Taking advantage of the ongoing conservation and research projects related to the celebration of his th birthday, the seminar will reconsider the singularity of Tintoretto's processes of creation not only in the context of Renaissance Venice, but also in the larger frame of Southern Europe. Moreover, instead of examining Tintoretto as an isolated "great master", it will investigate his work in the light of his productive workshop organization and practice, according a special attention to the role of his son Domenico and his daughter Marietta. Through selected topics, the seminar will discuss the main issues addressed by recent scholarship on Tintoretto, presenting a range of divergent methodological approaches.
Societal Patronage This image shows the Roman class system in relation to patronage. Patronage was not just confined to the military and political aspects of the Roman lifestyle. Patronage was linked with public display of status, social ranking, the legal system, and even the arts of Roman Society.
Two classes, the upper class, and the lower class were the main classes of the hierarchal status system ancient Rome had. The upper class was comprised of the wealthy landowners who were most often involved in politics as senators, tribunes, and consuls, etc.
These upper class members were usually part of the aristocratic group the Patricians. The Patrician ruling class existed since Romulus, who was one of the main founders of Rome, appointed men to serve as senators in the s BC. He created senators; either because that number was adequate, or because there were only heads of houses who could be created.
They were the lower of the two aristocratic upper classes in Rome.
They ranked below the patricians socially but still had great wealth and social status. For the Roman upper aristocratic ruling class public appearance was extremely important.
When traveling through the city and the forum the Roman elite desired to be recognized or recognized for their status and rank. To accomplish this they wore distinctive clothing and jewelry to help signify their status.
Equestrians wore specifically colored cloth stripes on their togas or tunics to signify their statuses. The senators and patricians also wore wider specifically colored cloth stripes to signify their rank.
The upper class patrons wanted to show they had power and made certain to remind their clients of this by their mannerisms and dress.
The lower class Roman citizens were most always the clients of the upper class patrons. The plebs or plebeians was the lower class that existed since the beginning of Rome just like the patricians.
The common people were freeborn and plebeians respectively, but the lower class also consisted of freed-people liberti. Freed-people were former slaves who had been freed by their masters. The freed-people were now clients of their former masters.
In the lower class also were Latins Latini who were from Roman colonies outside of Rome.
There were some plebs who were wealthy, had political connections and better overall social standing but for the most part, plebs were part of the lower class. Roman societal patronage was highly based around the Roman ideals of fides or loyalty.
Clients were loyal supporters of high standing families and at the head of those families were the patronus, or their patron. For this loyalty the patron rewarded their loyal clients with gifts of food and land. If a client needed any sort of legal representation or aid they called upon their patron for support.
Patrons often handed out sportulas, which were monetary handouts for their support and loyalty. The patron received not just loyalty from their clients but they also had the respect, men for guarded escorts, and their political support.The historians' quotes used throughout this site are taken from interviews conducted for the filming of "The Roman Empire in the First Century AD".
A book for all concerned with classical literature, art, and social history, Literary and Artistic Patronage in Ancient Rome not only deepens our understanding of the ancient world but also suggests important avenues for future exploration.
Introduction; General Overviews and the Discussion of Change; A monograph that intends to provide a history of Roman patronage from the earliest times to the 3rd century CE dedicating only six pages out of to the second The monograph discusses personal patronage in Rome and the provinces from the reign of Augustus to the Severan.
Family, Patronage, and Social Contests: Narrative Reversals in the Gospel of Mark Narry F. Santos Greenhills Christian Fellowship, Canada explores the cultural concepts of family, patron-client rela-tions, and challenge-response social contests of the first-century Med- found in a third-century bronze tablet inscription from Rome.
Introduction. Ever since Georgio Vasari’s Lives of the Artists (, revised and enlarged ), the study of Renaissance art has been inextricably tied to the concept of patronage.
The slow economic rebirth of Italy in the fifty years following the devastation of the plague resulted in a population shift from countryside to commune. Renaissance Patronage This paper explores different motivations for art patronage The works of Petrarch first displayed the new interest in the intellectual values of the Classical world in the early 14th century and the romance of this era as Renaissance period in the history of Europe starts from the beginning of 15th century to.