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92-664: Lycée Michelet may refer to one of several French high schools/sixth form colleges named after Jules Michelet : Lycée Michelet (Brive-la-Gaillarde) , Brive-la-Gaillarde , Corrèze Lycée Michelet (Lannemezan) , Lannemezan , Hautes-Pyrénées Lycée Michelet (Marseille) , Marseille , Bouches-du-Rhône Lycée Michelet (Montauban)  [ fr ] , Montauban , Tarn-et-Garonne Lycée Michelet (Nantes) , Nantes , Loire-Atlantique Lycée Michelet (Nice)  [ fr ] , Nice , Alpes-Maritimes Lycée Michelet (Vanves) , Vanves, Hauts-de-Seine [REDACTED] Topics referred to by

184-654: A baby from its screaming mother in the Massacre of the Innocents does so with his head hunched into his shoulders and a look of shame on his face. The people on the road to Egypt gossip about Mary and Joseph as they go. Of Giotto's realism, the 19th-century English critic John Ruskin said, "He painted the Madonna and St. Joseph and the Christ, yes, by all means... but essentially Mamma, Papa and Baby". Famous narratives in

276-614: A better position for study by obtaining him a place in the Record Office and a deputy-professorship under the historian Guizot in the literary faculty of the university. Soon afterward he began his magnum opus, the Histoire de France , which would take 30 years to complete. But he accompanied this with numerous other books, chiefly of erudition, such as the Œuvres choisies de Vico , the Mémoires de Luther écrits par lui-même ,

368-479: A constituent conceptual tool in western thought. Michelet was perhaps the first historian to devote himself to anything resembling a picturesque history of the Middle Ages and his account is still one of the most vivid that exists. His inquiry into manuscript and printed authorities was most laborious, but his lively imagination, and his strong religious and political prejudices, made him regard all things from

460-436: A crowd of lesser works accompanied and diversified it. Sometimes they were expanded versions of its episodes, sometimes what may be called commentaries or companion volumes. The first of these was Les Femmes de la Révolution (1854), in which Michelet's dithyrambic often gives way to tedious and inconclusive writing. L'Insecte followed. It was succeeded by L'Amour (1859), one of Michelet's most popular books. In

552-468: A festival of Love and tyranny resulting in wartime rape. Between the narrative scenes are quatrefoil paintings of Old Testament scenes, like Jonah and the Whale , that allegorically correspond to and perhaps foretell the life of Christ. Much of the blue in the frescoes has been worn away by time. The expense of the ultramarine blue pigment used required it to be painted on top of the already-dry fresco (

644-649: A fresco portraying the Lamentation of Christ in the church of Santa Chiara and the Illustrious Men that is painted on the windows of the Santa Barbara Chapel of Castel Nuovo , which are usually attributed to his pupils. In 1332, King Robert named him "first court painter", with a yearly pension. Also in this time period, according to Vasari, Giotto composed a series on the Bible; scenes from

736-556: A happier return to the natural history class, in a lyrical vein, influenced by his second marriage to Athénaïs Mialaret. The next year (1862) one of Michelet's more successful minor works, Satanism and Witchcraft , was published. Developed out of an episode of history, it has strong hints of Michelet's more unusual views. It was eventually adapted by animation studio Mushi Production into an animated art film , Belladonna of Sadness , directed by Eiichi Yamamoto . This series, every volume of which combined imagination and research,

828-468: A historian who founded the Revue Historique . A potentially misogynistic effort to discount the contributions of Athénaïs is noted by a historian, Bonnie Smith , who notes, "Michelet scholarship, like other historiographical debates, has taken great pains to establish the priority of the male over the female in writing history." [REDACTED] Category Giotto Giotto's masterwork

920-624: A house in Florence, and when he was not traveling, he would return there and live in comfort with his family. By the early 1300s, he had multiple painting commissions in Florence. The Archbasilica of St. John Lateran houses a small portion of a fresco cycle, painted for the Jubilee of 1300 called by Boniface VIII . He also designed the Navicella , a mosaic that decorated the facade of Old St Peter's Basilica . In this period Giotto also painted

1012-564: A period in Rome sometime beforehand. It is now thought that he produced the design for the famous Navicella mosaic for the courtyard of the Old St. Peter's Basilica in 1310, commissioned by Cardinal Giacomo or Jacopo Stefaneschi and now lost to the Renaissance church except for some fragments and a Baroque reconstruction. According to the cardinal's necrology , he also at least designed

