Sharon T. Strocchia, Baltimore, Johns Hopkins University Press, 2009, xvi+261 pp., £26 (hardback), ISBN-13: 978-0-8018-9292-9 One of the central arguments advanced in this book is that the fifteent...

Nuns and Nunneries in Renaissance Florence

Diplomatic and Judicial Means of Dispute SettlementThe Oxford Handbook on the United NationsSettlement Agreements in Commercial Disputes: Negotiating, Drafting & Enforcement, 2nd EditionThe Peaceful Settlement of International DisputesInternational and Comparative MediationThe Settlement of Disputes in International LawThe Settlement of International DisputesDispute and Settlement in Rural TurkeyThe Settlement of Disputes in Early Medieval EuropeThe Settlement of Foreign Investment DisputesMaritime Boundary Disputes, Settlement Processes, and the Law of the SeaDisputes and SettlementsMediating Legal DisputesSettlement of Individual Employment DisputesRetaliation in the WTO Dispute Settlement SystemProceedings of National Conference, American Society for Judicial Settlement of Inter National DisputesHandbook on the Peaceful Settlement of Disputes Between StatesMediationAlternative Dispute Resolution in TanzaniaThe Peaceful Settlement of International DisputesInternational Law and Dispute SettlementSettlements of Trade Disputes between China and Latin American CountriesThe Settlement of International Cultural Heritage DisputesThe Investor-State Dispute Settlement System. Reform, Replace Or Status Quo?Dispute Settlement in the UN Convention on the Law of the SeaJournal of Dispute ResolutionThe Law of International ConflictInternational Investment Law and Policy in AfricaWTO [World Trade Organization]International Dispute SettlementInvestor-State Dispute Settlement and National CourtsThe Settlement of Intergovernmental DisputesThe Oxford Handbook of International Cultural Heritage LawDsdThe WTO Dispute Settlement System, 1995-2003The Investor-State Dispute Settlement SystemCrafting Effective Settlement AgreementsSettlements of Trade Disputes Between China and Latin American CountriesResolving Mass DisputesEntertainment Law Settlements and Negotiations

Disputes And Settlements Law And Human Relations In The West

Throughout its 60 year history the art jewellery field has been creatively interrogating jewellery’s craft traditions and its role as social signifier. Den Besten’s (2014) recent manifesto for contemporary jewellery invited art jewellers to re- “Focus on the “why” and “how” of jewelry, on people and jewelry”. Through practice-led research I am investigating the public’s response to the crafting and transformation of food-stuffs, including the flesh of meat and fruits, as materials with which to create a collection of jewellery and decorative wearable artefacts titled ‘M(eat) et al’. There are several art jewellers who explore alternative organic, animal and human matter in their creative practice, such as Marta Mattsson, Eunmi Chun and Stefan Heuser; however, few have gone on to study and analyse the subsequent impact of their designs on the wearer/consumer. In Hindle’s ‘Strange Pleasures’ study (conducted in 2014), where members of the public were invited to experience and engage with a range of art jewellery examples, a participant selected my work to interact with. She stated that “it was almost like that weird attraction/revulsion thing” (Hindle, Colley, Boultwood, 2016 p.304), evidencing threads around abjection (Kristeva, 1984) and body boundary (Rozin et al, 1995) that occur due to the material make-up of the jewellery. As a result of this study, I am exploring ways in which to more effectively promote and exhibit ‘M(eat) et al’ alongside a developing complementary collection of ‘Ambiguous Implements’, to enable an immersive and experiential presentation to the public that more directly questions body boundary.

M(eat) et al: art jewellery as a means to explore body boundary?

The Adoration of the Child Jesus

Receiver's Experience of and Response to Anger in the Workplace

The subject of the present study is Cosimo Rosselli's The Adoration of the Child Jesus (c. 1485), today in the collection of the Barber Institute of Fine Arts, University of Birmingham. It takes as its starting point two factors noted from the Barber Institute guide - the ‘complex subject matter’ and the painting’s unknown original location. The paper thus falls into two sections. Part 1 consists of a fresh iconographical analysis of the altarpiece grounded in accepted historical and contextual scholarship. This section underscores Rosselli’s indebtedness to his contemporaries, showing however that he was immediately responsive to the latest conceptual innovations taking place around him and that he was himself capable of a degree of novelty. Part 2 addresses the question of the site for which Rosselli’s altarpiece may have been made. As is the case with the overwhelming majority of extant works of art, an extensive search notwithstanding, no contractual document or early description of the altarpiece in situ has so far come to light. A detailed hypothesis is, nonetheless, put forward, which proposes the identity of the patronal family and the chapel for which the painting may have been commissioned. Thorough research into family history, topographical information and circumstantial particulars renders the hypothesis entirely plausible. It should be reiterated that no documentary evidence directly supporting the patron and position put forward here has been uncovered to date. By the same token, nothing has so far been found that negates the possibility. The findings of this research are therefore set before the scholarly community for their value, and/or potential, as contributions to knowledge about the iconography, date and context of the altarpiece. The paper shows, in short, that Cosimo Rosselli’s Adoration of the Child Jesus is to be understood as a contemplation on the mystery of the incarnation and that it was probably painted in, or very shortly after, 1485. It makes a case for the altarpiece having been commissioned by the Gianfigliazzi clan of Florence for its family chapel in the abbey church of Santa Trinita.

