1.
List of religions and spiritual traditions
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Religion is a collection of cultural systems, beliefs and world views that establishes symbols that relate humanity to spirituality and, sometimes to moral values. While religion is hard to define, one model of religion, used in religious studies courses, was proposed by Clifford Geertz. A critique of Geertzs model by Talal Asad categorized religion as an anthropological category, many religions have narratives, symbols, traditions and sacred histories that are intended to give meaning to life or to explain the origin of life or the universe. They tend to derive morality, ethics, religious laws, or a preferred lifestyle from their ideas about the cosmos, according to some estimates, there are roughly 4,200 religions in the world. The word religion is sometimes used interchangeably with faith or belief system, Certain religions also have a sacred language often used in liturgical services. Religious beliefs have also used to explain parapsychological phenomena such as out-of-body experiences, near-death experiences and reincarnation. A group of monotheistic traditions sometimes grouped with one another for comparative purposes, oriental Orthodox Churches, Includes the Armenian Apostolic, Coptic, Syrian Orthodox, Ethiopian and Eritrean Orthodox Churches, as well as a portion of the St. Thomas Christians in India. Greek Old Calendarists Russian Old Believers Bezpopovtsy Popovtsy Spiritual Christianity Doukhobor Molokan Certain Christian groups are difficult to classify as Eastern or Western, irenaeus wrote polemics against them from the standpoint of the then-unified Catholic Church. They are definitely of ancient Israelite origin, but their status as Jews is disputed, falasha or Beta Israel Noahidism Noahidism is a monotheistic ideology based on the Seven Laws of Noah, and on their traditional interpretations within Rabbinic Judaism. According to Jewish law, non-Jews are not obligated to convert to Judaism and they derive from African traditional religions, especially of West and Central Africa, showing similarities to the Yoruba religion in particular. co. uk section on major world religions
List of religions and spiritual traditions
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Religious symbols in clock-wise order: Judaism, Christianity, Islam, Bahá'í Faith, Hinduism, Taoism, Buddhism, Sikhism, Slavic neopaganism, Celtic polytheism, Heathenism (German paganism), Semitic neopaganism, Wicca, Kemetism (Egyptian paganism), Hellenism, Italo-Roman neopaganism.
2.
Rite
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A rite or ritual is an established, ceremonial, usually religious, act. Within Christianity, rite often refers to what is called a sacrament. In Roman Catholicism, for example, the sacrament of Anointing of the Sick is one of the three that are referred to as the last rites, because they are administered to someone who was dying. The other two are Penance and Eucharist, since the Second Vatican Council, Anointing of the Sick is administered to those who are seriously ill but not necessarily in immediate danger of death. The term rite became widely used after the Second Vatican Council when the traditional sacraments were done away with, while rite is often used synonymously with sacrament, it is technically incorrect to say that one received a rite because the sacrament is what is received. The ritual consists of the prayers and actions that the minister of the sacrament performs when administering a sacrament. Therefore, it is incorrect to say one has received the last rites as that person has really received the last sacraments by a minister following a ritual that has performed the sacramental rite. The word rite is often applied to what are sometimes known as the five lesser sacraments, confirmation, reconciliation, matrimony, holy orders. The term rite refers to a body of liturgical tradition usually emanating from a specific center. Examples include the Roman Rite, the Byzantine Rite, and the Sarum Rite, such rites may include various sub-rites. For example, the Byzantine Rite has Greek, Russian, for a full list of Christian liturgical rites, see Christian liturgy. Of these, the largest is the Latin Rite or Western Church, there are also several Eastern Catholic Churches or Rites. For a full list of Catholic liturgical rites, see List of Catholic rites and churches, in North America, Freemasons have the option of joining the Scottish Rite and/or the York Rite, two appendant bodies that offer additional degrees to those who have taken the basic three. Ambrosian Rite Ceremony Chaldean rite Process Art Rites, a Confucian philosophical concept Ritual Primitive Scottish Rite Rite of Spring
Rite
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This Lutheran pastor is performing the rite of confirmation on the youth of his congregation after instructing them in Luther's Small Catechism.
3.
Latin Rite
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Latin liturgical rites are the Catholic liturgical rites used within the Latin Church. The Latin rites were for centuries no less numerous than the liturgical rites of the Eastern autonomous particular Churches. Their number is now much reduced, in the aftermath of the Council of Trent, in 1568 and 1570 Pope Pius V suppressed the Breviaries and Missals that could not be shown to have an antiquity of at least two centuries. Many local rites that remained even after this decree were abandoned voluntarily, especially in the 19th century. The Roman Rite is by far the most widely used, like other liturgical rites, it developed over time, with newer forms replacing the older. It underwent many changes in the first millennium and a half of its existence, the forms that Pope Pius V, as requested by the Council of Trent, established in the 1560s and 1570s underwent repeated minor variations in the centuries immediately following. Each new typical edition of the Roman Missal and of the liturgical books superseded the previous one. The 20th century saw profound changes. Pope Pius X radically rearranged the Psalter of the Breviary and altered the rubrics of the Mass, later Popes continued to make such changes, beginning with Pope Pius XII, who significantly revised the Holy Week ceremonies and certain other aspects of the Roman Missal in 1955. The Second Vatican Council was followed by a revision of the rites of all the Roman Rite sacraments. As before, each new edition of an official liturgical book supersedes the previous one. Thus, the 1970 Roman Missal, which superseded the 1962 edition, was superseded by the edition of 1975, the 2002 edition in turn supersedes the 1975 edition both in Latin and, as official translations into each language appear, also in the vernacular languages. Under the terms of Summorum Pontificum by Pope Benedict XVI, the Mass of Paul VI is known as the Ordinary Form of the Roman Rite. The Tridentine Mass, as in the 1962 Roman Missal, is authorized for use as an extraordinary form of the Roman Rite under the conditions indicated in the document Summorum Pontificum. The Anglican Use is a use of the Roman Rite, during the Liturgy of the Eucharist, especially the Eucharistic Prayer, it is closest to the Roman Rite, while it differs more during the Liturgy of the Word and the Penitential Rite. The language used, which differs from that of the ICEL translation of the Roman Rite of Mass, is based upon the Book of Common Prayer, most Anglican Use parishes use the Book of Divine Worship, an adaptation of the Book of Common Prayer. The Anglican Use is permitted under the United States Pastoral Provision of 1980 in several parishes of that country that have left the Episcopal Church. The same Pastoral Provision also permits, as an exception and on a case by case basis, on 9 November 2009, Pope Benedict XVI established provisions for the setting up of personal ordinariates for Anglicans who join the church
Latin Rite
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St. Peter's Basilica, burial place of Saint Peter
Latin Rite
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St. Peter's Basilica, Vatican City
4.
Municipio I
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The Municipio I, is an administrative subdivision of the city of Rome. It is the center of the municipality of Rome and it was firstly created by Romes City Council on 19 January 2001 and it has a president who is elected during the mayoral elections. Since 11 March 2013 its borders were modified and was expanded with the incorporation between Municipio I and Municipio XVII, Municipio I is home to the Rioni of Rome, which are the citys historic districts. Municipio I is divided into localities, The localities of Prati, Delle Vittorie. The current majority is formed by Democratic Party and Left Ecology Freedom
Municipio I
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Location of Municipio I of Rome
5.
Ecclesiastical district
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The particular churches and liturgical rites of the Catholic Church are closely related yet distinct. The term church refers to an ordered assembly of the faithful, whereas the term rite refers to a liturgical, theological. Therefore, even though particular churches and liturgical rites are often closely interrelated, in Catholic canon law, a particular church is an ecclesiastical community headed by a bishop or someone recognised as the equivalent of a bishop. There are two kinds of churches, Autonomous particular church or Church sui iuris, In this context the descriptors autonomous and sui iuris are synonymous. These are aggregations of local churches that share a specific liturgical, theological and canonical tradition. They have also called particular Churches or rites. The largest such autonomous particular church is the Latin Church, the other 23 are referred to collectively as the Eastern Catholic Churches, headed by bishops who have the title and rank of Patriarch or Major Archbishop. In Catholic ecclesiology, a church is an assembly of the faithful, hierarchically ordered, to be a sacrament of the Mystical Body of Christ in the world, a church must have both a head and members. The sacramental sign of Christ the head is the sacred hierarchy – the bishops, priests, more specifically, it is the local bishop, with his priests and deacons gathered around and assisting him in his office of teaching, sanctifying and governing. Thus, the church is fully present sacramentally wherever there is a sign of Christ the head, a bishop and those who assist him, each diocese is therefore considered a particular church. In this sense of church, the list of churches in the Catholic Church has only one member, within the Catholic Church there are local particular churches, of which dioceses are the most familiar form. Other forms include territorial abbacies, apostolic vicariates and apostolic prefectures, the Code of Canon Law states, Particular Churches, in which and from which the one and only Catholic Church exists, are principally dioceses. A list of Catholic dioceses, of which on 31 December 2011 there were 2,834, is given at List of Catholic dioceses and these are known as autonomous churches. There are 24 such autonomous Catholic churches, One Latin Church and 23 Eastern Catholic Churches, although each of them has its own specific heritage, they are all in full communion with the Pope in Rome. For the particular churches within the Catholic Church, whether autonomous ritual churches or dioceses, are seen as not simply branches, theologically, each is considered to be the embodiment in a particular place or for a particular community of the one, whole Catholic Church. It is in these and formed out of them that the one, there are 24 autonomous churches, one Latin Church and twenty-three Eastern Catholic Churches, a distinction by now more historical than geographical. The term sui iuris means, literally, of its own law, although all of the particular churches espouse the same beliefs and faith, their distinction lies in their varied expression of that faith through their traditions, disciplines, and canon law. All are in communion with the Holy See, for this kind of particular church, the 1983 Code of Canon Law uses the unambiguous phrase autonomous ritual Church
Ecclesiastical district
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St Margarete Parish Church in Berndorf, Austria; parish churches have been at the heart of local Christian communities for centuries.
Ecclesiastical district
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A small Roman Catholic parish church in Wróblik, Poland
Ecclesiastical district
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Hasfield parish church in England
6.
Italy
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Italy, officially the Italian Republic, is a unitary parliamentary republic in Europe. Located in the heart of the Mediterranean Sea, Italy shares open land borders with France, Switzerland, Austria, Slovenia, San Marino, Italy covers an area of 301,338 km2 and has a largely temperate seasonal and Mediterranean climate. Due to its shape, it is referred to in Italy as lo Stivale. With 61 million inhabitants, it is the fourth most populous EU member state, the Italic tribe known as the Latins formed the Roman Kingdom, which eventually became a republic that conquered and assimilated other nearby civilisations. The legacy of the Roman Empire is widespread and can be observed in the distribution of civilian law, republican governments, Christianity. The Renaissance began in Italy and spread to the rest of Europe, bringing a renewed interest in humanism, science, exploration, Italian culture flourished at this time, producing famous scholars, artists and polymaths such as Leonardo da Vinci, Galileo, Michelangelo and Machiavelli. The weakened sovereigns soon fell victim to conquest by European powers such as France, Spain and Austria. Despite being one of the victors in World War I, Italy entered a period of economic crisis and social turmoil. The subsequent participation in World War II on the Axis side ended in defeat, economic destruction. Today, Italy has the third largest economy in the Eurozone and it has a very high level of human development and is ranked sixth in the world for life expectancy. The country plays a prominent role in regional and global economic, military, cultural and diplomatic affairs, as a reflection of its cultural wealth, Italy is home to 51 World Heritage Sites, the most in the world, and is the fifth most visited country. The assumptions on the etymology of the name Italia are very numerous, according to one of the more common explanations, the term Italia, from Latin, Italia, was borrowed through Greek from the Oscan Víteliú, meaning land of young cattle. The bull was a symbol of the southern Italic tribes and was often depicted goring the Roman wolf as a defiant symbol of free Italy during the Social War. Greek historian Dionysius of Halicarnassus states this account together with the legend that Italy was named after Italus, mentioned also by Aristotle and Thucydides. The name Italia originally applied only to a part of what is now Southern Italy – according to Antiochus of Syracuse, but by his time Oenotria and Italy had become synonymous, and the name also applied to most of Lucania as well. The Greeks gradually came to apply the name Italia to a larger region, excavations throughout Italy revealed a Neanderthal presence dating back to the Palaeolithic period, some 200,000 years ago, modern Humans arrived about 40,000 years ago. Other ancient Italian peoples of undetermined language families but of possible origins include the Rhaetian people and Cammuni. Also the Phoenicians established colonies on the coasts of Sardinia and Sicily, the Roman legacy has deeply influenced the Western civilisation, shaping most of the modern world
Italy
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The Colosseum in Rome, built c. 70 – 80 AD, is considered one of the greatest works of architecture and engineering of ancient history.
Italy
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Flag
Italy
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The Iron Crown of Lombardy, for centuries symbol of the Kings of Italy.
Italy
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Castel del Monte, built by German Emperor Frederick II, UNESCO World Heritage site
7.
Basilica minor
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Minor basilica is a title given to some Roman Catholic church buildings. According to canon law, no church building can be honoured with the title of basilica unless by apostolic grant or from immemorial custom, presently, the authorising decree is granted by the Pope through the Congregation for Divine Worship and the Discipline of the Sacraments. In relation to churches, writers on architecture use the term basilica to describe a church built in a particular style, in the 18th century, the term took on a canonical sense, unrelated to this architectural style. Basilicas in this sense are divided into major and minor basilicas. Today only four, all in Rome, are classified as major basilicas. These external signs, except that of the cappa magna, are still seen in basilicas. It should be large and with an ample sanctuary. It should be renowned for history, relics or sacred images, many basilicas are notable churches, and often receive significant pilgrimages. In December 2009 the Basilica of Our Lady of Guadalupe in Mexico set a record with 6.1 million pilgrims in two days for the feast of Our Lady of Guadalupe. As of June 30,2013, there were four major basilicas and 1,748 minor basilicas in the world, of these 1,748 minor basilicas, three have the title of papal minor basilica and four the title of pontifical minor basilica. The three papal minor basilicas are Saint Lawrence outside the Walls, Rome, and the Basilica of San Francesco dAssisi, All four pontifical minor basilicas now have individual pontifical delegates. For the Bari basilica, which is a dependency of the Secretariat of State, for the basilicas of Loreto and Pompei, which are within their own territorial prelatures, the pontifical delegate is the local territorial prelate. Only for the Paduan basilica is the pontifical delegate distinct from the local bishop, the remaining 1,741 minor basilicas are all classified merely as such. Another such Italian church, recognized as a basilica. This name, qualifying it as both pontifical and royal, is confirmed by other sources. Others are the Pontifical Basilica of Saints Cosmas and Damian in Bitonto, one patriarchal basilica, namely the Patriarchal Cathedral Basilica of St Mark in Venice, called patriarchal because it is the cathedral of the Patriarch of Venice, is a minor basilica. The minor basilicas form the vast majority, including cathedrals, many technically parish churches, some shrines. Some oratories and semi-private places of worship, have raised to the status of a minor basilica
Basilica minor
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Tintinnabulum and conopaeum, privileges formerly granted to basilicas
Basilica minor
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Notre-Dame de Québec Cathedral, the first church in North America north of Mexico elevated to the rank of minor Basilica
Basilica minor
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Barcelona: Sagrada Família consecrated and proclaimed a minor basilica by Pope Benedict XVI in 2010
Basilica minor
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Ireland: Basilica Shrine of Our Lady of Knock, Queen of Ireland, Knock, County Mayo
8.
Parish church
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A parish church in Christianity is the church which acts as the religious centre of a parish. The church building reflects this status, and there is variety in the size. Many villages in Europe have churches that date back to the Middle Ages, in England, it is the basic administrative unit of episcopal churches. Nearly every part of England is in a parish, and most parishes have an Anglican parish church, in cities without a cathedral of a certain Christian denomination, the parish church may have administrative functions similar to that of a cathedral. However, the diocese will still have a cathedral, while smaller villages may only have a parish church, larger towns may have a parish church and then also smaller churches in various districts which do not have the status of parish church. Often the parish church will be the one to have a full-time minister. One sign of this is that the church is the only one to have a baptismal font. The Church of Scotland, the established Presbyterian church, also uses a system of parish churches, in Massachusetts, towns elected publicly funded parish churches from 1780 until 1834. Toward the end of the 20th century, a new resurgence in interest in parish churches emerged across the United States and this has given rise to efforts like the Slow Church Movement and The Parish Collective which focus heavily on localized involvement across work, home, and church life. Theologically, many Protestants have embraced the model as having roots in a Reformed view of eschatology. It’s a way of saying ‘I believe in the Incarnation, ’” says pastor Raymond F. Cannata, “Having an earthy eschatology is part of it. ”Roman Catholic parish church Church of England parish church Smith, C. Slow Church, Cultivating Community in the Patient Way of Jesus
Parish church
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A parish church in Gloucestershire, England
Parish church
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The Parish Church of Combe Martin in North Devon, England
Parish church
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Inside the Parish Church of Saint Lawrence in Bourton-on-the-Water, England
9.
Architect
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An architect is someone who plans, designs, and reviews the construction of buildings. Etymologically, architect derives from the Latin architectus, which derives from the Greek, practical, technical, and academic requirements for becoming an architect vary by jurisdiction. The terms architect and architecture are used in the disciplines of landscape architecture, naval architecture. In most jurisdictions, the professional and commercial uses of the terms architect, throughout ancient and medieval history, most architectural design and construction was carried out by artisans—such as stone masons and carpenters, rising to the role of master builder. Until modern times, there was no distinction between architect and engineer. In Europe, the architect and engineer were primarily geographical variations that referred to the same person. It is suggested that various developments in technology and mathematics allowed the development of the gentleman architect. Paper was not used in Europe for drawing until the 15th century, pencils were used more often for drawing by 1600. The availability of both allowed pre-construction drawings to be made by professionals, until the 18th-century, buildings continued to be designed and set out by craftsmen with the exception of high-status projects. In most developed countries, only qualified people with appropriate license, certification, or registration with a relevant body, such licensure usually requires an accredited university degree, successful completion of exams, and a training period. To practice architecture implies the ability to independently of supervision. In many places, independent, non-licensed individuals may perform design services outside the professional restrictions, such design houses, in the architectural profession, technical and environmental knowledge, design and construction management, and an understanding of business are as important as design. However, design is the force throughout the project and beyond. An architect accepts a commission from a client, the commission might involve preparing feasibility reports, building audits, the design of a building or of several buildings, structures, and the spaces among them. The architect participates in developing the requirements the client wants in the building, throughout the project, the architect co-ordinates a design team. Structural, mechanical, and electrical engineers and other specialists, are hired by the client or the architect, the architect hired by a client is responsible for creating a design concept that meets the requirements of that client and provides a facility suitable to the required use. In that, the architect must meet with and question the client to ascertain all the requirements, often the full brief is not entirely clear at the beginning, entailing a degree of risk in the design undertaking. The architect may make proposals to the client which may rework the terms of the brief
Architect
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Filippo Brunelleschi is revered to be one of the most inventive and gifted architects in history.
Architect
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An architect at work, 1893.
Architect
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Architect Rem Koolhaas inspecting a model of the Seattle Central Library
10.
Andrea Bregno
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Andrea di Cristoforo Bregno was an Italian sculptor and architect of the Early Renaissance who worked in Rome from the 1460s and died just as the High Renaissance was getting under way. He was born in Osteno, Lombardy, into one of the most famous families in Northern Italy. His father, Cristoforo Bregno, and his brothers, Ambrogio and they formed a workshop in Ferrara, and took over the supervision of the architecture at the Doges Palace in Venice after the death of Bartolomeo Bon. Andrea Bregno was invited to move from Venice to Rome when the Venetian Paul II was elected Pope and he was famous among his contemporaries, and was compared to the Greek sculptor Polykleitos in the epitaph of his tomb in Santa Maria sopra Minerva. Raphaels father, Giovanni Santi, mentioned Bregno in the 1480s, in his biography of Federico da Montefeltro and he moved in humanist circles and was an esteemed friend of the humanist in Sixtus circle, Bartolomeo Platina, the librarian of the Vatican Library. Bregno played a significant role in the standardization of an authentically classicizing style of epigraphy, donato Bramante followed in both locations. Most of the side chapels with sexpartite ribbed vaults and balustrades preserved their original layout. His late masterwork is the white marble reredos of the Piccolomini altar in the Duomo of Siena. It takes the form of an architectural facade round a large central exedra with a half-domed head, in 1481, Andrea Bregno had started the altar for the tomb of Cardinal Francesco Todeschini-Piccolomini, who was to succeed Pope Alexander VI briefly as Pius III in 1503. Bregno died in Rome in 1506 and his tomb, dated 1506, in Santa Maria sopra Minerva, bears his portrait bust, probably a work of Luigi Capponi. A symposium held at Urbino, 24–25 June 2006, resulted in the publication Andrea Bregno Giovanni Santi e la cultura adriatica del Rinascimento, Atti del Convegno di Studi, Giuliana Gardelli, niche tomb of Cardinal Louis dAlbret, Santa Maria in Aracoeli, Rome. Traces of gilding and color remain on the marble, Tomb of the polymath Cardinal Nicholas of Cusa, San Pietro in Vincoli, with a polychrome relief of Saint Peter flanked by the kneeling cardinal and the Angel of Resurrection. Tomb of Cardinal Tebaldi, Santa Maria sopra Minerva, executed with Giovanni Dalmata, Tomb of Cardinal Alain de Coëtivy, in Santa Prassede Tomb of Cardinal Pietro Riario (died 1474, in the Church of Santi XII Apostoli. Tomb of Cardinal Cristoforo della Rovere, a nephew of Sixtus IV, in the Della Rovere Chapel, a Madonna is by Mino da Fiesole. Tomb of Raffael Della Rovere, the brother of Sixtus IV, crypt of Santi XII Apostoli Tomb of Cardinal Juan Díaz de Coca, Santa Maria sopra Minerva, wall tomb of Fra Lippo Lippi, Spoleto cathedral, c. Altar in the Salviati Chapel, San Gregorio Magno al Celio, with a relief of The Apparition of St Michael to St Gregory. Tabernacle, Sanctuary of Santa Maria della Quercia, Viterbo Two ciboria, in the Montemirabile Chapel, touring Club Italiano, Roma e Dintorni
Andrea Bregno
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Wall tomb of Nicolas of Cusa, by Andrea Bregno
11.
Donato Bramante
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Donato Bramante, born as Donato di Pascuccio dAntonio and also known as Bramante Lazzari, was an Italian architect. He introduced Renaissance architecture to Milan and the High Renaissance style to Rome and his Tempietto marked the beginning of the High Renaissance in Rome when Pope Julius II appointed him to build a sanctuary over the spot where Peter was allegedly crucified. Bramante was born under the name Donato dAugnolo, Donato di Pascuccio dAntonio, here, in 1467, Luciano Laurana was adding to the Palazzo Ducale an arcaded courtyard and other Renaissance features to Federico da Montefeltros ducal palace. Around 1474, Bramante moved to Milan, a city with a deep Gothic architectural tradition, and built several churches in the new Antique style. The Duke, Ludovico Sforza, made him virtually his court architect, beginning in 1476, space was limited, and Bramante made a theatrical apse in bas-relief, combining the painterly arts of perspective with Roman details. There is a sacristy, surmounted by a dome. In Milan, Bramante also built the tribune of Santa Maria delle Grazie, other works include the Cloisters of SantAmbrogio, Milan. However, in 1499, with his Sforza patron driven from Milan by an invading French army, Bramante made his way to Rome, in Rome, he was soon recognized by Cardinal Della Rovere, shortly to become Pope Julius II. Despite its small scale, the construction has all the proportions and symmetry of Classical structures, surrounded by slender Doric columns. According to an engraving by Sebastiano Serlio, Bramante planned to set it within a colonnaded courtyard. In November 1503, Julius engaged Bramante for the construction of the grandest European architectural commission of the 16th century, the cornerstone of the first of the great piers of the crossing was laid with ceremony on 17 April 1506. Very few drawings by Bramante survive, though some by his assistants do, Bramantes plan envisaged four great chapels filling the corner spaces between the equal transepts, each one capped with a smaller dome surrounding the great dome over the crossing. So Bramantes original plan was much more Romano-Byzantine in its forms than the basilica that was actually built. Bramante also worked on other commissions. Among his earliest works in Rome, before the Basilicas construction was under way, is the cloister of Santa Maria della Pace near Piazza Navona, Santa Maria presso San Satiro, Milan, ca. Palazzo Caprini, Rome, started around 1510 Leon Battista Alberti Giorgio Vasari Davies, Paul, Bramante, Donato, The Dictionary of Art, Vol. IV, New York, Grove, pp. 642–653, ISBN9781884446009. Bramante, Encyclopædia Britannica, 9th ed. Vol. IV, New York, Charles Scribners Sons,1878, Bramante, Encyclopædia Britannica, 11th ed. Vol. IV, Cambridge, Cambridge University Press,1911, p.418. Donato Bramante Source Information, Pictures & Documentaries about Donato
Donato Bramante
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Donato Bramante
Donato Bramante
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A draft for St Peter's superimposed over a plan of the ancient basilica
Donato Bramante
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The dome, as planned by Bramante
12.
Gian Lorenzo Bernini
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Gian Lorenzo Bernini was an Italian sculptor and architect. While a major figure in the world of architecture, he was the sculptor of his age. Bernini was also a figure in the emergence of Roman Baroque architecture along with his contemporaries, the architect Francesco Borromini. Early in their careers they had all worked at the time at the Palazzo Barberini, initially under Carlo Maderno and, following his death. Later on, however, they were in competition for commissions, Peters Basilica, completed under Pope Paul V with the addition of Madernos nave and facade and finally re-consecrated by Pope Urban VIII on 18 November 1626, after 150 years of planning and building. Berninis design of the Piazza San Pietro in front of the Basilica is one of his most innovative, during his long career, Bernini received numerous important commissions, many of which were associated with the papacy. At an early age, he came to the attention of the nephew, Cardinal Scipione Borghese. Although he did not fare so well during the reign of Innocent X, under Alexander VII, he again regained pre-eminent artistic domination. Bernini and other artists fell from favor in later neoclassical criticism of the Baroque, the art historian Howard Hibbard concludes that, during the seventeenth century, there were no sculptors or architects comparable to Bernini. Bernini was born in Naples in 1598 to Angelica Galante and Mannerist sculptor Pietro Bernini and he was the sixth of their thirteen children. Gianlorenzo Bernini was the definition of childhood genius and he was “recognized as a prodigy when he was only eight years old, he was consistently encouraged by his father, Pietro. His precocity earned him the admiration and favor of powerful patrons who hailed him as ‘the Michelangelo of his century’” and his father was so impressed by his son’s obvious talent that he took him to Rome to showcase him to the cardinals and Pope. Bernini was presented before Pope Paul V, for whom he did a sketch of Saint Paul, once he was brought to Rome, he never left. “For Bernini there could be only one Rome, ‘You are made for Rome, ’ said Pope Urban VIII to him, ‘and Rome for you’”. It was in world of 17th century Rome and religious power. Under the patronage of the wealthy and most powerful Cardinal Scipione Borghese. By the time he was twenty-two, he was considered talented enough to have given a commission for a papal portrait. Berninis reputation, however, was established by four masterpieces
Gian Lorenzo Bernini
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Self-portrait of Bernini, c. 1623
Gian Lorenzo Bernini
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Apollo and Daphne (1622–25)
Gian Lorenzo Bernini
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Baldacchino in St. Peter's Basilica
Gian Lorenzo Bernini
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Bust of Cardinal Armand de Richelieu (1640–41)
13.
Basilica
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The Latin word basilica has three distinct applications in modern English. The word was used to describe an ancient Roman public building where courts were held, as well as serving other official. To a large extent these were the halls of ancient Roman life. The basilica was centrally located in every Roman town, usually adjacent to the main forum, later, the term came to refer specifically to a large and important Roman Catholic church that has been given special ceremonial rights by the Pope. Roman Catholic basilicas are Catholic pilgrimage sites, receiving tens of millions of visitors per year. In December 2009 the Basilica of Our Lady of Guadalupe in Mexico City set a new record with 6.1 million pilgrims during Friday and Saturday for the anniversary of Our Lady of Guadalupe. The Roman basilica was a public building where business or legal matters could be transacted. The first basilicas had no function at all. The central aisle tended to be wide and was higher than the flanking aisles, the oldest known basilica, the Basilica Porcia, was built in Rome in 184 BC by Cato the Elder during the time he was Censor. Other early examples include the basilica at Pompeii, probably the most splendid Roman basilica is the one begun for traditional purposes during the reign of the pagan emperor Maxentius and finished by Constantine I after 313 AD. In the 3rd century AD, the elite appeared less frequently in the forums. They now tended to dominate their cities from opulent palaces and country villas, rather than retreats from public life, however, these residences were the forum made private. Seated in the tribune of his basilica, the man would meet his dependent clientes early every morning. A private basilica excavated at Bulla Regia, in the House of the Hunt and its reception or audience hall is a long rectangular nave-like space, flanked by dependent rooms that mostly also open into one another, ending in a semi-circular apse, with matching transept spaces. Clustered columns emphasised the crossing of the two axes, the remains of a large subterranean Neopythagorean basilica dating from the 1st century AD were found near the Porta Maggiore in Rome in 1915. The ground-plan of Christian basilicas in the 4th century was similar to that of this Neopythagorean basilica, the usable model at hand, when Constantine wanted to memorialise his imperial piety, was the familiar conventional architecture of the basilicas. In, and often also in front of, the apse was a platform, where the altar was placed. Constantine built a basilica of this type in his complex at Trier, later very easily adopted for use as a church
Basilica
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St Peter's Basilica, Vatican City, a major basilica of the Roman Catholic Church, is a central-plan building, enlarged by a basilical nave
Basilica
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St. John in the Lateran is both an architectural and an ecclesiastical basilica
Basilica
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Remains of the Basilica of Maxentius and Constantine in Rome. The building's northern aisle is all that remains.
Basilica
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Floor plan of the Basilica of Maxentius and Constantine
14.
Baroque architecture
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It was characterized by new explorations of form, light and shadow, and dramatic intensity. Baroque architecture and its embellishments were on the one hand more accessible to the emotions and on the other hand, the new style manifested itself in particular in the context of the new religious orders, like the Theatines and the Jesuits who aimed to improve popular piety. The architecture of the High Roman Baroque can be assigned to the reigns of Urban VIII, Innocent X and Alexander VII. Dissemination of Baroque architecture to the south of Italy resulted in variations such as Sicilian Baroque architecture or that of Naples. To the north, the Theatine architect Camillo-Guarino Guarini, Bernardo Vittone and Sicilian born Filippo Juvarra contributed Baroque buildings to the city of Turin and the Piedmont region. A synthesis of Bernini, Borromini and Cortona’s architecture can be seen in the late Baroque architecture of northern Europe which paved the way for the more decorative Rococo style. During the 17th century, Baroque architecture spread through Europe and Latin America, michelangelos late Roman buildings, particularly St. Peters Basilica, may be considered precursors to Baroque architecture. Colonialism required the development of centralized and powerful governments with Spain and France, the initial mismanagement of colonial wealth by the Spaniards bankrupted them in the 16th century, recovering only slowly in the following century. While this was good for the industries and the arts, the new wealth created an inflation. Rome was known just as much for its new sumptuous churches as for its vagabonds, one of the first Roman structures to break with the Mannerist conventions exemplified in the Gesù, was the church of Santa Susanna, designed by Carlo Maderno. The dynamic rhythm of columns and pilasters, central massing, there is an incipient playfulness with the rules of classic design, but it still maintains rigor. These concerns are more evident in his reworking of Santa Maria della Pace. Probably the most well known example of such an approach is Saint Peters Square, the piazza, designed by Gian Lorenzo Bernini, is formed principally by two colonnades of free standing columns centred on an Egyptian obelisk. Berninis own favourite design was his church of SantAndrea al Quirinale decorated with polychome marbles. His secular architecture included the Palazzo Barberini based on plans by Maderno, Berninis rival, the architect Francesco Borromini, produced designs that deviated dramatically from the regular compositions of the ancient world and Renaissance. His building plans were based on geometric figures, his architectural forms were unusual and inventive. Borrominis architectural spaces seem to expand and contract when needed, showing some affinity with the style of Michelangelo. A later work, the church of SantIvo alla Sapienza, displays the same playful inventiveness and antipathy to the flat surface, following the death of Bernini in 1680, Carlo Fontana emerged as the most influential architect working in Rome
Baroque architecture
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Façade of the Church of the Gesù, the first truly baroque façade
Baroque architecture
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Elector's Palace in Trier, Germany
Baroque architecture
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Santa Susanna in Rome, Italy
Baroque architecture
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Church of Saints Peter and Paul in Kraków, Poland
15.
Italian language
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By most measures, Italian, together with Sardinian, is the closest to Latin of the Romance languages. Italian is a language in Italy, Switzerland, San Marino, Vatican City. Italian is spoken by minorities in places such as France, Montenegro, Bosnia & Herzegovina, Crimea and Tunisia and by large expatriate communities in the Americas. Many speakers are native bilinguals of both standardized Italian and other regional languages, Italian is the fourth most studied language in the world. Italian is a major European language, being one of the languages of the Organisation for Security and Cooperation in Europe. It is the third most widely spoken first language in the European Union with 65 million native speakers, including Italian speakers in non-EU European countries and on other continents, the total number of speakers is around 85 million. Italian is the working language of the Holy See, serving as the lingua franca in the Roman Catholic hierarchy as well as the official language of the Sovereign Military Order of Malta. Italian is known as the language of music because of its use in musical terminology and its influence is also widespread in the arts and in the luxury goods market. Italian has been reported as the fourth or fifth most frequently taught foreign language in the world, Italian was adopted by the state after the Unification of Italy, having previously been a literary language based on Tuscan as spoken mostly by the upper class of Florentine society. Its development was influenced by other Italian languages and to some minor extent. Its vowels are the second-closest to Latin after Sardinian, unlike most other Romance languages, Italian retains Latins contrast between short and long consonants. As in most Romance languages, stress is distinctive, however, Italian as a language used in Italy and some surrounding regions has a longer history. What would come to be thought of as Italian was first formalized in the early 14th century through the works of Tuscan writer Dante Alighieri, written in his native Florentine. Dante is still credited with standardizing the Italian language, and thus the dialect of Florence became the basis for what would become the language of Italy. Italian was also one of the recognised languages in the Austro-Hungarian Empire. Italy has always had a dialect for each city, because the cities. Those dialects now have considerable variety, as Tuscan-derived Italian came to be used throughout Italy, features of local speech were naturally adopted, producing various versions of Regional Italian. Even in the case of Northern Italian languages, however, scholars are not to overstate the effects of outsiders on the natural indigenous developments of the languages
Italian language
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Dante Alighieri (above) and Petrarch (below) were influential in establishing their Tuscan dialect as the most prominent literary language in all of Italy in the Late Middle Ages
Italian language
–
The geographic distribution of the Italian language in the world: large Italian-speaking communities are shown in green; light blue indicates areas where the Italian language was used officially during the Italian colonial period.
Italian language
Italian language
–
Pietro Bembo was an influential figure in the development of the Italian language from the Tuscan dialect, as a literary medium, codifying the language for standard modern usage
16.