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1104-469: A red circle so perfect that it seemed as though it was drawn using a pair of compasses and instructed the messenger to send it to the Pope. The messenger departed ill-pleased, believing that he had been made a fool of. The messenger brought other artists' drawings back to the Pope in addition to Giotto's. When the messenger related how he had made the circle without moving his arm and without the aid of compasses

1196-900: A secco ) to preserve its brilliance. That is why it has disintegrated faster than the other colours, which were painted on wet plaster and have bonded with the wall. An example of the decay can clearly be seen on the robe of the Virgin, in the fresco of the Nativity . Giotto's style drew on the solid and classicizing sculpture of Arnolfo di Cambio . Unlike those by Cimabue and Duccio, Giotto's figures are not stylized or elongated and do not follow Byzantine models. They are solidly three-dimensional, have faces and gestures that are based on close observation, and are clothed, not in swirling formalized drapery, but in garments that hang naturally and have form and weight. He also took bold steps in foreshortening and having characters face inwards, with their backs towards

1288-636: A seriously-deteriorated condition. Scholars who date the cycle earlier in Giotto's career see the growing interest in architectural expansion that it displays as close to the developments of the giottesque frescoes in the Lower Church at Assisi, but the Bardi frescoes have a new softness of colour that indicates the artist going in a different direction, probably under the influence of Sienese art so it must be later. The Peruzzi Chapel pairs three frescoes from

1380-462: A shared literary life and she would assist him significantly in his endeavors as well. He openly acknowledged this, although she never was given credit in his works. After the coup d'état by Napoleon III , in 1852 Michelet lost his position in the Record Office when he refused to swear fealty to the empire. The new regime rekindled his republican zeal, further stimulated by his second marriage to Athénaïs. While his Histoire remained his main pursuit,

1472-488: A singularly personal point of view. There is an unevenness of treatment of historical incidents. However, Michelet's insistence that history should concentrate on "the people , and not only its leaders or its institutions" clearly drew inspiration from the French Revolution. Michelet was one of the first historians to apply these liberal principles to historical scholarship. Uncompromisingly hostile as Michelet

1564-451: A tower house in nearby Colle Vespignano has borne a plaque claiming the honor of his birthplace, an assertion that is commercially publicized. However, recent research has presented documentary evidence that he was born in Florence, the son of a blacksmith. His father's name was Bondone. Most authors accept that Giotto was his real name, but may have been an abbreviation of Ambrogio ( Ambrogiotto ) or Angelo ( Angelotto ). In his Lives of

1656-527: A very short man, little over four feet tall, who may have suffered from a form of congenital dwarfism . That supports a tradition at the Church of Santa Croce that a dwarf who appears in one of the frescoes is a self-portrait of Giotto. On the other hand, a man wearing a white hat who appears in the Last Judgement at Padua is also said to be a portrait of Giotto. The appearance of this man conflicts with

1748-505: A violent polemic against the religious order and the principles that it represented, a polemic that made their lectures, especially Michelet's, among the most popular of the day. His first wife died in 1839 and he would remain unmarried for a decade. He published his Histoire romaine in that year, but this was in his graver and earlier manner. The results of his lectures appeared in the volumes Du prêtre , de la femme et de la famille and Le peuple . These books do not display

1840-453: Is a prominent theme for him, with a "war of man against nature, spirit against matter, liberty against fatality. History is nothing other than the record of this interminable struggle." Leading some to describe him as a " Manichaean dualist." His framing of history as a struggle between Christian spirit and liberty against Jewish matter, fatality, and tyranny, is seen by intellectual historian David Nirenberg as an example of anti-judaism as

1932-491: Is a story that Dante visited Giotto while he was painting the Scrovegni Chapel and, seeing the artist's children underfoot asked how a man who painted such beautiful pictures could have such plain children. Giotto, who according to Vasari was always a wit, replied, "I make my pictures by day, and my babies by night." The cycle is divided into 37 scenes, arranged around the lateral walls in three tiers, starting in

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2024-613: Is as broadly disputed as the Assisi frescoes. According to Vasari, Giotto's earliest works were for the Dominicans at Santa Maria Novella . They include a fresco of The Annunciation and an enormous suspended Crucifix , which is about 5 metres (16 feet) high. It has been dated to about 1290 and is thought to be contemporary with the Assisi frescoes. Earlier attributed works are the San Giorgio alla Costa Madonna and Child , now in

