increasingly, however, National Party pamphleteers also relied on  Rousseau&#8217;s concept of the general will in constructing their arguments.  In January  1789, Abbé Emmanuel-Joseph Sieyès&#8217;s powerful contribution to  this literature, <em>Qu&#8217;est-ce que le Tiers État?</em>, provided the  most original adaptation of Rousseau to the issue of the proper  representation of the French nation. Nevertheless, more traditional  political arguments continued to dominate both the pamphlet literature  and the thinking of the public until well after the establishment of the  National Assembly in June  1789.</p>
<p>Pamphlets had an important  function during the Enlightenment era. At a time when many polities did  not permit the sanctioned free expression of thought, that form of  publication provided the means for writers to air issues of public  concern and to expose both the hidden secrets of governments and those  of prominent individuals, opening society to wider scrutiny and public  influence. Such literature also provided a route for misinformation,  innuendo, and slander to pass easily into the public sphere.  Nevertheless, pamphlets did help disseminate enlightened thought, expand  knowledge, promote understanding of a wide variety of ideological and  political arguments, and increase participation in eighteenth-century  public affairs.</p>
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		<title>Short about Jerusalem</title>
		<link>http://www.arthistoryspot.com/2010/03/short-about-jerusalem/</link>
		<comments>http://www.arthistoryspot.com/2010/03/short-about-jerusalem/#comments</comments>
		<pubDate>Wed, 31 Mar 2010 21:03:01 +0000</pubDate>
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		<guid isPermaLink="false">http://www.arthistoryspot.com/?p=632</guid>
		<description><![CDATA[Jerusalem (῾Ιεροσόλυμα), the present Old City, lies near the summit of the Judaean Hills on a pair of rocky spurs sloping south toward the junction of two valleys, the Hinnom (Gehenna) to the west and south and the Kidron (Valley of Jehosophat) to the east. The eastern spur includes the ancient Temple Mount, now the [...]]]></description>
			<content:encoded><![CDATA[<p><strong><a href="http://www.arthistoryspot.com/wp-content/uploads/2010/03/jerusalem_solomon_temple.jpg"><img class="alignleft size-thumbnail wp-image-633" title="jerusalem_solomon_temple" src="http://www.arthistoryspot.com/wp-content/uploads/2010/03/jerusalem_solomon_temple-150x150.jpg" alt="" width="150" height="150" /></a>Jerusalem</strong> (῾Ιεροσόλυμα), the present Old City, lies near the summit of the  Judaean Hills on a pair of rocky spurs sloping south toward the junction  of two valleys, the Hinnom (Gehenna) to the west and south and the  Kidron (Valley of Jehosophat) to the east. The eastern spur includes the  ancient Temple Mount, now the Ḥaram al-Sharīf. The broader and higher  western spur, in antiquity nearly bisected by a transverse valley,  terminates in Mt.  <strong>Sion</strong> (Zion), towering above the Hinnom Valley.<br />
<span id="more-632"></span></p>
<p>In the late Roman  period Jerusalem retained the plan and the name of Aelia Capitolina, a  Roman colony founded by Hadrian between 130 and 135. On the existing  street grid Hadrian had imposed two monumental colonnaded streets, one  leading south from the main north gate (the present Damascus gate) along  the western spur, and the other descending the Tyropoean Valley between  the two spurs. The Temple Mount lay in ruins, and Aelia&#8217;s principal  temple, to Capitoline Jupiter, dominated the city from the higher  western spur, adjacent to the colonnaded street. To the south of the  temple opened the city&#8217;s forum, part of it over the transverse valley,  which Hadrian had filled in to provide the needed space. Another major  street, perhaps not colonnaded, extended from the main west gate (now  the Jaffa gate) east across the western spur and the Tyropoean Valley to  the Temple Mount.</p>