Piazza del Popolo
–
Piazza del Popolo is a large urban square in Rome. The piazza lies inside the gate in the Aurelian Walls, once the Porta Flaminia of ancient Rome. This was the point of the Via Flaminia, the road to Ariminum. At the same time, before the age of railroads, it was the travellers first view of Rome upon arrival, for centuries, the Piazza del Popolo was a place for public executions, the last of which took place in 1826. Peters Square, replacing the original cramped trapezoidal square centred on the Via Flaminia, an Egyptian obelisk of Sety I from Heliopolis stands in the centre of the Piazza. Three sides of the obelisk were carved during the reign of Sety I, the obelisk, known as the Flaminio Obelisk or the Popolo Obelisk, is the second oldest and one of the tallest obelisks in Rome. The obelisk was brought to Rome in 10 BC by order of Augustus and it was re-erected here in the piazza by the architect-engineer Domenico Fontana in 1589 as part of the urban plan of Sixtus V. The piazza also formerly contained a fountain, which was moved to the Piazza Nicosia in 1818. The twin churches of Santa Maria dei Miracoli and Santa Maria in Montesanto, begun by Carlo Rainaldi and completed by Bernini and Carlo Fontana, define the junctions of the roads. The Via del Babuino, linking to Piazza di Spagna, takes its name from a sculpture of Silenus that gained the popular name of the Baboon. To the north of the stands the Porta del Popolo, beyond which lies the Piazzale Flaminio. Opposite Santa Maria del Popolo stands a Carabinieri station, with a dome reflecting that of the church, in his urbanistic project, Valadier constructed the matching palazzi that provide a frame for the scenography of the twin churches and hold down two corners of his composition. Valadier outlined this newly defined oval forecourt to the city of Rome with identical sweeps of wall, behind the western one, a screen of trees masks the unassorted fronts of buildings beyond. Ever since the Renaissance such terminal fountains also provided an occasion for the terminal water show called in Rome a mostra or a show. What makes a fountain a mostra is not essentially its size or splendor, Valadier had planned fountains in the upper tier of the Pincio slope, but these were not carried out, in part for lack of water. The Fontana del Nettuno stands on the west side, Neptune with his trident is accompanied by two dolphins, Rome between the Tiber and the Aniene on the east side, against the steep slope of the Pincio, represents the terminal mostra of the aqueduct. Dea Roma armed with lance and helmet, and in front is the she-wolf feeding Romulus and Remus, at the center of the piazza is the Fontana dell Obelisco, a group of four mini fountains, each comprising a lion on a stepped plinth, surround the obelisk. Valadiers masterstroke was in linking the piazza with the heights of the Pincio, the Pincian Hill of ancient Rome and he swept away informally terraced gardens that belonged to the Augustinian monastery connected with Santa Maria del Popolo
Piazza del Popolo
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The Piazza del Popolo, looking west from the Pincio.
Piazza del Popolo
–
An Egyptian obelisk of Ramesses II from Heliopolis stands in the centre of the Piazza.
Piazza del Popolo
–
The entrance of the Tridente from Piazza del Popolo, defined by the "twin" churches of Santa Maria in Montesanto (left, built 1662-75) and Santa Maria dei Miracoli (right, built 1675-79). The Via del Corso exits between the two churches.
Piazza del Popolo
–
One side of the Fontana dell'Obelisco.
17.
Porta del Popolo
–
Porta del Popolo is a gate of the Aurelian Walls in Rome. The current Porta del Popolo was built by Pope Sixtus IV for the Jubilee Year 1475 on the site of an ancient Roman gate which, the previous name was Porta Flaminia, because the consular Via Flaminia passed, as it passes even now, through it. In the 10th century the gate was named Porta San Valentino, due to the basilica, considering the importance of the Via Flaminia, Porta del Popolo had, since the beginning of its existence, a prevalent role of sorting of the urban traffic rather than a defensive use. The gate rises still today about a metre and half above the ancient ground level and this need had already been felt during the restoration carried out in the 5th century by emperor Honorius, but the intervention was not carried out. The present aspect is the result of a rebuilding carried out in the 16th century, the four columns of the façade come from the former St. In 1638, two statues of St. Peter and St, on that occasion, some remains of the ancient structure of the age of Aurelian and of the cylindric towers were discovered, these proved to be very important for the historic recreation of the gate. Similar stones were discovered in different times nearby other important city gates, they marked a kind of administrative border, the first statements of this institution, that was in effect at least until the beginning of the 15th century, date back to the 5th century. In the 9th century, Pope Sergius II granted the proceeds of the toll of the Porta Flaminia to the cloister of San Silvestro in Capite, mauro Quercioli, ”Le mura e le porte di Roma”. Rome,1982 Laura G. Cozzi, ”Le porte di Roma”, Rome,1968 Cesare DOnofrio, Roma val bene unabiura, storie romane tra Cristina di Svezia, Piazza del Popolo e lAccademia dArcadia, Rome, Fratelli Palombi,1976 Piazza del Popolo and Porta del Popolo
Porta del Popolo
–
Porta del Popolo (Rome): inner façade. On the right, the church of Santa Maria del Popolo
Porta del Popolo
–
Porta del Popolo, outer façade
Porta del Popolo
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Etching by Giuseppe Vasi, showing the side towers destroyed in 1879
18.
Caravaggio
–
Michelangelo Merisi da Caravaggio was an Italian painter active in Rome, Naples, Malta, and Sicily between 1592 and 1610. His paintings, which combine a realistic observation of the human state, in scarcely a year or so’s sojourn in Naples, he rapidly established himself once more as the most prominent painter, exploiting high-ranking connections. It was not long before these connections gave him an opening to travel on in 1607 to Malta, governed by the Order of Knights Hospitallers, Caravaggio probably hoped that the Knights would provide a channel whereby he could obtain a pardon from the Papacy. Once more his talents made an instant impression, along with the support of noble patrons and his hopes dashed, he contrived to escape and flee once, which before the end of 1608 led to his cancellation from the rolls of the Order. He made for Syracuse in Sicily, where he was received as a guest by a friend from his Roman days, the painter’s face was disfigured and rumours started to circulate of his death. Various commentators have formulated opinions about his state from works supposedly executed at this period. In fact, Caravaggio’s end is shrouded in mystery, mystery that is rendered only denser by conflicting hypotheses, some speak of a natural death from a persistent fever, others of an assassination by emissaries of the Knights of Malta. The loss of the paintings put the deal and his future in doubt, there is evidence that dogged by a serious fever, he was tended by a local religious confraternity near Porto Ercole, then in the Grand Duchy of Tuscany, but succumbed. His death was certified by them as taking place on 18 July 1610, if the story to this point is exact, it is likely he was buried in a paupers’ common grave. As to the place, though this continues to be contested. Famous while he lived, Caravaggio was forgotten almost immediately after his death, despite this, his influence on the new Baroque style that eventually emerged from the ruins of Mannerism was profound. The 20th-century art historian André Berne-Joffroy claimed, What begins in the work of Caravaggio is, quite simply, modern painting. Caravaggio was born in Milan where his father, Fermo, was an administrator and architect-decorator to the Marchese of Caravaggio. His mother, Lucia Aratori, came from a family of the same district. In 1576 the family moved to Caravaggio to escape a plague which ravaged Milan, Caravaggios mother died in 1584, the same year he began his four-year apprenticeship to the Milanese painter Simone Peterzano, described in the contract of apprenticeship as a pupil of Titian. Following his initial training under Simone Peterzano, in 1592 Caravaggio left Milan for Rome, in flight after certain quarrels, in Rome, where there was a demand for paintings to fill the many huge new churches and palazzos being built at the time. It was also a period when the Church was searching for an alternative to Mannerism in religious art that was tasked to counter the threat of Protestantism. Caravaggios innovation was a radical naturalism that combined close observation with a dramatic, even theatrical
Caravaggio
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Chalk portrait of Caravaggio by Ottavio Leoni, circa 1621.
Caravaggio
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Saint Francis of Assisi in Ecstasy (c.1595)
Caravaggio
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The Musicians, 1595–1596, Metropolitan Museum of Art, New York.
Caravaggio
–
Basket of Fruit, c. 1595–1596, oil on canvas, Pinacoteca Ambrosiana, Milan.
19.
Alessandro Algardi
–
Algardi was born in Bologna, where at a young age, he was apprenticed in the studio of Agostino Carracci. However, his aptitude for sculpture led him to work for Giulio Cesare Conventi and his two earliest known works date back to this period, two statues of saints, made of chalk, in the Oratory of Santa Maria della Vita in Bologna. By the age of twenty, Ferdinando I, Duke of Mantua, began commissioning works from him, propelled by the Borghese and Barberini patronage, Gian Lorenzo Bernini and his studio garnered most of the major Roman sculptural commissions. For nearly a decade, Algardi struggled for recognition, in Rome he was aided by friends that included Pietro da Cortona and his fellow Bolognese, Domenichino. His early Roman commissions included terracotta and some marble portrait busts, in the 1630s he worked on the tombs of the Mellini family in the Mellini Chapel in Santa Maria del Popolo. The monument was started in 1640, and mostly completed by 1644, algardis tomb is much less dynamic. The allegorical figures of Magnanimity and Liberality have an impassive, ethereal dignity, some have identified the helmeted figure of Magnanimity with that of Athena and iconic images of Wisdom. Liberality resembles Duquesnoys famous Santa Susanna, but rendered more elegant, the tomb is somberly monotone and lacks the polychromatic excitement that detracts from the elegiac mood of Urban VIIIs tomb. In 1635–38, Pietro Boncompagni commissioned from Algardi a colossal statue of Philip Neri with kneeling angels for Santa Maria in Vallicella, completed in 1640. With the death of the Barberini Pope Urban VIII in 1644 and the accession of the Pamphilj Pope Innocent X, Algardi, on the other hand, was embraced by the new pope and the popes nephew, Camillo Pamphilj. Algardis portraits were prized, and their formal severity contrasts with Berninis more vivacious expression. A large hieratic bronze of Innocent X by Algardi is now to be found in the Capitoline Museums, Algardi was not renowned for his architectural abilities. The casino was a showcase for the Pamphili collection of sculpture, ancient and contemporary, in the villa grounds, Algardi and his studio executed sculpture-encrusted fountains and other garden features, where some of his free-standing sculpture and bas-reliefs remain. In 1650 Algardi met Diego Velázquez, who obtained commissions for his work from Spain, as a consequence there are four chimney-pieces by Algardi in the Royal Palace of Aranjuez, and in the gardens, the figures on the fountain of Neptune are also by him. The Augustinian monastery at Salamanca contains the tomb of the Count and Countess de Monterey, algardis large dramatic marble high-relief panel of Pope Leo and Attila for St Peters Basilica, and reinvigorated the use of such marble reliefs. There had been large marble reliefs used previously in Roman churches, in this relief, the two principal figures, the stern and courageous pope and the dismayed and frightened Attila, surge forward from the center into three dimensions. Only they two see the descending angelic warriors rallying to the defense, while all others in the background reliefs. The subject was apt for a papal state seeking clout, since it depicts the legend when the greatest of the popes Leo, with supernatural aid
Alessandro Algardi
–
Tomb of Leo XI
Alessandro Algardi
–
Pope Innocent X, Capitoline Museums.
Alessandro Algardi
–
Fuga d'Attila, St. Peter's Basilica.
Alessandro Algardi
–
A Gentleman
20.
Porta Flaminia
–
Porta del Popolo is a gate of the Aurelian Walls in Rome. The current Porta del Popolo was built by Pope Sixtus IV for the Jubilee Year 1475 on the site of an ancient Roman gate which, the previous name was Porta Flaminia, because the consular Via Flaminia passed, as it passes even now, through it. In the 10th century the gate was named Porta San Valentino, due to the basilica, considering the importance of the Via Flaminia, Porta del Popolo had, since the beginning of its existence, a prevalent role of sorting of the urban traffic rather than a defensive use. The gate rises still today about a metre and half above the ancient ground level and this need had already been felt during the restoration carried out in the 5th century by emperor Honorius, but the intervention was not carried out. The present aspect is the result of a rebuilding carried out in the 16th century, the four columns of the façade come from the former St. In 1638, two statues of St. Peter and St, on that occasion, some remains of the ancient structure of the age of Aurelian and of the cylindric towers were discovered, these proved to be very important for the historic recreation of the gate. Similar stones were discovered in different times nearby other important city gates, they marked a kind of administrative border, the first statements of this institution, that was in effect at least until the beginning of the 15th century, date back to the 5th century. In the 9th century, Pope Sergius II granted the proceeds of the toll of the Porta Flaminia to the cloister of San Silvestro in Capite, mauro Quercioli, ”Le mura e le porte di Roma”. Rome,1982 Laura G. Cozzi, ”Le porte di Roma”, Rome,1968 Cesare DOnofrio, Roma val bene unabiura, storie romane tra Cristina di Svezia, Piazza del Popolo e lAccademia dArcadia, Rome, Fratelli Palombi,1976 Piazza del Popolo and Porta del Popolo
Porta Flaminia
–
Porta del Popolo (Rome): inner façade. On the right, the church of Santa Maria del Popolo
Porta Flaminia
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Porta del Popolo, outer façade
Porta Flaminia
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Etching by Giuseppe Vasi, showing the side towers destroyed in 1879
21.
Virgin Mary
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Mary, also known by various titles, styles and honorifics, was a 1st-century Galilean Jewish woman of Nazareth and the mother of Jesus, according to the New Testament and the Quran. The gospels of Matthew and Luke in the New Testament and the Quran describe Mary as a virgin, the miraculous birth took place when she was already betrothed to Joseph and was awaiting the concluding rite of marriage, the formal home-taking ceremony. She married Joseph and accompanied him to Bethlehem, where Jesus was born, the Gospel of Luke begins its account of Marys life with the Annunciation, when the angel Gabriel appeared to her and announced her divine selection to be the mother of Jesus. According to canonical gospel accounts, Mary was present at the crucifixion and is depicted as a member of the early Christian community in Jerusalem. According to the Catholic and Orthodox teaching, at the end of her life her body was assumed directly into Heaven. Mary has been venerated since Early Christianity, and is considered by millions to be the most meritorious saint of the religion and she is claimed to have miraculously appeared to believers many times over the centuries. The Eastern and Oriental Orthodox, Roman Catholic, Anglican, and Lutheran churches believe that Mary, there is significant diversity in the Marian beliefs and devotional practices of major Christian traditions. The Roman Catholic Church holds distinctive Marian dogmas, namely her status as the Mother of God, her Immaculate Conception, her perpetual virginity, many Protestants minimize Marys role within Christianity, based on the argued brevity of biblical references. Mary also has a position in Islam, where one of the longer chapters of the Quran is devoted to her. Marys name in the manuscripts of the New Testament was based on her original Aramaic name ܡܪܝܡ. The English name Mary comes from the Greek Μαρία, which is a form of Μαριάμ. Both Μαρία and Μαριάμ appear in the New Testament, in Christianity, Mary is commonly referred to as the Virgin Mary, in accordance with the belief that she conceived Jesus miraculously through the Holy Spirit without her husbands involvement. The three main titles for Mary used by the Orthodox are Theotokos, Aeiparthenos as confirmed in the Second Council of Constantinople in 553, Catholics use a wide variety of titles for Mary, and these titles have in turn given rise to many artistic depictions. For example, the title Our Lady of Sorrows has inspired such masterpieces as Michelangelos Pietà, the title Theotokos was recognized at the Council of Ephesus in 431. However, this phrase in Greek, in the abbreviated form ΜΡ ΘΥ, is an indication commonly attached to her image in Byzantine icons. The Council stated that the Church Fathers did not hesitate to speak of the holy Virgin as the Mother of God, some Marian titles have a direct scriptural basis. For instance, the title Queen Mother has been given to Mary since she was the mother of Jesus, the scriptural basis for the term Queen can be seen in Luke 1,32 and the Isaiah 9,6. Queen Mother can be found in 1 Kings 2, 19-20 and Jeremiah 13, other titles have arisen from reported miracles, special appeals or occasions for calling on Mary
Virgin Mary
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Our Lady of Vladimir, one of the medieval representations of the Theotokos
Virgin Mary
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Virgin and Child with angels and Sts. George and Theodore. Icon from around 600, from Saint Catherine's Monastery.
Virgin Mary
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The Annunciation by Eustache Le Sueur, an example of 17th-century Marian art. The Angel Gabriel announces to Mary her pregnancy with Jesus and offers her White Lilies.
Virgin Mary
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The Virgin's first seven steps, mosaic from Chora Church, c. 12th century
22.
Exorcism
–
Exorcism is the religious or spiritual practice of purportedly evicting demons or other spiritual entities from a person or an area they are believed to have possessed. The practice is ancient and part of the system of many cultures. There was “a 50% increase in the number of exorcisms performed between the early 1960s and the mid-1970s”, in Christianity, exorcism is the practice of casting out demons. In Christian practice the person performing the exorcism, known as an exorcist, is often a member of the Christian Church, the exorcist may use prayers and religious material, such as set formulas, gestures, symbols, icons, amulets, etc. The exorcist often invokes God, Jesus and/or several different angels and archangels to intervene with the exorcism, a survey of Christian exorcists found that most exorcists believe that any mature Christian can perform an exorcism, not just members of clergy. Christian exorcists most commonly believe the authority given to them by the Father, Son, therefore, practitioners regard exorcism as more of a cure than a punishment. The mainstream rituals usually take this account, making sure that there is no violence to the possessed. In Catholic Christianity, exorcisms are performed in the name of Jesus Christ. A distinction is made between a formal exorcism, which can only be conducted by a priest during a baptism or with the permission of a Bishop, the Catholic rite for a formal exorcism, called a Major Exorcism, is given in Section 11 of the Rituale Romanum. The Ritual lists guidelines for conducting an exorcism, and for determining when a formal exorcism is required, priests are instructed to carefully determine that the nature of the affliction is not actually a psychological or physical illness before proceeding. In Catholic practice the person performing the exorcism, known as an exorcist, is an ordained priest, the exorcist recites prayers according to the rubrics of the rite, and may make use of religious materials such as icons and sacramentals. The exorcist invokes God—specifically the Name of Jesus—as well as members of the Church Triumphant, according to Catholic understanding, several weekly exorcisms over many years are sometimes required to expel a deeply entrenched demon. In general, possessed persons are not regarded as evil in themselves, therefore, practitioners regard exorcism as a cure and not some kind of punishment. Beliefs and practices pertaining to the practice of exorcism are prominently connected with Hindus, of the four Vedas, the Atharva Veda is said to contain the secrets related to exorcism, magic and alchemy. The basic means of exorcism are the mantra and the used in both Vedic and Tantric traditions. Vaishnava traditions also employ a recitation of names of Narasimha and reading scriptures and it is also believed that, praying to Lord Hanuman, gives the best result. It is also mentioned in the Hanuman Chalisa and it is believed that just uttering the name of Lord Hanuman makes the evil forces and devils tremble, in fear. The main puranic resource on ghost and death-related information is Garuda Purana, a complete description of birth and death and also about the human soul are explained in Katō Upanishad, a part of Yajur Veda
Exorcism
–
Painting of Saint Francis Borgia performing an exorcism, by Goya
Exorcism
–
The image of Hanuman at the Hanuman temple in Sarangpur is said to be so powerful that a mere look at it by people affected by evil spirits, drives the evil spirits out of the people affected
23.
Tiber
–
It drains a basin estimated at 17,375 square kilometres. The river has achieved lasting fame as the watercourse of the city of Rome. The river rises at Mount Fumaiolo in central Italy and flows in a southerly direction past Perugia. However, it does not form a delta, owing to a strong north-flowing sea current close to the shore, to the steep shelving of the coast. The source of the Tiber consists of two springs 10 metres away from each other on Mount Fumaiolo and these springs are called Le Vene. The springs are in a beech forest 1,268 metres above sea level, during the 1930s, Benito Mussolini placed an antique marble Roman column at the point where the river arises, inscribed QUI NASCE IL FIUME SACRO AI DESTINI DI ROMA. There is an eagle on the top of this column, the first miles of the Tiber run through Valtiberina before entering Umbria. It is probable that the genesis of the name Tiber was pre-Latin, like the Roman name of Tibur, the same root is found in the Latin praenomen Tiberius. There are also Etruscan variants of this praenomen in Thefarie and Teperie, the legendary king Tiberinus, ninth in the king-list of Alba Longa, was said to have drowned in the river Albula, which was afterward called Tiberis. Yet another etymology is from *dubri-, water, considered by Alessio as Sicel and this root *dubri- is widespread in Western Europe e. g. Dover, Portus Dubris. According to the legend, Jupiter made him a god and guardian spirit of the river and this gave rise to the standard Roman depiction of the river as a powerfully built reclining god, also named Tiberinus, with streams of water flowing from his hair and beard. The Tiber was also believed to be the river into which Romulus and Remus were thrown as infants, according to legend, the city of Rome was founded in 753 BC on the banks of the Tiber about 25 kilometres from the sea at Ostia. The island Isola Tiberina in the centre of Rome, between Trastevere and the ancient center, was the site of an important ancient ford and was later bridged. Legend says Romes founders, the twin brothers Romulus and Remus, were abandoned on its waters, the river marked the boundary between the lands of the Etruscans to the west, the Sabines to the east and the Latins to the south. Benito Mussolini, born in Romagna, adjusted the boundary between Tuscany and Emilia-Romagna, so that the springs of the Tiber would lie in Romagna and it was later used to ship stone, timber and foodstuffs to Rome. During the Punic Wars of the 3rd century BC, the harbour at Ostia became a key naval base and it later became Romes most important port, where wheat, olive oil, and wine were imported from Romes colonies around the Mediterranean. Wharves were also built along the riverside in Rome itself, lining the riverbanks around the Campus Martius area, the Romans connected the river with a sewer system and with an underground network of tunnels and other channels, to bring its water into the middle of the city. Wealthy Romans had garden-parks or horti on the banks of the river in Rome up through the first century BC and these may have been sold and developed about a century later
Tiber
–
The Tiber in Rome
Tiber
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Mussolini's headstone near the source of Tiber
Tiber
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Roman representation of Tiber as a god (Tiberinus) with cornucopia at the Campidoglio, Rome.
Tiber
–
View of the Tiber looking towards the Vatican City.
24.
Antipope Clement III
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Guibert or Wibert of Ravenna was an Italian prelate, archbishop of Ravenna, who was elected pope in 1080 in opposition to Pope Gregory VII. This led to the known as the Investiture Controversy. He is considered an anti-pope by the Roman Catholic Church and he was born into the noble family of the Correggio, probably between 1020 and 1030. He had family connections to the Margraves of Canossa, a cleric, he was appointed to the Imperial chancellorship for Italy by the Empress Agnes in 1058, which position he held until 1063. And, although Pope Alexander II was reluctant to confirm this appointment, he was persuaded by Hildebrand to do so, Guibert then took an oath of allegiance to the pope and his successors and was installed at Ravenna in 1073. Shortly after Pope Alexander II died Hildebrand was proclaimed the next pope, having attended Gregorys first Lenten Synods, Guibert refused to attend the next, the Lenten Synod of 1075, although he was bound by oath to obey the summons to attend. Guibert was unsympathetic to Gregorys opposition to the Imperial Court, which Guibert had served as Chancellor of Italy, by his absence Guibert demonstrated his opposition to Gregory VII, who now suspended him for his refusal to attend the synod. It was in same year that Emperor Henry IV began his open war on Gregory. At the synod of Worms in January 1076, a resolution was adopted deposing Gregory, among these must have been Guibert, for he shared in the sentence of excommunication and interdiction which Gregory VII pronounced against the guilty Transpadine bishops at the Lenten Synod of 1076. In response to the action of Henrys 1076 Synod of Worms against Gregory, Gregory excommunicated Henry IV. During the next four years, the Emperor and the Pope reconciled but then quarreled again, Henry recognized Guibert as pope, swearing that he would lead him to Rome, and there receive from his hands the imperial crown. With Rudolph of Swabia, leader of the nobles, having fallen mortally wounded at the Battle of Mersburg in 1080. In 1081, he marched on Rome, but failed to force his way into the city, which he finally accomplished only in 1084. Gregory took refuge in Castel SantAngelo, and refused to entertain Henrys overtures, Gregory, however, insisted as a necessary preliminary that Henry should appear before a council and do penance. The Emperor, while pretending to submit to terms, tried hard to prevent the meeting of the bishops. A small number however assembled, and, in accordance with their wishes, john Lateran as Clement III, and on 31 March Guibert crowned Henry IV as Emperor at St. Peters. Pope Gregory was liberated, but the people were incensed by the excesses of his Norman allies, and he was compelled to leave Rome. Disappointed and sorrowing he withdrew to Monte Cassino, and later to the castle of Salerno by the sea, in 1084, three days before his death he withdrew all the censures of excommunication that he had pronounced, except those against the two chief offenders Henry and Guibert
Antipope Clement III
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Antipope Clement III. (middle) with Henry IV. (left), image froms Codex Jenesis Bose q.6 (1157)
25.
Civita Castellana
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Civita Castellana is a town and comune in the province of Viterbo,65 kilometres north of Rome. Mount Soracte lies about 10 kilometres to the south-east, Civita Castellana was settled during the Iron Age by the Italic people of the Falisci, who called it Falerii. After the Faliscan defeat against the Romans, a new city was built by the latter, about 5 kilometres away, the abandoned city was repopulated beginning in the early Middle Ages, with the new name of Civita Castellana mentioned first in 994. In the following centuries the city was an independent commune, often contended by the Pope. Captured by Pope Paschal II at the beginning of the 12th century, sixtus IV assigned the city to Cardinal Rodrigo Borgia, the future Pope Alexander VI, who started the construction of the Rocca, which was completed under Julius II. Civita Castellana became an important road hub with the connection to the Via Flaminia, the interior was modernized in the 18th century, but has some fragments of Cosmatesque ornamentation. The high altar is made out of a Paleo-Christian sarcophagus of the 3rd or 4th century, the ancient crpyt and the old sacristy are also home to examples of central Italian medieval art. Santa Chiara, church with Renaissance portal from 1529 Santa Maria del Carmine, church with small belltower from the 12th century, the town also contains the ruins of the Castle of Paterno, where, on 23 January 1002, Emperor Otto III died at the age of 22. The National Museum of the Faliscan Countryside contains findings from the ancient Falerii, boscolo, Silvia, Luca Creti, Consuelo Mastelloni Il pavimento cosmatesco della Cattedrale di Civita Castellana. This article incorporates text from a now in the public domain, Chisholm, Hugh. This article incorporates text from a now in the public domain, Herbermann, Charles, ed. Diocese of Cività Castellana, Orte. Civita Castellana travel guide from Wikivoyage
Civita Castellana
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Piazza Matteotti in Civita Castellana by night.
Civita Castellana
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Coat of arms
Civita Castellana
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The façade of the Cathedral of Civita Castellana.
26.
Luke the Evangelist
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Luke the Evangelist is one of the Four Evangelists—the four traditionally ascribed authors of the canonical Gospels. The New Testament mentions Luke briefly a few times, and the Pauline epistle to the Colossians refers to him as a doctor, Christians since the faiths early years have regarded him as a saint. He is believed to have been a martyr, reportedly as having been hanged in an olive tree, though some believe otherwise. Many scholars believe that Luke was a Greek physician who lived in the Greek city of Antioch in Ancient Syria, though other scholars. Bart Koet for instance considered it as widely accepted that the theology of Luke–Acts points to a gentile Christian writing for a gentile audience, gregory Sterling though, claims that he was either a Hellenistic Jew or a god-fearer. His earliest notice is in Pauls Epistle to Philemon—Philemon 1,24 and he is also mentioned in Colossians 4,14 and 2Timothy 4,11, two works commonly ascribed to Paul. He had become a disciple of the apostle Paul and later followed Paul until his martyrdom, having served the Lord continuously, unmarried and without children, filled with the Holy Spirit he died at the age of 84 years. If one accepts that Luke was in fact the author of the Gospel bearing his name and also the Acts of the Apostles, the we section of Acts continues until the group leaves Philippi, when his writing goes back to the third person. This change happens again when the returns to Philippi. There are three we sections in Acts, all following this rule, Luke never stated, however, that he lived in Troas, and this is the only evidence that he did. The composition of the writings, as well as the range of vocabulary used, a quote in the Letter of Paul to the Colossians differentiates between Luke and other colleagues of the circumcision. 10 My fellow prisoner Aristarchus sends you his greetings, as does Mark,11 Jesus, who is called Justus, also sends greetings. These are the only Jews among my co-workers for the kingdom of God,14 Our dear friend Luke, the doctor, and Demas send greetings. This comment has traditionally caused commentators to conclude that Luke was a Gentile, if this were true, it would make Luke the only writer of the New Testament who can clearly be identified as not being Jewish. However, that is not the only possibility, although Luke is considered likely to be a Gentile Christian, some scholars believe him to be a Hellenized Jew. The phrase could just as easily be used to differentiate between those Christians who strictly observed the rituals of Judaism and those who did not. Lukes presence in Rome with the Apostle Paul near the end of Pauls life was attested by 2 Timothy 4,11, Only Luke is with me. In the last chapter of the Book of Acts, widely attributed to Luke, we find several accounts in the first person also affirming Lukes presence in Rome including Acts 28,16, And when we came to Rome
Luke the Evangelist
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detail of the St. Luke altarpiece by Andrea Mantegna
Luke the Evangelist
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Base of a pillar at Basilica of the Sacred Heart of Jesus, Puducherry, India
Luke the Evangelist
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James Tissot, Saint Luke (Saint Luc), Brooklyn Museum
Luke the Evangelist
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Luke as depicted in the head-piece of an Armenian Gospel manuscript from 1609 held at the Bodleian Library
27.
Pope Gregory IX
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Pope Gregory IX Latin, Gregorius IX, was Pope from 19 March 1227 to his death in 1241. The successor of Pope Honorius III, he inherited the traditions of Pope Gregory VII and of his cousin Pope Innocent III. The date of his birth varies in sources between c.1145 and 1170 and he received his education at the Universities of Paris and Bologna. He was created Cardinal-Deacon of the church of SantEustachio by his cousin Innocent III in December 1198, in 1206 he was promoted to the rank of Cardinal Bishop of Ostia e Velletri. He became Dean of the Sacred College of Cardinals in 1218 or 1219, upon the special request of Saint Francis, in 1220, Pope Honorius III appointed him Cardinal Protector of the order of the Franciscans. As Cardinal Bishop of Ostia, he cultivated a wide range of acquaintances, among them the Queen of England, Gregory IX was elevated to the papacy in the papal election of 1227. He took the name Gregory because he assumed the papal office at the monastery of Saint Gregory ad Septem Solia. Gregorys Bull Parens scientiarum of 1231, after the University of Paris strike of 1229 and this pope, being a remarkably skillful and learned lawyer, caused to be prepared Nova Compilatio decretalium, which was promulgated in numerous copies in 1234. The supplement completed the work, which provided the foundation for papal legal theory, in the 1234 Decretals, he invested the doctrine of perpetua servitus iudaeorum – perpetual servitude of the Jews – with the force of canonical law. According to this, the followers of the Talmud would have to remain in a condition of political servitude until Judgment Day, the doctrine then found its way into the doctrine of servitus camerae imperialis, or servitude immediately subject to the Emperors authority, promulgated by Frederick II. The Jews were thus suppressed from having influence over the political process. In 1239, under the influence of Nicholas Donin, a Jewish convert to Christianity, following a public disputation between Christians and Jewish theologians, this culminated in a mass burning of some 12,000 handwritten Talmudic manuscripts on 12 June 1242, in Paris. Gregory was a supporter of the mendicant orders which he saw an excellent means for counteracting by voluntary poverty the love of luxury and he was a friend of Saint Dominic as well as Clare of Assisi. On 17 January 1235, he approved the Order of Our Lady of Mercy for the redemption of captives. He appointed ten cardinals and canonized Saints Elisabeth of Hungary, Dominic de Guzmán, Anthony of Padua and he transformed a chapel to Our Lady in the church of Santa Maria del Popolo in Rome. Gregory IX endorsed the Northern Crusades and attempts to bring Orthodox Slavic peoples in Eastern Europe under Papacys fold, at the coronation of Frederick II in Rome,22 November 1220, the emperor made a vow to embark for the Holy Land in August 1221. Gregory IX began his pontificate by suspending the Holy Roman Emperor Frederick II, Frederick II appealed to the sovereigns of Europe complaining of his treatment. The suspension was followed by excommunication and threats of deposition, as deeper rifts appeared, Frederick II went to the Holy Land and in fact managed to take possession of Jerusalem
Pope Gregory IX
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Pope Gregory IX
Pope Gregory IX
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Giotto. Dream of Pope Gregory IX with St Francis of Assisi
Pope Gregory IX
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Edicts of Gregory IX with glosses of Bernardo di Bottone. An example of books burned by the Germans.
Pope Gregory IX
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Bas-relief of Gregory IX in the US House of Representatives
28.
Lateran
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Lateran and Laterano are the shared names of several architectural projects throughout Rome. The properties were owned by the Lateranus family of the former Roman Empire. The Laterani lost their properties to Emperor Constantine who in turn gave it to the Catholic Church in 311, as the official ecclesiastical seat of the Pope, St. John Lateran holds the Papal cathedra in its apse. The Lateran is Christendoms earliest basilica, attached to the basilica is the Lateran Baptistery, one of the oldest in Christendom. Other constituent parts of the Lateran complex are the building of the Scala Sancta with the Sancta Sanctorum, the Pontifical Lateran University, or simply Lateranum, is one of the pontifical universities of Rome. The former Lateran Museum ceased to exist in 1970, when Pope John XXIII moved the collections to the Vatican Museum, an ecclesiastical college in the Philippines was named after the Basilica of St. John Lateran, the Colegio de San Juan de Letran, founded in 1620. Scala Sancta - Article from the Catholic Encyclopedia Christian Museum of Lateran - Article from the Catholic Encyclopedia Colegio de San Juan de Letran#History
Lateran
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Late Baroque façade of the Basilica di San Giovanni in Laterano, completed after a competition for the design by Alessandro Galilei in 1735
Lateran
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View showing Basilica and Palace
Lateran
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Basilica and Palace - side view
29.