2116-580: Is depicted mainly in profile, and his eyes point continuously to the right, perhaps to guide the viewer onwards in the episodes. The kiss of Judas near the end of the sequence signals the close of this left-to-right procession. Below the narrative scenes in colour, Giotto also painted allegories of seven Virtues and their counterparts in monochrome grey ( grisaille ). The grisaille frescoes are painted to look like marble statues that personify Virtues and Vices. The central allegories of Justice and Injustice oppose two specific types of government: peace leading to

2208-417: Is different from Wikidata All article disambiguation pages All disambiguation pages Jules Michelet Jules Michelet ( French: [ʒyl miʃlɛ] ; 21 August 1798 – 9 February 1874) was a French historian and writer . He is best known for his multivolume work Histoire de France (History of France), which is considered a foundational text in modern historiography . Michelet

2300-524: Is probable that he was already leading a large workshop and receiving commissions from throughout Italy. Around 1305, Giotto executed his most influential work, the interior frescoes of the Scrovegni Chapel in Padua that in 2021 were declared UNESCO World Heritage together with other 14th-century fresco cycles in different buildings around the city centre. Enrico degli Scrovegni commissioned

2392-662: Is the decoration of the Scrovegni Chapel , in Padua , also known as the Arena Chapel, which was completed around 1305. The fresco cycle depicts the Life of the Virgin and the Life of Christ . It is regarded as one of the supreme masterpieces of the Early Renaissance. The fact that Giotto painted the Arena Chapel and that he was chosen by the Commune of Florence in 1334 to design the new campanile (bell tower) of

2484-633: The Origines du droit français , and somewhat later, the le Procès des Templiers . 1838 was a year of great importance in Michelet's life. During that time, he at the height of his powers. His studies had fed his natural aversion to the principles of authority and ecclesiasticism, and when the revival of Jesuit activity caused some alarm, he was appointed to the chair of history at the Collège de France . Assisted by his friend Edgar Quinet , he began

2576-763: The Badia Polyptych , now in the Uffizi , Florence. Cimabue went to Assisi to paint several large frescoes at the new Basilica of Saint Francis of Assisi , and it is possible, but not certain, that Giotto went with him. The attribution of the fresco cycle of the Life of St. Francis in the Upper Church has been one of the most disputed in art history. The documents of the Franciscan Friars that relate to artistic commissions during this period were destroyed by Napoleon 's troops, who stabled horses in

2668-579: The Ognissanti Madonna , which is now on display in the Uffizi, where it is exhibited beside Cimabue's Santa Trinita Madonna and Duccio 's Rucellai Madonna . The Ognissanti altarpiece is the only panel painting by Giotto that has been universally accepted by scholars, despite the fact that it is undocumented. It was painted for the church of the Ognissanti (all saints) in Florence, which

2760-718: The Stefaneschi Triptych (c. 1320), a double-sided altarpiece for St. Peter's, now in the Vatican Pinacoteca . It shows St Peter enthroned with saints on the front, and on the reverse, Christ is enthroned, framed with scenes of the martyrdom of Saints Peter and Paul. It is one of the few works by Giotto for which firm evidence of a commission exists. However, the style seems unlikely for either Giotto or his normal Florentine assistants so he may have had his design executed by an ad hoc workshop of Romans. The cardinal also commissioned Giotto to decorate

2852-461: The Battle of Waterloo , and the best criticism of it is perhaps contained in the opening words of the introduction to the last volume—" l'âge me presse " ("age hurries me"). The new republic was not altogether a restoration for Michelet, and his professorship at the Collège de France , of which he always contended he had been unjustly deprived, was not given back to him. He was also a supporter of

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2944-757: The Book of Revelation were based on ideas by Dante. After Naples, Giotto stayed for a while in Bologna , where he painted a Polyptych for the church of Santa Maria degli Angeli and, according to some sources, a lost decoration for the Chapel in the Cardinal Legate's Castle. In 1334, Giotto was appointed chief architect to Florence Cathedral . He designed the bell tower, known as Giotto's Campanile , begun on July 18, 1334. After Giotto's death three years later, Andrea Pisano and finally Francesco Talenti took over

3036-721: The Diocesan Museum of Santo Stefano al Ponte , Florence, and the signed panel of the Stigmatization of St. Francis housed in the Louvre . An early biographical source, Riccobaldo of Ferrara , mentions that Giotto painted at Assisi but does not specify the St Francis Cycle : "What kind of art [Giotto] made is testified to by works done by him in the Franciscan churches at Assisi, Rimini, Padua..." Since

