The Journal of Graduate Liberal Studies

XXIII.CM6

 

Christopher Pastore is the Associate Director of Humanities and Social Sciences Programs at LPS and a Lecturer in the History of Art department. He is the Director of the Master of Liberal Arts program and leads seminars in Visual Studies in topics ranging from Digital Art History to Gardens and Landscape Architecture. He served as the inaugural Barnes Foundation Program Director forUnderstanding World Art where he taught courses on Renoir and El Greco. He received his Ph.D. in the History of Art from Penn with a dissertation that explored villa ideology in the early modern Veneto. His publications include studies of allegories and gender identity, garden aesthetics and Renaissance theory, and the influence of the Islamic world on Venetian gardens. He is slowly revising a manuscript on Sixteenth Century Italian villa culture tentatively titled Cultivating Antiquity. 
 
Figure 1. Anonymous study after Michelangelo Battle of Cascina, c. 1570, pen and ink over red chalk, British Museum, London, UK (1946,0713.593).

Figure 1. Anonymous study after Michelangelo Battle of Cascina, c. 1570, pen and ink over red chalk, British Museum, London, UK (1946,0713.593).

 
Figure 2. Bastiano da Sangallo, Battle of Cascina, c. 1540, grisaille on panel, Holkham Hall, Norfolk, UK.

Figure 2. Bastiano da Sangallo, Battle of Cascina, c. 1540, grisaille on panel, Holkham Hall, Norfolk, UK.

 
Figure 3. Paolo Uccello, Battle of San Romano, c. 1450, tempera and oil on panel, National Gallery, UK (Acc. n 4577).

Figure 3. Paolo Uccello, Battle of San Romano, c. 1450, tempera and oil on panel, National Gallery, UK (Acc. n 4577).

 
Figure 4. Peter Paul Rubens, Study after Leonardo’s Battle of Anghiari, c. 1603, Louvre Museum, Paris, France, Département des Arts Graphiques (NV 20271).

Figure 4. Peter Paul Rubens, Study after Leonardo’s Battle of Anghiari, c. 1603, Louvre Museum, Paris, France, Département des Arts Graphiques (NV 20271).

 
Figure 5. Michelangelo, Two Studies: Detail of Horseman (after Leonardo?) c. 1504, pen and brown ink, British Museum, London, UK (1895,0915.496).

Figure 5. Michelangelo, Two Studies: Detail of Horseman (after Leonardo?) c. 1504, pen and brown ink, British Museum, London, UK (1895,0915.496).

 
Figure 6. Giorgio Vasari after Perino del Vaga Death of the 10,000 Martyrs, c. 1525, pen and ink, Harvard Art Museum, Boston (1932.265).

Figure 6. Giorgio Vasari after Perino del Vaga Death of the 10,000 Martyrs, c. 1525, pen and ink, Harvard Art Museum, Boston (1932.265).

 
Figure 7. Compositional Study for a lunette with Victory & Baptism of the 10,000 Martyrs , c. 1529, red chalk, Kunsthalle, Hamburg, Germany (n. 21253).

Figure 7. Compositional Study for a lunette with Victory & Baptism of the 10,000 Martyrs , c. 1529, red chalk, Kunsthalle, Hamburg, Germany (n. 21253).

 
Figure 8. Horn blower, Battle of Cascina, detail from Sangallo edited by author to add horn.

Figure 8. Horn blower, Battle of Cascina, detail from Sangallo edited by author to add horn.

 
Figure 9. Pikemen, Battle of Cascina, detail from Sangallo edited by author to add pike heads.

Figure 9. Pikemen, Battle of Cascina, detail from Sangallo edited by author to add pike heads.

 
Figure 10. Domenico Ghirlandaio, Lunette with Decius Mus, Scipio Africanus and Cicero, c. 1482, fresco, Sala degli Gigli, Palazzo Vecchio, Florence, Italy.

Figure 10. Domenico Ghirlandaio, Lunette with Decius Mus, Scipio Africanus and Cicero, c. 1482, fresco, Sala degli Gigli, Palazzo Vecchio, Florence, Italy.

 
Figure 11. Michelangelo, Doni Tondo, c. 1505, tempera on panel, Uffizi, Florence, Italy.

Figure 11. Michelangelo, Doni Tondo, c. 1505, tempera on panel, Uffizi, Florence, Italy.