Innocent IV
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Pope Innocent IV, born Sinibaldo Fieschi, was Pope of the Catholic Church from 25 June 1243 to his death in 1254. Born in Genoa in an year, Sinibaldo was the son of Beatrice Grillo and Ugo Fieschi. The Fieschi were a merchant family of Liguria. Sinibaldo received his education at the universities of Parma and Bologna and, for a time and it is pointed out by Agostino Paravicini-Bagliani, however, that there is no documentary evidence of such a professorship. From 1216-1227 he was Canon of the Cathedral of Parma and he was considered one of the best canonists of his time, and was called to serve Pope Honorius III in the Roman Curia as Auditor causarum, from 11 November 1226 to 30 May 1227. He was then promoted to the office of Vice-Chancellor of the Holy Roman Church, though he retained the office, Vice-Chancellor Sinibaldo Fieschi was created Cardinal Priest of San Lorenzo in Lucina on 18 September 1227 by Pope Gregory IX. He later served as governor of the March of Ancona. It is widely repeated, from the 17th century on, that he became bishop of Albenga in 1235, Innocents immediate predecessor was Pope Celestine IV, elected 25 October 1241, whose reign lasted a mere fifteen days. The two prelates remained incarcerated and missed the conclave that immediately elected Celestine, the conclave that reconvened after his death fell into camps supporting contradictory policies about how to treat with the emperor. After a year and a half of debate and coercion. Cardinal de Fieschi very reluctantly accepted election as Pope 25 June 1243, as Cardinal de Fieschi, Sinibaldo had been on friendly terms with Frederick, even after his excommunication. The Emperor also greatly admired the cardinals wisdom, having enjoyed discussions with him from time to time, following the election the witty Frederick remarked that he had lost the friendship of a cardinal but made up for it by gaining the enmity of a pope. Negotiations leading to this objective began shortly afterwards, but proved abortive, the Emperors machinations caused a good deal of anti-papal feeling to rise in Italy, particularly in the Papal States, and imperial agents encouraged plots against papal rule. Realizing how untenable his position in Rome was growing, Innocent IV secretly and hurriedly withdrew, traveling in disguise, Innocent made his way to Sutri and Civitavecchia, to Genoa, his birthplace, where he arrived on 7 July. From there, on 5 October, he fled to France, making his way to Lyon, where he arrived on November 29,1244, Innocent was happily greeted by the magistrates of the city. The bishops met for three sessions,28 June,5 July, and 17 July 1245. Their principal business was to subjugate the Emperor Frederick II, Gregory IX, had issued letters on 9 June 1239, ordering all the bishops of France to confiscate all Talmuds in the possession of the Jews. Agents were to raid each synagogue on the first Saturday of Lent of 1240, the Bishop of Paris was ordered to see to it that copies of the Popes mandate reached all the bishops of France, England, Aragon, Navarre, Castile and León, and Portugal
Innocent IV
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Pope Innocent IV sends Dominicans and Franciscans out to the Tartars (Mongols)
Innocent IV
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The 1246 letter of Güyük to Pope Innocent IV.
Innocent IV
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Ascelin of Lombardia receiving a letter from Pope Innocent IV, and remitting it to the Mongol general Baiju.
30.
Pope Alexander IV
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Pope Alexander IV was Pope from 12 December 1254 to his death in 1261. Born as Rinaldo di Jenne in Jenne, he was, on his mothers side, a member of the family de Conti di Segni, the counts of Segni, like Pope Innocent III and Pope Gregory IX. His uncle Gregory IX made him deacon and Protector of the Order of Franciscans in 1227, Camerlengo of the Holy Roman Church from 1227 until 1231. He became Dean of the Sacred College of Cardinals in 1244, on the death of Pope Innocent IV in 1254 he was elected pope at Naples on 12 December 1254. Alexander IV threatened excommunication and interdict against the party of Manfred without effect, nor could he enlist the kings of England and Norway in a crusade against the Hohenstaufens. Rome itself became too Ghibelline for the Pope, who withdrew to Viterbo and he was buried in Viterbo Cathedral, but his tomb was destroyed during sixteenth-century renovations. On 26 September 1255, Alexander IV canonized S. Clare of Assisi and he also confirmed, on 29 October 1255, in the Bull Benigna Operatio, the reality of the stigmata attributed to S. Francis of Assisi. On 14 May 1254, shortly before his death, Innocent IV had granted Sicily, nicolaus de Curbio, OFM, Vita Innocentii Papae IV, Ludovico Antonio Muratori, Rerum Italicarum Scriptores Tomus Tertius pp. 592–592e. Bernardus Guidonis, Vita Alexandri Papae IV, Ludovico Antonio Muratori, alexis François Artaud de Montor, Histoire des souverains Pontifes Romains Tome III, pp. 1–11. Augustinus Theiner, Caesaris S. R. E. Cardinalis Baronii, laderchii Annales Ecclesiastici Tomus Vigesimus Primus 1229-1256. August Karst, Geschichte Manfreds vom Tode Friedrichs II, bourel de la Roncière Les Registres d Alexandre IV Tome premier. F. Gregorovius, History of Rome in the Middle Ages, Volume V.2 second edition, revised Book X, Chapter 1, pp. 335–358. F. Tenckhoff, Papst Alexander IV. S. Andreotta, La famiglia di Alessandro IV e labbazia di Subiaco, rodríguez de Lama, La documentación pontificia de Alejandro IV. Raoul Manselli, Alessandro IV, Dizionario dei Papi. The Crusades, c.1071 – c, herbermann, Charles, ed. Pope Alexander IV. Attribution This article incorporates text from a now in the public domain, Chisholm, Hugh
Pope Alexander IV
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Pope Alexander IV
31.
Giorgio Vasari
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Vasari was born in Arezzo, Tuscany. Recommended at an age by his cousin Luca Signorelli, he became a pupil of Guglielmo da Marsiglia. He was befriended by Michelangelo whose painting style would influence his own, in 1529, he visited Rome where he studied the works of Raphael and other artists of the Roman High Renaissance. Vasaris own Mannerist paintings were admired in his lifetime than afterwards. In 1547 he completed the hall of the chancery in Palazzo della Cancelleria in Rome with frescoes that received the name Sala dei Cento Giorni and he was consistently employed by members of the Medici family in Florence and Rome, and worked in Naples, Arezzo and other places. He also helped to organize the decoration of the Studiolo, now reassembled in the Palazzo Vecchio, aside from his career as a painter, Vasari was also successful as an architect. In Florence, Vasari also built the long passage, now called Vasari Corridor, the enclosed corridor passes alongside the River Arno on an arcade, crosses the Ponte Vecchio and winds around the exterior of several buildings. He also renovated the medieval churches of Santa Maria Novella and Santa Croce, at both he removed the original rood screen and loft, and remodelled the retro-choirs in the Mannerist taste of his time. In Santa Croce, he was responsible for the painting of The Adoration of the Magi which was commissioned by Pope Pius V in 1566 and it was recently restored, before being put on exhibition in 2011 in Rome and in Naples. Eventually it is planned to return it to the church of Santa Croce in Bosco Marengo, in 1562 Vasari built the octagonal dome on the Basilica of Our Lady of Humility in Pistoia, an important example of high Renaissance architecture. In Rome, Vasari worked with Giacomo Barozzi da Vignola and Bartolomeo Ammanati at Pope Julius IIIs Villa Giulia, the Lives also included a novel treatise on the technical methods employed in the arts. The book was rewritten and enlarged in 1568, with the addition of woodcut portraits of artists. The work has a consistent and notorious bias in favour of Florentines, and tends to attribute to them all the developments in Renaissance art – for example, Venetian art in particular, is systematically ignored in the first edition. Between the first and second editions, Vasari visited Venice and while the edition gave more attention to Venetian art. Vasaris biographies are interspersed with amusing gossip, with a few exceptions, however, Vasaris aesthetic judgement was acute and unbiased. He did not research archives for exact dates, as art historians do, and naturally his biographies are most dependable for the painters of his own generation. Modern criticism – with new materials opened up by research – has corrected many of his traditional dates and attributions. Vasari includes a sketch of his own biography at the end of the Lives, according to the historian Richard Goldthwaite, Vasari was one of the earliest authors to use the term competition in its economic sense
Giorgio Vasari
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Vasari's self-portrait
Giorgio Vasari
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Giorgio Vasari, Italian humanists, Tuscan Poets: Dante, Petrarch, Guido Cavalcanti, Boccaccio, Cino da Pistoia and Guittone d'Arezzo
Giorgio Vasari
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Giorgio Vasari, The Garden of Gethsemane
Giorgio Vasari
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The Uffizi Loggia.
32.
Giuliano della Rovere
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Pope Julius II, nicknamed The Fearsome Pope and The Warrior Pope, born Giuliano della Rovere, was Pope from 1 November 1503 to his death in 1513. In addition to a military policy, he personally led troops into battle on at least two occasions. There is disagreement about Juliuss year of birth, for some sources put it as late as 1453, Giuliano della Rovere was the son of Rafaello della Rovere. Francesco della Rovere was his uncle and he was educated among the Franciscans by his uncle, who took him under his special charge and later sent him to a Franciscan friary in Perugia with the purpose of obtaining knowledge of the sciences. After his uncle was elected Pope Sixtus IV, della Rovere was promoted to be cardinal, taking the title as that formerly held by his uncle. With his uncle he obtained great influence, and in addition to the archbishopric of Avignon he held no fewer than eight bishoprics, including Lausanne from 1472. In June 1474, della Rovere led an army to Todi and Spoleto, around this time, in 1483, an illegitimate daughter was born, Felice della Rovere. Della Rovere, jealous and angry, accused Borgia of being elected over him, in 1494 he joined Charles VIII of France who was undertaking a military expedition into Italy. This was, in Andrew Greeleys view, almost certainly by means of bribery with money, but also, per Ott, Ullman, and Hughes, with promises. Giuliano Della Rovere thenceforth took the name of his fourth century predecessor, Julius I, indeed, on the day of his election, he declared I will not live in the same rooms as the Borgias lived. He desecrated the Holy Church as none before and he usurped the papal power by the devils aid, and I forbid under the pain of excommunication anyone to speak or think of Borgia again. His name and memory must be forgotten and it must be crossed out of every document and memorial. All paintings made of the Borgias or for them must be covered over with black crepe, all the tombs of the Borgias must be opened and their bodies sent back to where they belong—to Spain. The Borgias apartments remained sealed until the 19th Century, the combination was, however, at first little more than nominal, and was not immediately effective in compelling the Venetians to deliver up more than a few unimportant places in the Romagna. With a campaign in 1506, he led an army to Perugia and Bologna. The refusal of Pope Clement VII to grant the annulment led to the English Reformation, the same year, he founded the Swiss Guard to provide a constant corps of soldiers to protect the Pope. On Palm Sunday,1507, Julius II entered Rome, both as a second Julius Caesar, heir to the majesty of Romes imperial glory, and in the likeness of Christ, whose vicar the pope was, and who in that capacity governed the universal Roman Church. Julius, who modelled himself after his namesake Caesar, would lead his army across the Italian peninsula under the imperial war-cry
Giuliano della Rovere
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Portrait of Pope Julius II by Raphael
Giuliano della Rovere
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Giuliano della Rovere (left, future Julius II), and Julius II's future cardinal-nephew, Clemente della Rovere (right), who safeguarded Giuliano's affairs while he fled to France following a dispute with Alexander VI.
Giuliano della Rovere
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Giulliano della Rovere, as cardinal (left), with uncle and patron Francesco della Rovere, Pope Sixtus IV (right).
Giuliano della Rovere
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Leonardo Grosso della Rovere, the fourth cardinal-nephew of Julius II accompanied him on his military campaigns in Bologna and Perugia, and served as his ambassador to France
33.
Rodrigo Borgia
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Pope Alexander VI, born Rodrigo de Borja, was Pope from 11 August 1492 until his death. He is one of the most controversial of the Renaissance popes, therefore his Italianized Valencian surname, Borgia, became a byword for libertinism and nepotism, which are traditionally considered as characterizing his pontificate. However, two of Alexanders successors, the also controversial pontiffs Sixtus V and Urban VIII, described him as one of the most outstanding popes since St. Peter. Rodrigo de Borja was born on 1 January 1431, in the town of Xativa near Valencia, one of the component realms of the Crown of Aragon and his parents were Jofré Llançol i Escrivà, and his Aragonese wife and distant cousin Isabel de Borja y Cavanilles. His family name is written Llançol in Valencian and Lanzol in Castillian, Rodrigo adopted his mothers family name of Borja in 1455 following the elevation to the papacy of maternal uncle Alonso de Borja as Calixtus III. Alternatively, it has argued that Rodrigos father was Jofré de Borja y Escrivà, making Rodrigo a Borja from his mother. However, his children were known to be of Llançol paternal lineage, some revisionists suggest that the confusion is attributed by attempts to connect Rodrigo as the father of Giovanni, Cesare and Lucrezia, who were surnamed Llançol i Borja. Rodrigo Borgia studied law at Bologna where he graduated, not simply as Doctor of Law, after the election of his uncle as Pope Callixtus III, he was ordained deacon and created Cardinal-Deacon of San Nicola in Carcere at the age of twenty-five in 1456. The following year, he was appointed vice-chancellor of the Holy Roman Church, both nepotistic appointments were characteristic of the age. Each pope during this period inevitably found himself surrounded by the servants, in 1468, he was ordained to the priesthood and, in 1471, he was consecrated bishop and appointed Cardinal-Bishop of Albano. Contemporary accounts suggest that Rodrigo was handsome, with a cheerful countenance. He was gifted with the quality of being a smooth talker, beautiful women were attracted to him and excited by him in quite a remarkable way, more strongly than how iron is drawn to a magnet. Rodrigo Borgia was also an intelligent man with an appreciation for the arts and sciences and he was capable and cautious, considered a political priest by some. He was a speaker and great at conversation. Additionally, he was so familiar with Holy Writ, that his speeches were fairly sparkling with well-chosen texts of the Sacred Books, when his uncle Alonso de Borja was elected Pope Callixtus III, he inherited the post of bishop of Valencia. Sixteen days before the death of Pope Innocent VIII, he proposed Valencia as a metropolitan see and became the first archbishop of Valencia. When Rodrigo de Borgia was elected pope as Alexander VI following the death of Innocent VIII, the third and the fourth archbishops of Valencia were Juan de Borja and Pedro Luis de Borja, grand-nephews of Alexander VI. The connection began in 1470, and she had four children whom he acknowledged as his own, Cesare, Giovanni, afterwards duke of Gandia, Lucrezia
Rodrigo Borgia
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Pope Alexander VI
Rodrigo Borgia
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Plaque outside the Archbishop's Palace, Valencia.
Rodrigo Borgia
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Giovanni Borgia, 2nd Duke of Gandia.
Rodrigo Borgia
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Presumed portrait of Lucrezia Borgia by Bartolomeo Veneto
34.
Jorge da Costa
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For Brazilian footballer, see Jorge Alberto da Costa Silva. For Portuguese businessman, see Jorge Nuno Pinto da Costa, dom Jorge da Costa was a Portuguese Cardinal. Born in Alpedrinha, Fundão, he is called the Cardinal of Alpedrinha. He was one of children of Martim Vaz and wife Catarina Gonçalves. He made benefits to all his brothers and sisters and he held a very large number of ecclesiastical offices. He was Archbishop of Lisbon 1464-1500 and 108th Archbishop of Braga 1486-1501 and he was the confessor of Afonso V of Portugal. From 1478 he was in exile in Rome, having clashed with John II of Portugal and he died a centenarian in Rome. He is buried in the church of Santa Maria del Popolo in the Costa Chapel that he purchased in 1488, at age 102, Jorge da Costa is the oldest Cardinal in history
Jorge da Costa
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Jorge da Costa
35.
Borgia
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The House of Borgia was an Italo-Spanish noble family, which rose to prominence during the Italian Renaissance. They were from Valencia, the surname being a toponymic from Borja, then in the Crown of Aragon, especially during the reign of Alexander VI, they were suspected of many crimes, including adultery, incest, simony, theft, bribery, and murder. Because of their grasping for power, they made enemies of the Medici, the Sforza, and they were also patrons of the arts who contributed to the Renaissance. The Borja or Borgia originated in the town of Borja in the Kingdom of Valencia, there were numerous unsubstantiated claims that the family was of Jewish origin. These underground rumours were propagated by, among others, Giuliano della Rovere, the rumours have persisted in popular culture for centuries, listed in the Semi-Gotha of 1912. The family themselves propagated a spurious genealogical descent from a 12th-century claimant to the crown of the Kingdom of Aragon, Pedro de Atarés, Lord of Borja, who actually died childless. Alfons de Borja, later known as Pope Callixtus III, was born to Francina Llançol and Domingo de Borja in La Torreta, Canals, which was then situated in the Kingdom of Valencia. Alfons de Borja was a professor of law at the University of Lleida, at an advanced age, he was elected Pope Callixtus III in 1455 as a compromise candidate and reigned as Pope for just 3 years. Rodrigo Borgia, one of Alfonso’s nephews, was born in Xàtiva, also in the Kingdom of Valencia, to Isabel de Borja i Cavanilles and he studied law at Bologna and was appointed as cardinal by his uncle, Alfons Borgia, Pope Callixtus III. He was elected Pope in 1492, taking the regnal name Alexander VI, while a cardinal, he maintained a long-term illicit relationship with Vannozza dei Cattanei, with whom he had four children, Giovanni, Cesare, Lucrezia, and Gioffre. Rodrigo also had children by women, including one daughter with his mistress. As Alexander VI, Rodrigo was recognized as a politician and diplomat, but was widely criticized during his reign for his over-spending, sale of Church offices, lasciviousness. As Pope, he struggled to acquire more personal and papal power and wealth and he appointed his son, Giovanni, as captain-general of the papal army, his foremost military representative, and established another son, Cesare, as a cardinal. Alexander used the marriages of his children to build alliances with powerful families in Italy, at the time, the Sforza family, which comprised the Milanese faction, was one of the most powerful in Europe, so Alexander united the two families by marrying Lucrezia to Giovanni Sforza. He also married Gioffre, his youngest son from Vannozza, to Sancha of Aragon of the Crown of Aragon and it is reported that under Alexander VIs rule the Borgia hosted orgies in the Vatican palace. The Banquet of Chestnuts is considered one of the most disreputable balls of this kind, johann Burchard reports that fifty courtesans were in attendance for the entertainment of the banquet guests. It is alleged not only was the Pope present, but also two of his children, Lucrezia and Cesare. Other researchers however, such as Monsignor Peter de Roo, have rejected the rumors of the fifty courtesans as being at odds with Alexander VIs essentially decent, Pope Alexander VI died in Rome in 1503 after contracting a disease, generally believed to have been malaria
Borgia
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Painting by John Collier, "A glass of wine with Caesar Borgia", from left: Cesare Borgia, Lucrezia, Pope Alexander, and a young man holding an empty glass. The painting represents the popular view of the treacherous nature of the Borgias - the implication being that the young man cannot be sure that the wine is not poisoned.
Borgia
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Motto: "Either a Caesar or nothing" (Latin: Aut Caesar, aut nihil)
Borgia
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Alfons de Borja Pope Callixtus III
Borgia
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Rodrigo Borgia Pope Alexander VI, father of Lucrezia, Cesare, Giovanni, and Gioffre.
36.
Julius II
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Pope Julius II, nicknamed The Fearsome Pope and The Warrior Pope, born Giuliano della Rovere, was Pope from 1 November 1503 to his death in 1513. In addition to a military policy, he personally led troops into battle on at least two occasions. There is disagreement about Juliuss year of birth, for some sources put it as late as 1453, Giuliano della Rovere was the son of Rafaello della Rovere. Francesco della Rovere was his uncle and he was educated among the Franciscans by his uncle, who took him under his special charge and later sent him to a Franciscan friary in Perugia with the purpose of obtaining knowledge of the sciences. After his uncle was elected Pope Sixtus IV, della Rovere was promoted to be cardinal, taking the title as that formerly held by his uncle. With his uncle he obtained great influence, and in addition to the archbishopric of Avignon he held no fewer than eight bishoprics, including Lausanne from 1472. In June 1474, della Rovere led an army to Todi and Spoleto, around this time, in 1483, an illegitimate daughter was born, Felice della Rovere. Della Rovere, jealous and angry, accused Borgia of being elected over him, in 1494 he joined Charles VIII of France who was undertaking a military expedition into Italy. This was, in Andrew Greeleys view, almost certainly by means of bribery with money, but also, per Ott, Ullman, and Hughes, with promises. Giuliano Della Rovere thenceforth took the name of his fourth century predecessor, Julius I, indeed, on the day of his election, he declared I will not live in the same rooms as the Borgias lived. He desecrated the Holy Church as none before and he usurped the papal power by the devils aid, and I forbid under the pain of excommunication anyone to speak or think of Borgia again. His name and memory must be forgotten and it must be crossed out of every document and memorial. All paintings made of the Borgias or for them must be covered over with black crepe, all the tombs of the Borgias must be opened and their bodies sent back to where they belong—to Spain. The Borgias apartments remained sealed until the 19th Century, the combination was, however, at first little more than nominal, and was not immediately effective in compelling the Venetians to deliver up more than a few unimportant places in the Romagna. With a campaign in 1506, he led an army to Perugia and Bologna. The refusal of Pope Clement VII to grant the annulment led to the English Reformation, the same year, he founded the Swiss Guard to provide a constant corps of soldiers to protect the Pope. On Palm Sunday,1507, Julius II entered Rome, both as a second Julius Caesar, heir to the majesty of Romes imperial glory, and in the likeness of Christ, whose vicar the pope was, and who in that capacity governed the universal Roman Church. Julius, who modelled himself after his namesake Caesar, would lead his army across the Italian peninsula under the imperial war-cry
Julius II
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Portrait of Pope Julius II by Raphael
Julius II
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Giuliano della Rovere (left, future Julius II), and Julius II's future cardinal-nephew, Clemente della Rovere (right), who safeguarded Giuliano's affairs while he fled to France following a dispute with Alexander VI.
Julius II
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Giulliano della Rovere, as cardinal (left), with uncle and patron Francesco della Rovere, Pope Sixtus IV (right).
Julius II
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Leonardo Grosso della Rovere, the fourth cardinal-nephew of Julius II accompanied him on his military campaigns in Bologna and Perugia, and served as his ambassador to France
37.
High Renaissance
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In art history, High Renaissance is the period denoting the apogee of the visual arts in the Italian Renaissance. This term was first used in German in the nineteenth century. High Renaissance style in architecture conventionally begins with Donato Bramante, whose Tempietto at S. Pietro in Montorio at Rome was begun in 1510, the Tempietto, signifies a full-scale revival of ancient Roman commemorative architecture. David Watkin writes that the Tempietto, like Raphaels works in the Vatican, is an attempt at reconciling Christian, the High Renaissance was traditionally viewed as a great explosion of creative genius, following a model of art history first proposed by the Florentine Giorgio Vasari. Even relatively minor painters of the period, such as Fra Bartolomeo and Mariotto Albertinelli, produced works that are still lauded for the harmony of their design, the serene mood and luminous colours of paintings by Giorgione and early Titian exemplify High Renaissance style as practiced in Venice. Other recognizable pieces of this period include Leonardo da Vincis Mona Lisa, Raphaels fresco, set beneath an arch, is a virtuoso work of perspective, composition and disegno. High Renaissance sculpture, as exemplified by Michelangelos Pietà and the iconic David, is characterized by a balance between stillness and movement. High Renaissance sculpture was commissioned by the public and the state. Sculpture was often used to decorate or embellish architecture, normally within courtyards where others were able to study, wealthy individuals like cardinals, rulers and bankers were the more likely private patrons along with very wealthy families, Pope Julius II also patronized many artists. During the High Renaissance there was the development of small scale statuettes for private patrons, the subject matter related to sculpture was mostly religious but also with a significant strand of classical individuals in the form of tomb sculpture and paintings as well as ceilings of cathedrals. Toward The High Renaissance at Smarthistory
High Renaissance
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Giorgione 's Tempest, c. 1507-8.
High Renaissance
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Bramante's Tempietto, designed 1502, San Pietro in Montorio, Rome.
High Renaissance
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Michelangelo 's Pietà, 1498–99.
38.
Andrea Sansovino
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Andrea dal Monte Sansovino or Andrea Contucci del Monte San Savino was an Italian sculptor active during the High Renaissance. He was the son of Niccolò di Domenico di Muccio, and was born at Monte San Savino near Arezzo, hence his name and he was a pupil of Antonio Pollaiuolo, and at first worked in the style of 15th-century Florence. From 1493 to 1500 Andrea worked in Portugal for the king and these early reliefs show strongly the influence of Donatello. His first known works after his return to Rome are a Madonna, the beginning of a more pagan style is shown in the statues of St. John Baptizing Christ over the east door of the Battistero di San Giovanni in Florence. This group was, however, finished by the hand of Vincenzo Danti. In this period he executed the marble font at Volterra, with reliefs of the Four Virtues. These tombs became models which for years were copied by most later sculptors with increasing exaggerations of their defects. In 1512, while still in Rome, Sansovino executed a very beautiful group of the Madonna and Child with St. Anne, though the general effect is rich and magnificent, the individual pieces of sculpture are both dull and feeble. The earlier reliefs, those by Sansovino himself, are the best, Andrea Sansovino This article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. Sansovino, Andrea Contucci del Monte. Giorgio Vasari includes a biography of Sansovino in his Lives, Andrea Sansovino, sculptor and architect of the Italian Renaissance
Andrea Sansovino
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Christ, Baptistery of San Giovanni in Volterra
Andrea Sansovino
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Altar front, Santo Spirito
Andrea Sansovino
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St. John the Baptist by Andrea Sansovino, early 1500s, (Adam, Zaccariah, and Habakkuk, by Matteo Cividali)
Andrea Sansovino
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Baptism Christ, Battistero di San Giovanni,
39.
Ascanio Sforza
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Ascanio Maria Sforza Visconti was an Italian Cardinal of the Catholic Church. Generally known as a diplomat who played a major role in the election of Rodrigo Borgia as Pope Alexander VI. A member of the House of Sforza, Ascanio Sforza was born in Cremona and his parents were Francesco Sforza, Duke of Milan, and Bianca Maria Visconti. He was also the brother of two Milanese dukes, Galeazzo Maria Sforza and Ludovico Sforza and his teacher was Filelfo who introduced him to government and literature. Other cardinals of the family were Guido Ascanio Sforza di Santa Fiora, Alessandro Sforza, Francesco Sforza, at age of 10 he was named commendatory abbot of Chiaravalle. However, it was in fact Francesco della Rovere who won the papal election, hoping to pacify Milan, Sixtus IV attempted to create Ascanio a cardinal in 1477 but the Sacred College refused to accept him into its ranks. Nevertheless, Ascanio entered the episcopate when he was appointed Bishop of Pavia in September 1479, in 1484 he represented Ludovico Sforza at the Congress of Cremona. Pope Sixtus IV finally created him cardinal deacon of Ss, Vito e Modesto on 17 March 1484. Ascanio entered Rome on 23 August the same year - just a few days after Sixtus’s death, the formal nomination ceremony had not taken place and some cardinals voiced objections to his participation in the forthcoming conclave. Due to Cardinal Rodrigo Borgia’s intervention however, Ascanio was received with full cardinalitial rights, Sforza became administrator of Novara from 25 October 1484 to 18 April 1485. As a cardinal, Ascanios main priority was to reconcile Ferdinand I of Naples with the Sforza dynasty, a dispute with Cardinal Jean Balue, the French ambassador to the Papal Court, in March 1486 complicated matters. Balue had suggested that Innocent VIII summon Rene dAnjou to retrieve his rights over the Neapolitan throne - leading to a violent quarrel with Ascanio, Ascanio was appointed administrator of the See of Cremona on 28 July 1486 and occupied the post until his death. He also became administrator of the See of Pesaro in 1487 until May 1491, in his effort to ally Naples with Milan, he received Ferdinand of Capua, Ferrante’s grandson, in his palace in Trastevere in May 1492. The banquet organised in honour of the Neapolitan prince was so extravagant and magnificent that, according to Stefano Infessura, If I were to give an account, no one would believe me. Sforza resigned his deaconry of S. Vito e Modesto on 26 August 1492 and opted for it again on 31 January 1495 and he was named administrator of the Metropolitan See of Eger on 31 August 1492, staying in that position until June 1496. The marriage was annulled in 1497, on grounds of non-consummation, Cardinal Sforza was named administrator of Elne in January 1494 until May 1495. The friendship between Ascanio and Alexander VI came to a deadlock when the French invaded Italy in September 1494, aware of Cardinal Giuliano della Rovere’s machinations against him, Alexander decided to resist the French. Ludovico Sforza having secretly allied himself with King Charles VIII of France, Ascanio betrayed the Pope together with several cardinals, after the papal triumph over the King, Milan abandoned the French and Ascanio was received once again in the Vatican
Ascanio Sforza
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Cardinal Ascanio Sforza.
Ascanio Sforza
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Coat of Arms of Cardinal Ascanio Sforza
40.
Portrait of Pope Julius II
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Portrait of Pope Julius II is an oil painting of 1511–12 by the Italian High Renaissance painter Raphael. The portrait of Pope Julius II was unusual for its time, from early in its life, it was specially hung at the pillars of the church of Santa Maria del Popolo, on the main route from the north into Rome, on feast and high holy days. Giorgio Vasari, writing long after Julius death, said that it was so lifelike and true it frightened everyone who saw it, the original is currently believed to be the version owned by the National Gallery, London. The presentation of the subject was unusual for its time, previous Papal portraits showed them frontally, or kneeling in profile. It was also exceptional at this period to show the sitter so evidently in a particular mood – here lost in thought, the painting established a type for papal portraits that endured for about two centuries. The painting can be dated to between June 1511 and March 1512, when Julius let his beard grow as a sign of mourning for the loss in war of the city of Bologna. The original hanging in the background was a blue and gold textile, either woven silk or embroidery, the emblems were the Papal crossed keys, the Papal tiara, and perhaps the heraldic oak tree of Juliuss family, the Della Rovere. This was overpainted by Raphael with the green cloth now seen, the finials of the chair are also formed as acorns to represent the Della Rovere emblem. The six finger rings with large jewels reflect another of Juliuss obsessions, according to the 1901 catalogue of the National Gallery, This portrait was repeated several times by Raphael, or his scholars. Passavant enumerates nine repetitions. besides three of the head only, there is a possible cartoon for the London version in Palazzo Corsini, Florence, and a red chalk drawing at Chatsworth House. The provenances of the versions of this painting are constructed based on documents, analysis of the paintings. Until 1970 it was believed that the London version of the painting was a studio copy of a Raphael original. In 1969 Konrad Oberhuber of the National Gallery of Art in Washington asked the National Gallery to take photographs of their version. Small paint samples removed during this cleaning showed that there had been an even earlier hanging with a coloured pattern, the National Gallerys Cecil Gould published the results of the research in 1970, asserting that Raphaels original had been rediscovered, an attribution that is now generally accepted. However, the attribution was challenged in 1996 by James Beck in an article in Artibus et Historiae, Julius II commissioned from Raphael this painting and Madonna of Loreto which resided at Santa Maria del Popolo, at the entrance gate to Rome. An impressive array of Renaissance artists were brought in to decorate Santa Maria del Popolo, both paintings by Raphael, Julius II and the Madonna were hung on pillars during feast days or high holy days. The two paintings, nearly the size, seem as if they were meant to complement each other. Aside from their dimensions, they both had a strong vertical orientation
Portrait of Pope Julius II
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Portrait of Pope Julius II
Portrait of Pope Julius II
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The Uffizi version
Portrait of Pope Julius II
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The Madonna of Loreto was displayed with the Portrait of Pope Julius II" during the 16th century.
Portrait of Pope Julius II
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Julius in The Mass at Bolsena
41.
Paolo Emilio Sfondrati
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Paolo Emilio Sfondrati was an Italian Cardinal. He was bishop of Cremona, and bishop of Albano and he died in Tivoli in 1618
Paolo Emilio Sfondrati
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"Madonna del Velo" with Cardinal Paolo Emilio Sfondrati, c. 1591 (Wilanów Palace in Warsaw).
42.
Agostino Chigi
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Agostino Andrea Chigi was an Italian banker and patron of the Renaissance. Born in Siena, he was the son of the prominent banker Mariano Chigi and he moved to Rome around 1487, collaborating with his father. Alum was an essential mordant in the textile industry, after the death of the Borgia pope Alexander VI and his short-lived Sienese successor Pius III Piccolomini, he helped Pope Julius II in the expenses attendant upon his election. The latter rewarded him, linking Chigi to the della Rovere family, the personal bond between the Pope and his banker remained close, Agostino accompanied Julius in the field in both his great military campaigns of 1506 and 1510. In 1511 Agostino was sent to Venice to buy Venetian support for the forces in the War of the League of Cambrai. Agostino established economic ties with the whole of Western Europe, at one time having up to 20,000 employees and his Venetian mistress Francesca Ordeaschi was the toast of Rome. His artistic protégés included almost all the figures of the early 16th century, Perugino, Sebastiano del Piombo, Giovanni da Udine, Giulio Romano, Sodoma. His splendid villa that he built on the shore of the Tiber, in Trastevere, bears the name of its later owners, for its design, Chigi employed the Sienese painter Baldassare Peruzzi, virtually untried as an architect. Sebastiano del Piombo, Giovanni da Udine, Giulio Romano, Sodoma, here Raphael frescoed his Triumph of Galatea
Agostino Chigi
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Details of the decorations of the Loggia di Psiche in the Villa Farnesina, Agostino Chigi's villa in Rome.
43.
Chigi Chapel
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The Chigi Chapel or Chapel of the Madonna of Loreto is the second chapel on the left-hand side of the nave in the Church of Santa Maria del Popolo in Rome. It is the religious building of Raphael which has been preserved in its near original form. The chapel is a trove of Italian Renaissance and Baroque art and is considered among the most important monuments in the basilica. In 1507 Julius II granted assent to the acquisition of a chapel in the church to his friend. Chigi had bought the chapel in the north aisle. The chapel was most probably rebuilt from scratch with Raphael as the architect, in the following years Lorenzetto worked on the architectural decoration of the chapel and the statues under Raphaels patronage. The main iconographic theme of the chapel was the Resurrection, Agostino Chigi was buried in the half-finished chapel on 11 April 1520. His widow, Francesca died in the year on 10/11 November. Raphael himself died a few days before Agostino, the simultaneous death of both the artist and the patron stymied work on the chapel. Agostinos younger brother, Sigismondo Chigi commissioned Lorenzetto to go on with Raphaels plan in 1521, but the work advanced slowly and the death of Sigismondo in 1526 left everything in limbo. Vasari records in his Lives, speaking about the statues of Jonah and Elijah, the heirs of Agostino, with scant respect, allowed these figures to remain in Lorenzettos workshop where they stood for many years. Lorenzo, robbed for those reasons of all hope, found for the present that he had thrown away his time, the main altar-piece, a mural depicting the birth of the Virgin by Sebastiano del Piombo was begun in 1530 but it was left unfinished in 1534. Work on the chapel resumed in the 1550s when Francesco Salviati frescoed the drum and the spandrels, although Raphael intended mosaics on these surfaces, in 1552 Lorenzo Chigi paid his debt towards the heirs of Lorenzetto, and the two statues were finally placed in the chapel. After this the chapel was unveiled for the first time, other important changes were carried out by Gian Lorenzo Bernini between 1652 and 1656, more than a century after Raphaels death. Berninis patron was Fabio Chigi, the cardinal-priest of the basilica, Bernini filled the remaining niches with two new statues, depicting Daniel and the Lion and Habakuk, laid the present floor, and regilded and cleaned the dome. Painted panels by Raffaello Vanni were placed in the lunettes above the tombs, another restoration campaign was launched in 1682-88. Exterior The exterior of the chapel is very simple, a cube of exposed brick. The low conical roof is covered with tiles but originally it was leaded, the dome is crowned by a small lantern
Chigi Chapel
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Chigi Chapel, Santa Maria del Popolo, Rome
Chigi Chapel
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The dome with the mosaics of Raphael.