Cosimo Rosselli's Birmingham altarpiece, the Vallombrosan Abbey of S. Trinita in Florence and its Gianfigliazzi chapel

The murals of the Piccolomini Library in Siena Cathedral, featuring episodes from the life of Pope Pius II, are usually discussed as distinctly separate from the vault imagery, predominantly all’antica and mythological scenes. The latter, combined with the centrally-placed, antique statue of The Three Graces, has led some authors to comment on the library’s overtly ‘pagan’ content as shockingly incongruent with its setting in the sacred precincts of the duomo. Little attention is paid to the significance of the stucco relief above the entrance, The Expulsion from Paradise. The article proposes that such a prestigious project for so powerful and erudite a patron as Cardinal Francesco Todeschini Piccolomini, and painted by the highly acclaimed artist Pinturicchio, is unlikely to have been devised without careful attention to its iconographical programme. Focussing primarily on the two largest compartments of the vault, it is demonstrated that the four principal figures there should be interpreted as representatives of the four temperaments. By defining their relationship as such to the Expulsion from Paradise relief and to the historical narratives on the walls, this article shows that the mythological scenes in the vault play an allegorical role within the broader scheme and that a coherent programme underpins the entire decoration, with the writings of Saint Augustine and of his fifteenth century followers at its core.

/pdf/the-piccolomini-library-in-siena-cathedral-a-new-reading-1mg3deee6d.pdf

The Piccolomini library in Siena Cathedral: a new reading with particular reference to two compartments of the vault decoration

For ‘Twice Upon a Time: Magic, Alchemy and the Transubstantiation of the Senses’, the Call for Papers cast the context for the conference in the following terms:

... Western tradition remains cautious of unreasoned sensorial data, treating it with illusory trepidation. While this paradigm has proven an efficient methodology, it has installed a discriminatory partition between that which can be rationalised or mathematized and that which is ‘only’ sensory. 
This paper takes a backward glance to a pre-Enlightenment age, when ‘unreasoned sensorial data’ was accepted as part and parcel of everyday life. It touches on the unquestioning belief in the supernatural power of holy relics, exemplified here by a ‘miraculous’ event brought about by a sacred fragment from the head of Saint Andrew the Apostle (first century AD). The occasion was orchestrated by Pope Pius II, the learned humanist Aeneas Silvius Piccolomini (b.1405-1464); the setting, the village of his birth, Corsignano, which he renamed Pienza, after himself. As well as thus creating a memorial for posterity, the buildings and streets of Pienza - indeed also the surrounding countryside - provided the scenography for his ultimate foundational act, the performance of religious ritual in time and space, lifted onto a cosmographical plane by the endowment of the relic on the occasion of a holy feast day falling at the autumnal equinox.

Mobilising mob mentality: the miracle of the relic of Saint Andrew

Opening directly off the massive, romanesque interior of Siena cathedral, the renaissance Piccolomini Library shimmers like a bejewelled casket. Its vault and walls are enlivened with intricate, colourful frescoes by Bernardino Pinturicchio and his workshop. The main component of the painted scheme is a commemoration of the life of the patron’s uncle, Pope Pius II (1458-64), presented in ten, large narrative murals. In keeping with early-renaissance naturalism, great attention is paid to the careful depiction of contemporary dress. Focusing on a small selection of the murals, the aims of this paper are to examine the various modes of sartorial elegance represented there and to consider the role that dress plays in communicating meaning within the decorative programme. Using visual analysis in combination with studies of the history of dress, local Sienese socio-economic context, papal politics and the dynastic agenda, it is demonstrated that the representation of costume plays an important part in the frescoes. It underscores the role of rhetoric, and in particular epideictic oratory, in the mural scheme, elucidates attitudes to local sumptuary laws, and reinforces the celebratory crescendo with which the narrative of Pius’s life closes. It will be shown, moreover, that this culminating triumphalist message is rather more optimistic than was actually the case!

Susan J. May

Papers

Cosimo Rosselli's Birmingham altarpiece, the Vallombrosan Abbey of S. Trinita in Florence and its Gianfigliazzi chapel

The Piccolomini library in Siena Cathedral: a new reading with particular reference to two compartments of the vault decoration

Mobilising mob mentality: the miracle of the relic of Saint Andrew

Dress and its significance in the decorative mural cycle of the Piccolomini Library (1502-8), Siena Cathedral