3128-648: The Florence Cathedral are among the few certainties about his life. Almost every other aspect of it is subject to controversy: his birth date, his birthplace, his appearance, his apprenticeship, the order in which he created his works, whether he painted the famous frescoes in the Upper Basilica of Saint Francis in Assisi , and his burial place. Tradition says that Giotto was born in a farmhouse, perhaps at Colle di Romagnano or Romignano. Since 1850,

3220-504: The St. Francis Cycle . There are many differences between it and the Arena Chapel frescoes that are difficult to account for within the stylistic development of an individual artist. It is now generally accepted that four different hands are identifiable in the Assisi St. Francis frescoes and that they came from Rome. If this is the case, Giotto's frescoes at Padua owe much to the naturalism of

3312-853: The Baptist and St. John the Evangelist , perhaps including a polyptych of Madonna with Saints now in the Museum of Art of Raleigh , North Carolina ) and the lost Giugni Chapel ( Stories of the Apostles ) and the Tosinghi Spinelli Chapel ( Stories of the Holy Virgin ). As with almost everything in Giotto's career, the dates of the fresco decorations that survive in Santa Croce are disputed. The Bardi Chapel, immediately to

3404-669: The Bishop of Assisi. The Stigmatization of St. Francis , which chronologically belongs between the Appearance at Arles and the Death , is located outside the chapel, above the entrance arch. The arrangement encourages viewers to link scenes together: to pair frescoes across the chapel space or relate triads of frescoes along each wall. The linkings suggest meaningful symbolic relationships between different events in St. Francis's life. In 1328,

3496-475: The Life of Christ as well as the Bible. The frescoes are more than mere illustrations of familiar texts, however, and scholars have found numerous sources for Giotto's interpretations of sacred stories. Vasari, drawing on a description by Giovanni Boccaccio , a friend of Giotto's, says of him that "there was no uglier man in the city of Florence" and indicates that his children were also plain in appearance. There

3588-518: The Most Excellent Painters, Sculptors, and Architects Vasari states that Giotto was a shepherd boy, a merry and intelligent child who was loved by all who knew him. The great Florentine painter Cimabue discovered Giotto drawing pictures of his sheep on a rock. They were so lifelike that Cimabue approached Giotto and asked if he could take him on as an apprentice. Cimabue was one of the two most highly renowned painters of Tuscany ,

3680-429: The Pope and his courtiers were amazed at how Giotto's skill greatly surpassed all of his contemporaries. Around 1290 Giotto married Ricevuta di Lapo del Pela (known as 'Ciuta'), the daughter of Lapo del Pela of Florence. The marriage produced four daughters and four sons, one of whom, Francesco, became a painter. Giotto worked in Rome in 1297–1300, but few traces of his presence there remain today. By 1301, Giotto owned

3772-599: The Revolution. Michelet abhorred the Middle Ages and celebrated their end as a radical transformation. He attempted to clarify how a lively Renaissance could originate from an ossified medieval culture. Michelet has several themes running throughout his works, which included the following three categories: maleficent, beneficent, and paired. Within each of the three themes there are subsets of ideas that occur throughout Michelet's various works. One of these themes

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3864-701: The Romanian National Awakening movements. As a young man, Michelet married Pauline Rousseau in 1824. She died in 1839. Michelet married his second wife, Athénaïs Michelet in 1849. His second wife had been a teacher in St. Petersburg and was an author in the field of natural history and memoirs. She had opened a correspondence with him arising from her ardent admiration of his ideas that ensued for years. They became engaged before they had seen each other. After their marriage, she collaborated with him in his labors albeit without formal credit, introduced him to natural history, inspired him on themes, and

3956-540: The Upper Church of the Basilica, so scholars have debated the attribution to Giotto. In the absence of evidence to the contrary, it was convenient to attribute every fresco in the Upper Church not obviously by Cimabue to the better-known Giotto, including those frescoes now attributed to the Master of Isaac . In the 1960s, art experts Millard Meiss and Leonetto Tintori examined all of the Assisi frescoes, and found some of

4048-720: The Virgin , now in the Berlin Gemäldegalerie , and the Crucifix in the Church of Ognissanti . According to Lorenzo Ghiberti , Giotto painted chapels for four different Florentine families in the church of Santa Croce , but he does not identify which chapels. It is only with Vasari that the four chapels are identified: the Bardi Chapel ( Life of St. Francis ), the Peruzzi Chapel ( Life of St. John