Chigi Chapel
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Part of the statue of Daniel by Bernini
Chigi Chapel
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The mosaics of Raphael
44.
War of the League of Cambrai
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The War of the League of Cambrai, sometimes known as the War of the Holy League and by several other names, was a major conflict in the Italian Wars. Although the League was initially successful, friction between Julius and Louis caused it to collapse by 1510, Julius then allied himself with Venice against France. In the aftermath of the First Italian War, Pope Alexander VI had, with French assistance, in 1507, Julius returned to the question of the cities in Venetian hands, once again rebuffed by the Senate, he encouraged Emperor Maximilian I to attack the Republic. Julius, humiliated by the failure of the Imperial invasion, turned to Louis XII of France with an offer of alliance. On 10 December 1508, representatives of the Papacy, France, on 15 April 1509, Louis left Milan at the head of a French army and moved rapidly into Venetian territory. Consequently, when Louis crossed the Adda River in early May and Alviano advanced to him, Pitigliano, believing it best to avoid a pitched battle. Alviano, disregarding the new orders, continued the engagement, his army was surrounded and destroyed. DEste, having joined the League and been appointed Gonfalonier on 19 April, the newly arrived Imperial governors, however, quickly proved to be unpopular. In mid-July, the citizens of Padua, aided by detachments of Venetian cavalry under the command of the proveditor Andrea Gritti, the landsknechts garrisoning the city were too few in number to mount effective resistance, and Padua was restored to Venetian control on 17 July 1509. The success of the revolt finally pushed Maximilian into action, in early August, a massive Imperial army, accompanied by bodies of French and Spanish troops, set out from Trento into the Veneto. In mid-November, Pitigliano returned to the offensive, Venetian troops easily defeated the remaining Imperial forces, capturing Vicenza, Este, Feltre, although a subsequent attack on Verona failed, Pitigliano destroyed a Papal army under Francesco II of Gonzaga in the process. Francesco Guicciardini credited the victory to Alfonso himself. A new French advance soon forced Pitigliano to withdraw to Padua once again, faced with a shortage of both funds and men, the Senate decided to send an embassy to Julius in order to negotiate a settlement. The Senate argued over the terms for two months, but finally accepted them on February 24,1510 and this apparent reconciliation between Venice and the Pope did not stop the French from again invading the Veneto in March. Gritti garrisoned Padua for an attack by a combined Franco-Imperial army, but Louis, more concerned by the death of his advisor. His own forces being inadequate for the venture, the Pope hired an army of Swiss mercenaries, ordering them to attack the French in Milan, the Republic, facing a renewed French onslaught, readily accepted the offer. By July 1510, the new Veneto-Papal alliance was on the offensive, Julius now excommunicated Alfonso dEste, thus justifying an attack on the Duchy itself, in anticipation of his coming victory, the Pope traveled to Bologna, so as to be nearby when Ferrara was taken. The French army, however, had been left unopposed by the Swiss and was free to march south into the heart of Italy
War of the League of Cambrai
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Pope Julius II, painted by Raphael (oil on wood, c. 1511). Julius attempted to secure Papal authority in Italy by creating the League of Cambrai, an alliance aimed at curbing Venetian power.
War of the League of Cambrai
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Northern Italy in 1494; by the start of the war in 1508, Louis XII had expelled the Sforza from the Duchy of Milan and added its territory to France.
War of the League of Cambrai
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Alfonso I d'Este, Duke of Ferrara; excommunicated by Julius, he inflicted a number of defeats on the Papal forces
War of the League of Cambrai
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The death of Gaston de Foix during the Battle of Ravenna heralded a long period of defeats for France.
45.
Maximilian I, Holy Roman Emperor
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Maximilian I was King of the Romans from 1486 and Holy Roman Emperor from 1493 until his death, though he was never crowned by the Pope, as the journey to Rome was always too risky. He was the son of Frederick III, Holy Roman Emperor and he ruled jointly with his father for the last ten years of his fathers reign, from c.1483 to 1493. Charles father Philip died in 1506, so Charles succeeded Maximilian as Holy Roman Emperor in 1519, Maximilian was born at Wiener Neustadt on 22 March 1459. His father, Frederick III, Holy Roman Emperor, named him for an obscure saint whom Frederick believed had once warned him of imminent peril in a dream, in his infancy, he and his parents were besieged in Vienna by Albert of Austria. One source relates that, during the sieges bleakest days, the prince would wander about the castle garrison, begging the servants. The young prince was an excellent hunter, his hobby was the hunting for birds as a horse archer. The reigning duke of Burgundy, Charles the Bold, was the political opponent of Maximilians father Frederick III. After the Siege of Neuss, he was successful, the wedding between Maximilian and Mary took place on the evening of 16 August 1477. Maximilians wife had inherited the large Burgundian domains in France and the Low Countries upon her fathers death in the Battle of Nancy on 5 January 1477. Already before his coronation as the King of the Romans in 1486, Maximilian decided to secure this distant and extensive Burgundian inheritance to his family, the House of Habsburg, at all costs. Maximilian undertook the defence of his wifes dominions from an attack by Louis XI and defeated the French forces at Guinegate, the wedding contract between Maximilian and Mary stipulated that only the children of bride and groom had a right to inherit from each, not the surviving parent. Mary tried to bypass this rule with a promise to transfer territories as a gift in case of her death, but her plans were confounded. After Marys death in an accident on 27 March 1482 near the Wijnendale Castle, Maximilians aim was now to secure the inheritance to one of his and Marys children. Some of the Netherlander provinces were hostile to Maximilian, and they signed a treaty with Louis XI in 1482 that forced Maximilian to give up Franche-Comté and they openly rebelled twice in the period 1482–1492, attempting to regain the autonomy they had enjoined under Mary. Flemish rebels managed to capture Philip and even Maximilian himself, Maximilian continued to govern Marys remaining inheritance in the name of Philip the Handsome. After the regency ended, Maximilian and Charles VIII of France exchanged these two territories for Burgundy and Picardy in the Treaty of Senlis, thus a large part of the Netherlands stayed in the Habsburg patrimony. Maximilian was elected King of the Romans on 16 February 1486 in Frankfurt-am-Main at his fathers initiative and he became emperor of the Holy Roman Empire upon the death of his father in 1493. Much of Austria was under Hungarian rule when he took power, in 1490, Maximilian reconquered the territory and entered Vienna
Maximilian I, Holy Roman Emperor
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Portrait by Albrecht Dürer, 1519 (Kunsthistorisches Museum, Vienna). Maximilian holds his personal emblem, the pomegranate.
Maximilian I, Holy Roman Emperor
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Maximilian I, woodcut 1928 after Albrecht Durer
Maximilian I, Holy Roman Emperor
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Maximilian's coin with the Burgundian Order of the Golden Fleece
Maximilian I, Holy Roman Emperor
46.
Pope Pius IV
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Pope Pius IV, born Giovanni Angelo Medici, was Pope from 25 December 1559 to his death in 1565. He is known for presiding over the session of the Council of Trent. Giovanni Angelo Medici was born in Milan on 31 March 1499 as the second of eleven children to Bernardino de Medici and he was not closely related to the Medicis of Florence. Giovanni Medici was the brother of condottiero Gian Giacomo Medici. Medici studied philosophy and medicine in Pavia, after studying at Bologna and acquiring a reputation as a jurist he obtained his doctorate in both canon and civil law on 11 May 1525. Medici went in 1527 to Rome, and as a favourite of Pope Paul III was rapidly promoted to the governorship of several towns, the archbishopric of Ragusa, in April 1549, Pope Paul III made Medici a cardinal. Under Papal authority, he was sent on missions to Germany. On the death of Pope Paul IV, he was elected pope on 25 December 1559, taking the name Pius IV. and installed on 6 January 1560. His first public acts of importance were to grant a pardon to the participants in the riot after the death of his predecessor. One, Cardinal Carlo Carafa, was strangled, and Duke Giovanni Carafa of Paliano, on 18 January 1562 the Council of Trent, which had been suspended by Pope Julius III, was convened by Pius IV for the third and final time. The more marked manifestations of stringency during his pontificate appear to have been prompted rather than spontaneous, his personal character inclining him to moderation, in the same year he published a bull granting the use of the cup to the laity of Austria and Bohemia. A conspiracy against Pius IV, headed by Benedetto Accolti the Younger, katherine Rinne said in her book Waters of Rome that Pius IV also ordered public construction to improve the water supply of Rome. Pius IV died on 9 December 1565 and he was buried in Santa Maria degli Angeli. Cardinals created by Pius IV List of popes from the Medici family House of Medici Bonora, roma 1564, La congiura contro il papa. Freedberg, Sydney J. Pelican History of Art, ed, catholic Hierarchy, Pope Pius IV Cardinals of the Holy Roman Church, Cardinal Medici
Pope Pius IV
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Pope Pius IV
47.
Council of Trent
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The Council of Trent, held between 1545 and 1563 in Trento and Bologna, northern Italy, was one of the Roman Catholic Churchs most important ecumenical councils. Prompted by the Protestant Reformation, it has described as the embodiment of the Counter-Reformation. Four hundred years later, when Pope John XXIII initiated preparations for the Second Vatican Council, he affirmed the decrees it had issued, What was, still is. These addressed a range of subjects, including scripture, the Biblical canon, sacred tradition, original sin, justification, salvation, the sacraments, the Mass. The Council met for twenty-five sessions between 13 December 1545 and 4 December 1563, all in Trento, apart from the ninth to eleventh sessions held in Bologna during 1547, the consequences of the Council were also significant as regards the Churchs liturgy and practices. During its deliberations, the Council made the Vulgate the official example of the Biblical canon and commissioned the creation of a standard version, although this was not achieved until the 1590s. These, in turn, led to the codification of the Tridentine Mass, more than three hundred years passed until the next ecumenical council, the First Vatican Council, was convened in 1869. A few months later, on 31 October 1517, Martin Luther issued his 95 Theses in Wittenberg, after the Pope condemned in Exsurge Domine fifty-two of Luthers theses as heresy, German opinion considered a council the best method to reconcile existing differences. German Catholics, diminished in number, hoped for a council to clarify matters. Under Pope Clement VII, troops of the Catholic Holy Roman Emperor Charles V sacked Papal Rome in 1527, raping, killing, burning, stealing, saint Peters Basilica and the Sistine Chapel were used for horses. This, together with the Pontiffs ambivalence between France and Germany, led to his hesitation, Charles V strongly favoured a council, but needed the support of King Francis I of France, who attacked him militarily. This proposal met the opposition of the Pope for it gave recognition to Protestants, faced with a Turkish attack, Charles held the support of the Protestant German rulers, all of whom delayed the opening of the Council of Trent. In reply to the Papal bull Exsurge Domine of Pope Leo X, Martin Luther burned the document, in 1522 German diets joined in the appeal, with Charles V seconding and pressing for a council as a means of reunifying the Church and settling the Reformation controversies. Pope Clement VII was vehemently against the idea of a council, after Pope Pius II, in his bull Execrabilis and his reply to the University of Cologne, set aside the theory of the supremacy of general councils laid down by the Council of Constance. Pope Paul III, seeing that the Protestant Reformation was no longer confined to a few preachers, yet when he proposed the idea to his cardinals, it was almost unanimously opposed. Nonetheless, he sent nuncios throughout Europe to propose the idea, Paul III issued a decree for a general council to be held in Mantua, Italy, to begin on 23 May 1537. Martin Luther wrote the Smalcald Articles in preparation for the general council, the Smalcald Articles were designed to sharply define where the Lutherans could and could not compromise. The council was ordered by the Emperor and Pope Paul III to convene in Mantua on 23 May 1537 and it failed to convene after another war broke out between France and Charles V, resulting in a non-attendance of French prelates
Council of Trent
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The Council of Trent meeting in Santa Maria Maggiore church, Trento (Trent). (Artist unknown; painted late 17th century.)
Council of Trent
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Pope Paul III, convener of the Council of Trent.
Council of Trent
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The Council, depicted by Pasquale Cati (Cati da Iesi)
48.
Giulio Mazzoni
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Giulio Mazzoni was an Italian painter and stuccoist, active during the Renaissance period. He was born in Piacenza, but studied in Rome under Daniele da Volterra and he helped decorate the Palazzo Spada. He also painted a canvas of the Four Evangelists for the Cathedral of Piacenza, one of the major works in his oeuvre is the Theodoli Chapel in the Basilica of Santa Maria del Popolo which is a gem of Roman Mannerism. Mazzoni was commissioned by Traiano Alicorni in 1555 to decorate his chapel in the basilica, the work was restarted by a new patron, Girolamo Theodoli, the Bishop of Cádiz after 1569 and finished around 1575. Mazzoni created a harmonious and iconographically coherent ensemble of delicate stuccos, frescos and he was probably related to the sculptor Guido Mazzoni. Walter Armstrong & Robert Edmund Graves, ed, dictionary of Painters and Engravers, Biographical and Critical. Giulio Mazzoni de Piacenza, Pittore e Scultore
Giulio Mazzoni
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The ceiling of the Theodoli chapel at the basilica of Santa Maria del Popolo in Rome, Italy, containing stuccoes by Giulio Mazzoni
49.
Pope Pius V
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Pope Saint Pius V, born Antonio Ghislieri, was Pope from 8 January 1566 to his death in 1572. He is venerated as a saint of the Roman Catholic Church and he is chiefly notable for his role in the Council of Trent, the Counter-Reformation, and the standardization of the Roman rite within the Latin Church. Pius V declared Thomas Aquinas a Doctor of the Church, as a cardinal, Ghislieri gained a reputation for putting orthodoxy before personalities, prosecuting eight French bishops for heresy. By means of the bull of 1570, Regnans in Excelsis, Pius V excommunicated Elizabeth I of England for heresy. He also arranged the formation of the Holy League, an alliance of Catholic states, although outnumbered, the Holy League famously defeated the Ottoman Empire, which had threatened to overrun Europe, at the Battle of Lepanto. Pius V attributed the victory to the intercession of the Blessed Virgin Mary, biographers report that as the Battle of Lepanto ended, Pius rose and went over to a window, where he stood gazing toward the East. Then, turning around, he exclaimed The Christian fleet is victorious. Antonio Ghislieri was born 17 January 1504 in Bosco in the Duchy of Milan, Italy. At the age of fourteen he entered the Dominican Order, taking the name Michele, passing from the monastery of Voghera to that of Vigevano, ordained priest at Genoa in 1528, he was sent by his order to Pavia, where he lectured for sixteen years. At Parma he advanced thirty propositions in support of the papal chair and he became master of novices and was on several occasions elected prior of more than one Dominican priory. During a time of moral laxity, he insisted on discipline. He fasted, did penance, passed long hours of the night in meditation and prayer, traveled on foot without a cloak in deep silence, in 1556 he was made Bishop of Sutri by Pope Paul IV and was selected as inquisitor of the faith in Milan and Lombardy. In 1557 he was made a cardinal and named inquisitor general for all Christendom and his defense of the Archbishop of Toledo, who had been suspected of heresy by the Spanish Inquisition in earned him a rebuff from the Pope. Under Pope Pius IV he became bishop of Mondovi in Piedmont, frequently called to Rome, he displayed his unflinching zeal in all the affairs on which he was consulted. Thus he offered an insurmountable opposition to Pius IV when the latter wished to admit Ferdinand de Medici, then thirteen years old. His opposition to the pontiff procured his dismissal from the palace, before Michele Ghislieri could return to his episcopate, Pope Pius IV died. On 8 January 1566, Ghislieri, with the influential backing Charles Borromeo was elected to the papal throne and he was crowned ten days later, on his 62nd birthday by the protodeacon. His pontificate saw him dealing with reform of the Church, the spread of Protestant doctrines in the West. Three national synods were held during his pontificate at Naples under Alfonso Cardinal Caraffa, at Milan under Saint Charles Borromeo, accordingly, in order to implement a decision of that council, he standardised the Holy Mass by promulgating the 1570 edition of the Roman Missal
Pope Pius V
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Pope Saint Pius V
Pope Pius V
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Portrait by Scipione Pulzone, c. 1578
Pope Pius V
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Pope Pius V by Palma il Giovane, Chianciano Museum of Art
Pope Pius V
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Pius V depicted in an early printed missal
50.
Tolomeo Gallio
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Tolomeo Gallio was an Italian Cardinal. In the time of Pope Gregory XIII, he acted as secretary of state. He built the Villa dEste, in his birthplace Cernobbio, in 1568, as a residence. Tolomeo in 1595 acquired the County of Alvito in southern Lazio, which he assigned to his nephew Tolomeo, salvador Miranda, The Cardinals of the Holy Roman Church, Gallio, Tolomeo. Biography Biography Gaetano Moroni, ‘GALLI Tolomeo’, in Dizionario di erudizione storico-ecclesiastica da S. Pietro sino ai nostri giorni, XXVIII, pp. 120-121
Tolomeo Gallio
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Tolomeo Gallio
51.
Clement VIII
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Not to be confused with Antipope Clement VIII. Pope Clement VIII, born Ippolito Aldobrandini, was Pope from 2 February 1592 to his death in 1605, born into prominent Florentine family, he initially came to prominence as a canon lawyer before being made a Cardinal-Priest in 1585. In 1592 he was elected Pope and took the name of Clement and he also successfully adjudicated in a bitter dispute between the Dominicans and the Jesuits on the issue of efficacious grace and free will. In 1600 he presided over a jubilee which saw a number of pilgrimages to Rome. He showed little pity for his opponents, presiding over the trial and execution of Giordano Bruno. He may have been the first pope to drink coffee, Clement VIII died at the age of 69 in 1605 and his remains now rest in the Santa Maria Maggiore. He was from a Florentine family, and followed his father as a lawyer, becoming an Auditor of the Roman Rota. He was only ordained as a priest at the age of 45 and he was an effective, if sometimes ruthless, administrator. He was made Cardinal-Priest of S. Pancrazio in 1585 by Pope Gregory XIII, Pope Sixtus V named him major penitentiary in January 1586 and in 1588 sent him as legate in Poland. He placed himself under the direction of the reformer Philip Neri, Aldobrandini won the gratitude of the Habsburgs by his successful diplomatic efforts in Poland to obtain the release of the imprisoned Archduke Maximilian, the defeated claimant to the Polish throne. After the death of Pope Innocent IX, another stormy conclave ensued, cardinal Aldobrandinis election on 30 January 1592, was received as a portent of more balanced and liberal Papal policy in European affairs. He took the non-politicised name Clement VIII, in 1611 and again in 1625 a decree prohibited any discussion of the matter, although it was often informally avoided by the publication of commentaries on Thomas Aquinas. During the jubilee of 1600, three million pilgrims visited the holy places, the Synod of Brest was held 1595 in the Polish–Lithuanian Commonwealth, by which a great part of the Ruthenian clergy and people were reunited to Rome. Clement VIII canonised Hyacinth, Julian of Cuenca, and Raymond of Peñafort, henry embraced Catholicism on 25 July 1593. Facilitated by the Pope, a treaty of alliance was signed in Prague by Emperor Rudolf II, aron Vodă of Moldavia and Michael the Brave of Wallachia joined the alliance later that year. Clement VIII himself lent the Emperor valuable assistance in men and money, Clement VIII was as vigorous as Pope Sixtus V in crushing banditry in the papal provinces of Umbria and the Marche and in punishing the lawlessness of the Roman nobility. Upon his ascension to the throne in 1592, he immediately had several noble troublemakers put to death. The latter case prompted many requests of clemency – rejected by the Pope, clements strict ways also concerned philosophical and religious matters
Clement VIII
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Pope Clement VIII
Clement VIII
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Clement VIII
Clement VIII
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Statue of Pope Clement VIII in the Basilica di Santa Maria Maggiore.
52.
Conversion on the Way to Damascus
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The conversion of Paul the Apostle, was, according to the New Testament, an event in the life of Paul the Apostle that led him to cease persecuting early Christians and to become a follower of Jesus. It is normally dated to AD 33–36, the phrases Pauline conversion, Damascene conversion and Damascus Christophany, and road to Damascus allude to this event. Pauls conversion experience is discussed in both the Pauline epistles and in the Acts of the Apostles, according to both sources, Paul was not a follower of Jesus and did not know him before his crucifixion. Pauls conversion occurred after Jesuss crucifixion, the accounts of Pauls conversion experience describe it as miraculous, supernatural, or otherwise revelatory in nature. Before his conversion, Paul, then known as Saul, was a zealous Pharisee who intensely persecuted the followers of Jesus. Says Paul in his Epistle to the Galatians, For you have heard of my previous way of life in Judaism, how intensely I persecuted the church of God and tried to destroy it. I was advancing in Judaism beyond many of my own age among my people and was zealous for the traditions of my fathers. Paul also discusses his life in his Epistle to the Philippians. In the Pauline epistles, the description of the experience is brief. After that, he appeared to more than five hundred of the brothers and sisters at the time, most of whom are still living. Then he appeared to James, then to all the apostles, the Epistle to the Galatians also describes his conversion as a divine revelation, with Jesus appearing to Paul. I want you to know, brothers and sisters, that the gospel I preached is not of human origin, I did not receive it from any man, nor was I taught it, rather, I received it by revelation from Jesus Christ. For you have heard of my previous way of life in Judaism, how intensely I persecuted the church of God, I was advancing in Judaism beyond many of my own age among my people and was extremely zealous for the traditions of my fathers. Acts of the Apostles discusses Pauls conversion experience at three different points in the text, in far more detail than in the accounts in Pauls letters, the journey is interrupted when Paul sees a blinding light, and communicates directly with a divine voice. Acts 9 tells the story as a narrative, As he neared Damascus on his journey. He fell to the ground and heard a voice say to him, Saul, Saul, I am Jesus, whom you are persecuting, he replied. Now get up and go into the city, and you will be told what you must do, the men traveling with Saul stood there speechless, they heard the sound but did not see anyone. Saul got up from the ground, but when he opened his eyes he could see nothing, so they led him by the hand into Damascus
Conversion on the Way to Damascus
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Illumination depicting Paul's conversion, from Livre d'Heures d'Étienne Chevalier (c. 1450–1460), a book of hours by Jean Fouquet now in the Château de Chantilly.
Conversion on the Way to Damascus
Conversion on the Way to Damascus
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Ananias Restoring the Sight of St. Paul (c.1631) by Pietro da Cortona.
53.
Giovanni da San Giovanni
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Giovanni da San Giovanni, also known as Giovanni Mannozzi, was an Italian painter of the early Baroque period. Born in San Giovanni Valdarno, he trained under Matteo Rosselli, Mannozzi started the decoration of the Sala degli Argenti in the Palazzo Pitti and planned decorations at Villa La Petraia. His biography was featured by Filippo Baldinucci and he also painted five lunettes showing scenes from the Life of St Francis in the cloister of the Ognissanti. In 1619–1620 he directed the decoration of Palazzo dellAntella in Piazza Santa Croce of Florence. His masterpiece is said to be frescoes in the chapel of the Palazzo Rospigliosi-Pallavicini in Pistoia, while escaping Florence during the plague, he painted some frescoes in the lunettes in the Santuario della Madonna della Fontenuova in Monsummano Terme. On the left wall of the chorus of the church of San Bartolomeo in Cutigliano, is a canvas of Mannozzis the Circumcision. He painted a cycle on the vault of the Mellini Chapel in Santa Maria del Popolo which displays The Story of Saint Nicholas of Tolentino in 1623–24. He died in 1636 and was buried in the church of San Pier Gattolino in Florence, art and Architecture in Italy, 1600-1750
Giovanni da San Giovanni
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Apollo and Phaëton in the Uffizi Gallery.
54.
Mellini Chapel (Santa Maria del Popolo)
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The Mellini or Saint Nicholas of Tolentino Chapel is the third chapel on the left-hand side of the nave in the Church of Santa Maria del Popolo in Rome. The chapel contains funeral monuments of the members of the Mellini family among them the works of Alessandro Algardi. The first patron of the chapel was a celebrated jurist, Pietro Mellini who belonged to a noble, the main altar was consecrated in 1628. It has been the chapel of the Mellini family for centuries. The interior of the chapel is covered with a white and gold stucco decoration which also extends over the outer surface of the entrance arch. The latter have Ionic stucco capitals with garlands and angel heads, the keystone of the arch is an escutcheon with crossed branches. The entrance of the chapel is barred by a balustrade with richly carved wooden doors that are decorated with the coat-of-arms of the Mellini family. The main altar-piece shows The Virgin with Saint Augustine and Nicholas of Tolentino, the huge Baroque painting is the work of Agostino Masucci from the middle of the 18th century. It is framed by a gold and white stucco aedicule with Corinthian columns. Giovanni Battista Mellini The oldest monumental tomb in the chapel is the monument of Cardinal Giovanni Battista Mellini, the Bishop of Urbino. Giovanni Battista played an important part in the reconstruction of Saint Peters Basilica during the reign of Pope Sixtus IV, the funeral inscription mentions his mission as papal legate to Milan in 1477. The monument was dismantled by Cardinal Savio Mellini in 1698 who appropriated the architectural frame for his own tomb and this effigy lies on a bier decorated with richly handled fruits and flowers. The drapery on the runs in one sweep from head to foot. A 17th-century drawing in Windsor Castle preserved the appearance of the tomb. Above the effigy there was a relief of Christ, the Man of Sorrows, the base of monument was decorated with the figures of two cherubs and the top was crowned with a shell pediment. Pietro Mellini The tomb of Pietro Mellini is located under the 17th-century monument of Mario Mellini, the quattrocento tomb shows a Tuscan influence. The effigy of the great jurist is a figure of great dignity. The face looks like a trustworthy portraiture and the folds of the drapery are realistic, the supports of the bier are decorated with carved ornaments
Mellini Chapel (Santa Maria del Popolo)
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View of the chapel
Mellini Chapel (Santa Maria del Popolo)
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Drawing in the Royal Library which shows the original form of Giovanni Mellini's tomb
Mellini Chapel (Santa Maria del Popolo)
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The funeral monument of Giovanni Garzia Mellini by Algardi
Mellini Chapel (Santa Maria del Popolo)
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The monument of Savo Mellini (with the tomb of Giovanni Battista Mellini)
55.
Fabio Chigi
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Pope Alexander VII, born Fabio Chigi, was pope from 7 April 1655 to his death in 1667. He began his career as a legate, and he held various diplomatic positions in the Holy See. He was ordained as a priest in 1634, and he became Bishop of Nardo in 1635 and he was later transferred in 1652, and he became Bishop of Imola. Pope Innocent X made him Secretary of State in 1651, and in 1652, he was appointed as a Cardinal. Early in his papacy, Alexander, who was seen as anti-Nepotist at the time of his election, lived simply, later, however, he gave jobs to his relatives and his administration worked to support the Jesuits. However, his administrations relations with France were strained due to his frictions with French diplomats, Alexander was interested in architecture and supported various urban projects in Rome. He also wrote poetry and patronized artists who expanded the decoration of churches and his theological writings included discussions of heliocentrism and the Immaculate Conception. Fabios elder brother, Mario, married Berenice, the daughter of Tiberio della Ciala, producing four children, Flavio was created cardinal by his uncle on April 9,1657. His brother, Augusto Chigi, married Olimpia della Ciaia and continued the line as the parents of Agostino Chigi. Fabios sister Onorata Mignanelli married Firmano Bichi, their son Antonio was named Bishop of Montalcino and then Osimo, in 1627 he began his apprenticeship as vice-papal legate at Ferrara, and on recommendations from two cardinals he was appointed Inquisitor of Malta. Chigi was ordained a priest in December 1634 and he was appointed Referendarius utriusque signaturae, which made him a prelate and gave him the right to practice before the Roman courts. On 8 January 1635, Chigi was named Bishop of Nardò in southern Italy and consecrated on 1 July 1635 by Miguel Juan Balaguer Camarasa, on 13 May 1652 he was transferred to the Bishopric of Imola. Bishop Chigi was named nuncio in Cologne on 11 June 1639, there, he supported Urban VIIIs condemnation of the heretical book Augustinus by Cornelius Jansen, Bishop of Ypres, in the papal Bull In eminenti of 1642. Though expected to take part in the negotiations which led in 1648 to the Peace of Westphalia, negotiations therefore took place in two cities, Osnabrück and Münster in Westphalia, with intermediaries travelling back and forth between the Protestant and the Catholic delegates. Chigi, of course, protested on behalf of the Papacy, Pope Innocent himself stated that the Peace is null, void, invalid, unjust, damnable, reprobate, inane, empty of meaning and effect for all time. The Peace ended the Thirty Years War and established the balance of European power that lasted until the wars of the French Revolution, Pope Innocent X recalled Chigi to Rome. In December 1651 Pope Innocent named Cardinal Chigi Secretary of State and he was created cardinal by Innocent X in the Consistory of 19 February 1652, and on 12 March was granted the title of Cardinal-Priest of Santa Maria del Popolo. In December 1651 Pope Innocent named Cardinal Chigi Cardinal Secretary of State
Fabio Chigi
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Pope Alexander VII
Fabio Chigi
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Fabio Chigi as Papal Nuntius to the Peace of Westphalia negotiations, by Anselm van Hulle (c. 1646)
Fabio Chigi
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Engraving after the painting of Anselm van Hulle
Fabio Chigi
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The tomb of Pope Alexander VII, by Gianlorenzo Bernini
56.
Innocent XI
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Pope Innocent XI, born Benedetto Odescalchi, was Pope from 21 September 1676 to his death in 1689. He is known in Budapest as the Saviour of Hungary, much of his reign was concerned with tension with Louis XIV of France. A conservative, he lowered taxes in the Papal States during his pontificate, because of this surplus he repudiated excessive nepotism within the church. Innocent XI was frugal in matters of governing the Papal States, once he was elected to the papacy, he applied himself to moral and administrative reform of the Roman Curia. He abolished sinecures and pushed for greater simplicity in preaching as well as greater reverence in worship—requesting this of both the clergy and faithful. Benedetto Odescalchi was born at Como on 16 May 1611, the son of a Como nobleman, Livio Odescalchi and his siblings were Carlo, Lucrezia, Giulio Maria, Constantino, Nicola and Paolo. He also had several descendants of note through his sister, her grandson Cardinal Baldassare Erba-Odescalchi, Cardinal Benedetto Erba Odescalchi. The Odescalchi, a family of nobility, were determined entrepreneurs. In 1619, Benedettos brother founded a bank with his three uncles in Genoa which quickly grew into a successful money-lending business, after completing his studies in grammar and letters, the 15-year-old Benedetto moved to Genoa to take part in the family business as an apprentice. Lucrative economic transactions were established with clients in the major Italian and European cities, such as Nuremberg, Milan, Kraków, in 1626 Benedettos father died, and he began schooling in the humane sciences taught by the Jesuits at his local college, before transferring to Genoa. In 1630 he narrowly survived an outbreak of plague, which killed his mother, some time between 1632 and 1636, Benedetto decided to move to Rome and then Naples in order to study civil law. He subsequently became legate to Ferrara, when he was sent to Ferrara in order to assist the people stricken with a severe famine, the Pope introduced him to the people of Ferrara as the father of the poor. In 1650, Odescalchi became bishop of Novara, in which capacity he spent all the revenues of his see to relieve the poor, with the permission of the pope he resigned as bishop of Novara in favor of his brother Giulio in 1656 and went to Rome. While there he took a prominent part in the consultations of the congregations of which he was a member. Odescalchi was a papal candidate after the death of Pope Clement IX in 1669. After Pope Clement X died, Louis XIV of France again intended to use his influence against Odescalchis election. On 21 September 1676, Odescalchi was chosen to be Clement Xs successor and he chose this name in honour of Pope Innocent X, who made him a cardinal in 1645. He was formally crowned as pontiff on 4 October 1676 by the protodeacon, immediately upon his accession, Innocent XI turned all his efforts towards reducing the expenses of the Curia
Innocent XI
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Portrait in 1787.
Innocent XI
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The birthplace of Benedetto Odescalchi at Como.
Innocent XI
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Cardinal Odescalchi.
Innocent XI
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Innocent XI (1678-1679)
57.
Alderano Cybo
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Alderano Cybo was an Italian Catholic Cardinal. Cybo was born 16 July 1613 in Genoa and went to Rome at an age as prelate to Pope Urban VIII. On 6 March 1645, Cybo was elevated to Cardinal by Pope Innocent X and was appointed Cardinal-Priest of Santa Pudenziana, in 1656 he was appointed Bishop of Jesi, a position he held until he resigned in 1671. He participated in the conclaves of 1655,1667, 1669–1670 and 1676. Cybo was appointed Dean of the College of Cardinals in 1687, as Dean presided over the Papal conclave of 1689 and the conclave of 1691. Between 1676 and 1689, Cybo was appointed Cardinal Secretary of State, Cybo died 22 July 1700 and was buried at the Santa Maria del Popolo in the Cybo Chapel which he radically rebuilt to glorify the achievements of his family
Alderano Cybo
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Cardinal Alderano Cybo
Alderano Cybo
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Sculpture of Alderano Cybo at the Santa Maria del Popolo.
58.
Cybo Chapel (Santa Maria del Popolo)
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The Cybo or Saint Lawrence Chapel is the second side chapel in the right-hand aisle of the Basilica of Santa Maria del Popolo in Rome. The previous chapel on site was erected by Cardinal Lorenzo Cybo de Mari, nephew of Pope Innocent VIII. Giorgio Vasari claimed that the patron was Cardinal Innocenzo Cybo but the dedication over the altar recorded the actual patron, Lorenzo Cybo de Mari was promoted to the cardinalate in 1489. The chapel was constructed during the time between his elevation and his death in 1503 and its architecture was identical to those of the left and right, the Chapel of the Nativity and the Basso Della Rovere Chapel. It was decorated with frescos by Pinturicchio and works by the school of Andrea Bregno which were lost during the later rebuilding, the old fresco of the Virgin and the Child by Pinturicchio was detached from the wall and sent by the cardinal to Massa in 1687. The fragment was re-used as the altarpiece of the Ducal Chapel of the Cathedral of Massa, the very fine funeral monument of Lorenzo Cybo de Mari was transferred to the church of San Cosimato where its fragments are still preserved. It is attributed to Andrea Bregno and Giovanni Cristoforo Romano and was made between 1503 and 1510, the present chapel was built by Cardinal Alderano Cybo to glorify the achievements of his family, the dukes of Massa and princes of Carrara. Construction works began in 1682 and ended five years later, the chapel was consecrated on 19 May 1687. The cardinal commissioned three painters, Pier Francesco Garoli, Luigi Garzi and Carlo Maratta to record his visit in the new chapel on a painting which is preserved in the Museo di Roma. The entrance arch was decorated by the arms of the Cybo Malaspina dynasty made of polychrome marble. The large chapel was constructed by Carlo Fontana in the form of a Greek cross, the barrel-vaulted vestibule is enclosed by a black marble balustrade. The chapel itself is surmounted by a dome which is crowned by a lantern, from the outside the dome is a prominent landmark on Piazza del Popolo. Inside the walls are covered by rich polychrome revetments in black marble, the eight columns flanking the pillars at the corners are yellow, red veined Sicilian jasper with white marble capitals. The colour scheme is rather dark creating a brooding atmosphere, the huge altarpiece is one of the most important works of Carlo Maratta, finished in 1686. The composition is reminiscent of Raphael’s, and the details are rendered with an extreme precision, the small alabaster fiorito coffin below the altar contains the relics of St Faustina of Rome. These were exhumed from the Catacomb of Callixtus in 1686 and given to Cardinal Alderano Cybo and they were laid to rest in the chapel on 5 May 1687. The swirling fresco of the dome was executed by Luigi Garzi in 1684, on the side walls are the tombs of Cardinal Alderano and Lorenzo Cybo with marble busts sculpted by Francesco Cavallini. The two bronze putti holding up the altar and the medallion with the relief portrait of Saint Faustina on the martyrs urn are also his works
Cybo Chapel (Santa Maria del Popolo)
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The chapel with the altarpiece of Carlo Maratta
Cybo Chapel (Santa Maria del Popolo)
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The original tomb of Lorenzo Cybo which was later dismantled (17th century drawing)
Cybo Chapel (Santa Maria del Popolo)
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View of the chapel from the nave
Cybo Chapel (Santa Maria del Popolo)
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Dome fresco by Luigi Garzi: The eternal Father in glory among angels
59.
