Cortile del Belvedere

The Renaissance was indeed a proud moment in history. It was a time of the revitalization of antiquity, breakthrough scientific discoveries, and profound, inspirational artwork. The desire and urge to establish stronger connections with the classical past brought about the search and discovery of many ancient manuscripts and artworks. One of the most celebrated discoveries occurred during the height of the Renaissance: The Laocoon. Perhaps one of the world’s most famous Hellenistic sculptures, it

reality, and they tended to depict dramatic, often violent action.” Hellenistic sculpture in particular was of theatrical manner which emphasised emotional intensity and striking scenes of crisis. Prior to this artwork for centuries the Apollo Belvedere (fig. 2) personified principles of aesthetic perfection of classical art for Europeans and westernized parts of the world. Apollo is in a calm placid state; he is not engaged in any violent actions or emotions, but rather is calmly posing. The statue

On February of 1962 a group of Italian workers were digging up the Vatican's Belvedere Courtyard so they can moderate a heating and cooling system; while digging they hit a pair of bones. They found large teeth and a big jawbone thinking they found a Dinosaur but the bones where not fossilized and The Vatican Library Collection Custodian exanimate the bones to find out that they where Elephant bones. For decades people did not know there was an elephant skeleton under the Vatican until the 1980's

His first commission from Julius, the Cortile del Belvedere, circa 1504-1505, demonstrated the audacious nature of the Pope’s Instauratio Romae. Julius desired to link the old Vatican Palace to Pope Innocent VIII’s summer home, the Villa Belvedere 300 meters to the north. Spanning the intervening sloping valley was considerable work and Bramante had to design an enormous scheme of two and three

looking at the vast antique collection found in the Sir John Soanes’s Museum, London, I was able to identify with 2 objects that I felt had the most interest to me. Found in the Colonnade and Dome room, I will compare and contrast the statue of Apollo Belvedere, a Greek god originally made from bronze and discovered in Rome in the late 15th century. The second is a statue of the Ephesian Diana, an Egyptian sculpture derived of marble. There are a number of statues replicating the pagan goddess, Artemis

da Vinci, Donatello, Michelangelo, Giotto, Sandro Botticelli, and Raphael. The artists of the Renaissance strived for perfect art and mind. The Catholic Church was a strong supporter for their art. Pope Julius had Bramante construct the Cortile del Belvedere at the Vatican Palace in Rome

The Important Incorporation of Classical Iconography Within the Commissions of Lorenzo de’ Medici and Pope Julius II Julius II and Lorenzo de’ Medici arguably had not so dissimilar goals in their patronage. Patronage was a tool for exerting political power, exemplifying personal magnificence, and invoking a sense of civic duty. These patrons attempted to display different pieces of these attributes in different ways. Lorenzo de’ Medici, born into arguably the most prestigious family in Florence