4140-560: The air and Michelet was one of many who condensed and propagated them: his original lectures were of so incendiary a kind that the course had to be interdicted. However, when the revolution broke out, Michelet, unlike many other men of letters, did not attempt to enter active political life. choosing instead to devote himself more strenuously to his literary work. Besides continuing the Histoire de France , he undertook and carried out an enthusiastic Histoire de la Révolution française during

4232-478: The altarpiece of the Baroncelli Chapel , Santa Croce, Florence , was completed. Previously ascribed to Giotto, it is now believed to be mostly a work by assistants, including Taddeo Gaddi , who later frescoed the chapel. The next year, Giotto was called by King Robert of Anjou to Naples where he remained with a group of pupils until 1333. Few of Giotto's Neapolitan works have survived: a fragment of

4324-406: The apocalyptic style which, partly borrowed from Lamennais , characterizes Michelet's later works, but they contain, in miniature, almost the whole of his curious ethico-politico-theological creed—a mixture of sentimentalism , communism , and anti- sacerdotalism , supported by the most eccentric arguments, but urged with a great deal of eloquence. The principles of the outbreaks of 1848 were in

4416-556: The apse of St. Peter's Basilica with a cycle of frescoes that were destroyed during the 16th-century renovation. According to Vasari, Giotto remained in Rome for six years, subsequently receiving numerous commissions in Italy, and in the Papal seat at Avignon , but some of the works are now recognized to be by other artists. In Florence, where documents from 1314 to 1327 attest to his financial activities, Giotto painted an altarpiece, known as

4508-467: The arrangement of the figures in the Mocking of Christ and Lamentation in which the viewer is bidden by the composition to become mocker in one and mourner in the other. Giotto's depiction of the human face and emotion sets his work apart from that of his contemporaries. When the disgraced Joachim returns sadly to the hillside, the two young shepherds look sideways at each other. The soldier who drags

4600-432: The author's life, is a tractate on education, written with knowledge and highlights Michelet's research capabilities. Some critics say it also highlights Michelet's decreasing capability to express himself. However, in a book published posthumously, Le Banquet , critics say this issue disappears. To complete the list of his miscellaneous works, two collections of pieces, written and partly published at different times, are

4692-654: The chancel are complementary paintings of the angel Gabriel and the Virgin Mary, depicting the Annunciation. The scene is incorporated into the cycles of The Life of the Blessed Virgin Mary and The Life of Christ . Giotto's inspiration for The Life of the Virgin cycle was probably taken from The Golden Legend by Jacobus de Voragine and The Life of Christ draws upon the Meditations on

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4784-592: The chapel to serve as family worship, burial space and as a backdrop for an annually performed mystery play . The theme of the decoration is Salvation , and there is an emphasis on the Virgin Mary , as the chapel is dedicated to the Annunciation and to the Virgin of Charity. As was common in church decoration of medieval Italy, the west wall is dominated by the Last Judgement . On either side of

4876-439: The deteriorated condition of the frescoes, it is difficult to discuss Giotto's style in the chapel, but the frescoes show signs of his typical interest in controlled naturalism and psychological penetration. The Peruzzi Chapel was especially renowned during Renaissance times. Giotto's compositions influenced Masaccio 's frescos at the Brancacci Chapel , and Michelangelo is also known to have studied them. The Bardi Chapel depicts

4968-429: The greatness of his living contemporary by the words of a painter in Purgatorio (XI, 94–96): "Cimabue believed that he held the field/In painting, and now Giotto has the cry,/ So the fame of the former is obscure." Giotto died in January 1337. According to Vasari, Giotto was buried in the Cathedral of Florence, on the left of the entrance and with the spot marked by a white marble plaque. According to other sources, he

5060-482: The idea was put forward by the German art historian Friedrich Rintelen  [ de ] in 1912, many scholars have expressed doubt that Giotto was the author of the Upper Church frescoes. Without documentation, arguments on the attribution have relied upon connoisseurship, a notoriously unreliable "science", but technical examinations and comparisons of the workshop painting processes at Assisi and Padua in 2002 have provided strong evidence that Giotto did not paint

5152-417: The image in Santa Croce, in regards to stature. Forensic reconstruction of the skeleton at Santa Reperata showed a short man with a very large head, a large hooked nose and one eye more prominent than the other. The bones of the neck indicated that the man spent a lot of time with his head tilted backwards. The front teeth were worn in a way consistent with frequently holding a brush between the teeth. The man