Carlo Maratta
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Carlo Maratta or Maratti was an Italian painter, active mostly in Rome, and known principally for his classicizing paintings executed in a Late Baroque Classical manner. Although he is part of the classical tradition stemming from Raphael, he was not exempt from the influence of Baroque painting and his contemporary and friend, Giovanni Bellori, wrote an early biography on Maratta. Born in Camerano, then part of the Papal States, he went to Rome in 1636, accompanied by, Don Corintio Benicampi and he became an apprentice in the studio of Andrea Sacchi. It was at time that the debate between Sacchi and Pietro da Cortona took place at the Accademia di San Luca, the artists academy in Rome. Sacchi argued that paintings should only have a few figures which should express the narrative whereas Cortona countered that a number of figures allowed for the development of sub themes. Marattas painting at this time was allied with the classicism of Sacchi and was far more restrained and composed than the Baroque exuberance of Pietro da Cortona’s paintings. Like Sacchi, his paintings were inspired by the works of the painters from Parma and Bologna, Annibale Carracci, Guercino, Guido Reni. He developed a relationship with Sacchi till the death of his master in 1661. Another major work from this period was The Mystery of the Trinity Revealed to St. Augustine painted for the church of Santa Maria dei Sette Dolori and his pictures of the late 1650s exhibit light and movement derived from Roman Baroque painting, combined with classical idealism. In 1664, Maratta became the director of the Accademia di San Luca and, concerned with elevating the status of artists, promoted the study and drawing of the art of Classical Antiquity. During the 1670s he was commissioned by Pope Clement X to fresco the ceiling of the salone in the Palazzo Altieri and his major works of this period included, The Appearance of the Virgin to St. Other works included an altarpiece, ‘The Death of St Francis Xavier’ in the San Francesco Xavier Chapel in the transept of the Church of the Gesu. Maratta was a portrait painter. He painted Sacchi, Cardinal Antonio Barberini, Pope Clement IX and he also painted numerous English sitters during their visits to Rome on the Grand Tour, having sketched antiquities for John Evelyn as early as 1645. In 1679 or 1680, a daughter, Faustina, was born to Maratta by his mistress and he legally recognized her as his daughter in 1698 and upon becoming a widower in 1700, Maratta married the girls mother. His daughter’s features were incorporated into a number of Maratta’s late paintings, in 1704 Maratta was knighted by Pope Clement XI. His sculptural designs included figures of the Apostles for San Giovanni in Laterano and he continued to run his studio into old age even when he could no longer paint. Maratta died in 1713 in Rome, and was buried there in Santa Maria degli Angeli, list of Carlo Maratta pupils and assistants Birth of the Virgin, 1643–45, Church of Saint Clare, Nocera Umbra
Carlo Maratta
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Self-portrait
Carlo Maratta
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Pope Clement IX
Carlo Maratta
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Doctors of the Church discuss Assumption of the Virgin (1686)
Carlo Maratta
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Francesca Gommi Maratta (circa 1690)
60.
Daniel Seiter
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Daniel Seiter, Saiter, or Seyter was a Viennese-born painter of the Baroque, who trained and worked in Italy. According to Houbraken, Seiter was born on the border of Switzerland and it is unknown who his first teacher was, but as a young man he crossed the alps to Venice, where he apprenticed with Johann Carl Loth. He copied his style so well, that even at the time Houbraken was writing and he then moved to Rome to work in the studio of Carlo Maratta, and while there, he joined the Bentvueghels and received the bent nickname of Morgenstar. His Martyrdom of St Catherine and Martyrdom of St Lawrence remained on its original place, becoming successful in Rome, he married a booksellers daughter and won a lucrative commission from Charles Emmanuel II, Duke of Savoy. The Dukes son Victor Amadeus II of Sardinia commissioned him in turn to decorate the Royal Palace of Turin in 1675 and he liked Seiters work so much that he knighted him. Today there is still a gallery named after him. He also helped decorate in fresco the cupola of the chapel of the Ospedale Maggiore, Seiter followed Victor Amadeus on his travels, and painted in Brunswick and Dresden. This story was told to him by a painter named Le Blon, when Seiter was done painting he tried to give it back, but the Dukes guard told him to keep it as a token of regard. A similar expensive gift was given to Daniel Seghers by Frederick Henry, walter Armstrong and Robert Edmund Graves, ed. Dictionary of Painters and Engravers, Biographical and Critical, york St. #4, Covent Garden, London, Original from Fogg Library, Digitized May 18,2007, George Bell and Sons
Daniel Seiter
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Daniel Seiter, Diana next to the Corpse of Orion, Louvre, 1685
Daniel Seiter
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Daniel Seiter Hall in the palace of Turin.
61.
Pope Clement XI
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Pope Clement XI, born Giovanni Francesco Albani, was Pope from 23 November 1700 to his death in 1721. Clement XI was a patron of the arts and of science and he was also a great benefactor of the Vatican Library, his interest in archaeology is credited with saving much of Rome’s antiquity. He authorized expeditions which succeeded in rediscovering various ancient Christian writings and he was of Italian and Albanian origin. Giovanni Francesco Albani was born in 1649 in Urbino to a distinguished family, Albani was educated at the Collegio Romano in Rome from 1660 onwards. He became a very proficient Latinist and gained a doctorate in canon and civil law. He was one of those who frequented the academy of Queen Christina of Sweden and he would serve as a papal prelate under Pope Alexander VIII and was appointed by Pope Innocent XII as the Referendary of the Apostolic Signatura. Throughout this time, he served as the governor of Rieti, Sabina. He was then ordained to the priesthood in September 1700 and celebrated his first Mass in Rome on 6 October 1700, after the death of Pope Innocent XII in 1700, a conclave was convoked to elect a successor. Albani was regarded as a fine diplomat known for his skills as a peacemaker and he agreed to the election after three days of consultation. Having accepted election after some hesitation, he was ordained a bishop on 30 November 1700, cardinal protodeacon Benedetto Pamphili crowned him on 8 December 1700 and he took possession of the Basilica of Saint John Lateran on 10 April 1701. Soon after his accession to the pontificate, the War of the Spanish Succession broke out, in 1713 Clement issued the bull Unigenitus in response to the spread of the Jansenist heresy. There followed great upheaval in France, where apart from theological issues, the resistance of many French ecclesiastics and the refusal of the French parlements to register the bull led to controversies extending through the greater part of the 18th century. Clement XI also was key in the decision to allow cats back into Christian homes after they were seen as overtly Pagan symbols. Clement XI extended the feast of Our Lady of the Rosary to the Universal Church in 1716, Clement XI confirmed the cultus of Ceslas Odrowaz, Jakov Varingez, John of Perugia, Peregrine Laziosi, Peter of Sassoferrato, Buonfiglio Monaldi, Pope Gregory X and Humbeline of Jully. He formally beatified a number of individuals, Alexis Falconieri, Bartholomew degli Amidei and Benedict Dellantella, in his book Journal of a Soul, while he was preparing for the Second Vatican Council, Pope John XXIII resolved to pray the Universal Prayer and recommends it. Clement XI died in Rome on 19 March 1721 and was buried in the pavement of St. Peters Basilica rather than in a tomb like those of his predecessors. Pope Clement XI shunned nepotism and though his nephew Annibale was appointed a cardinal and he established a committee, overseen by his favourite artists, Carlo Maratta and Carlo Fontana, to commission statuary of the apostles to complete the decoration of San Giovanni in Laterano. He also founded a painting and sculpting academy in the Campidoglio and he also enriched the Vatican library with numerous Oriental codices and patronaged the first archaeological excavations in the Roman catacombs
Pope Clement XI
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Pope Clement XI
Pope Clement XI
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Medal depicting Clement XI.
Pope Clement XI
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The younger Albani.
Pope Clement XI
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The tomb of Pope Clement XI.
62.
Prince Eugene of Savoy
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Born in Paris, Eugene grew up around the French court of King Louis XIV. Based on his physique and bearing, the Prince was initially prepared for a career in the church. Following a scandal involving his mother Olympe, he was rejected by Louis XIV for service in the French army, Eugene moved to Austria and transferred his loyalty to the Habsburg Monarchy. Spanning six decades, Eugene served three Holy Roman Emperors, Leopold I, Joseph I, and Charles VI, however, the Princes fame was secured with his decisive victory against the Ottomans at the Battle of Zenta in 1697, earning him Europe-wide fame. Renewed hostilities against the Ottomans in the Austro-Turkish War consolidated his reputation, with victories at the battles of Petrovaradin, nevertheless, in Austria, Eugenes reputation remains unrivalled. Eugene died in his sleep at his home on 21 April 1736, Prince Eugene was born in the Hôtel de Soissons in Paris on 18 October 1663. His mother, Olympia Mancini, was one of Cardinal Mazarins nieces whom he had brought to Paris from Rome in 1647 to further his, the Mancinis were raised at the Palais-Royal along with the young Louis XIV, with whom Olympia formed an intimate relationship. Yet to her disappointment, her chance to become queen passed by. The King remained strongly attached to Olympia, so much so that many believed them to be lovers, after falling out of favour at court, Olympia turned to Catherine Deshayes, and the arts of black magic and astrology. Embroiled in the affaire des poisons, suspicions now abounded of her involvement in her husbands death in 1673. From the age of ten, Eugene had been brought up for a career in the church, in February 1683, to the surprise of his family, Eugene declared his intention of joining the army. The request was modest, not so the petitioner, he remarked, no one else ever presumed to stare me out so insolently. Denied a military career in France, Eugene decided to service abroad. One of Eugenes brothers, Louis Julius, had entered Imperial service the previous year, when news of his death reached Paris, Eugene decided to travel to Austria in the hope of taking over his brothers command. It was not a decision, his cousin, Louis of Baden, was already a leading general in the Imperial army, as was a more distant cousin, Maximilian II Emanuel. On the night of July 26,1683, Eugene left Paris, by May 1683, the Ottoman threat to Emperor Leopold Is capital, Vienna, was very real. With the Turks at the gates, the Emperor fled for the refuge of Passau up the Danube. It was at Leopold Is camp that Eugene arrived in mid-August, although Eugene was not of Austrian extraction, he did have Habsburg antecedents
Prince Eugene of Savoy
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Prince Eugene of Savoy
Prince Eugene of Savoy
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Prince Eugene of Savoy by Jacob van Schuppen
Prince Eugene of Savoy
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Hôtel de Soissons, Eugene's birthplace. Engraving by Israel Silvestre c. 1650.
Prince Eugene of Savoy
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The relief of Vienna on September 12, 1683
63.
Battle of Petrovaradin
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The Battle of Petrovaradin or Peterwardein was a decisive victory for Austrian forces in the war between Habsburg Monarchy of Austria and the Ottoman Empire, at Petrovaradin. They crossed the Sava at Zemun at the end of July, the Tatars, with Moldavians and Kurucs drove into Transylvania, but the Transylvanian forces were no match for the Tatars. The commander of the Austrian forces, Prince Eugene of Savoy and he had arranged for the construction of a fortified encampment within the Petrovaradin fortress there, and set the 83,300 strong Imperial army on the march from their quarters in Futog. There was an 8,000 man garrison in the fortress consisting primarily of Serbs, in the Austrian army served Croatian and Hungarian infantry and cavalry regiments, Serbian border soldiers in the Vojvodina and the auxiliaries from Württemberg. On August 2, the first skirmish between the Imperial vanguard and Ottoman horsemen occurred, by the next day, the Grand Vizier had already reached Petrovaradin and immediately dispatched 30,000 Janissaries against the imperial positions. They dug saps and began to bombard the fortress, the core of the Imperial army only crossed the Danube on the night of August 5 by two pontoon bridges after which they encamped. At 7 oclock on the morning of August 5, Prince Eugene began the Austrian offensive, the Janissaries went on the counter-attack immediately and forced the imperial army back into the fortress. Prince Eugene sealed off the central incursion with additional troops and sent his cavalry into the Ottoman flanks, the Grand Vizier could not manage to break the encirclement with his Sipahis nor could he regroup his troops. The Tatars even pulled back without engaging in combat, after the defeated Ottomans were wiped out, Prince Eugene personally led his troops against the Grand Viziers encampment. Supported by the guns of six frigates of the Danube fleet, barely 50,000 Ottomans returned to Belgrade. Soon, from Constantinople came a messenger from the Sultan with order of execution of Damat Ali and he is buried at the Belgrade Fortress, Kalemegdan, in the tomb known as Damad Ali Pašino Turbe. After the war, a church commemorating this event was built on Tekije, on the hill over battlefield, the church is special, because it has both Catholic and Orthodox altars and both Christian denominations use it. The site is a place of pilgrimage on every August 5, after Petrovaradin, Prince Eugene turned against Timişoara and captured it despite great resistance and desperate attempts by the Ottomans to relieve the town. Eventually, they admitted defeat and signed a treaty with Austria, austro-Turkish War of 1716-18 Ottoman wars in Europe Ottoman–Habsburg wars Treaty of Passarowitz Petrovaradin, Enciklopedija Novog Sada, knjiga 20, Novi Sad,2002 Henderson, Nicholas. 2002 Zvonimir Vuković, Igor Novaković, Petrovaradin juče, danas, sutra, Novi Sad,2005 Marko Kljajić, Sveti Juraj u Petrovaradinu, stari Novi Sad I, Književna zajednica Novog Sada, Novi Sad,1991. Živko Marković, Novi Sad i Petrovaradin, Novi Sad,1984, kulturno-privredni pregled Dunavske banovine br.5 i 6, Novi Sad,1939. ISBN 963-326-337-9 Magyarország története 1526-1686, Authors, Zsigmond Pach and Ágnes Várkonyi, Akadémia Kiadó, ISBN 963-05-4098-3 Petrovaradin Fortress https, //openlibrary. org/books/OL889634M/Enciklopedija_Novog_Sada The information in this article is based on and/or translated from its German equivalent
Battle of Petrovaradin
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Church of St. Mary of the Snows
Battle of Petrovaradin
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Medieval wars and battles
64.
Art Nouveau
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Art Nouveau is an international style of art, architecture and applied art, especially the decorative arts, that was most popular between 1890 and 1910. A reaction to the art of the 19th century, it was inspired by natural forms and structures, particularly the curved lines of plants. English uses the French name Art Nouveau, according to the philosophy of the style, art should be a way of life. For many well-off Europeans, it was possible to live in an art nouveau-inspired house with art nouveau furniture, silverware, fabrics, ceramics including tableware, jewellery, cigarette cases, artists desired to combine the fine arts and applied arts, even for utilitarian objects. By 1910, Art Nouveau was already out of style and it was replaced as the dominant European architectural and decorative style first by Art Deco and then by Modernism. Art Nouveau took its name from the Maison de lArt Nouveau, in France, Art Nouveau was also sometimes called by the British term Modern Style due to its roots in the Arts and Crafts Movement, Style moderne, or Style 1900. It was also sometimes called Style Jules Verne, Le Style Métro, Art Belle Époque, in Belgium, where the architectural movement began, it was sometimes termed Style nouille or Style coup de fouet. In Britain, it was known as the Modern Style, or, because of the arts and crafts movement led by Charles Rennie Mackintosh in Glasgow, as the Glasgow style. In Italy, because of the popularity in Italy of designs from Londons Liberty & Co department store, in the United States, due to its association with Louis Comfort Tiffany, it was often called the Tiffany style. In Germany and Scandinavia, a style emerged at about the same time, it was called Jugendstil. In Catalonia the related style was known as Modernisme, in Spain as Modernismo, Arte joven, in Russia, it was called Modern, and Jugendstil, and Nieuwe Kunst in the Netherlands. Some names refer specifically to the forms that were popular with the Art Nouveau artists, Stile Floreal in France, Paling Stijl in the Netherlands. The new art movement had its roots in Britain, in the designs of William Morris. Early prototypes of the include the Red House of Morris. In France, the style combined several different tendencies, in architecture, it was influenced by the architectural theorist and historian Eugène Viollet-le-Duc, a declared enemy of the historical Beaux-Arts architectural style. For each function its material, for each material its form and this book influenced a generation of architects, including Louis Sullivan, Victor Horta, Hector Guimard, and Antoni Gaudí. The French painters Maurice Denis, Pierre Bonnard and Édouard Vuillard played an important part in integrating fine arts painting with decoration, I believe that before everything a painting must decorate, Denis wrote in 1891. The choice of subjects or scenes is nothing and it is by the value of tones, the colored surface and the harmony of lines that I can reach the spirit and wake up the emotions
Art Nouveau
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Table Lamp by François-Raoul Larche in gilt bronze, with the dancer Loïe Fuller as model
Art Nouveau
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Louis Majorelle, wall cabinet
Art Nouveau
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Art Nouveau interior at the 1900 Paris Universal Exhibition by Bruno Möhring, German pavilion.
Art Nouveau
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Art Nouveau sculpture, detail of facade in Metz, France
65.
Pope Alexander VII
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Pope Alexander VII, born Fabio Chigi, was pope from 7 April 1655 to his death in 1667. He began his career as a legate, and he held various diplomatic positions in the Holy See. He was ordained as a priest in 1634, and he became Bishop of Nardo in 1635 and he was later transferred in 1652, and he became Bishop of Imola. Pope Innocent X made him Secretary of State in 1651, and in 1652, he was appointed as a Cardinal. Early in his papacy, Alexander, who was seen as anti-Nepotist at the time of his election, lived simply, later, however, he gave jobs to his relatives and his administration worked to support the Jesuits. However, his administrations relations with France were strained due to his frictions with French diplomats, Alexander was interested in architecture and supported various urban projects in Rome. He also wrote poetry and patronized artists who expanded the decoration of churches and his theological writings included discussions of heliocentrism and the Immaculate Conception. Fabios elder brother, Mario, married Berenice, the daughter of Tiberio della Ciala, producing four children, Flavio was created cardinal by his uncle on April 9,1657. His brother, Augusto Chigi, married Olimpia della Ciaia and continued the line as the parents of Agostino Chigi. Fabios sister Onorata Mignanelli married Firmano Bichi, their son Antonio was named Bishop of Montalcino and then Osimo, in 1627 he began his apprenticeship as vice-papal legate at Ferrara, and on recommendations from two cardinals he was appointed Inquisitor of Malta. Chigi was ordained a priest in December 1634 and he was appointed Referendarius utriusque signaturae, which made him a prelate and gave him the right to practice before the Roman courts. On 8 January 1635, Chigi was named Bishop of Nardò in southern Italy and consecrated on 1 July 1635 by Miguel Juan Balaguer Camarasa, on 13 May 1652 he was transferred to the Bishopric of Imola. Bishop Chigi was named nuncio in Cologne on 11 June 1639, there, he supported Urban VIIIs condemnation of the heretical book Augustinus by Cornelius Jansen, Bishop of Ypres, in the papal Bull In eminenti of 1642. Though expected to take part in the negotiations which led in 1648 to the Peace of Westphalia, negotiations therefore took place in two cities, Osnabrück and Münster in Westphalia, with intermediaries travelling back and forth between the Protestant and the Catholic delegates. Chigi, of course, protested on behalf of the Papacy, Pope Innocent himself stated that the Peace is null, void, invalid, unjust, damnable, reprobate, inane, empty of meaning and effect for all time. The Peace ended the Thirty Years War and established the balance of European power that lasted until the wars of the French Revolution, Pope Innocent X recalled Chigi to Rome. In December 1651 Pope Innocent named Cardinal Chigi Secretary of State and he was created cardinal by Innocent X in the Consistory of 19 February 1652, and on 12 March was granted the title of Cardinal-Priest of Santa Maria del Popolo. In December 1651 Pope Innocent named Cardinal Chigi Cardinal Secretary of State
Pope Alexander VII
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Pope Alexander VII
Pope Alexander VII
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Fabio Chigi as Papal Nuntius to the Peace of Westphalia negotiations, by Anselm van Hulle (c. 1646)
Pope Alexander VII
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Engraving after the painting of Anselm van Hulle
Pope Alexander VII
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The tomb of Pope Alexander VII, by Gianlorenzo Bernini
66.
Composite order
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The composite order is a mixed order, combining the volutes of the Ionic order capital with the acanthus leaves of the Corinthian order. In many versions the composite order volutes are larger, however, the column of the composite order is typically ten diameters high, though as with all the orders these details may be adjusted by the architect for particular buildings. The Composite order is essentially treated as Corinthian except for the capital, the composite order is not found in ancient Greek architecture and until the Renaissance was not ranked as a separate order. Instead it was considered as an imperial Roman form of the Corinthian order, leon Battista Alberti in his De re aedificatoria mentions the composite order, calling it Italic. Despite this origin, very many Composite capitals in fact treat the two volutes as different elements, each springing from one side of their leafy base. In this, and in having an ornament between them, they resemble the Archaic Greek Aeolic order, though this seems not to have been the route of their development in early Imperial Rome. This has the advantage of removing the necessity to have a different appearance between the front and side views, and the Ionic eventally developed bending forms that allowed this. The treatment of details has often been very variable, with the inclusion of figures, heraldic symbols, the composite order, due to its delicate appearance, was deemed by the Renaissance to be suitable for the building of churches dedicated to The Virgin Mary or other female saints. In general it has been since used to suggest richness. Bramante used the order in the second order of the cloister of Santa Maria della Pace. For the first order, the Ionic order was used, francesco Borromini developed the composite order in San Carlo alle Quattro Fontane, Rome. The interior of the church has 16 composite columns, the load-bearing columns placed underneath the arches have inverted volutes. This choice was highly criticised at the time, thinking it was a lack of knowledge of the Vittruvian orders that led him to his decision, the inverted volutes can also be seen in Borrominis Oratorio dei Filippini in the lower order. There the controversy was even higher, considering that Borromini also removed the acanthus leaves, reggio calabria, Dipartimento Patrimonio Architettonico e Urbanistico
Composite order
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Composite capital, Palace of Justice (today Ethnographic Museum), Budapest
Composite order
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The classical orders. A typical example of the composite order is depicted in the bottom row to the right.
67.
Mino da Fiesole
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Mino da Fiesole, also known as Mino di Giovanni, was an Italian sculptor from Poppi, Tuscany. He is noted for his portrait busts, Minos work was influenced by his master Desiderio da Settignano and by Antonio Rossellino, and is characterized by its sharp, angular treatment of drapery. Unlike most Florentine sculptors of his generation, Mino passed two lengthy sojourns in Rome, from about 1459 to 1464 and again from about 1473/1474 until 1480, Mino was a friend and fellow-worker of Desiderio da Settignano and Matteo Civitali, all three being about the same age. Minos sculpture is remarkable for its finish and delicacy of details, as well as for its spirituality, the first, completed about 1468, was essentially a private commission for the Florentine jurist Bernardo Giugni. The second, directly commissioned by the monks and finished in 1481, honored the memory of their founder, the wall monuments exercised Minos skills, portraits and bas-reliefs are worked into complex tectonic aedicular structures with elaborate highly individualistic decorative moldings. The pulpit in Prato Cathedral, in which he collaborated with Antonio Rossellino, finished in 1473, is very delicately sculpted with bas-reliefs of great minuteness, in 1473 he went to Rome where he remained apparently about six years. Peters, and the beautiful little marble tabernacle for the oils in St. Maria in Trastevere bears the inscription Opus Mini. Several monuments in Santa Maria del Popolo have at times attributed to Mino. The monuments there of Archbishop of Salerno Pietro Guglielmo Rocca and Bishop of Burgos Ortega Gomiel, however, have also been attributed to the school of Andrea Bregno. C. His other works include, a portrait bust of Piero de Medici, master of the Marble Madonnas This article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. Mino di Giovanni. Handley, M. L. Mino di Giovanni
Mino da Fiesole
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Portrait of Mino da Fiesole, metalpoint with white gouache on blue-grey prepared paper cut to an oval, Chatsworth House. Subject identified based on the similarity to the woodcut illustration in the Lives of Vasari, for which it is a probable source. Alfred Scharf's attribution of the drawing to Filippino Lippi has been generally accepted.
Mino da Fiesole
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Tomb of Ugo, count of Tuscany, Badia, Florence
Mino da Fiesole
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Piero di Cosimo de' Medici
Mino da Fiesole
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Alfonso V of Aragon
68.
Quattrocento
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Quattrocento encompasses the artistic styles of the late Middle Ages and the early Renaissance. After the decline of the Western Roman Empire in 476, economic disorder and this was the beginning of the Early Middle Ages, which lasted roughly until the 11th century, when trade picked up, population began to expand and the papacy regained its authority. In Italy, urban centers arose that were populated by merchant and trade classes, money replaced land as the medium of exchange, and increasing numbers of serfs became freedmen. The changes in Medieval Italy and the decline of feudalism paved the way for social, cultural, the Quattrocento is viewed as the transition from the Medieval period to the age of the Renaissance, principally in the cities of Rome, Florence, Milan, Venice and Naples. Instead, Quattrocento artists and sculptors incorporated the more classic forms developed by Roman, since the Quattrocento overlaps with part of the Renaissance movement, it would be inaccurate to say that a particular artist was Quattrocento or Renaissance. Artists of the time probably would not have identified themselves as members of a movement, also see the list of 27 prominent 15th century painters made contemporaneously by Giovanni Santi, Raphael Sanzios father as part of a poem for the Duke of Urbino. The Robert Lehman Collection I, Italian Paintings, new York, Princeton, The Metropolitan Museum of Art in association with Princeton University Press. CS1 maint, Multiple names, authors list
Quattrocento
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Sandro Botticelli 's Annunciation, painted from 1489-1490, is an example of Quattrocento art.
Quattrocento
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Tommaso Masaccio 's fresco, The Tribute Money
69.
Basso Della Rovere Chapel (Santa Maria del Popolo)
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The Basso Della Rovere or Saint Augustine Chapel is located in the south aisle of the basilica of Santa Maria del Popolo in Rome. This is the side chapel from the counterfaçade and was dedicated to St. Augustine. The cycle of beautiful quattrocento frescoes was executed by Pinturicchio and his workshop, the chapel was built by Bishop Girolamo Basso della Rovere after his uncle, Pope Sixtus IV had started the total reconstruction of the basilica from 1471 to 1484. The architecture shows a certain Lombard influence and it is attributed to Andrea Bregno, compared to the nearby Chapel of the Nativity, frescoed by the same Pinturicchio, the Basso Della Rovere Chapel has a greater decorative fervour. The small chapel is hexagonal with a ribbed vault and the entrance is protected by a slim balustrade. Fake porphyry columns with Corinthian capitals support an entablature of white and they are placed on a pedestal which is decorated with painted benches and illusionistic monochrome reliefs. Two books were painted on one of the benches in perfect perspective, the pedestal has remarkable similarities to the inlays of the small study of Guidobaldo da Montefeltro originally at Gubbio but now in the Metropolitan Museum of Art in New York. The panels of the vault are covered by a floral decoration on a golden background with images of prophets in medaillons. The five lunettes are decoreted with Stories from the Life of the Virgin, there are two arched windows on the two adjacent walls with splays decorated with grotesques. The first wall is decorated by the fresco of the Assumption of the Virgin Mary while last section is covered by the monument of Giovanni Basso. That was created around 1485 by the workshop of Andrea Bregno and its design is analogous to the now truncated tomb of Pietro Mellini in the Mellini Chapel and other similar monuments in Rome. The handling is less refined, when examined, but still a beautiful work. The tomb is surmounted by a fresco of the Dead Christ Supported by Two Angels attributed to Antonio da Viterbo. The marble Pietà above the altar is the work of Gian Cristoforo Romano, the complex painted decoration, although in general follows the Umbrian style, has the characteristics of multiple hands with very different individual accents. Cristina Acidini, Pintoricchio, in Pittori del Rinascimento, Scala, ISBN 88-8117-099-X Gerald S. Davies, Renascence. The Sculptured Tombs of the Fifteenth Century in Rome, E. P. Dutton and Company, New York,1916
Basso Della Rovere Chapel (Santa Maria del Popolo)
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The chapel with the altarpiece of Pinturicchio
Basso Della Rovere Chapel (Santa Maria del Popolo)
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General view
Basso Della Rovere Chapel (Santa Maria del Popolo)
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Pinturicchio: Madonna and Child Enthroned with Saints Augustine, Francis, Anthony of Padua and a Holy Monk
Basso Della Rovere Chapel (Santa Maria del Popolo)
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Pinturicchio: Assumption of the Virgin Mary
70.
Pietro Foscari
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Pietro Foscari was an Italian Roman Catholic cardinal. Pietro Foscari was born in Venice ca and he was the nephew of Francesco Foscari, Doge of Venice. Early in his career he became Abbot of the monastery of Saints Cosmas, in 1448, he became a canon of the cathedral chapter of Padua Cathedral. He became primicerius of St Marks Basilica in Venice in 1452 and he later became a protonotary apostolic. In the consistory of December 10,1477, Pope Sixtus IV made Foscari a cardinal priest and he arrived in Rome on March 12,1478 and received the red hat on April 6,1478. On April 1478, he was named administrator of the metropolitan see of Spalato. On April 15,1481, he was named administrator of the see of Padua. He left Rome for Padua on June 18,1481 and returned to Rome on May 25,1483 and he participated in the papal conclave of 1484 that elected Pope Innocent VIII. He died at the Baths of Bacucco Viterbo near Viterbo on August 11,1485 and his bronze and marble tomb by Giovanni di Stefano is preserved in the Costa Chapel, Santa Maria del Popolo
Pietro Foscari
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Tomb of cardinal Foscari, Costa Chapel, Santa Maria del Popolo
71.
Antoniotto Pallavicini
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Antonio Pallavicini Gentili was an Italian Cardinal. He was considered papabile in 1492, bishop of Frascati from April until December 1503, later bishop of Palestrina. He was bishop of Ventimiglia from 1484, then bishop of Ourense in Spain from 1486, from 1484 to 1489 he was a datary in the Roman Curia. There is a portrait by Titian. He was buried in the Old St. Peters Basilica but his tomb was transferred to the Montemirabile Chapel in Santa Maria del Popolo in 1596, Pallavicini Pietro Sforza Pallavicino, cardinal of the 17th century Biography
Antoniotto Pallavicini
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Antonio Pallavicini Gentili
72.
Nicholas of Tolentino
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Nicholas of Tolentino, known as the Patron of Holy Souls, was an Italian saint and mystic. Born in 1245 in SantAngelo, St. Nicholas of Tolentino took his name from St. Nicholas of Myra, Nicholas became a monk at 18, and seven years later, he was ordained a priest. He gained a reputation as a preacher and a confessor,1274, he was sent to Tolentino, near his birthplace. The town suffered from civil strife between the Guelphs, who supported the pope, and Ghibellines, who supported the Holy Roman Emperor, Nicholas was primarily a pastor to his flock. He ministered to the poor and the criminal and he is said to have cured the sick with bread over which he had prayed to Mary, the mother of God. He gained a reputation as a wonder-worker, Nicholas died in 1305 after a long illness. People began immediately to petition for his canonization, Eugene IV canonized him in 1446, and his relics were rediscovered in 1926 at Tolentino. A studious, kind and gentle youth, at the age of 16 Nicholas became an Augustinian Friar and was a student of the Blessed Angelus de Scarpetti. A monk at the monasteries at Recanati and Macerata as well as others, he was ordained in 1270 at the age of 25, and soon became known for his preaching and teachings. Nicholas, who had had visions of angels reciting to Tolentino, in 1274 took this as a sign to move to that city, Nicholas worked to counteract the decline of morality and religion which came with the development of city life in the late thirteenth century. Once, when weak after a long fast, he received a vision of the Blessed Virgin Mary and Saint Augustine who told him to eat some bread marked with cross, upon doing so he was immediately stronger. He started distributing these rolls to the ailing, while praying to Mary, often curing the sufferers and he ministered to his flock, helped the poor and visited prisoners. When working wonders or healing people, he asked those he helped to Say nothing of this. During his life, Nicholas is said to have received visions, including images of Purgatory, prayer for the souls in purgatory was the outstanding characteristic of his spirituality. Because of this Nicholas was proclaimed patron of the souls in Purgatory, towards the end of his life he became ill, suffering greatly, but still continued the mortifications that had been part of his holy life. Nicholas died on September 10,1305, there are many tales and legends which relate to Nicholas. One says the devil once beat him with a stick, which was displayed for years in his church. In another, Nicholas, a vegetarian, was served a roasted fowl, for which he made the sign of the cross, and it flew out a window
Nicholas of Tolentino
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Saint Nicholas of Tolentino Pietro Perugino, 1507, Galleria Nazionale d'Arte Antica, Rome.
Nicholas of Tolentino
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San Nicolas de Tolentino in Macabebe
73.
Roman Catholic Diocese of Ajaccio
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The Roman Catholic Diocese of Ajaccio is a diocese of the Latin Rite of the Roman Catholic Church in France. The diocese comprises the whole of the island of Corsica, erected in the 3rd century, the diocese was formerly a suffragan of the Archdiocese of Pisa. After the French Concordat of 1801, the became a suffragan of the Archdiocese of Aix-en-Provence and Arles. In 2012 in the diocese of Ajaccio there was one priest for every 3,636 Catholics and its first bishop known to history was Evandrus, who assisted at the Council of Rome in 313. In 1077 Pope Gregory VII granted the sovereignty of the island of Corsica to Pisa, in 1347 Pisa was forced to cede its control over the island of Corsica to Genoa. Pope Eugene IV tried to reestablish papal sovereignty, but he failed, at the end of the sixteenth century the Cathedral of Ajaccio had only two dignitaries, the Archpriest and the Archdeacon, and three Canons with three prebends. Pope Sixtus V added five Canons, making a total of ten members of the body, in 1695 there were two dignities and twelve Canons. In 1759, Ajaccio had a population of around 5,000, under the control of the Republic of Genoa. The Cathedral had one dignitary and thirteen canons, there was one monastery of monks, the Civil Constitution of the Clergy suppressed all these bishoprics in favor of one diocese for the entire island, called the Diocese de Corse, inside the province of the Côtes de la Méditerranée. The Byzantine ruins at Mariana perpetuate the memory of the built by the Pisans in the 12th century. There is a legend that the bishops banished from Africa to Corsica in 484 by Hunneric, Arian King of the Vandals, built with their own hands the primitive cathedral of Ajaccio. The present cathedral, dating from 1554 to 1593, owes its construction to the initiative of Gregory XIII, the see was left vacant for five years, during which time the diocesan revenues were applied to the building of the cathedral. It was finished by Bishop Giustiniani after his nomination and it is said that the cathedral was designed by Giacomo della Porta, but a guidebook remarks, Se è vero, non era molto in forma. Napoleon Bonapartes uncle Lucien was Archdeacon of the Church of Ajaccio, napoleon was baptized in the Cathedral on 21 July 1771. Simon, Jean-Luc Brunin Olivier de Germay Catholic Church in France Cappelletti, Le chiese dItalia Tomo decimosesto Venezia, Giuseppe Antonelli. Casta, François J. Le diocèse dAjaccio, series episcoporum Ecclesiae catholicae, quotquot innotuerunt a beato Petro apostolo. Ratisbon, Typis et Sumptibus Georgii Josephi Manz, hierarchia catholica medii et recentis aevi V. Patavii, Messagero di S. Antonio. Hierarchia catholica medii et recentis aevi VI, italia sacra sive De episcopis Italiæ, et insularum adjacentium
Roman Catholic Diocese of Ajaccio
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Ajaccio Cathedral
Roman Catholic Diocese of Ajaccio
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Bishop Olivier de Germay
74.