<p>Roman Aelia&#8217;s small Christian community had  venerated caves in Bethlehem 9 km to the south, and at Gethsemane and on  the Mount of Olives just east of the city. Outside the walls stood a  house church and a small suburban community on Mt. Sion. The Christians  played no role in the city, of which the empire&#8217;s Christians were  scarcely aware.</p>
<p>This changed dramatically in 326 when, according  to tradition,  <strong>Helena</strong> reached Jerusalem. The year before, Bp. Makarios of Jerusalem had  secured permission from Constantine I at the Council of  <strong>Nicaea</strong> to destroy the Capitoline temple. While removing the foundations, in  Helena&#8217;s presence, workmen uncovered an empty tomb which was identified  as that of Christ. A rock nearby was taken to be Golgotha. This  discovery created a sensation among Christians and quickly stimulated  <strong>pilgrimage</strong> from as far away as the western provinces. Constantine ordered a  basilica (which became the city&#8217;s episcopal see) constructed just to the  east of the tomb.</p>
<p>Retaining its Roman plan, Aelia now became a  Christian city and, in common parlance, was once again called Jerusalem  or “the Holy City.” An outpouring of public and private wealth gave the  city&#8217;s topography a Christian appearance. Besides the complex  surrounding the  <strong>Holy  Sepulchre</strong>, Constantine built the Eleona church on  the  <strong>Mount  of Olives</strong> and a great basilica in  <strong>Bethlehem</strong>.  By the end of the 4th C. the Roman noblewoman Poimenia had financed the  Ascension Church (Imbomon) near the Eleona, and unknown benefactors the  Church of the Apostles on Mt. Sion and a church in Gethsemane. Bishops  such as  <strong>Cyril</strong> of Jerusalem became the most powerful men in the city.</p>
<p>Constantine  enforced Hadrian&#8217;s edict excluding Jews from Jerusalem but permitted  them entrance to mourn the destruction of the Temple—in Christian eyes  salutary proof of Christianity&#8217;s triumph. With similar symbolism but  opposite intentions, Julian the Apostate lifted the Hadrianic ban and  resolved to rebuild the Jewish Temple. Work began in 362/3 but was soon  suspended. Christian pilgrims to the Temple Mount were shown the  bloodstains of Zacharias there (<em>Protoevangelion of James</em> 23.2–3) as well as the standing Herodian retaining walls (of  considerable height) and the various underground chambers said to belong  to Solomon&#8217;s palace.</p>
<p>By the end of the 4th C., virtually the  entire pagan population had embraced the victorious faith. By 381–84,  when  <strong>Egeria</strong> visited Jerusalem, asceticism had struck root, and monks and  consecrated virgins, many from abroad, formed an important part of the  populace. Mainly Western ascetic communities existed on the Mount of  Olives by 375, and a decade later St.  <strong>Jerome</strong> and his protégé Paula founded rival monasteries in Bethlehem. Immigrant  ascetics like  <strong>Melania  the Younger</strong> helped the city&#8217;s economy with generous  endowments to churches, monasteries, and  <strong>xenodocheia</strong>.</p>
<p>Like   <strong>Palestine</strong> as a whole, Jerusalem profited from traffic in  <strong>relics</strong>.  Rich in ordinary “blessings” (see  <strong>eulogia</strong>),  Jerusalem also possessed the wood of the  <strong>True  Cross</strong>; bits of it, acquired for a price, or stolen,  or given as presents, soon made their way across Christendom.  Similarly, Bp.  <strong>John  II</strong> of Jerusalem took control of the relics of St.  Stephen the Protomartyr, which came to light in 415. In 420 or 421  John&#8217;s successor dispatched Stephen&#8217;s right arm to Constantinople, in  return for which Theodosios II sent money to Jerusalem and dedicated a  gem-encrusted cross on Golgotha.</p>
