Florence Triumphant over Pisa

Diego Jerez
Giambologna, Florence Triumphant over Pisa, 1570

By DIEGO JEREZ

This is a Terracotta sculpture of modelled clay. The dimensions are: height 39 cm, width 15 cm, and the depth is 17 cm maximum. This sculpture is the well-known Triumph of Florence over Pisa. This model is one of the earliest recorded for the many different models he created before doing the marble sculpture. In this model we can appreciate Florence triumphant over Pisa, what represents the republic of Florence, interpreted by a woman, victorious over Pisa, a rival city conquered by Florence. 


Giambologna got the project in 1565, and was planned to be showed in the Salone del Cinquecento of the Palazzo Vecchio during the celebration of Francesco’s marriage with Joanna of Austria. However, there was not enough time for choosing and transporting the marble block from the quarry. Because of that this plaster model was shown. The marble sculpture was completed in 1570.The bozzetto was created in a board made of wood, underneath is visible the print of which. Giambologna focused on Florence. He did not construct Florence’s arms. That allowed him to create more detailed on the torso, and on the skin (which is smooth). On the other hand he did not spend plenty of time on Pisa; for instance if you take a look to Pisa's head, you will notice that the face is missing. Nowadays, this statue is located in Florence, in the Palazzo Bargello, in the Medieval & Renaissance department, Room 62.
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The Surrender of Breda

Diego Jerez
The Surrender of Breda, Diego Velazquez, 1635
By DIEGO JEREZ

 La rendición de Breda (in English The Surrender of Breda) is a painting by Diego Velazquez during the Spanish Golden Age. The historical context is that the Spanish Empire is involved in a war against the Kingdom of France, the kingdom of England, the Kingdom of Denmark and The United Provinces of Netherlands. That war was called the Eighty Years war or the War in Flanders. In 1624 with 18,000 soldiers, the Spanish army under the command of Ambrosio Spinola, attacked the city of Breda protected by a garrison of 14,000 soldiers under the command of Maurice of Orange. At this point the battle was going well. The problem started when the besieged received the support of 6,000 English and 2,000 danish. Fortunately for the Spaniards, they received 500 soldiers that could resist the charge of the Danish army, and the English could not break the siege. As a result the besieged decided to surrender. Spain's loss turned into be a victory. 
Velazquez painted symbolic signs. For instance, the Spaniards got bigger and more pikes than the rebels. Another symbol is that there are columns of fumes going straight to the sky on the rebels' side, which means the destruction of the rebel army. In the background a Tercio is taking the city. The last symbol is the clearness of the sky, which means  that God wants Spain to win a war against the protestants. An important detail that we must consider in this work is that Velazquez has not painted the battle, but the end of it when Nassau hands the keys to Spinola. The battle scenes of the Renaissance insisted on the power of the conqueror over the vanquished. Velazquez intentionally departs from this puts both generals on an equal footing. If you realize there is no mood to humiliate the enemy. Spinola does not allow Nassau to give the keys of the city on his knees as was usual, but he places his hand on his shoulder with condescension, which highlights the chivalry, gallantry, and honor of the victorious Spaniards. The victory is without arrogance, because forgiveness exalts more than vengeance, clemency is an allegory of the prince. It is evident that the attitude of nobility of both commanders and the patience show us virtuousness.

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Napoleon Crossing the Alps

Diego Jerez
Jacques Loius David, Napoleon Crossing the Alps, 1801

"Ozymandias"
By PERCY SHELLEY
I met a traveller from an antique land, 
Who said—“Two vast and trunkless legs of stone 
Stand in the desert. . . . Near them, on the sand, 
Half sunk a shattered visage lies, whose frown, 
And wrinkled lip, and sneer of cold command, 
Tell that its sculptor well those passions read 
Which yet survive, stamped on these lifeless things, 
The hand that mocked them, and the heart that fed; 
And on the pedestal, these words appear: 
My name is Ozymandias, King of Kings; 
Look on my Works, ye Mighty, and despair! 
Nothing beside remains. Round the decay 
Of that colossal Wreck, boundless and bare 
The lone and level sands stretch far away.”

Editor's Note: Students were asked to pair a poem and painting with no explanation of the connection. 
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The Last Judgement

Diego Jerez



Giotto, The Last Judgement, 1306
By DIEGO JEREZ

This is Giotto's largest work in the Arena Chapel. This extensive description of the Last Judgment in the west of the church is dominated by the large enthroned Christ as supreme Judge in a rainbow-colored mandorla in majesty at its center. The twelve apostles are surrounding Christ. In this area the archangels Michael and Raphael hold the cross in the middle. This fresco contains the Heaven, Purgatory, and the Hell. The bright gold background, Giotto’s style of painting gives the perception that Christ is showing his power.

It is possible that Dante, the great Renaissance poet and an acquaintance of Giotto's, was inspired by this depiction of Hell when he wrote The Inferno. In the book Satan is in the deepest part of hell, devouring people, like in the fresco. In the hell there is lot of individuals hanging from things that look like trees. Giotto did a really good job by presenting it, because make the viewer that the hell is cruelest place of all times.
A curious thing can be found at the bottom part of the fresco, Enrico Scrovegni the representative of the Arena Chapel, is portrayed as presenting the chapel to the Virgin Mary. 

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