5244-419: The life of St. Francis , following a similar iconography to the frescoes in the Upper Church at Assisi, dating from 20 to 30 years earlier. A comparison shows the greater attention given by Giotto to expression in the human figures and the simpler, better-integrated architectural forms. Giotto represents only seven scenes from the saint's life, and the narrative is arranged somewhat unusually. The story starts on

5336-423: The life of St. John the Baptist ( The Annunciation of John's Birth to his father Zacharias; The Birth and Naming of John; The Feast of Herod ) on the left wall with three scenes from the life of St. John the Evangelist ( The Visions of John on Ephesus ; The Raising of Drusiana ; The Ascension of John ) on the right wall. The choice of scenes has been related to both the patrons and the Franciscans . Because of

5428-448: The likely fictional incident in which a civilian commissioned Giotto to paint a shield with his coat of arms ; Giotto instead painted the shield "armed to the teeth", complete with a sword, lance, dagger, and suit of armor. He told the man to "Go into the world a little, before you talk of arms as if you were the Duke of Bavaria", and in response was sued. Giotto countersued and won two florins. In The Divine Comedy , Dante acknowledged

5520-405: The location given by Vasari but unmarked on either level. Forensic examination of the bones by anthropologist Francesco Mallegni and a team of experts in 2000 brought to light some evidence that seemed to confirm that they were those of a painter (particularly the range of chemicals, including arsenic and lead , both commonly found in paint, which the bones had absorbed). The bones were those of

5612-500: The machine, the Jesuits, scribes, the electric, irony ( Goethe ), the Scholastics, public safety, and fatalism ( Hobbes , Molinos, Spinoza , Hegel ). Themes of the empty and the turgid included the Middle Ages, the imitation, tedium, the novel, narcotics, Alexander, and plethoric (engorged blood). Michelet also touches on themes of the indeterminate such as the Honnete-Hommes, Conde', Chantilly Sade, gambling, phantasmagoria, Italian comedy, white blood, and sealed blood. Martial dualism

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5704-476: The next, L'Oiseau (1856), Michelet ventured into natural history, a subject new to him, having been introduced to it by his second wife. L'Oiseau was treated from the point of view of Michelet's pantheism , instead of science or sentiment. These works – half pamphlets, half moral treatises – succeeded each other at twelve-month intervals as a rule, and the succession was almost unbroken for five or six years. La Femme (1860) followed L'Amour . It

5796-410: The observer, creating the illusion of space. The figures occupy compressed settings with naturalistic elements, often using forced perspective devices so that they resemble stage sets. This similarity is increased by Giotto's careful arrangement of the figures in such a way that the viewer appears to have a particular place and even an involvement in many of the scenes. That can be seen most markedly in

5888-450: The other being Duccio , who worked mainly in Siena . Vasari recounts a number of such stories about Giotto's skill as a young artist. He tells of one occasion when Cimabue was absent from the workshop, and Giotto painted a remarkably lifelike fly on a face in a painting of Cimabue. When Cimabue returned, he tried several times to brush the fly off. Many scholars today are uncertain about Giotto's training and consider Vasari's account that he

5980-446: The paint contained white lead—also used in Cimabue's badly deteriorated Crucifixion (c. 1283). No known works by Giotto contain this medium. However, Giotto's panel painting of the Stigmatization of St. Francis (c. 1297) includes a motif of the saint holding up the collapsing church, previously included in the Assisi frescoes. The authorship of a large number of panel paintings ascribed to Giotto by Vasari, among others,

6072-401: The painters. Giotto's fame as a painter spread. He was called to work in Padua and also in Rimini , where there remains only a Crucifix painted before 1309 and conserved in the Church of St. Francis . It influenced the rise of the Riminese school of Giovanni and Pietro da Rimini . According to documents of 1301 and 1304, Giotto by this time possessed large estates in Florence, and it

6164-447: The past. His earliest works were school textbooks. Between 1825 and 1827 he produced diverse sketches, chronological tables and other works relating to modern history. His précis of the subject was published in 1827. In the same year he was appointed maître de conférences at the École normale supérieure . Four years later, in 1831, he wrote his Introduction à l'histoire universelle . The events of 1830 had placed Michelet in

6256-407: The right of the main chapel of the church, was painted in true fresco, and to some scholars, the simplicity of its settings seems relatively close to those of Padua, but the Peruzzi Chapel's more complex settings suggest a later date. The Peruzzi Chapel is adjacent to the Bardi Chapel and was largely painted a secco . The technique, quicker but less durable than a true fresco, has left the work in