<p>Melania influenced  <strong>Athenais-eudokia</strong>,  consort of Theodosios, who first came to Jerusalem on pilgrimage in  438/9 and then, exiled from the court, settled permanently (ca.443–60).  Eudokia endowed monasteries, founded hostels for pilgrims and the poor,  and built churches to the Virgin at Siloam—on the south flank of  Jerusalem&#8217;s eastern spur—and perhaps at the Sheep Pool, the latter  commemorating Mary&#8217;s birth. Eudokia&#8217;s Basilica of St. Stephen, north of  the city, remained the largest church for a century. Above all, the  exiled empress built a new fortification wall whose defensive perimeter  finally incorporated Mt. Sion and the southern suburbs as far as Siloam.  In the mid-5th C., Jerusalem reached a pinnacle of population and  wealth unequaled since the Herodian period. Despite this,  <strong>Caesarea  Maritima</strong> held primacy among the sees of Palestine  until 451, when Bp.  <strong>Juvenal</strong> of Jerusalem secured the patriarchate (see  <strong>Jerusalem,  Patriarchate of</strong>).</p>
<p><a href="http://www.arthistoryspot.com/wp-content/uploads/2010/03/DavidTower.jpg"><img class="alignleft size-thumbnail wp-image-635" title="DavidTower" src="http://www.arthistoryspot.com/wp-content/uploads/2010/03/DavidTower-150x150.jpg" alt="" width="150" height="150" /></a>After Constantine and  Eudokia, Justinian I ranks as Jerusalem&#8217;s third imperial benefactor. He  built the Nea Ekklesia of Mary Theotokos, the city&#8217;s largest church, and  extended the main colonnaded street south to its west façade. This  completed the urban plan of Jerusalem as depicted on the  <strong>Madaba  mosaic map</strong>.</p>
<p>In 614 the Persians besieged and  captured Jerusalem with heavy destruction and loss of life, gave the  city over to the Jews, and carried off the True Cross (<em>Expugnationis  Hierosolymae</em> ad <em>614 recensiones  arabicae</em>, ed. G. Garitte, 2 vols. [Louvain 1974]). Herakleios  forced the Persians to withdraw; the return of the city&#8217;s talisman is  variously dated to 629, 630, and 631 (V. Grumel suggests 21  March  631 [<em>ByzF</em> 1 (1966) 139–49]); within the decade, however, Jerusalem fell to the  Arabs. About March  638, after a long siege, Patr.  <strong>Sophronios</strong> surrendered Jerusalem to the Caliph ʿUmar, who refrained from praying  at the Lord&#8217;s Tomb and thus preserved the site for Christianity. The  Muslims, who likewise called Jerusalem “the Holy City” (al-Quds), built  their shrines, the Dome of the Rock and the al-Aqṣa Mosque, on the  Temple Mount. Christian pilgrimage continued on a smaller scale. In 1009  the mad Fāṭimid caliph al-Ḥākim leveled the Holy Sepulchre, but  Constantine IX soon restored it (R. Ousterhout, <em>JSAH</em> 48 [1989]  66–78).</p>
<p>The Crusaders entered Jerusalem in 1099 and established  the Kingdom of Jerusalem (see  <strong>Jerusalem,  Kingdom of</strong>). Europeans ruled the city from 1099 to  1187 and from 1229 to 1243, gave the Church of the Holy Sepulchre its  present form and built the Gothic Church of St. Anne. They turned the  Dome of the Rock temporarily into a church, the <em>Templum Domini</em>,  and the knightly Order of Templars established itself in al-Aqṣa.  Despite subsequent rebuilding, the Old City today retains the urban plan  of the Roman and Byz. periods.</p>
<p>In art, biblical exegesis, and  theology a celestial Jerusalem paralleled and sometimes reflected the  terrestrial city. Conforming to biblical prophecies about Jerusalem,  this conception became an archetype of the human soul, of the Christian  church, and of individual church buildings. It provided an image of  paradise, as in Revelations 21–22 and the 10th-C. vision of the Monk  Kosmas (<em>Synax.CP</em> 111–14), where the heavenly city with golden  streets and a palace could equally be Constantinople, sometimes called  by the Byz. the New Jerusalem.</p>
<div><a name="head1"></a><big><strong>Pilgrimage  Sites</strong></big></div>
<p>In addition to the Holy Sepulchre, six sites in  Jerusalem were of special interest to pilgrims.<br />
<strong><a href="http://www.arthistoryspot.com/wp-content/uploads/2010/03/Jerusalem-House-of-Caiaphas.jpg"><img class="alignleft size-thumbnail wp-image-634" title="Jerusalem House of Caiaphas" src="http://www.arthistoryspot.com/wp-content/uploads/2010/03/Jerusalem-House-of-Caiaphas-150x150.jpg" alt="" width="150" height="150" /></a>1.</strong>The  <strong><em>House of Caiaphas,</em></strong> where part of Jesus&#8217; trial  took place and Peter denied him (Mt 26:57–75), was east of Mt. Sion.  Peter&#8217;s repentance (Mt 26:75) was remembered there in the early  stational liturgy of Holy Thursday. By the 6th C. at the latest, a  church of St. Peter replaced “ruins” of at least the house and continued  to be a focus of interest through the Latin Kingdom.<br />