Guglielmo della Porta
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Guglielmo della Porta was an Italian architect and sculptor of the late-Renaissance or Mannerist period. He was born to a prominent North Italian family of masons, sculptors and his father Giovanni Battista della Porta was a sculptor. He trained in his uncles workshop in Genoa and moved to Rome about 1537 and he was appointed to the papal mint in 1547. Major works, Genoa Cathedral, Chapel of Peter and Paul, a triumphal arch motif that fills one end of the chapel, with a central niche containing a seated Christ flanked by the two apostles. 1545, originally a Late Renaissance wall tomb in Michelangelos style in the Cicada Chapel of the Basilica of Santa Maria del Popolo, Rome, bust of Pope Paul III, ca. 1547, white and yellow marble One of a number of busts of the Farnese pope, tomb of Paul III, bronze and marble, Saint Peters Basilica, Rome, 1549-75. Della Portas signal work, the tomb was shifted and modified by Bernini
Guglielmo della Porta
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Bas-relief of the Descent from the Cross, now in Castello Sforzesco
75.
Pietre dure
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Pietra dura or pietre dure, called parchin kari or parchinkari in South Asia, is a term for the inlay technique of using cut and fitted, highly polished colored stones to create images. It is considered a decorative art, stability was achieved by grooving the undersides of the stones so that they interlocked, rather like a jigsaw puzzle, with everything held tautly in place by an encircling frame. Many different colored stones, particularly marbles, were used, along with semiprecious and it first appeared in Rome in the 16th century, reaching its full maturity in Florence. Pietra dura items are generally crafted on green, white or black marble base stones, pietre dure is an Italian plural meaning hard rocks or hardstones, the singular pietra dura is also encountered in Italian. The traditional convention in English has been to use the singular pietra dura just to denote multi-colored inlay work. However, in recent years there has been a trend to use pietre dure as a term for the same thing, the English term Florentine mosaic is sometimes also encountered, probably developed by the tourist industry. Giovanni Montelatici was an Italian Florentine artist whose brilliant work has been distributed across the world by tourists and collectors. It is distinct from mosaic in that the component stones are much larger and cut to a shape suiting their place in the image, not all of roughly equal size. In pietra dura, the stones are not cemented together with grout, for fixed inlay work on walls, ceilings, and pavements that do not meet the definition for mosaic, the terms intarsia or cosmati work/cosmatesque are better used. Similarly, for works that use pieces of stone, opus sectile may be used. Pietre dure is essentially stone marquetry, as a high expression of lapidary art, it is closely related to the jewelers art. It can also be seen as a branch of sculpture as three-dimensionality can be achieved, technically both Parchin Kari and Pietra Dure are same but in terms of designs they are different. Pietra dura developed from the Ancient Roman opus sectile, which at least in terms of surviving examples, was architectural, used on floors and walls, with both geometric and figurative designs. In the Middle Ages cosmatesque floors and small columns etc. on tombs, Byzantine art continued with inlaid floors, but also produced some small religious figures in hardstone inlays, for example in the Pala dOro in San Marco, Venice. In the Italian Renaissance this technique again was used for images, the Florentines, who most fully developed the form, however, regarded it as painting in stone. As it developed in Florence, the technique was initially called opere di commessi, medici Grand Duke Ferdinando I of Tuscany founded the Galleria diLavori in 1588, now the Opificio delle pietre dure, for the purpose of developing this and other decorative forms. A multitude of varied objects were created, table tops were particularly prized, and these tend to be the largest specimens. Smaller items in the form of medallions, cameos, wall plaques, panels inserted into doors or onto cabinets, bowls, jardinieres, garden ornaments, fountains, benches, etc. are all found
Pietre dure
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Pope Clement VIII in pietra dura designed by Jacopo Ligozzi, executed by Romolo di Francesco Ferrucci del Tadda.
Pietre dure
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Altar frontal of Italian opera di commessi, Dubrovnik Cathedral.
Pietre dure
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Meticulous Florentine Pietra Dura panel created by Giovanni Montelatici in the late 1800s
Pietre dure
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Detail of design with roses over crossed canes, 1882
76.
Jacob Ferdinand Voet
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Jacob Ferdinand Voet was a Flemish portrait painter. He had a career, which brought him to Italy. Voet is regarded as one of the best and most fashionable painters of the Late Baroque. Few details about Voets early life, training and career have been preserved, Voet was born in Antwerp as the son of the painter Elias Voet. He left his native Antwerp and travelled to Rome where he resided from 1663 to 1680, Voet became a member of the Bentvueghels, an association of mainly Dutch and Flemish artists active in Rome. Voet drew a picture in charcoal of all the members of the Bentvueghels on the wall of an inn in Rome that was a popular meeting place of this group. The picture was treasured enough to be spared whenever the walls were repainted, in Rome Voet’s skills as a portrait painter were much in demand at the Papal court and by the Roman aristocracy, including the prominent Colonna and Odescalchi families. He was patronised by Christina, Queen of Sweden, who was resident in Rome. He painted her portrait as well as that of her friend, englishmen and other Europeans visiting Rome on their Grand Tour also commissioned portraits from Voet. In 1671-1672 Voet received a commission from Cardinal Chigi to paint portraits of young woman who were prominent in Roman society and he created a first series of 37 portraits of the most enchanting women of Rome between 1672 and 1678 for Cardinal Chigi’s dining room in his palace in Ariccia. He later copied and even enlarged the series for other Roman and Italian noble families and this started a rage for portraits of young women in Rome and abroad. In Rome Voet lived with the painter-engraver Cornelis Bloemaert and he was banned from the city by Pope Innocent XI who was scandalized by Voets portraits of women portrayed with unseemly décolleté. He left Rome and is recorded in Milan in 1680 and he was in Florence in 1681 where he worked for the Medici family. Subsequently he resided in Turin from 1682 to 1684 and he returned to Antwerp in 1684. From Turin they set out for Lyons, where they met the painters Adriaen van der Cabel, Pieter van Bloemen and they then started out for Paris in the company of a third painter, Jacob van Bunnik who was Jan van Bunniks brother. Voet was likely back in Antwerp in 1684 and he left his hometown for Paris at some time between 1684 and 1686, and died there in 1689. In Paris he became painter to political and military personalities such as Michel Le Tellier, François-Michel le Tellier. Jacques dAgar was probably his pupil, Jacob Ferdinand Voet was a specialist portrait painter
Jacob Ferdinand Voet
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Portrait of a Gentleman with a Lace Collar
Jacob Ferdinand Voet
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Clelia Cesarini Colonna, Duchess of Sonnino, as Cleopatra
Jacob Ferdinand Voet
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Soldier with the Pink Knot
77.
Memorial to Maria Raggi
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Memorial to Maria Raggi is a sculptural monument designed and executed by the Italian artist Gian Lorenzo Bernini, in 1647. The monument is attached to a pillar in a nave of the church of Santa Maria sopra Minerva in Rome, Maria Raggi was a nun from the island of Chios. Forced to marry at an age, she was widowed when her husband was captured by Turkish forces in 1570. She became a nun in 1571, and departed for Rome in 1584, an extremely pious woman, she spent much of her day in prayer, and reportedly continually performed miracles. After dying in 1600, there was possibility of her being canonised
Memorial to Maria Raggi
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Memorial to Maria Raggi
78.
Gian Girolamo Albani
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Gian Girolamo Albani was an Italian Roman Catholic cardinal. A member of the Albani family, Gian Girolamo Albani was born in Bergamo on January 3,1509 and he studied grammar and rhetoric under Giovita Rapicio da Chiari at the University of Padua, he later received a doctorate in civil law from the university in 1529. After university, he returned to Bergamo, there, Andrea Gritti, Doge of Venice gave him the honor cavaliere aurato. He went on to serve as collaterale generale in the army of the Republic of Venice and he then became podestà of Bergamo. In 1550, he became magistrate in Bergamo, during this period he made the acquaintance of Michele Ghislieri, the Albani family had long engaged in a feud with the Brembati family. This climaxed in 1563, when the sons of the Albani murdered Count Achille Brembati in Santa Maria Maggiore, the Council of Ten sentenced Albani and his brothers to five years exile on the island of Lesina. Albanis wife died while he was serving this sentence, after completing his sentence, Albani accepted an invitation from Pope Pius V to come to Rome. The pope soon named him a protonotary apostolic and he served as governor of the March of Ancona from February 3,1569 until May 1570. Pope Pius V made him a cardinal priest in the consistory of May 17,1570 and he received the red hat and the titular church of San Giovanni a Porta Latina on November 20,1570. He participated in the conclave of 1572 that elected Pope Gregory XIII. The new pope sent him on a number of diplomatic missions and he was a participant in the papal conclave of 1585 that elected Pope Sixtus V. From 1585 to his death, he was the governor of Bagnoregio, in 1586, his son, Giovanni Battista Albani, became Titular Patriarch of Alexandria. He participated in both the conclave of September 1590 that elected Pope Urban VII and the papal conclave of October–December 1590 that elected Pope Gregory XIV. He died in Rome on April 25,1591 and he was buried in Santa Maria del Popolo. De donatione Constantini De cardinalatu De immunitate ecclesiarum De potestate papæ et concilii Catholic Church in Italy
Gian Girolamo Albani
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Gian Girolamo Albani
Gian Girolamo Albani
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Portrait of Gian Girolamo Albani by Giovanni Battista Moroni.
Gian Girolamo Albani
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Monument to Albani in Santa Maria del Popolo.
79.
Renaissance sculpture
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Sculpture is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts, a wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or molded, or cast. However, most ancient sculpture was painted, and this has been lost. Those cultures whose sculptures have survived in quantities include the cultures of the ancient Mediterranean, India and China, the Western tradition of sculpture began in ancient Greece, and Greece is widely seen as producing great masterpieces in the classical period. During the Middle Ages, Gothic sculpture represented the agonies and passions of the Christian faith, the revival of classical models in the Renaissance produced famous sculptures such as Michelangelos David. Relief is often classified by the degree of projection from the wall into low or bas-relief, high relief, sunk-relief is a technique restricted to ancient Egypt. Relief sculpture may also decorate steles, upright slabs, usually of stone, techniques such as casting, stamping and moulding use an intermediate matrix containing the design to produce the work, many of these allow the production of several copies. The term sculpture is used mainly to describe large works. The very large or colossal statue has had an enduring appeal since antiquity, another grand form of portrait sculpture is the equestrian statue of a rider on horse, which has become rare in recent decades. The smallest forms of life-size portrait sculpture are the head, showing just that, or the bust, small forms of sculpture include the figurine, normally a statue that is no more than 18 inches tall, and for reliefs the plaquette, medal or coin. Sculpture is an important form of public art, a collection of sculpture in a garden setting can be called a sculpture garden. One of the most common purposes of sculpture is in form of association with religion. Cult images are common in cultures, though they are often not the colossal statues of deities which characterized ancient Greek art. The actual cult images in the innermost sanctuaries of Egyptian temples, of which none have survived, were rather small. The same is true in Hinduism, where the very simple. Some undoubtedly advanced cultures, such as the Indus Valley civilization, appear to have had no monumental sculpture at all, though producing very sophisticated figurines, the Mississippian culture seems to have been progressing towards its use, with small stone figures, when it collapsed. Other cultures, such as ancient Egypt and the Easter Island culture, from the 20th century the relatively restricted range of subjects found in large sculpture expanded greatly, with abstract subjects and the use or representation of any type of subject now common. Today much sculpture is made for intermittent display in galleries and museums, small sculpted fittings for furniture and other objects go well back into antiquity, as in the Nimrud ivories, Begram ivories and finds from the tomb of Tutankhamun
Renaissance sculpture
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The Dying Gaul, or The Capitoline Gaul a Roman marble copy of a Hellenistic work of the late 3rd century BCE Capitoline Museums, Rome
Renaissance sculpture
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Michelangelo 's Moses, (c. 1513–1515), housed in the church of San Pietro in Vincoli in Rome. The sculpture was commissioned in 1505 by Pope Julius II for his tomb.
Renaissance sculpture
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Assyrian lamassu gate guardian from Khorsabad, c. 721–800 BCE
Renaissance sculpture
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Netsuke of tigress with two cubs, mid-19th century Japan, ivory with shell inlay
80.
Orsini family
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The Orsini family is an Italian noble family, it was one of the most influential princely families in medieval Italy and renaissance Rome. Members of the Orsini include popes Celestine III, Nicholas III, according to their family legend, the Orsini are descended from the Julio-Claudian family of ancient Rome. This is fanciful, as is the connection to the German families of Anhalt, Baden. The Orsini were related to the Boboni family existing in Rome in the 11th century, the first members always used the surname of Boboni-Orsini. The first known member is one Bobone, in the early 11th century, father of Pietro, in turn father of Giacinto dei Boboni. The Boboni surname was lost with his children, who were called de domo filiorum Ursi, two of them, Napoleone and Matteo Rosso the Great considerably increased the prestige of the family. The former was the founder of the first southern line, which disappeared with Camillo Pardo in 1553 and he obtained the city of Manoppello, later a countship, and was gonfaloniere of the Papal States. Matteo Rosso, called the Great, was the lord of Rome from 1241. Two of his sons and Napoleone were also Senators, Matteo ousted the traditional rivals, the Colonna, from Rome and extended the Orsini territories southwards up to Avellino and northwards to Pitigliano. During his life the family entered firmly in the Guelph party, the most distinguished of his sons was Giovanni Gaetano, elected pope as Nicholas III, he named the nephew Bertoldo as count of Romagna and had two nephews and a brother created cardinals. The rise of the Orsini did not stop after Nicholas death, bertoldos son, Gentile II, was two times Senator of Rome, podestà of Viterbo and, from 1314, Gran Giustiziere of the Kingdom of Naples. He married Clarice Ruffo, daughter of the counts of Catanzaro and his son Romano, called Romanello, was Royal Vicar of Rome in 1326, and inherited the countship of Soana through his marriage with Anastasia de Montfort, Countess of Nola. After his death, his two sons divided his fiefs, forming the Pitigliano and the southern line. Roberto, Gentile IIs grandson, married Sibilla del Balzo, daughter of the Great Senechal of the Kingdom of Naples, among his sons, Giacomo was created cardinal by Gregory XI in 1371, while Nicola obtained the counties of Ariano and Celano. The latter was also Senator of Rome and enlarged the territories in Lazio. His second son, Raimondello Orsini del Balzo, supported Charles III coup détat in Naples against Queen Joan I, under king Ladislaus he was among the few Neapolitan feudataries who were able to maintain their territorial power after the royal war against them. However, at his death in 1406 the southern Orsini fiefs were confiscated, the links with the court increased further under Sergianni Caracciolo, Joans lover and Great Senechal. A younger brother of Giannantonio married one of Sergiannis daughters, however, the Orsini changed side when Alfonso V of Aragon started his conquest of the Kingdom of Naples
Orsini family
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Palazzo Orsini in Fara Sabina, northern Lazio, central Italy. The Orsini were amongst the main feudatories in Italy from the Middle Ages onwards, holding a great numbers of fiefs and lordships in Lazio and in the Kingdom on Naples.
Orsini family
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Coat of arms of the Orsini family
Orsini family
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The Tower of Raimondello Orsini in Taranto, c. 1880.
Orsini family
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Gerolama Orsini, Pier Luigi's wife.
81.
Scipione Gonzaga
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Scipione Gonzaga was an Italian cardinal. Born in Mantua, he belonged to the family of the Dukes of Sabbioneta, passed his youth under the care of Cardinal Ercole Gonzaga, and made rapid progress in Greek and Latin studies. At Bologna, and later at Padua, he studied mathematics and philosophy, gonzagas home in Rome, the Palazzo Aragona Gonzaga, was a meeting place for the most eminent musicians and intellectuals of the day. Having finished his studies he went to Rome, became cameriere segreto to Pope Pius IV. In the early years of the reign of Pope Gregory XIII Gonzaga had a lawsuit with the Duke of Mantua over some property. Through the Guise party, whose cause he had aided, he became Bishop of Mende in France, but Charles, Duke of Guise pleaded unsuccessfully with Gregory XIII to have him made cardinal. Pope Sixtus V, immediately on his elevation, appointed him Latin Patriarch of Jerusalem, Sixtus also made constant use of his services in the execution of his policies, domestic and foreign. Cardinal Gonzaga was a friend Charles Borromeo and Philip Neri, for a time Gonzaga was Governor of the March of Montferrat, in the name of the Marquess Vincenzo. The three books of his Commentarii, written in polished Latin, are an important source of information for the history of his cardinalate and he was buried in the church of San Sebastiano al Palatino in Rome He had 7 children between 1565 and 1579. He also ordained Francesco Maria Bourbon Del Monte Santa Maria to the priesthood and this article incorporates text from a publication now in the public domain, Herbermann, Charles, ed. article name needed
Scipione Gonzaga
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Cardinal Scipione Gonzaga
82.
Guido Bentivoglio
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Guido Bentivoglio dAragona was an Italian cardinal, statesman and historian. A member of the Ferrara branch of the influential Bentivoglio family of Bologna, he was the son of marchese Cornelio Bentivoglio. There Pope Clement VIII, on a visit to the city that had fallen under direct papal control, made him his private chamberlain. He arrived in Brussels when negotiations between the Habsburgs and the Dutch Republic to end the Eighty Years War were about to begin, following the conclusion of the Twelve Years Truce in April 1609, he was greatly concerned with the position of Catholicism in the Republic. Accredited to a Habsburg court, he took a keen interest in the final stages of the reign. His correspondence reveals Bentivoglio as the skilled diplomatist, polished by constant intercourse with the most refined society, as well as the mature observer, according to Ludwig Pastor. The King rewarded his services as nuncio with the appointment on 11 July 1622 to the bishopric of Riez, in accordance to custom, Bentivoglio was made a cardinal on 11 January 1621 at the end of his mission at the Court of France. His first titular church was the San Giovanni a Porta Latina and he subsequently switched to the Santa Maria del Popolo, the Santa Prassede and the Santa Maria in Trastevere. On 1 July 1641, his friend, Pope Urban VIII appointed him to the suburbican see of Palestrina. Until his nomination to the order of cardinal-bishops, Louis XIII, on 22 June 1633, Cardinal Bentivoglio was one of the signers of the papal condemnation of Galileo. An able writer and skilful diplomat, Bentivoglio was marked out as Urbans successor and he is buried in the church of San Silvestro al Quirinale, Rome. Bentivoglio took Girolamo Frescobaldi with him to Brussels as his household composer, on his return to Rome in 1621 Bentivoglio bought Cardinal Scipione Borgheses new palazzo on the Quirinale. He commissioned his portrait from Anthony van Dyck and his portrait bust was sculpted by François Duquesnoy Il Fiammingo, a Franco-Flemish sculptor working in Rome Della guerra di Fiandria. Relazioni di G. Bentivoglio in tempo delle sue Nunziature di Fiandria e di Francia Lettere diplomatiche di Guido Bentivoglio, costantino Panigada, ed. Memorie e Lettere 1934. The complete edition of his works was published at Venice in 1668, rovigo, Centro di Cultura Aldo Masieri. Memorie e lettere Cardinals of the Holy Roman Church, Guido Bentivoglio Catholic Hierarchy, Guido Cardinal Bentivoglio dAragona
Guido Bentivoglio
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Guido Cardinal Bentivoglio.
Guido Bentivoglio
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Cardinal Bentivoglio, by Anthony van Dyck (Palazzo Pitti).
Guido Bentivoglio
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Guido Bentivoglio painted by Anthony Van Dyck and engraved by Jean Morin
83.
Flavio Chigi (1631-1693)
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Flavio Chigi was an Italian Catholic Cardinal and Duke of Ariccia. He was Cardinal-Nephew to Pope Alexander VII and became a political force inside the Roman Catholic Church during the latter half of the 17th century. Flavio Chigi was born 10 May 1631 in Siena, the son of Mario Chigi and he studied philosophy and law and obtained a doctorate in utroque iuris. When his uncle Fabio Chigi was made Legate to Germany, Chigi followed him there but was sent back to Italy to complete his studies. In 1656, he was made Governor of Fermo and in 1658 he was made Governor of Tivoli, in the meantime, his uncle had been elected Pope in 1655 and had taken the papal throne as Pope Alexander VII. In 1657, Chigi was appointed as his Cardinal-Nephew, upon his elevation to Cardinal, Chigi was appointed Cardinal-Priest of Santa Maria del Popolo. In 1659, at the death of Cardinal Luigi Capponi, Chigi was appointed Librarian of the Holy Roman Church, the College of Cardinals was divided into several factions. The strongest of them was the party loyal to Chigi, which grouped twenty-four of his uncles creatures, another influential person was Dean of the College, Francesco Barberini, who was leader of the group of old cardinals created by his uncle Pope Urban VIII. Small but important because of the possibility of using the right of exclusion were the factions of the so-called Crown-Cardinals, of Spain and they represented the respective interests of Charles II of Spain and Louis XIV of France. The French party was instructed to work for the election of cardinal Secretary of State Giulio Rospigliosi, unlike France, Spain placed its interests in the hand of the incompetent ambassador Marquis Astorga. He allied himself with Chigi, although initially Barberini tried to obtain Spanish support for his own candidature, initially Chigi, supported by the Spanish party, proposed to elect cardinal Scipione dElci, but was not able to secure for him the required majority of two thirds
Flavio Chigi (1631-1693)
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Cardinal Flavio Chigi, by Jacob Ferdinand Voet
84.
Camillo Cybo
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Camillo Cybo Malaspina was an Italian cardinal of the Catholic Church. Born into the aristocratic Cybo Malaspina family, he was the son of Carlo II Cybo, duke of Massa, Cybo was great grand nephew of Pope Innocent X, and nephew of Cardinal Benedetto Pamphili. 1705 — Ordained as Priest 1718 — Appointed as Titular Patriarch of Constantinople and he was ordained Bishop that same year, and named Auditor general of the Apostolic Chamber. 1729 — Elevated to Cardinal Santo Stefano al Monte Celio in the Consistory of March 23,1731 — Appointed Cardinal-Priest of Santa Maria del Popolo 1741 — Appointed Protector of Santa Maria degli Angeli As many important figures of the time, Cybo was a patron of the arts. One of his proteges was Pietro Locatelli, who dedicated his Concerti Grossi Op 1 to him in 1721
Camillo Cybo
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Camillo Cybo in 1729 after he was elevated to Cardinal
85.
Hyacinthe Thiandoum
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Cardinal Hyacinthe Thiandoum was the first native Archbishop of Dakar. Born 1921 in Poponguine, Senegal, his father was a catechist and he returned to Senegal in 1953 and, after working as a chaplain to Catholic action groups, became parish priest of the Dakar cathedral in 1960 and Vicar General the following year. On May 20,1962, he was consecrated as Archbishop of Dakar by Archbishop Marcel Lefebvre and he was made a Cardinal-Priest by Paul VI in the Consistory of May 24,1976, receiving the Title of Santa Maria del Popolo. Until 1987, he was president of the Bishops’ Conference of Senegal-Mauritania, and he has been the President of CEPACS. He also took part in Vatican Council II, cardinal Thiandoum died in 2004 at the age of 82. His file in catholic-hierarchy Sanctuaire Notre-Dame de la Delivrande, Poponguine
Hyacinthe Thiandoum
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Cardinal Hyacinthe Thiandoum
86.
Archbasilica of St. John Lateran
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It is the oldest of and has precedence among the four papal major basilicas, all of which are in Rome, because it is the oldest church in the West and houses the cathedra of the Roman Pontiff. It has the title of ecumenical mother church of the Roman Catholic faithful, the current archpriest is Agostino Vallini, Cardinal Vicar General for the Diocese of Rome. The archbasilica stands over the remains of the Castra Nova equitum singularium, the fort was established by Septimius Severus in AD193. Following the victory of Emperor Constantine I over Maxentius at the Battle of the Milvian Bridge, the guard was abolished, substantial remains of the fort lie directly beneath the nave. The remainder of the site was occupied during the early Roman Empire by the palace of the gens Laterani, sextius Lateranus was the first plebeian to attain the rank of consul, and the Laterani served as administrators for several emperors. One of the Laterani, Consul-designate Plautius Lateranus, became famous for being accused by Nero of conspiracy against the Emperor, the accusation resulted in the confiscation and redistribution of his properties. The Lateran Palace fell into the hands of the Emperor when Constantine I married his second wife Fausta, known by that time as the Domus Faustae or House of Fausta, the Lateran Palace was eventually given to the Bishop of Rome by Constantine I. The palace basilica was converted and extended, becoming the residence of Pope St. Silvester I, eventually becoming the Cathedral of Rome, Pope Sylvester I presided over the official dedication of the archbasilica and the adjacent Lateran Palace in 324, declaring both to be a Domus Dei. The papal cathedra was placed in its interior, rendering it the cathedral of the Pope qua Bishop of Rome, the archbasilica and Lateran Palace were re-dedicated twice. Pope Sergius III dedicated them to St. John the Baptist in the 10th century in honor of the newly consecrated baptistry of the archbasilica, Pope Lucius II dedicated them to St. John the Evangelist in the 12th century. Consequently, the archbasilica remains dedicated to the Savior, and its titular feast is the Feast of the Transfiguration, the archbasilica became the most important shrine of the two St. Johns, albeit infrequently jointly venerated. In later years, a Benedictine monastery was established in the Lateran Palace, and was devoted to serving the archbasilica, the Lateran Palace has also been the site of five ecumenical councils. During the time the papacy was seated in Avignon, France, the Lateran Palace, two fires ravaged them in 1307 and 1361. After both fires the pope sent money from Avignon to pay for their reconstruction and maintenance, nonetheless, the archbasilica and Lateran Palace lost their former splendor. When the papacy returned from Avignon and the pope again resided in Rome, the archbasilica, the popes resided at the Basilica di Santa Maria in Trastevere and later at the Basilica di Santa Maria Maggiore. Eventually, the Palace of the Vatican was built adjacent to the Basilica of St. Peter, which existed since the time of Emperor Constantine I, and it has remained the official residence of the pope. The original Lateran Palace was demolished and replaced with a new edifice, on the square in front of the Lateran Palace is the largest standing obelisk in the world, known as the Lateran Obelisk. It weighs an estimated 455 tons and it was commissioned by the Egyptian Pharaoh Thutmose III and erected by Thutmose IV before the great Karnak temple of Thebes, Egypt
Archbasilica of St. John Lateran
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Façade of the Archbasilica of St. John Lateran
Archbasilica of St. John Lateran
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Next to the formal entrance is the Archbasilica's claim to be the head, or Mother Church, of the entire world. Note the laurel wreath and the Papal tiara.
Archbasilica of St. John Lateran
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The Papal cathedra, which makes the Archbasilica the Cathedral of Rome, is located in the apse. The decorations are in cosmatesque style.
Archbasilica of St. John Lateran
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14th-century Gothic baldacchino
87.
St. Peter's Basilica
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The Papal Basilica of St. Peter in the Vatican, or simply St. Peters Basilica, is an Italian Renaissance church in Vatican City, the papal enclave within the city of Rome. While it is neither the church of the Catholic Church nor the cathedral of the Diocese of Rome. It has been described as holding a position in the Christian world. Catholic tradition holds that the Basilica is the site of Saint Peter, one of Christs Apostles. Saint Peters tomb is supposedly directly below the altar of the Basilica. For this reason, many Popes have been interred at St. Peters since the Early Christian period, construction of the present basilica, which would replace Old St. Peters Basilica from the 4th century AD, began on 18 April 1506 and was completed on 18 November 1626. St. Peters is famous as a place of pilgrimage and for its liturgical functions. The Pope presides at a number of liturgies throughout the year, drawing audiences of 15,000 to over 80,000 people, either within the Basilica or the adjoining St. Peters Square. St. Peters has many associations, with the Early Christian Church, the Papacy. As a work of architecture, it is regarded as the greatest building of its age, St. Peters is one of the four churches in the world that hold the rank of Major Basilica, all four of which are in Rome. Contrary to popular misconception, it is not a cathedral because it is not the seat of a bishop, St. Peters is a church built in the Renaissance style located in the Vatican City west of the River Tiber and near the Janiculum Hill and Hadrians Mausoleum. Its central dome dominates the skyline of Rome, the basilica is approached via St. Peters Square, a forecourt in two sections, both surrounded by tall colonnades. The first space is oval and the second trapezoid, the basilica is cruciform in shape, with an elongated nave in the Latin cross form but the early designs were for a centrally planned structure and this is still in evidence in the architecture. The central space is dominated both externally and internally by one of the largest domes in the world, the entrance is through a narthex, or entrance hall, which stretches across the building. One of the bronze doors leading from the narthex is the Holy Door. The interior is of vast dimensions when compared with other churches and this in its turn overwhelms us. The nave which leads to the dome is in three bays, with piers supporting a barrel-vault, the highest of any church. The nave is framed by wide aisles which have a number of chapels off them, there are also chapels surrounding the dome
St. Peter's Basilica
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Main facade of St. Peter's Basilica
St. Peter's Basilica
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Facade of Saint Peter's Basilica at night
St. Peter's Basilica
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St. Peter's Basilica from ponte Umberto I, on the Tiber. The iconic dome dominates the skyline of Rome.
St. Peter's Basilica
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St. Peter's Basilica at night from Via della Conciliazione in Rome.
88.
Basilica di Santa Maria Maggiore
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The Basilica is located at 34 Piazza dellEsquilino, some five blocks southwest of Stazione Termini. Pursuant to the Lateran Treaty of 1929 between the Holy See and Italy, the Basilica is within Italian territory and not the territory of the Vatican City State and they prayed that she might make known to them how they were to dispose of their property in her honour. On 5 August, at the height of the Roman summer, in obedience to a vision of the Virgin Mary which they had the same night, the couple built a basilica in honour of Mary on the very spot which was covered with snow. From the fact that no mention whatever is made of this alleged miracle until a few hundred years later and it would seem that the legend has no historical basis. The legend is first reported only after AD1000 and it may be implied in what the Liber Pontificalis, of the early 13th century, says of Pope Liberius, He built the basilica of his own name near the Macellum of Livia. Its prevalence in the 15th century is shown in the painting of the Miracle of the Snow by Masolino da Panicale. The feast was originally called Dedicatio Sanctae Mariae, and was celebrated only in Rome until inserted for the first time into the General Roman Calendar, with ad Nives added to its name, in 1568. A congregation appointed by Pope Benedict XIV in 1741 proposed that the reading of the legend be struck from the Office, no action was taken on the proposal until 1969, when the reading of the legend was removed and the feast was called In dedicatione Basilicae S. Mariae. The legend is commemorated by dropping white rose petals from the dome during the celebration of the Mass. The earliest building on the site was the Liberian Basilica or Santa Maria Liberiana, Liberiana is still included in some versions of the basilicas formal name, and Liberian Basilica may be used as a contemporary as well as historical name. This building was replaced under Pope Sixtus III by the present structure dedicated to Mary. No Catholic church can be honoured with the title of basilica unless by apostolic grant or from immemorial custom, St. Mary Major is one of the only four that hold the title of major basilica. The other three are the Basilicas of St. John in the Lateran, St. Peters, along with all of the other four Major Basilicas, St. Mary Major is also styled a Papal basilica. St. Mary Major was associated with the Patriarchate of Antioch, Philip Neri on 25 February 1552. It is agreed that the present church was built under Pope Sixtus III, the dedicatory inscription on the triumphal arch, Sixtus Episcopus plebi Dei, is an indication of that Popes role in the construction. The church retains the core of its structure, despite several additional construction projects. Santa Maria Maggiore, one of the first churches built in honour of the Virgin Mary, was erected in the aftermath of the Council of Ephesus of 431. Pope Sixtus III built it to commemorate this decision and these fines enabled the papacy to carry out through the 5th century an ambitious building program, including Santa Maria Maggiore
Basilica di Santa Maria Maggiore
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The Basilica di Santa Maria Maggiore is the largest church in Rome dedicated to the Blessed Virgin Mary
Basilica di Santa Maria Maggiore
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The Blessed Virgin Mary overlooking Pope Liberius as the Pontiff scraped the foundation of the basilica into the snow. By Italian artist Masolino da Panicale. circa 15th-century. Museo di Capodimonte.
Basilica di Santa Maria Maggiore
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Map by Giacomo Lauro and Antonio Tempesta depicting Saint Mary Major among the Seven Pilgrim Churches of Rome in 1599, in view of the Holy Year of 1600.
Basilica di Santa Maria Maggiore
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The Piazza and Church of Santa Maria Maggiore, by Giovanni Paolo Pannini
89.