6348-482: The same term This disambiguation page lists articles about schools, colleges, or other educational institutions which are associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Lycée_Michelet&oldid=852420657 " Category : Educational institution disambiguation pages Hidden categories: Short description

6440-618: The series include the Adoration of the Magi , in which a comet-like Star of Bethlehem streaks across the sky. Giotto is thought to have been inspired by the 1301 appearance of Halley's comet , which led to the 1986 space probe Giotto being named after the artist. Giotto worked on other frescoes in Padua, some now lost, such as those that were in the Basilica of St. Anthony and the Palazzo della Ragione . Numerous painters from northern Italy were influenced by Giotto's work in Padua, including Guariento , Giusto de' Menabuoi , Jacopo Avanzi , and Altichiero . From 1306 from 1311 Giotto

6532-399: The seventh and eighth with the establishment of the royal power under Charles VII and Louis XI . The sixteenth and seventeenth centuries have four volumes apiece, much of which is very distantly connected with French history proper, especially in the two volumes entitled Renaissance and Reforme . The last three volumes carry on the history of the eighteenth century to the outbreak of

6624-584: The term Renaissance (meaning "rebirth" in French) as a period in Europe's cultural history that reflected a clear break, away from the Middle Ages . This subsequently created a modern understanding of humanity and its place in the new, "re-birthed" world. The term "rebirth" and its association with the Renaissance can be traced to a work published in 1550 by the Italian art historian Giorgio Vasari . Vasari used

6716-560: The term to describe the advent of a new manner of painting that began with the work of Giotto , as the "rebirth ( rinascita ) of the arts". Michelet thereby became the first historian to use and define the French translation of the term, Renaissance , to identify the period in Europe's cultural history that followed the Middle Ages . Historian François Furet described Histoire de France as "the cornerstone of revolutionary historiography' and 'a literary monument." Michelet's father

6808-538: The tower's construction, completed in 1359 and not entirely to Giotto's design. Before 1337, he was in Milan with Azzone Visconti , but no trace of works by him remains in the city. His last known work was with assistants' help: the decoration of Podestà Chapel in the Bargello , Florence. Giotto appears in the writings of many contemporary authors, including Boccaccio, Dante and Franco Sacchetti . Sacchetti recounted

6900-570: The upper left wall with St. Francis Renounces his Father. It continues across the chapel to the upper right wall with the Approval of the Franciscan Rule , moves down the right wall to the Trial by Fire , across the chapel again to the left wall for the Appearance at Arles , down the left wall to the Death of St. Francis , and across once more to the posthumous Visions of Fra Agostino and

6992-465: The upper register with the story of St. Joachim and St. Anne , the parents of the Virgin, and continuing with her early life. The life of Jesus occupies two registers. The top south tier deals with the lives of Mary's parents, the top north with her early life and the entire middle tier with the early life and miracles of Christ. The bottom tier on both sides is concerned with the Passion of Christ . He

7084-503: The works Les Soldats de la révolution and Légendes démocratiques du nord . Michelet's Origines du droit français, cherchées dans les symboles et les formules du droit universel was edited by Émile Faguet in 1890 and a second edition was printed in 1900. The publication of this series of books, and the completion of his history, occupied Michelet during both decades of the empire. He lived partly in France, partly in Italy, and

7176-435: The years between the downfall of Louis Philippe and the final establishment of Napoleon III . In 1849, at the age of 51, he married his second wife, 23-year-old Athénaïs Michelet (née Mialaret). She was a woman of some literary capacity as a natural history writer and memoirist, who had republican sympathies. She had been a teacher in St. Petersburg before their extensive correspondence led to marriage. They entered into

7268-477: Was Cimabue's pupil a legend; they cite earlier sources that suggest that Giotto was not Cimabue's pupil. The story about the fly is also suspect because it parallels Pliny the Elder 's anecdote about Zeuxis painting grapes so lifelike that birds tried to peck at them. Vasari also relates that when Pope Benedict XI sent a messenger to Giotto, asking him to send a drawing to demonstrate his skill, Giotto drew

7360-427: Was a book on which a whole critique of French literature and French character might be founded. Vincent van Gogh inscribed a quote he took from La Femme on his drawing, Sorrow . It reads, " Comment se fait-il qu'il y ait sur la terre une femme seule? " ( How can there be on earth a woman alone? ). La Mer followed in 1861, along L’Oiseau (1856), L’Insecte (1858), and La Montagne (1868) represented