<strong>2.</strong>The <strong><em>Garden of Gethsemane</em></strong>,  just east of the city, was the site where Jesus prayed (Mk 14:32–42)  and was betrayed by Judas (Mk 14:43–50). Early pilgrims used Gethsemane  as a place of prayer. By the late 4th C. a church was built there;  probably the earthquake of 746 destroyed it. Sources refer to a rock or a  cave of the betrayal.  <strong>The  Breviarius</strong>, Patr. Eutychios of Constantinople, and  the  <strong>Piacenza  Pilgrim</strong> held that Jesus had a supper at Gethsemane;  Eutychios distinguishes this “first supper” from the “second” meal at  Bethany (Jn 12:2) and the “third,” that is, the Last Supper (see  <strong>Lord&#8217;s  Supper</strong>). A certain Theodosius set the  <strong>Washing  of the Feet</strong> at Gethsemane, which was also  identified with the tomb of the  <strong>Virgin&#8217;s  Dormition</strong>.<br />
<strong>3.</strong>The <strong><em>Praetorium</em></strong>, or  residence of Pontius Pilate (Mk 15:16), was in fact in the area of the  Tower of David, but the place pointed out to Byz. pilgrims was in the  Tyropoean Valley. A church existed there from the mid-5th C., decorated  perhaps with murals depicting the narrative of Mark 15:16–20. From the  6th C., pilgrims were shown the stone (with footprints) upon which  Christ stood during his trial, Pilate&#8217;s seat, and a portrait of Christ.<br />
<strong>4.</strong>The <strong><em>Sheep Pool</em></strong> (pool of  Bethesda, John 5:2) was located near the east gate of the city.  Excavations have shown that the site was originally a pagan healing  shrine; porticoes enclosed its two pools during the Roman period. By the  mid-5th C. a “Church of the Sheep Pool” was on the spot, with a  courtyard overhanging the pools. It was the  <strong>locus  sanctus</strong> not only of the healing of the paralytic  (and preserved his couch), but also of the birth of the Virgin.<br />
<strong>5.</strong><strong><em>Siloam</em></strong> was a pool on the  south side of the city where Jesus sent the blind man to wash and be  healed (John 9:7). A traditional healing shrine, it was enclosed by a  square colonnade in Roman times, and, in the 5th C., marked by a church  that attracted the sick ( <strong>Piacenza  Pilgrim</strong>, <em>Travels</em> 24) seeking the  <strong>eulogia</strong> of the waters. Remains of both stages have been found by excavation.<br />
<strong>6.</strong>The <strong><em>Tower of David</em></strong>, on  the site of the present Citadel, is portrayed on the Madaba mosaic map  as two towers to the right of the west entrance to the city. The name  was applied generally to the originally three-towered fortress built  there by Herod the Great, where Byz. pilgrims believed David had  composed or recited the Psalms.</p>
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		<title>Van Gogh-song</title>
		<link>http://www.arthistoryspot.com/2010/02/van-gogh-song/</link>
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		<pubDate>Wed, 10 Feb 2010 10:10:23 +0000</pubDate>
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		<description><![CDATA[&#8220;Vincent&#8221; is a song by Don McLean written as a tribute to Vincent van Gogh. It is also known by its opening line, &#8220;Starry Starry Night&#8220;, a reference to van Gogh&#8217;s painting The Starry Night. The song also describes different paintings done by the artist. McLean wrote the lyrics in 1971 after reading a book [...]]]></description>
			<content:encoded><![CDATA[<p>&#8220;<strong>Vincent</strong>&#8221; is a song by Don McLean written as a tribute to Vincent van Gogh. It is also known by its opening line, &#8220;<strong>Starry Starry Night</strong>&#8220;, a reference to van Gogh&#8217;s painting <em>The Starry Night</em>. The song also describes different paintings done by the artist.</p>