Basilica of Saint Paul Outside the Walls
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The Basilica is within Italian territory and not the territory of the Vatican City State. James Michael Harvey was named Archpriest of the Basilica in 2012, in the 5th century it was larger than the Old St. Peters Basilica. The Christian poet Prudentius, who saw it at the time of emperor Honorius, under Pope St. Gregory the Great the Basilica was extensively modified. The pavement was raised to place the altar directly over St. Pauls tomb, a confession permitted access to the Apostles sepulcher. In that period there were two monasteries near the Basilica, St. Aristuss for men and St. Stefanos for women, masses were celebrated by a special body of clerics instituted by Pope Simplicius. Over time the monasteries and the Basilicas clergy declined, Pope St. Gregory II restored the former, as it lay outside the Aurelian Walls, the Basilica was damaged in the 9th century during a Saracen raid. In 937, when Saint Odo of Cluny came to Rome, Alberic II of Spoleto, Patrician of Rome, entrusted the monastery and basilica to his congregation, Pope Martin V entrusted it to the monks of the Congregation of Monte Cassino. It was then made an abbey nullius, the abbots jurisdiction extended over the districts of Civitella San Paolo, Leprignano, and Nazzano, all of which formed parishes. But the parish of San Paolo in Rome is under the jurisdiction of the cardinal vicar, the graceful cloister of the monastery was erected between 1220 and 1241. From 1215 until 1964 it was the seat of the Latin Patriarch of Alexandria, Pope Leo XII issued a document Ad plurimas encouraging donations for reconstruction. It was re-opened in 1840, and reconsecrated in 1855 with the presence of Pope Pius IX, the complete decoration and reconstruction, in charge of Luigi Poletti, took longer, however, and many countries made their contributions. The Viceroy of Egypt sent pillars of alabaster, the Emperor of Russia the precious malachite, the work on the principal façade, looking toward the Tiber, was completed by the Italian Government, which declared the church a national monument. On 23 April 1891 the explosion of the magazine at Forte Portuense destroyed the stained glass windows. On 31 May 2005 Pope Benedict XVI ordered the Basilica to come under the control of an Archpriest, the covered portico that precedes the façade is a Neo-classicist addition of the 19th-century reconstruction. The 20th-century door includes the remains of the leaves from the portal, executed by Staurachius of Chios around 1070 in Constantinople, with scenes from the New. On the right is the Holy Door, which is opened only during the Jubilees, the new basilica has maintained the original structure with one nave and four aisles. It is 131.66 metres long,65 metres -wide, and 29.70 metres -high, the naves 80 columns and its stucco-decorated ceiling are from the 19th century. All that remains of the ancient basilica are the portion of the apse with the triumphal arch
Basilica of Saint Paul Outside the Walls
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Façade of the Basilica of St. Paul outside the Walls
Basilica of Saint Paul Outside the Walls
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Cloister of the monastery of San Paolo fuori le mura
Basilica of Saint Paul Outside the Walls
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The Holy Door
Basilica of Saint Paul Outside the Walls
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Interior of the church
90.
Basilica of Saint Lawrence outside the Walls
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The Papal Basilica of Saint Lawrence outside the Walls is a Roman Catholic Papal minor basilica and parish church, located in Rome, Italy. The Basilica is one of the Seven Pilgrim Churches of Rome and one of the five patriarchal basilicas. The Basilica was assigned to the Patriarchate of Jerusalem, the Basilica is the shrine of the tomb of its namesake, Saint Lawrence, one of the first seven deacons of Rome who was martyred in 258. Pope Pius IX are also buried at the Basilica, which is the center of a large, before the present-day Basilica was constructed, the former estate upon which it sits was once home to a small oratory built by Emperor Constantine I. The Emperor built it over the site on which it held that St. Lawrence was executed in 258. In the 580s, Pope Pelagius II commissioned the construction of a church over the site in honor of the Saint, in the 13th century, Pope Honorius III commissioned the construction of another church in front of the older one. It was adorned with frescos depicting the lives of Saint Lawrence and the first martyred deacon, St. Stephen, the two structures were later united during a program of urban renewal. Excavations have revealed several other crypts of various persons, buried below the street level. Pope St. Hilarius is also buried here, the portico of circa 1220 has Cosmatesque decoration by the Vassalletto family of craftsmen. The 13th-century frescoes, which were reconstructed, depict scenes from the lives of St. Lawrence and St. Stephen, both being martyred, young deacons. There are two ancient sarcophagi in the portico, a Christian one, possibly decorated in the 7th century on a sarcophagus, has a relief depicting putti picking grapes. While vines and grapes are symbols of the Holy Eucharist, these images are probably not symbols thereof, further, two Romanesque stone lions were moved here from the old entrance. The campanile was built in the 12th century, inside, the choir enclosure and pulpit have Cosmatesque decoration, and there is also a fine Cosmatesque Paschal candlestick from the 12th or 13th century. The antique Ionic capital on the column directly behind the pulpit has carvings of a frog, on the triumphal arch are Byzantine mosaics from the 6th century, depicting Christ with saints. The confessio below the altar is entered from the nave. Here, St. Lawrence and St. Stephen are enshrined, the latter was transferred from Constantinople by Pope Pelagius II during his restoration of the Basilica. Behind the high altar is a Papal altar with an inscription of the names of the makers, namely the Cosmati family, the Basilica was home to the Latin Patriarch of Jerusalem from 1374 to 1847. In 1943 the Basilica was bombed during the Second World War, restoration continued until 1948, allowing some accretions from the 19th century to be removed
Basilica of Saint Lawrence outside the Walls
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The Basilica Papale di San Lorenzo fuori le Mura is a shrine to the martyred Roman deacon St. Lawrence. An Allied bombing on 19 July 1943, during the Second World War, devastated the facade, which was subsequently rebuilt.
91.
Sant'Agnese fuori le mura
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What are said to be the remains of Saint Agnes are below the high altar. The church is built over the Catacombs of Saint Agnes, where the saint was buried. A large basilica with the name was built nearby in the 4th century and its ruins can be seen near Santa Costanza. The existing church was built by Pope Honorius I in the 7th century, in particular the mosaic in the apse of Agnes, Honorius, and another Pope is largely in its original condition. The current Cardinal Priest of the Titulus S. Agnetis Extra moenia is Camillo Ruini, a very large basilica was built some metres from the present church in the 4th century, to which was attached the large private mausoleum for Constantina, the daughter of Constantine I. The mausoleum was converted into a church, which survives and is now known as Santa Costanza. The large basilica decayed during the decline of Rome, and was replaced in the 7th century by the present much smaller church, the lower part of the walls from about half of one side of the Constantinian basilica, and its apse, can still be seen. The new church was over what was believed to be Agness grave, the floor level of the 7th-century church is some two metres above the level of the catacomb floor, and the public street entrances are at the level of the 2nd floor gallery. A long wide internal set of steps, lined with inscriptions from the catacombs and other ancient buildings set into the walls, the apse mosaic from Honoriuss time is still present, and less affected by restoration than most mosaics of this date. On a gold ground, a standing figure of Agnes in the costume of a Byzantine empress is flanked by Honorius, offering a model of the building. The church was built with a separate upper gallery for women. Saint Emerentiana was also buried here, the catacombs are on three levels, dating from the 2nd to the 5th centuries, part of the highest level dating to the 2nd century can be visited by a guided tour. Though no paintings remain in place, there are a number of inscriptions, many more inscriptions line the large staircase leading from the main convent above to the church. It is in church that on the feast day of St. The church is administrated by a French traditionalist order, the Canons Regular of San Giovanni in Laterano. The Church of S. Visser, Margaret, the Geometry of Love, Space, Time, Mystery, and Meaning in an ordinary church. Friedrich Wilhelm Deichmann, S. Agnese Fuori le Mura und die byzantinische Frage in der frühchristlichen Architektur Roms, carlo Cecchelli, S. Agnese fuori le mura e S. Costanza. Media related to SantAgnese fuori le mura at Wikimedia Commons Media related to Santa Costanza at Wikimedia Commons
Sant'Agnese fuori le mura
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The outside of Sant'Agnese fuori le Mura taken in 1911.
Sant'Agnese fuori le mura
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The altar and apse
Sant'Agnese fuori le mura
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View from the matroneum
Sant'Agnese fuori le mura
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Catacomb of Saint Agnes.
92.
Basilica of Sant'Agostino
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SantAgostino is a Roman Catholic church in the piazza of the same name near Piazza Navona, in the rione SantEustachio, of Rome, Italy. It is one of the first Roman churches built during the Renaissance, the construction the church was funded by Guillaume dEstouteville, Archbishop of Rouen and Cardinal Camerlengo. The façade was built in 1483 by Giacomo di Pietrasanta, using travertine taken from the Colosseum, the design of the church is attributed to the late 15th century architect Baccio Pintelli, with later 18th century restorations of the interior by Luigi Vanvitelli. It is a work of the early Renaissance style. The Titulus S. Augustini has been held by Cardinal Jean-Pierre Ricard since 2006, furthermore, it is the station church of the first Saturday in Lent. The most famous work of art presently in the church is the Madonna di Loreto in the Cavalletti Chapel, an important Baroque painting by Caravaggio. The latter sculpture, based, according to a legend, on an ancient statue of Agrippina holding Nero in her arms, is reputed by tradition to work miracles in childbirth, the statue is laden with thank-offerings and always surrounded by offerings of flowers and candles. In 1616, the 17th-century Baroque artist Giovanni Lanfranco decorated the Buongiovanni Chapel with three canvases and a fresco of the Assumption. The church also houses Melchiorre Caffàs sculpture St. Thomas of Villanova Distributing Alms, the inscriptions found in S. Agostino, a valuable source illustrating the history of the church, have been collected and published by Vincenzo Forcella. In 1741, Pietro Bracci designed and sculpted the tomb of Cardinal Giuseppe Renato Imperiali. Pope Sixtus V established the church as a title in April 1587. Burials at the Basilica of SantAgostino P Antonino Ronci and D. Torre, S. Agostino in Campo Marzio, Roma
Basilica of Sant'Agostino
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Facade of Sant'Agostino, by Giacomo di Pietrasanta (1483)
Basilica of Sant'Agostino
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Madonna di Loreto, by Caravaggio
93.
Sant'Apollinare alle Terme Neroniane-Alessandrine
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SantApollinare alle Terme is a titular church in Rome, Italy, dedicated to St Apollinare, the first bishop of Ravenna. It is the church for the Thursday of the fifth week in Lent. The church was founded in the early Middle Ages, probably in the 7th century and it is first mentioned in the Liber Pontificalis under Pope Hadrian I, using spolia from the ruins of an imperial building. The first priests who served the church were probably eastern Basilian monks who had fled persecution during the iconoclast period. This remained a Jesuit institution until the suppression of the Jesuits in 1773, in the late 17th century, the church was in a poor state of repair. Its rebuilding was considered over a period but wasnt carried out. Despite this, in 1702 a chapel was redecorated and dedicated to St Francis Xavier, only in 1742, Pope Benedict XIV commissioned Ferdinando Fuga to rebuild the church. Fuga added a new façade in the late 16th century style and it has two stories, with Ionic columns in the lower and Corinthian ones in the upper. The lower level has a doorway flanked by windows. Above the door is a triangular tympanon, on the upper level is a large central window with a balcony, and two smaller windows to the sides. The façade is crowned by a double tympanon, the church as a whole was rededicated in 1748. Francesco Antonio Zaccaria, writer and archaeologist, who died in 1795, was buried in the Chapel of St Ignatius of Loyola here, in 1984 the church was elevated to minor basilica status. In December 18,1990, the church was granted to the Opus Dei, the new Chaplain of the Opus Dei settled in September 1,1991. The unusual interment has been linked to the case of Emanuela Orlandis kidnapping, in June 18,2012, the remains of De Pedis were transferred to the cemetery of Verano. The church has a single nave, along the side are pilasters with Corinthian capitals holding the arches to the side chapels. In the barrel-vaulted ceiling is a fresco of The Glory of St Apollinaris, the elliptical Chapel of Graces, which is outside the church proper, is accessed through a doorway on the left. A marble frame with golden stucco cherubs was added by Peter Anton von Verschaffelt
Sant'Apollinare alle Terme Neroniane-Alessandrine
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Facade Sant'Apollinare
94.
Santa Balbina
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Santa Balbina is a basilica church in Rome, devoted to St. Balbina. It was built in the 4th century over the house of consul Lucius Fabius Cilo on the Aventine Hill, possibly the ancient Titulus Tigridae, the basilica was consecrated by Pope Gregory I. The adjoining monastery has a commanding medieval defence tower, inside the basilica there is a very fine episcopal chair with Cosmatesque decoration from the 13th century. The church was restored in the 1930s when frescoes were discovered on the side walls from the 9th to 14th centuries. The Baroque frescoes in the apse and the arch were painted by Anastasio Fontebuoni in 1599. The triumphal arch is decorated with the figures of Ss Paul, an ancient sarcophagus was also discovered during the restoration. It is now used as a font, in 1270 the first known Hungarian cardinal, István Váncsa was buried in the basilica. Another 13th century Hungarian clergyman, Pál, Bishop of Paphos, both the altar and the grave disappeared during later centuries but a plaque commemorates the offerings of Pál. The Cardinal Priest of the Titulus S. Balbinae is Péter Erdő, according to Péter Erdő the Hungarian connections of the church played part in the Popes decision when he chose Santa Balbina as Erdős titular church. The Cardinal also recommended Hungarian pilgrims to visit the basilica and said he feels a responsibility for the building. Among the previous titulars, Alfonso de la Cueva, marqués de Bedmar, father Simpliciano of the Nativity founded the Congregation of the Franciscan Sisters of the Sacred Hearts here. The church is the seat of the title of Santa Balbina
Santa Balbina
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The façade of Santa Balbina
Santa Balbina
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Interior
Santa Balbina
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Santa Balbina in Rome: Coat of arms of Pope Innocent VIII (1473-1474) in the portico
Santa Balbina
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Bishop's Chair adorned in mosaic by the Cosmati - 13th century
95.
Santi Bonifacio e Alessio
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It is dedicated to Saint Boniface of Tarsus and Saint Alexius. It lies on Piazza Sant’Alessio 23, near the gardens of St. Alexius. The 16th century style facade, elaborated from the De Marchis phase, is built onto the medieval-style quadriportico, the church has a Romanesque campanile. The church also contains the tombstone of Peter Savelli, a Romanesque crypt survives below the church, whose main altar contains relics of St Thomas of Canterbury. Connected to the basilica are the buildings of the former monastery, giovanni Vincenzo Gonzaga The basilica has been a titular church for Cardinal-priests from 1587, originally called SantAlessio. In the 19th century, the dedication of the basilica was renewed, and from that time on the official name of the basilica. Bonifacio ed Alessio Cardinal Title Church
Santi Bonifacio e Alessio
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Basilica dei Santi Bonifacio e Alessio
96.
San Camillo de Lellis
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San Camillo de Lellis is a church on Via Sallustiana, Rome, Italy. It is dedicated to Saint Camillus de Lellis and it was built under Pope Pius X, with construction commencing in 1906 and the first stone being laid by Cardinal Antonio Agliardi. It was consecrated and made a church in 1910, granted to the Chierici Regolari Ministri degli Infermi, the Priest Ministers of the Sick. In 1965, Pope Paul VI elevated the church to the status of minor basilica, juan Luis Cipriani Thorne is the incumbent cardinal protector since 2001. The façade, by Passarelli, is in the Neo-Gothic style of Lombardy and it is covered with red stone, with decorative elements in travertine. Before it is a large staircase, there are three doorways, each with a lunette with bas-relief above. Over the central one is Christ presenting Saint Camillus to the Sick, between the two stories is a gallery decorated with symbols of the Evangelists. Adjacent to the church is the house of the Priest Ministers of the Sick, the church has a Latin cross plan with three aisles divided by pillars that support arches. In a niche by the altar is a statue of Saint Camillus by Alberto Galli. There is an altar dedicated to the Blessed Virgin. Pope Paul VI established it as titular church on 25 May 1965, juan Luis Cipriani Thorne, Official website
San Camillo de Lellis
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Contents
97.
San Carlo al Corso
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SantAmbrogio e Carlo al Corso is a basilica church in Rome, Italy, facing onto the central part of the Via del Corso. The apse of the church faces across the street, the Mausoleum of Augustus on Via di Ripetta and this church is dedicated to Saint Ambrose and Saint Charles Borromeo, both natives of Milan. It is one of at least three churches in Rome dedicated to Borromeo, others including San Carlo ai Catinari and San Carlo alle Quattro Fontane. Its construction was begun in honour of the canonization of St. Charles Borromeo in 1610, under the direction of Onorio Longhi and, after his death, the site was that of the former church of San Nicola de Tofo. The ground plan is based on the Latin cross, the dome, resembling that of Santi Luca e Martina, was designed by Pietro da Cortona, who was also responsible for the apse and rich internal decorations. The façade was designed by Cardinal Luigi Alessandro Omodei, who did not like the project prepared by Carlo Rainaldi, the central vault is frescoed with a Fall of the Rebel Angels by Giacinto Brandi. The altarpiece, depicting the Saints Ambrose and Charles Borromeo with the Virgin, the stucco decoration was by Giacomo and Cosimo Fancelli. The statue of the saints were by Francesco Cavallini, frescoes of Justice and Peace were painted by Girolamo Troppa. In the ambulatory behind the sanctuary is a niche where a reliquary containing the heart of St Charles is kept and it was donated to the church in 1614 by Cardinal Federico Borromeo, a cousin of the saint. The 16th-century oratory of St. Ambrose is beyond the left transept, the first chapel on the right is dedicated to the Crucifixion and has a fresco of Vigilance by Paolo Albertoni. The second chapel, on the right is dedicated to Mary, the third chapel on the right is dedicated to the Holy Family. On its left side is a depiction of The Redemptor and Sts Ambrose, on the exterior, to the sides of the apse and facing the ancient Mausoleum of Augustus, are two giant statues of the titular saints, among the largest in Rome. Other artists active in the church include Pasquale de Rossi, Luigi Garzi, Francesco Rosa, Giovanni Battista Buonocore, and Fabbrizio Chiari. The Chapel of St. Olav of Norway, to the left of the nave, is dedicated to the king who converted to Christianity and was slain in the Battle of Stiklestad in 1030. The chapel was inaugurated by Cardinal Lucido Maria Parocchi on 9 April 1893, the painting, by the Polish artist Pius Weloński, depicts the Viking kings victory over his own pagan past, which is represented by a dragon. It was a gift, presented on 3 March 1893, to Pope Leo XIII for the 50th anniversary of his episcopal ordination. Bishop Johannes Olav Fallize, then the Vicar Apostolic of Norway, had asked that it be placed in this chapel and it was unveiled by the Papal chamberlain, the Pope supported the idea of a Norwegian chapel in Rome. A smaller picture on the altar shows St. Anne and her daughter, St Anne was a very popular saint in pre-Reformation Norway
San Carlo al Corso
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San Carlo al Corso
San Carlo al Corso
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San Carlo al Corso view from top of Spanish Steps
San Carlo al Corso
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Interior
98.
San Crisogono
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San Crisogono is a church in Rome dedicated to the martyr Saint Chrysogonus. The area beneath the sacristy was investigated by Fr. L. Manfredini and they found remains of the first church. After they had made this discovery, the area was excavated and studied, the church is served by Trinitarians. Among the previous Cardinal Priests was Vincenzo Gioacchino Raffaele Luigi Pecci, the bell tower dates from the 12th century rebuilding. The interior of the church was rebuilt in the 1620s on the site of a 12th-century church, the 22 granite columns in the nave are reused antique columns. The floor is mosaic, but most of it is hidden by the pews. The confessio in the area is from the 8th century. The high altar is from 1127, with a baldachino from by G. B Soria, the painting in the middle of the Baroque coffered ceiling is by Guercino, and depicts the Glory of Saint Chrysogonus. It is likely a copy of the original, which is thought to have taken to London, but it is possible the one here is the original. On the left side of the nave is the shrine of Blessed Anna Maria Taigi, Blessed Anna Maria Taigi was a Christian mystic beatified in in 1920. Above the altar is a painting by Aronne Del Vecchio of the Trinitarian Saints in Glory, visitors can view some of her other belongings in the adjacent monastery, where they are venerated as relics. The monument at the left of the entrance, dedicated to Cardinal Giovanno Jacopo Millo was completed by Carlo Marchionni and Pietro Bracci. The nave also displays a painting of Three Archangels by Giovanni da San Giovanni, the presbytery and ciborium, created by Soria, are surrounded by four alabaster columns. The apse has frescoes of the Life of Saint Crisogono above a Madonna & Child with Saints Crisogono & James by the 12th century school of Pietro Cavallini, the presbytery vault is frescoed with a Virgin by Giuseppe Cesari. The inscriptions found in San Crisogono, a valuable source illustrating the history of the church, have collected and published by Vincenzo Forcella. Remains from the first church, possibly from the reign of Constantine I, the ruins are confusing, but you can easily find the apse of the old church and you can see the remains of the martyrs shrine in middle of the apse wall. The church had a form, rather than the normal basilical plan with a central nave. On either side of the apse are rooms known as pastophoria, service rooms of an uncommon in the West
San Crisogono
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Façade of the basilica
San Crisogono
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Intern.
99.
Santa Francesca Romana, Rome
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Santa Francesca Romana, previously known as Santa Maria Nova, is a church in Rome, Italy, situated next to the Roman Forum in the rione Campitelli. The interior has been altered since, since 1352 the church has been in the care of the Olivetans. In the 16th century, the church was rededicated to Frances of Rome and its travertine porch and façade is by Carlo Lambardi, and was completed in 1615. The inscriptions found in Santa Francesca Romana, a valuable source illustrating the history of the church, have collected and published by Vincenzo Forcella. The interior, a nave with side chapels, was rebuilt by Lombardi in the years preceding Francesca Buzzis canonization. In the middle of the nave is the rectangular schola cantorum of the old church, another prominent feature is the confessional designed by Gian Lorenzo Bernini, in polychrome marbles with four columns veneered in jasper. The church houses the precious Madonna Glycophilousa, an early 5th-century Hodegetria icon brought from Santa Maria Antiqua, the twelfth-century Madonna and Child that had been painted over it was meticulously detached from the panel in 1950, and is now kept in the sacristy. The ancient oratory on which the current church was built was located by Pope Paul I on the place in which Simon Magus died. According to this legend, Simon Magus wanted to prove his powers as stronger than those of the apostles, the two apostles fell on their knees preaching, and Simon fell, dying. The basalt stones where the apostles were imprinted by the knees of the two apostles and are embedded in the wall of the south transept. The tomb of Pope Gregory XI, who returned the papacy to Rome from Avignon, the Deaconry was suppressed on 8 August 1661. S. Maria Nova was reestablished, as the Titulus of a Cardinal Priest, the titulus of the church remains Sancta Mariae Novae, the current Cardinal Priest of the Titulus S. Mariae Novae is Angelo Sodano. A Cardinal Priest no longer has any jurisdiction over his church or its clergy. He is only the Cardinal Protector, saint Francesca Romana has been named the patron of car drivers, because of a legend that an angel used to light her way with a lamp when she travelled at night. Automobiles line up on the day of her feast as far as the Colosseum, the facade of the Church of Holy Cross College, in Clonliffe in Dublin, Ireland, is a replica of Santa Francesca Romana. It was designed by the Gothic Architect J. J, mcCarthy and is the only exception to his list of Gothic works. Pierre Roger de Beaufort Elected Pope Gregory XI, jacobus de Torso Utinensis Pietro Barbo translated to S. Marco, later Pope Paul II Francesco Gonzaga. Translated to the Deaconry of S. Eustachio, translated to the Deaconry of S. Eustachio
Santa Francesca Romana, Rome
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Santa Francesca Romana's travertine façade (by Carlo Lambardi, 1615) and its 12th-century Romanesque campanile
Santa Francesca Romana, Rome
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Rear area of the church, showing the ruins of the Temple of Venus and Rome.
Santa Francesca Romana, Rome
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View from Palatine Hill
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San Giovanni a Porta Latina
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San Giovanni a Porta Latina is a Basilica church in Rome, Italy, near the Porta Latina of the Aurelian Wall. He was later exiled to island of Patmos and this event was traditionally said to have occurred at the Latin Gate. The nearby chapel of San Giovanni in Oleo is said to be on this very spot, the event was referred to in the Roman Martyrology, which was begun in the seventh century, when already there was a celebration of the event. A feast in the Roman calendar also celebrated the event until 1960, the tradition for the building of the Basilica of St. John at the Latin Gate places its construction during the pontificate of Pope Gelasius I. This is consistent with the oldest of the tiles, which have the imprint of a taxation stamp for the Ostrogoth King. One of these ancient roof tiles is now used in the Basilica as a lectern, in the 16th and 17th centuries, a Baroque ceiling and other Baroque features were added to the interior. In the years 1940-1941, the Baroque features were removed and the Basilica was returned to a more primitive simplicity, the portico of the Basilica is supported by four re-used classical columns supporting five arches. The main door is framed with a mosaic of red. The interior of the Basilica is divided into three naves, divided by two rows of columns on which rest semi-circular arches, the two columns closest to the sanctuary are of white marble with deep fluting. The other columns are of types of marble and granite. The central nave terminates with a half-hexagon apse, each of the three sides of the apse opens with a large window filled with honey-coloured onyx. Occupying the ledge of the window is a carved wooden crucifixion scene including Saint John the Evangelist. In front of the altar is a pavement in Cosmatesque style. The geometric pattern of red and green porphyry is framed in marble is thought to have been created before the 12th century. After this work, another search of the along the face of the central nave revealed the presence of a circle of medieval frescoes. The restoration of these frescos was completed with the restoration of the Basilica in 1940-1941. The central nave is decorated with about 50 scenes representing the Old and New Testaments, the frescoes were executed by several artists under the direction of one master. Giovanni Mario Crescimbeni, Listoria della chiesa di St Giovanni avanti Porta Latina
San Giovanni a Porta Latina
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San Giovanni a Porta Latina.
San Giovanni a Porta Latina
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Entrance to the adjacent Collegio Rosmini
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San Giovanni dei Fiorentini
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San Giovanni dei Fiorentini is a minor basilica and a titular church in the Ponte rione of Rome, Italy. The main façade fronts onto the Via Giulia, julius IIs successor, the Florentine Pope Leo X de Medici initiated the architectural competition for a new church in 1518 on the site of the old church of San Pantaleo. Designs were put forward by a number of architects, among them Baldassare Peruzzi, Jacopo Sansovino, Antonio da Sangallo the Younger, the dominant initial ideas were for a centralised church arrangement. Sansovino won the competition but the construction was subsequently executed by Sangallo. In 1559, Michelangelo was asked by Cosimo I de Medici, Duke of Tuscany, to designs for the church and he presented a centralised church arrangement. The main construction of the church was carried out in 1583-1602 under the architect Giacomo della Porta based on the Latin cross arrangement, carlo Maderno took over from 1602 to 1620, and directed construction of the dome and the main body of the church completed. However, the main façade, based on a design by Alessandro Galilei, was not finished until 1734, in 1623-24 Giovanni Lanfranco produced paintings for the Sacchetti chapel. In 1634, the Baroque painter and architect Pietro da Cortona was asked by the Florentine nobleman Orazio Falconieri to design the high altar, drawings for the altar and its setting and a model were prepared but the project was not carried out. After Borromini died in 1667, the work was completed and partly modified by Cortona and on his death in 1669, by Ciro Ferri, Cortona’s pupil and associate. By a decree of Pope John XXIII of 12 March 1960 and they were, Joseph-Charles Lefèbvre appointed on 28 March 1960 - died 2 April 1973. Juan Carlos Aramburu appointed on 24 May 1976 - died 18 Nov 2004, carlo Caffarra appointed on 24 March 2006. - present Francesco Borromini is buried under the dome
San Giovanni dei Fiorentini
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San Giovanni dei Fiorentini
San Giovanni dei Fiorentini
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Iron bridge at San Giovanni dei Fiorentini, ca. 1890. The bridge was built 1827 and demolished 1941. Photo by Giuseppe Primoli.
San Giovanni dei Fiorentini
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The central nave
San Giovanni dei Fiorentini
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Left side wall of the choir or Falconieri Chapel
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Santi Giovanni e Paolo, Rome
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The Basilica of Saints John and Paul on the Caelian Hill is an ancient basilica church in Rome, located on the Caelian Hill. The church was built in 398, by will of the senator Pammachius, the church was thus called the Titulus Pammachii and is recorded as such in the acts of the synod held by Pope Symmachus in 499. It is home to the Passionists and is the place of St. Paul of the Cross. Additionally, it is the church of the first Friday in Lent. The inside has three naves, with pillars joined to the original columns, the altar is built over a bath, which holds the remains of the two martyrs. The sacristy features a canvas by Antoniazzo Romano of the Madonna and Child with Saints John the Evangelist and John the Baptist, the basilica is connected with the cardinalatial Titulus Ss. Among previous Cardinal Priests of this title are three who became Pope, Pope Honorius III, Pope Adrian VI and Pope Pius XII. Since Francis Spellman became the new Cardinal Priest of the titulus in 1946, ioannis et Pauli until his death on March 5,2015. The title is now held by Cardinal Josef De Kesel, the Archbishop of Mechelin-Bruxelles, during excavations performed in the 19th century, a series of Ancient Roman rooms were discovered under the nave of the church. Some of these date back to the first and fourth centuries AD. According to the writer Charlotte Anne Eaton, these rooms were dens that were part of a vivarium in which animals were kept before being used in entertainments held at the Colosseum. A low vaulted passage connected this vivarium with the Colosseum and he found twenty decorated rooms belonging to at least five different buildings dated between the first and the fourth century AD. These five buildings comprise one of the best conserved Roman era residential building still in existence today. The original frescoes can still be seen, with scenes of the martyrdom, the houses are accessed outside the church on the Clivus Scauri. A confessio was also built in the fourth century AD in a passageway behind the Clivus Scauri, the walls of the confessio were frescoed with Christian themes. Mariano Armellini, Le Chiese Di Roma, dalle loro origini sino al secolo XVI, germano Di San Stanislao, La Casa Celimontana Des SS. Stanislao DellAddolorata, La Basilica Celimontana dei Santi Giovanni e Paolo, gioacchino Alberto De Sanctis, I Santi Giovanni e Paolo, martiri celimontani. Bianca Maria Margarucci Italiani, Il titolo di Pammachio, Santi Giovanni e Paolo, alia Englen, Case romane e Antiquarium, sotto la Basilica dei SS
Santi Giovanni e Paolo, Rome
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Large view of the basilica.
Santi Giovanni e Paolo, Rome
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A fresco in the Roman rooms.
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Santa Maria degli Angeli e dei Martiri
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The Basilica of St. Mary of the Angels and the Martyrs is a titular basilica church in Rome, Italy built inside the frigidarium of the Baths of Diocletian in the Piazza della Repubblica. The most recent Cardinal priest of the Titulus S. Mariae Angelorum in Thermis is William Henry Keeler, the basilica is dedicated to the Christian martyrs, known and unknown. By a brief dated 27 July 1561, Pius IV ordered the church built, a story that these Martyrs were Christian slave labourers who had been set to constructing the Baths is modern. It was also a monument of Pope Pius IV, whose tomb is in the apsidal tribune that culminates the series of spaces. The thermae of Diocletian dominated the Quirinal Hill with their mass and had successfully resisted Christianization. Michelangelo Buonarroti worked from 1563 to 1564 to adapt a section of the structure of the baths to enclose a church. Some later construction directed by Luigi Vanvitelli in 1749 only superficially distracts from the grand, at Santa Maria degli Angeli, Michelangelo achieved an unexampled sequence of shaped architectural spaces with few precedents or followers. There is no true facade, the entrance is set within one of the coved apses of a main space of the thermae. The plan is developed from a Greek cross, with a transept so dominant, with its chapels at each end. Of the Saint Bruno, Pope Clement XIV said that he would speak, were it not for the vow of silence of the order he founded, raising the floor truncated the red granite Roman columns that articulate the transept and its flanking spaces. Michelangelo made the transept 27 meters wide, thus providing vast cubical spaces at each end of the transept, in 2006, Polish-born sculptor Igor Mitoraj created new bronze doors as well as a statue of John the Baptist for the basilica. In April 2010, a five metre high statue of Galileo Galilei Divine Man was unveiled in a courtyard within the complex. The statue was a donation from CCAST and WFS, Santa Maria degli Angeli was the official state church during the Kingdom of Italy. More recently, national burials have been held in the church, the church hosts the tombs of General Armando Diaz and Admiral Paolo Thaon di Revel, who were the commanders responsible for winning World War I on the Italian front. Also today the Basilica is used for ceremonies, included the funeral of soldiers killed abroad. Alan Cook remarked, The disposition, the stability and the precision are much better than those of the famous meridian. in Bologna, bianchinis sundial was built along the meridian that crosses Rome, at longitude 12°30 E. At solar noon, which according to the equation of time from around 10,54 a. m. UTC in late October to 11.24 a. m, UTC in February, the sun shines through a small hole in the wall to cast its light on this line each day
Santa Maria degli Angeli e dei Martiri
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The church facade is the frigidarium of the Baths of Diocletian
Santa Maria degli Angeli e dei Martiri
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The raised space of the tribune.
Santa Maria degli Angeli e dei Martiri
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Diagram of Bianchini's meridian, from his De Calendario (1703): the ray on the right comes from the sun, and hits the line at solar noon through the year; the ray on the left is from Polaris
Santa Maria degli Angeli e dei Martiri
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Bianchini's gnomon projects the sun's image onto his line just before solar noon, around 11:54 in late October
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Santa Maria in Trastevere
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The Basilica of Santa Maria in Trastevere, English, Our Lady in Trastevere) is a titular minor basilica in the Trastevere district of Rome, and one of the oldest churches of Rome. The basic floor plan and wall structure of the date back to the 340s. The first sanctuary was built in 221 and 227 by Pope Callixtus I, the church has large areas of important mosaics from the late 13th century by Pietro Cavallini. It is certainly one of the oldest churches in the city, a Christian house-church was founded here about 220 by Pope Saint Callixtus I on the site of the Taberna meritoria, a refuge for retired soldiers. In 340, when Pope Julius I rebuilt the titulus Callixti on a scale, it became the titulus Iulii in commemoration of his patronage. The church underwent two restorations in the fifth and eighth centuries and in 1140-43 it was re-erected on its old foundations under Pope Innocent II, Innocent II razed the church along with the recently completed tomb of the Antipope Anacletus II, his former rival. Innocent II arranged for his own burial on the formerly occupied by the tomb. The richly carved Ionic capitals reused along its nave were taken either from the ruins of the Baths of Caracalla or the nearby Temple of Isis on the Janiculum. When scholarship during the 19th century identified the faces in their carved decoration as Isis, Serapis and Harpocrates, the inscriptions found in Santa Maria in Trastevere, a valuable resource illustrating the history of the Basilica, were collected and published by Vincenzo Forcella. The present nave preserves its original plan and stands on the earlier foundations. The 22 granite columns with Ionic and Corinthian capitals that separate the nave from the aisles came from the ruins of the Baths of Caracalla, as did the lintel of the entrance door. Inside the church are a number of late 13th-century mosaics by Pietro Cavallini on the subject of the Life of the Virgin centering on a Coronation of the Virgin in the apse, domenichinos octagonal ceiling painting, Assumption of the Virgin fits in the coffered ceiling setting that he designed. The fifth chapel to the left is the Avila Chapel designed by Antonio Gherardi and this, and his Chapel of S. Cecilia in San Carlo ai Catinari are two of the most architecturally inventive chapels of the late-17th century in Rome. The lower order of the chapel is fairly dark and employs Borromini-like forms, in the dome, there is an opening or oculus from which four putti emerge to carry a central tempietto, all of which frames a light-filled chamber above, illuminated by windows not visible from below. The church keeps a relic of Saint Apollonia, her head, among those buried in the church are the relics of Pope Callixtus I, Pope Innocent II, Antipope Anacletus II, Cardinal Philippe of Alençon and Cardinal Lorenzo Campeggio. The Romanesque campanile is from the 12th century, near the top, a niche protects a mosaic of the Madonna and Child. The mosaics on the façade are believed to be from the 12th century and they depict the Madonna enthroned and suckling the Child, flanked by 10 women holding lamps. This image on the façade showing Mary nursing Jesus is an example of a popular late-medieval
Santa Maria in Trastevere
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Façade of Santa Maria in Trastevere
Santa Maria in Trastevere
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Madonna and Child at the top of the campanile.