7452-487: Was a master printer, and Jules would assist him with his work. At one point, he was offered a spot at the imperial printing office, but instead he attended the famous Collège of Lycée Charlemagne , where he distinguished himself. He passed the university examination in 1821 and was soon appointed to a professorship of history in the Collège Rollin . Soon after this, in 1824, he married Pauline Rousseau, during what

7544-541: Was accustomed to spending the winter on the Riviera, chiefly at Hyères . In 1867, Michelet completed his magnum opus, the Histoire de France , comprising 19 volumes. The first of these deals with early French history up to the death of Charlemagne ; the second with the flourishing time of feudal France; the third with the thirteenth century; the fourth, fifth, and sixth volumes with the Hundred Years' War ;

7636-515: Was built by an obscure religious order, known as the Humiliati. It is a large painting (325 × 204 cm), and scholars are divided on whether it was made for the main altar of the church, where it would have been viewed primarily by the brothers of the order, or for the choir screen, where it would have been more easily seen by a lay audience. He also painted around the time the Dormition of

7728-459: Was buried in the Church of Santa Reparata . The apparently-contradictory reports are explained by the fact that the remains of Santa Reparata are directly beneath the Cathedral and the church continued in use while the construction of the cathedral proceeded in the early 14th century. During an excavation in the 1970s, bones were discovered beneath the paving of Santa Reparata at a spot close to

7820-475: Was considered an extraordinarily favorable period for scholars and men of letters in France. Michelet had powerful patrons in Abel-François Villemain and Victor Cousin , among others. Although he was an ardent politician (having from his childhood embraced republicanism and a peculiar variety of romantic free-thought), he was, above all, a man of letters and an inquirer into the history of

7912-545: Was erected in 1893 through public subscription. Michelet accorded Athénaïs literary rights to his books and papers before he died, acknowledging the significant role she had in what he published during his later years. After having won a court challenge to this bequeathment, Athénaïs retained the papers and publishing rights. An author of memoirs, she later published several books about her husband and his family that were based on extracts and journals he had left her. Athénaïs bequeathed that literary legacy to Gabriel Monod ,

8004-695: Was in Assisi, where he painted the frescoes in the transept area of the Lower Church of the Basilica of St. Francis, including The Life of Christ , Franciscan Allegories and the Magdalene Chapel, drawing on stories from the Golden Legend and including the portrait of Bishop Teobaldo Pontano, who commissioned the work. Several assistants are mentioned, including Palerino di Guido. The style demonstrates developments from Giotto's work at Padua. In 1311, Giotto returned to Florence. A document from 1313 about his furniture there shows that he had spent

8096-422: Was influenced by Giambattista Vico ; he admired Vico's emphasis on the role of people and their customs in shaping history, which was a major departure from the emphasis on political and military leaders. Michelet also drew inspiration from Vico's concept of the "corsi e ricorsi", or the cyclical nature of history, in which societies rise and fall in a recurring pattern. In Histoire de France , Michelet coined

8188-414: Was not yet finished, but the later volumes exhibit a certain falling off. The Bible de l'humanité (1864), a historical sketch of religions, was not well received. In La Montagne (1868), the last of the natural history series, the Michelet uses the staccato style, which creates short and disjointed sentences, but creates tension. Nos fils (1869), the last of the smaller books published during

8280-532: Was preparing a new work, La nature , at the time of his death in 1874. She lived until 1899. Upon his death from a heart attack at Hyères on 9 February 1874, Michelet was interred there. At his widow's request, a Paris court granted permission for his body to be exhumed on 13 May 1876 so he could be buried in Paris. On 16 May, his coffin arrived for reburial at Le Père Lachaise Cemetery in Paris. Michelet's monument there, designed by architect Jean-Louis Pascal ,

8372-408: Was the idea of paired themes; for example, in many of his works he writes on grace and justice, grace being the woman or feminine, and justice being more of a masculine idea. Michelet, additionally, used union and unity in his discussions about national history, and natural history. In terms of the maleficent themes, there were subcategories these were: themes of the dry, which included concepts such as:

8464-512: Was to the empire, its downfall in 1870 in the midst of France's defeat by Prussia followed by the rise and fall of the Paris Commune the next year once more stimulated him to activity. Not only did he write letters and pamphlets during the struggle, but when it was over he was determined to complete the vast task that his two great histories had almost covered by a Histoire du XIXe siècle . He did not, however, live to carry it farther than

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