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<p>McLean wrote the lyrics in 1971 after reading a book about the life of the artist.</p>
<p><object width="500" height="400"><param name="movie" value="http://www.youtube.com/v/nkvLq0TYiwI?version=3"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/nkvLq0TYiwI?version=3" type="application/x-shockwave-flash" width="500" height="400" allowscriptaccess="always" allowfullscreen="true"></embed></object></p>
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		<title>Female hysteria</title>
		<link>http://www.arthistoryspot.com/2010/02/female-hysteria/</link>
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		<pubDate>Mon, 08 Feb 2010 09:47:21 +0000</pubDate>
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		<description><![CDATA[Here we have one post that I read on wonderful blog The Victorian era.I believe that is interesting to see something like that, and to see how this theme found its way to art&#8230; in drawing of course. http://19thcentury.wordpress.com/2007/12/05/female-hysteria/ In 1859, it was claimed that a quarter of all women suffered from hysteria. This number [...]]]></description>
			<content:encoded><![CDATA[<p><span style="color: #ff0000;"><strong>Here we have one post that I read on wonderful blog The Victorian era.I believe that is interesting to see something like that, and to see how this theme found its way to art&#8230; in drawing of course.<br />
</strong></span></p>
<p><a href="http://19thcentury.wordpress.com/2007/12/05/female-hysteria/" target="_blank">http://19thcentury.wordpress.com/2007/12/05/female-hysteria/</a></p>
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<p><span style="color: #ff0000;"><strong><br />
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<p>In 1859, it w<a href="http://www.arthistoryspot.com/wp-content/uploads/2010/02/dr_swift.jpg"><img class="alignleft size-thumbnail wp-image-399" title="dr_swift" src="http://www.arthistoryspot.com/wp-content/uploads/2010/02/dr_swift-150x150.jpg" alt="" width="150" height="150" /></a>as claimed that a quarter of all women suffered from hysteria. This number makes sense if you consider that there was a 75-page catalogue with possible symptoms, and this list was seen as incomplete. Some of the symptoms of female hysteria are faintness, nervousness, insomnia, fluid retention, heaviness in the abdomen, muscle spasms, shortness of breath, irritability and a loss of appetite for food.<br />
The exact cause of hysteria is not clearly defined, except that is was a ‘womb disease.’ According to the Victorians, it had either to do with pent-up fluids in the female body, stress of modern-day life, or the ‘wanderings of the womb.’ It was definately an upper-class disease, an American physician expressed pleasure that the country was ‘catching up’ to Europe in the prevalence of hysteria.</p>
<p><a href="http://www.arthistoryspot.com/wp-content/uploads/2010/02/firstvibrator1902.jpg"><img class="alignleft size-thumbnail wp-image-400" title="firstvibrator1902" src="http://www.arthistoryspot.com/wp-content/uploads/2010/02/firstvibrator1902-150x150.jpg" alt="" width="150" height="150" /></a>Luckily, there was a temporary solution for hysteria (hysteria was a chronic disease so it could never be fully cured.) The woman suffering from hysteria would go to the doctor for a ‘pelvic massage to the point of hysterical paroxysm.’ The doctors thought this to be a very tedious task indeed, and due to this, the first vibrators were invented: around 1870 the first ones were in use by physicians.</p>
<p>There is a Dutch book which deals with the issue, but I don’t think it has ever been translated. In Frederik van Eeden’s ‘Van de Koele Meren des Doods,’ a young wife gets ill and, after examining her, the physician encourages her husband to engage in the marrital duties more often. This book was written in 1900, and I think may be one of the earliest to show how the lack of physical affections in the Victorian marriage might affect a women’s mood.</p>
<p><span style="color: #ff0000;"><strong><br />
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