Santa Maria in Trastevere
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Santa Maria in Trastevere, with the Domenichino 's works, Rome Italy
Santa Maria in Trastevere
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13th-century mosaics in the apse
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Santa Maria in Via
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This Church is not to be confused with the Church of Santa Maria in Via Lata, a Deaconry. Santa Maria in Via is a church in Rome. The church or a chapel existed in the 9th century, but was rebuilt following reports of a miracle, in 1165, it is recorded as Santa Maria in Via, whose appellative means on the Way, with a reference to the nearby Via Flaminia. On the site there was the house of Cardinal Pietro Capocci, on the night of 26 September 1256, the well overflowed. A picture of Our Lady was floating on the waters, which disappeared as soon as the picture was taken, Pope Alexander IV declared it a miracle, and ordered the construction of a chapel on its place, in the chapel there is still the well of the miracle. Pope Innocent VIII ordered the construction of the current church, which was built in 1491-1513, renovations were performed under Francesco da Volterra and later by Carlo Lombardi. The façade and portico were designed by Pietro da Cortona, the main altar was decorated by Santi Ghetti. The works were completed under Cardinal Saint Robert Bellarmine, titular of the church, the church of S. Maria in Via now serves as a national church in Rome for the Ecuadorian community. The church has served by the Servite Order since a grant of Pope Leo X in 1513. The Titulus S. Mariae in Via was instituted by Pope Julius III in 1551, mariano Armellini, Le chiese di Roma, dalle loro origine sino al secolo XVI, pp. 334–336. Carlo Cecchelli, S. Maria in Via, Santa Maria in Via, by Chris Nyborg. Media related to Santa Maria in Via at Wikimedia Commons
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The facade of Santa Maria in Via was designed by Giacomo della Porta.
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Santa Maria in Via Lata
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Santa Maria in Via Lata is a church on the Via del Corso, in Rome, Italy. It stands diagonal from the church of San Marcello al Corso and it is claimed that St. Paul spent two years here, in the crypt under the church, whilst under house arrest waiting for his trial. This conflicts with the tradition regarding San Paolo alla Regola, the same was also claimed for St Peter, Pauls secretary Luke, Peters disciple Martial, St John. The first Christian place of here was a 5th-century oratory in the Roman building beneath the present church. This was constructed within the remains of a large Roman warehouse, some 250 metres long, the churchs upper level was added in the 9th century, and murals added to the lower level between the 7th and 9th centuries. The cosmatesque pavement from this phase survives, the churchs 13th century icon of the Virgin Advocate, said to have performed many miracles, and relics of the 3rd century Deacon and martyr Agapitus lie beneath it. The Arcus Novus, which stood on site were destroyed during reconstruction of the church in the late 15th century. Antonio Tebaldeo, poet and friend of Raphael, was buried at the end of the aisle in 1537. The church was renovated in 1639 by Cosimo Fanzago, but the facade and he appears to evoke a triumphal arch in the facade. The high altar Madonna Advocata is one of the few paintings in churches attributed to Bernini, the ciborium in the apse is made of alabaster and lapis-lazuli. The first excavations of the site occurred at this date. The families of Joseph and Lucien Bonaparte were buried here in the 19th century. Along the right side of the nave, the first altarpiece is a Martydom of St Andrew by Giacinto Brandi, while the altarpiece is a Saints Giuseppe, Nicola. In the chapel to the left of the apse, is a Madonna with child and Saints Cyriac and Catherine by Giovanni Odazzi. The second altar on the left has a Saint Paul baptizes Sabine and children by Pier Leone Ghezzi while the first altarpiece is a Virgin and Saints Lawrence, six oval paintings on the right nave include canvases by P. de Pietri and Agostino Masucci. On the left nave are five ovals, painted by P. de Pietri, Masucci, an altar in the lower church has a marble bas relief by Cosimo Fancelli. Descrizione delle Pitture, Sculture e Architetture esposte in Roma, luigi Cavazzi, La diaconia di S. Maria in Via Lata e il monastero di S. Ciriaco, memorie storiche. Richard Krautheimer, Corpus Basilicarum Christianarum Romae, The Early Christian Basilicas of Rome, tyrone Joseph Castellarin, The Facade of Santa Maria in Via Lata by Pietro Da Cortona
Santa Maria in Via Lata
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S. Maria in Via Lata
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Santa Maria della Vittoria
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Santa Maria della Vittoria is a Roman Catholic titular church dedicated to the Virgin Mary located in Rome, Italy. The church is known for the masterpiece of Gian Lorenzo Bernini in the Cornaro Chapel, the church is in the Rione Sallustiano, on number 98 via XX Settembre, where this street intersects with Largo Santa Susanna. It stands to the side of the Fontana dellAcqua Felice, the church mirrors the Church of Santa Susanna across the Largo. It is about two blocks northwest of Piazza della Repubblica and Teatro dellOpera metro stop, the church was begun in 1605 as a chapel dedicated to Saint Paul for the Discalced Carmelites. After the Catholic victory at the battle of White Mountain in 1620, which reversed the Reformation in Bohemia, turkish standards captured at the 1683 siege of Vienna hang in the church, as part of this theme of victory. The order itself funded the work until the discovery of the Borghese Hermaphroditus in the excavations. Scipione Borghese, nephew of Pope Paul V, appropriated this sculpture but in return funded the rest of work on the façade and these grants only came into effect in 1624, and work was completed two years later. The church is the structure designed and completed by the early Baroque architect Carlo Maderno, though the interior suffered a fire in 1833. Its façade, however, was erected by Giovanni Battista Soria during Madernos lifetime, 1624–1626, contrasting marble revetments are enriched with white and gilded stucco angels and putti in full relief. Other sculptural detail abounds, The Dream of Joseph and the monument to Cardinal Berlinghiero Gessi. There are paintings by Guercino, Nicolas Lorrain, and Domenichino, the church is also the final resting place of Saint Victoria, whose preserved remains are on display inside. The masterpiece in the Cornaro Chapel, to the left of the altar, is Ecstasy of St. Teresa by Scipiones favored sculptor, the flowing robes and contorted posture abandon classical restraint and repose to depict a more passionate, almost voluptuous trance. Santa Maria della Vittoria was established as a church by Pope Pius VII on 23 December 1801. The statue is a feature in the 2009 novel, Cutting for Stone, main characters live with a fading picture of it in their Ethiopian home as a remnant of their deceased mother and friend. It remains a part of their lives and surfaces late in the story as they are witness to the real marble creation in the chapel, the Church of Santa Maria della Vittoria. Rome, Order of the Discalced Carmelite Fathers, l’architettura dei Carmelitani Scalzi in età barocca, La ‘Provincia Romana’. A Study of the Iconography of Berninis Cornaro Chapel in Santa Maria Della Vittoria Athens, chris Nyborg, Churches of Rome, Santa Maria della Vittoria Roberto Piperno, santa Maria della Vittoria Santa Maria della Vittoria Roma SPQR, Santa Maria della Vittoria
Santa Maria della Vittoria
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Façade of Santa Maria della Vittoria
Santa Maria della Vittoria
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Cantoria of the Santa Maria della Vittoria church, decorated by Mattia de Rossi
Santa Maria della Vittoria
Santa Maria della Vittoria
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San Martino ai Monti
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San Martino ai Monti, officially known as Santi Silvestro e Martino ai Monti, is a minor basilica in Rome, Italy, in the Rione Monti neighbourhood. It is located near the edge of the Parque de Monte Oppio, near the corner of Via Equizia and Viale del Monte Oppio, the current Cardinal Priest with title to the basilica is Kazimierz Nycz, the Archbishop of Warsaw. Among the previous titulars are Alfonso de la Cueva, Saint Joseph Mary Tomasi, C. R. Pope Pius XI, Blessed Alfredo Ildefonso Schuster, O. S. B. and Gianbattista Montini, later Blessed Paul VI. The basilica was founded by Pope St. Sylvester I on a site donated by one Equitius in the 4th century, at the beginning it was an oratory devoted to all the martyrs. It is known that a meeting in preparation for the Council of Nicaea was held here in 324, the current church of San Martino ai Monti dates from the Carolingian era, but remains of a 3rd-century pillared hall have been located below and adjacent to it. Was probably to serve as a space for commercial purposes. In 500, the church was rebuilt and dedicated to Saints Martin of Tours, on this occasion, the church was elevated and the first oratory became subterranean. It was reconstructed by Pope Hadrian I in 772 and by Pope Sergius II in 845, the structure of the present basilica follows the ancient church, and many pieces had been re-used. During the Investiture Controversy and the Gregorian Reforms, the priest of San Martino, Beno, the inscriptions found in S. Martino ai Monti, a valuable source illustrating the history of the Basilica, have been collected and published by Vincenzo Forcella. The basilica is served by the Carmelite friars and it was granted to them in 1299 by Pope Boniface VIII, their ownership was confirmed in 1559. This basilica is the place of the Blessed Angelo Paoli. Who was revered throughout Rome for his service of the poor, the interior has a nave and two aisles, divided by ancient columns. A votive lamp, made in sheet and housed in the sacristy, was believed to be St. Sylvesters tiara. Under the major altar are preserved the relics of Saints Artemius, Paulina and Sisinnius, a mosaic portraying Madonna with St Sylvester is from the 6th century. Further transformations were executed in the 17th century by Filippo Gagliardi, there is a fresco by Jan Miel of St Cyril baptizing a sultan. Fabrizio Chiari painted a Baptism of Christ, giannangiolo Canini painted an altarpiece of Holy Trinity with Saints Nicola and Bartholemew. The Mannerist painter Girolamo Muziano provided an altarpiece of St. Albert, cannini also painted the Martydom of St. Stephen. Chiari also painted St Martin Sharing his Cloak with the Beggar, giovanni Battista Crespi is the author of a Vision of St Teresa, while the altarpiece of Vision of Santa Maria Maddalena de Pazzi was executed by Matteo Piccione
San Martino ai Monti
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San Martino ai Monti façade
San Martino ai Monti
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The Crypt of San Martino ai Monti, by François Marius Granet (1806).
San Martino ai Monti
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Interior of San Martino ai Monti.
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Pantheon, Rome
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The Pantheon is a former Roman temple, now a church, in Rome, Italy, on the site of an earlier temple commissioned by Marcus Agrippa during the reign of Augustus. The present building was completed by the emperor Hadrian and probably dedicated about 126 AD and he retained Agrippas original inscription, which has confused its date of construction as the original Pantheon burnt down so it is not certain when the present one was built. The building is circular with a portico of large granite Corinthian columns under a pediment, a rectangular vestibule links the porch to the rotunda, which is under a coffered concrete dome, with a central opening to the sky. Almost two thousand years after it was built, the Pantheons dome is still the worlds largest unreinforced concrete dome, the height to the oculus and the diameter of the interior circle are the same,43.3 metres. Mary and the Martyrs but informally known as Santa Maria Rotonda, the square in front of the Pantheon is called Piazza della Rotonda. The Pantheon is a property, ruled by Italys Ministry of Cultural Heritage and Activities and Tourism through the Polo Museale del Lazio. The Pantheons large circular domed cella, with a temple portico front, is unique in Roman architecture. Nevertheless, it became a standard exemplar when classical styles were revived, Pantheon is derived from the Ancient Greek Pantheion meaning of, relating to, or common to all the gods. His uncertainty strongly suggests that Pantheon was merely a nickname, not the name of the building. In fact, the concept of a dedicated to all the gods is questionable. The only definite pantheon recorded earlier than Agrippas was at Antioch in Syria and it seems highly significant that Dio does not quote the simplest explanation for the name—that the Pantheon was dedicated to all the gods. Godfrey and Hemsoll maintain that the word Pantheon need not denote a group of gods, or, indeed, even all the gods. Certainly the word pantheus or pantheos, could be applicable to individual deities…, bearing in mind also that the Greek word θεῖος need not mean of a god but could mean superhuman, or even excellent. It seems likely that the Pantheon and the Basilica of Neptune were Agrippas sacra privata and this less solemn designation would help explain how the building could have so easily lost its original name and purpose in such a relatively short period of time. However, archaeological excavations have shown that the Pantheon of Agrippa had been destroyed except for the façade. Lise Hetland argues that the present construction began in 114, under Trajan and her argument is particularly interesting in light of Heilmeyers argument that, based on stylistic evidence, Apollodorus of Damascus, Trajans architect, was the obvious architect. The form of Agrippas Pantheon is debated and this description was widely accepted until the late 20th century. The only passages referring to the decoration of the Agrippan Pantheon written by an eyewitness are in Plinys Natural History, from him we know that the capitals, too, of the pillars, which were placed by M
Pantheon, Rome
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Pantheon
Pantheon, Rome
Pantheon, Rome
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The Pantheon and the Fontana del Pantheon.
Pantheon, Rome
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The Pantheon dome. The concrete for the coffered dome was poured in moulds, probably mounted on temporary scaffolding. The oculus is the main source of natural light.
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San Pietro in Vincoli
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For other churches of this dedication, see St Peter ad Vincula. San Pietro in Vincoli is a Roman Catholic titular church and minor basilica in Rome, Italy, best known for being the home of Michelangelos statue of Moses, the Titulus S. Petri ad vincula was assigned on 20 November 2010, to Donald Wuerl. The previous Cardinal Priest of the basilica was Pío Laghi, who died on 11 January 2009, next to the church is hosted the Faculty of Engineering of La Sapienza University, in the former convent building. This is named San Pietro in Vincoli per antonomasia, the church is located on the Oppian Hill near Cavour metro station, a short distance from the Colosseum. The Empress Eudoxia, who received them as a gift from her mother, Aelia Eudocia, consort of Valentinian II, Aelia Eudocia had received these chains as a gift from Iuvenalis, bishop of Jerusalem. According to legend, when Leo compared them to the chains of St. Peters final imprisonment in the Mamertine Prison, in Rome, the chains are now kept in a reliquary under the main altar in the basilica. The basilica, consecrated in 439 by Sixtus III, has undergone restorations, among them a restoration by Pope Adrian I. From 1471 to 1503, in which year he was elected Pope Julius II, Cardinal Della Rovere, the front portico, attributed to Baccio Pontelli, was added in 1475. The cloister has been attributed to Giuliano da Sangallo, further work was done at the beginning of the 18th century, under Francesco Fontana, and there was also a renovation in 1875. The interior has a nave and two aisles, with three divided by antique Doric columns. The aisles are surmounted by cross-vaults, while the nave has an 18th-century coffered ceiling, frescoed in the center by Giovanni Battista Parodi, in this scene, Pope Alexander heals the neck goiter of Saint Balbina by touching her with the chains that once bound St Peter. Moses is depicted with horns, connoting the radiance of the Lord, due to the similarity in the Hebrew words for beams of light and this kind of iconographic symbolism was common in early sacred art, and for an artist horns are easier to sculpt than rays of light. The altarpiece on the first chapel to the left is a Deposition by Cristoforo Roncalli, the tomb of Cardinal Nicholas of Kues, with its relief, Cardinal Nicholas before St Peter, is by Andrea Bregno. Painter and sculptor Antonio Pollaiuolo is buried at the side of the entrance. He is the Florentine sculptor who added the figures of Romulus and Remus to the sculpture of the Capitoline Wolf on the Capitol, the tomb of Cardinal Cinzio Passeri Aldobrandini, decorated with an allegorical skeletal representation of Death, is also in the church. In 1876 archeologists discovered the tombs of those believed to be the seven Maccabean martyrs depicted in 2 Maccabees 7–41. It is highly unlikely that these are in fact the Jewish martyrs that had offered their lives in Jerusalem and they are remembered each year on 1 August, the same day as the miracle of the fusing of the two chains. The third altar in the left holds a mosaic of Saint Sebastian from the seventh century
San Pietro in Vincoli
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Façade of the Basilica
San Pietro in Vincoli
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Interior of the basilica
San Pietro in Vincoli
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18th century fresco, The Miracle of the Chains in the center of the coffered ceiling by Giovanni Battista Parodi (1706).
San Pietro in Vincoli
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Michelangelo's Moses statue in the basilica
111.
Santa Prassede
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The Basilica of Saint Praxedes, commonly known in Italian as Santa Prassede, is an ancient titular church and minor basilica in Rome, Italy, located near the papal basilica of Saint Mary Major. The current Cardinal Priest of Titulus Sancta Praxedis is Paul Poupard, peters first Christian convert in Rome. The two female saints were murdered for providing Christian burial for early martyrs in defiance of Roman law, the basilica was enlarged and decorated by Pope Paschal I in c. Pope Paschal, who reigned 817-824, was at the forefront of the Carolingian Renaissance started and advocated by the emperor Charlemagne and they desired to get back to the foundations of Christianity theologically and artistically. Paschal, thus, began two, linked, ambitious programs, the recovery of martyrs bones from the catacombs of Rome, Paschal dug up numerous skeletons and transplanted them to this church. The Titulus S. Praxedis was established by Pope Evaristus, around 112, the inscriptions found in Santa Prassede, a valuable source illustrating the history of the church, have been collected and published by Vincenzo Forcella. The church provided the inspiration for Robert Brownings poem The Bishop Orders His Tomb at Saint Praxeds Church, the main altarpiece is a canvas of St Praxedes Gathering the Blood of the Martyrs by Domenico Muratori. The most famous element of the church is the mosaic decorative program, Paschal hired a team of professional mosaicists to complete the work in the apse, the apsidal arch, and the triumphal arch. In the apse, Jesus is in the center, flanked by Sts, peter and Paul who present Prassede and Pudenziana to God. On the far left is Paschal, with the halo of the living, presenting a model of the church as an offering to Jesus. Below runs an inscription of Paschals, hoping that this offering will be sufficient to secure his place in heaven, on the apsidal arch are twelve men on each side, holding wreaths of victory, welcoming the souls into heaven. Those mosaics, as well as those in the Chapel of Saint Zeno, ascending a spiral staircase, one enters a small room, covered in scaffolding, on the wall is a fresco cycle, dating most likely from the 8th century. The frescoes probably depict the life-cycle of the saint of the church. Santa Prassede also houses an alleged segment of the pillar upon which Jesus was flogged and tortured before his crucifixion in Jerusalem, among these legendary relics retrieved by Helena, which included pieces of the True Cross and wood from the Jesus crib enshrined at S. Maria Maggiore. Among known titulars of this see are Lambertus Scannabecchi, Ubaldo Allucingoli, Alain de Coëtivy, Giovanni Maria Ciocchi del Monte, Saint Charles Borromeo, B. M. Apollonj Ghetti, Santa Prassede. Gillian Vallance Mackie, The Iconographic Programme of the Zeno Chapel at Santa Prassede, Rome. Mauck, “The Mosaic of the Triumphal Arch of Santa Prassede, A Liturgical Interpretation. ”Rotraut Wisskirchen, Mosaikprogramm von Santa Prassede in Rom. Anna Maria Affanni, La chiesa di Santa Prassede, la storia, il rilievo, il restauro. Mary M. Schaefer, Women in Pastoral Office, The Story of Santa Prassede, maurizio Caperna, La basilica di Santa Prassede, il significato della vicenda architettonica
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Ceiling of the San Zeno chapel.
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External video
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The Column of the Flagellation.
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Interior of Santa Prassede.
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Santa Pudenziana
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The basilica of Santa Pudenziana is a 4th-century church of Rome, dedicated to Saint Pudentiana, sister of Saint Praxedis and daughter of Saint Pudens. It is the church for the Philippines. It has been suggested there was no such person as Pudentiana. St. Paul refers to Pudens, however, so it appears there was a real person with this name. The church of Santa Pudenziana is recognized as the oldest place of Christian worship in Rome and it was built over a 2nd-century house, probably during the pontificate of Pius I in 140–155 AD, and re-uses part of a bath facility still visible in the structure of the apse. This church was the residence of the Pope until, in 313, in the 4th century, during the pontificate of Pope Siricius, the building was transformed into a three-naved church. In the acts of the synod of 499, the bears the titulus Pudentis. The church is situated at a lower level, one enters through wrought iron gates. Steps spring down to the courtyard from both sides of the entrance. The architrave of the hall of the faded façade contains a marble frieze that used to belong to a portal from the 11th century. It is a significant work of sculpture in Rome. It shows Pastore, Pudenziana, Prassede and their father Pudens, the columns in the nave were part of the original basilica structure. The Romanesque belltower was added in the early 13th century, the painting of Angels and Saints before the Saviour on the dome is a fresco by a painter Pomarancio. During these last restorations some fragments of a Laocoön group were found that were larger than those in the Vatican, as no one was willing to pay extra for this find, they filled up the hole in the ground. The façade was renewed in 1870 and frescoes were added by Pietro Gagliardi, the right side of the present basilica was part of a Roman bath house dating from the reign of emperor Hadrian. On the wall behind the altar are three paintings made in 1803 by Bernardino Nocchi representing, St. Timotheus, The Glory of St Pudentiana. The mosaics in the apse are late Roman art and they date from around the end of the 4th century, they are regarded by different groups of scholars as dating from either the reign of Pope Siricius or the pontificate of Innocent I. They were heavily restored in the 16th century and they are among the oldest Christian mosaics in Rome and one of the most striking mosaics outside of Ravenna
Santa Pudenziana
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Close-up of Saint Pudentiana in the mosaic of the apse
Santa Pudenziana
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Main entrance of the church
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Apse mosaic (enhanced image).
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St Praxedes and Pudenziana collecting the Blood of the Martyrs by Giovanni Paolo Rossetti
113.
Santi Quattro Coronati
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Santi Quattro Coronati is an ancient basilica in Rome, Italy. The church dates back to the 4th century, and is devoted to four anonymous saints, according to the Passion of St. Sebastian, the four saints were soldiers who refused to sacrifice to Aesculapius, and therefore were killed by order of Emperor Diocletian. The bodies of the martyrs were buried in the cemetery of Santi Marcellino e Pietro, on the mile of via Labicana, by Pope Miltiades. These martyrs were later identified with the four martyrs from Albano, the bodies of the martyrs are kept in four ancient sarcophagi in the crypt. According to a lapid dated 1123, the head of one of the four martyrs is buried in Santa Maria in Cosmedin, tradition holds the first church was begun by Pope Miltiades, in the 4th century on the north side of the Coelian Hill. One of the first churches of Rome, it bore the Titulus Aemilianae from the name of the foundress, who probably owned the elaborate Roman villa, whose structure is evident under the church. The church was completed the end of the 6th century, and because of its proximity to the papal residence of the Lateran Palace. The new remarkable basilica, Carolingian in style, was 95 m long and 50 m wide and this church, however, was burned to the ground by Robert Guiscards troops during the Norman Sack of Rome. The two aisles were included in the Cardinal Palace and in the Benedictine monastery founded by Paschal himself, the original apse of the basilica, however, was preserved, and seems oversized for the new church, whose nave was divided into three parts by means of columns. The new church was consecrated on 20 January 1116, in 1338 it was a possession of the Sassovivo Abbey. In the 13th century a Cosmatesque cloister was added, the Cardinal Palace was enlarged by cardinal Stefano Conti, a nephew of Pope Innocent III. Cardinal Conti also transformed the palace into a fortress, to shelter Popes in the Lateran during the conflict with the Hohenstaufen emperors, when the Popes moved to Avignon, the Cardinal Palace fell into ruin. Thus, upon the return of the Popes to Rome with Pope Martin V, however, when the Papal residence moved from the Lateran to the Vatican palace, this basilica lost importance. In 1564, Pope Pius IV entrusted the basilica and the buildings to the Augustinians. The interest in the history of this complex renewed in 1913, once the building became an orphanage, the Augustinian nuns put a revolving drum by its entrance which was used as a deposit box for unwanted babies. The apse contains the frescoes by Giovanni da San Giovanni of the four patron saints, Severo, Severiano. The altarpiece on the nave of S. Sebastiano curato da Lucina e Irene was painted by Giovanni Baglione. The second courtyard holds the entrance to the Oratorio di San Silvestro, with frescoes of medieval origin, Santi Quattro Coronati belongs to the titular churches of Rome from at least the end of 6th century
Santi Quattro Coronati
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First courtyard with the guard tower.
Santi Quattro Coronati
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Apse and Cardinal Palace.
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Cardinal Roger Mahony, the current Cardinal-Priest of Santi Quattro Coronati.
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San Saba, Rome
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San Saba is an ancient basilica church in Rome, Italy. It lies on the so-called Piccolo Aventino, which is a close to the ancient Aurelian Walls next to the Aventine Hill. The current Cardinal Deacon of the Titulus S. Sabae is Jorge Medina Estévez, the titulus was established in 1959. According to legend, St. Silvia, mother of Pope Gregory I, had an estate at the site. After her death, so legend reads, her estate was transformed into a monastery of St. Andreas. The historic origin of the site goes back to the year 645. In this year, fugitive monks from the monastery of St. Sabas, here, they founded an eremitic cell. The Sabaites introduced the cult of St. Sabas to Rome, in ancient sources, their monastery however goes by the name cellas novas or cellaenovae, which refers to the cellae of their mother abbey, Mar Saba. The Sabaite monastery prospered quickly and for a long time, in the 8th and 9th centuries, San Saba was one of the most prestigious of Rome and among the leading Greek monasteries. Since 680, its abbots held important diplomatic roles in the relationships between Rome and Byzantium, and represented the Roman Church and Pope at several church councils in Constantinople, in 768, Antipope Constantine II was held prisoner in this monastery, before being killed by the Lombards. The Benedictine monks of Monte Cassino received the church after it was rebuilt in the 10th century, Anselm, the nephew of St Anselm, was one of its abbots before departing to England as a papal legate. After many years of decay, the basilica was renovated in the 13th century. In 1503 the Cistercians were entrusted with the church, which in 1573 was finally conveyed to the Jesuits, the church, preceded by a small porch from the 13th century, has a nave with two aisles. The interior is characterized by numerous interventions from different ages, the columns are from ancient buildings, and the floor is an example of Cosmatesque marble art from the beginning of the 13th century. The main artpieces are the frescoes in a room on the left side of the church. The crypt, built on the house of St. Silvia, the sacristy houses a fragment of fresco from the very first church
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Facade
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San Saba seen from outside the external wall.
115.
Sacro Cuore di Cristo Re
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Sacro Cuore di Cristo Re is a Roman Catholic church in Rome, designed between the 1920s and 1930s by Marcello Piacentini. The idea for a new church in the newly developed Quartiere della Vittoria came from Ottavio Gasparri, at first the church was to be named Tempio della Pace, to remember and honour the fallen of World War I. The original design proposed by Marcello Piacentini was inspired by the built in Rome in the 16th century. Construction halted with the death of Ottavio Gasparri, in 1929, the construction started again in 1931 and the church was inaugurated in 1934. The church became a church under Pope Pius XI on 31 October 1926 with the apostolic constitution Regis pacifici. On 5 February 1965 was declared titular church by Pope Paul VI with the apostolic constitution Sacrum Cardinalium Collegium, later that year, with the motu proprio Recentioris architecturae the church became a minor basilica. The church has a facing, the façade with brick rows of different projection alternated, façade upper side, portals. The floor plan, with a nave flanked byt two aisles, is between a Latin cross and greek cross, with a length of about 70 m, the church present a dome of 20 meters of diameter. Over the main portal an high relief by Arturo Martini, that depicts the sacred heart of Jesus, in the inside the Stations of the Cross made by Alfredo Biagini. Luigi Monzo, trasformismo architettonico – Piacentinis Kirche Sacro Cuore di Cristo Re in Rom im Kontext der kirchenbaulichen Erneuerung im faschistischen Italien, in, jahrbuch der Guernica-Gesellschaft,15.2013, pp. 83–100. Massimo Alemanno, Le chiese di Roma moderna - Volume 2, rendina, Le Chiese di Roma, Newton & Compton Editori, Milano 2000
Sacro Cuore di Cristo Re
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Church of Sacred Heart of Christ the King Chiesa del Sacro Cuore di Cristo Re (Italian)
116.
San Sebastiano fuori le mura
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San Sebastiano fuori le mura, or San Sebastiano ad Catacumbas, is a basilica in Rome, central Italy. Up to the Great Jubilee of 2000, San Sebastiano was one of the Seven Pilgrim Churches of Rome, built originally in the first half of the 4th century, the basilica is dedicated to St. Sebastian, a popular Roman martyr of the 3rd century. The dedication to Sebastian dates to the 9th century, sebastians remains were moved here around 350. They were transferred to St. Peters in 826, fearing a Saracen assault, the latter, in fact, materialized, and the church was destroyed. The building was refounded under Pope Nicholas I, while the altar was reconsecrated by Honorius III, by request of the Cistercians. In the 13th century the arcade of the nave was walled in. The statue of St Sebastian at the altar in the first chapel on the left is by Giuseppe Giorgetti, noteworthy is the Albani Chapel and designed by Carlo Maratta, Alessandro Specchi, Filippo Barigioni and Carlo Fontana, commissioned by Pope Clement XI, and dedicated to Pope Fabian. Fabian had been Bishop of Rome during the persecution of Decius, flanking the altar, busts of Saints Peter and Paul by Nicolò Cordier recall the first dedication of the basilica. Quirinus of Sescia Pope Fabian St. Sebastian San Sebastiano al Palatino Paolo Coen, Le basiliche giubilari romane, Newton Compton, Rome,1994. Claudio Rendina, Enciclopedia di Roma, Newton Compton, Rome,2000, San Sebastiano fuori le Mura, by Chris Nyborg. San Sebastiano fuori le Mura site
San Sebastiano fuori le mura
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San Sebastiano fuori le mura, façade (1612) by Flaminio Ponzio, assisted by Giovanni Vasanzio
San Sebastiano fuori le mura
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Catacombs of San Sebastiano – entrance detail
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San Silvestro in Capite
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The Basilica of Saint Sylvester the First also known as is a Roman Catholic minor basilica and titular church in Rome dedicated to Pope Saint Sylvester I. It is located on the Piazza San Silvestro, at the corner of Via del Gambero and the Via della Mercede, built in the 8th century as a shrine for the relics of the saints and martyrs from the Catacombs, the church is the National church of Great Britain. The Latin words in capite refers to the title of Pope Sylvester the First, to which in capite means in First, in Chief. The basilica is famous for a relic, a fragment of a head purported to be that of Saint John the Baptist. A second Roman church dedicated to Saint Sylvester is San Silvestro al Quirinale, the last Cardinal-Priest of the titulus S. Silvestri in Capite was Desmond Cardinal Connell, Archbishop Emeritus Dublin, Ireland. He died on 21 February 2017, the church was rebuilt and the campanile with Romanesque arcades added in 1198 during the papacy of Innocent III, while in the 13th century the church was donated to the Poor Clares. It was rebuilt by the architects Francesco da Volterra and Carlo Maderno during 1591–1601, the relics of Pope Sylvester I, Pope Stephen I and Pope Dionysius were exhumed and re-enshrined beneath the high altar when the new church was consecrated in 1601. The church also contains the relics of Saint Tarcisius, the church of San Silvestro was granted to the English Catholics by Pope Leo XIII in 1890, and is now served by Irish Pallottine Fathers. Mass is thus regularly celebrated in the English language, the church is the National Church in Rome of Great Britain, although the structures of the Catholic Church continue to be organized separately for England and Wales, Scotland and Ireland. The Scottish national church in Rome, SantAndrea degli Scozzesi, was deconsecrated in 1962, the Cardinal Priest of the Titulus S. Silvestri in Capite is Desmond Connell, former Archbishop of Dublin. He was appointed on February 21,2001 to succeed Basil Hume and it also serves as a church for the Philippine Community in Rome. The church has an atrium and narthex, which isolates the church from the square outside. There are fragments of early Christian sculpture, many with inscriptions and it is believed that the high altar, which predates the present church, was influenced by the style of Michelangelo. The interior is rich in marble, gilding, and artistic decoration, the nave has an Assumption with Saints frescoed by Giacinto Brandi. The main altar carved ciborium or canopy by Carlo Rainaldi, the cupola was frescoed by Cristoforo Roncalli. A Martyrdom of San Stephan I and a Messengers of Constantine call on San Silvestro were frescoed in the apse by Orazio Borgianni, in the baptistry apse, there is a Baptism of Constantine by Ludovico Gimignani. The transept has a History of San Silvestro also by Gimignani, in the first chapel to the right is a Madonna with Child & Saint Anthony of Padua & Stephen I and other saints by Giuseppe Chiari. In the second chapel is a Saint Francis receives stigmata by Orazio Gentileschi accompanied by paintings of the life of the saint by Luigi Garzi, in the third, a Pentecost by Giuseppe Ghezzi
San Silvestro in Capite
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Facade of San Silvestro in Capite, National Church in Rome of Great Britain, on Piazza San Silvestro. After the gate, there is a courtyard, with the access to the church.
San Silvestro in Capite
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Church interior
San Silvestro in Capite
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A head said to be John the Baptist 's, enshrined at San Silvestro.
118.
Integrated Authority File
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The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
Integrated Authority File
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GND screenshot
119.
Basilica of Santa Maria del Popolo
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The Basilica of Santa Maria del Popolo is an Augustinian church in Rome, Italy. It stands on the side of Piazza del Popolo, one of the most famous squares in the city. The church is hemmed in between Porta del Popolo and the Pincian Hill, Porta Flaminia was one of the gates in the Aurelian Wall as well as the starting point of Via Flaminia, the most important route from the north. The church contains works by famous artists, such as Raphael, Gian Lorenzo Bernini, Caravaggio, Alessandro Algardi, Pinturicchio, Andrea Bregno, Guillaume de Marcillat. In 1099, a chapel was built by Pope Paschal II to Our Lady over the tomb of the Domitii Ahenobarbi. Tradition has it that the site was haunted by Neros ghost or demons in the form of crows, therefore the pope chopped down the walnut tree sheltering the crows. The name del Popolo probably derives from its funding by the people of Rome, the chapel was enlarged and became a church by will of Pope Gregory IX in 1235, and was given to the Augustinian friars, who still oversee it, in 1250. Santa Maria del Popolo was reconstructed by Baccio Pontelli and Andrea Bregno in 1472-1477 on the orders of Pope Sixtus IV and was given to the congregation of Lombard friars in Rome, the result of the reconstruction was an early and excellent example of Italian Renaissance architecture. In 1655-60 the façade was modified by Gian Lorenzo Bernini, who was asked by Pope Alexander VII to update the Renaissance church to a more modern Baroque style. Façade The façade was built in early Renaissance style in the 1470s when the church was rebuilt by Pope Sixtus IV. The alterations included the addition of gables at the sides on the level, pediments above the side entrances. The architecture is attributed to Andrea Bregno but without definitive evidence. According to Ulrich Fürst the architect aimed at perfect proportioning and also at masterful restraint in the detail, in this way he succeeded in designing the best church façade in early-Renaissance Rome. The façade was built of bright Roman travertine, and it is two storeys high, the three entrances are accessed by a flight of stairs giving a feel of monumentality. The architecture is simple and dignified with four pilasters on the lower level. The side doors are surmounted by pediments and their lintels have dedicatory inscriptions referring to Pope Sixtus IV. There is a pair of arched windows above them. Bernini added the two halves of a segmental pediment on the sides of the upper level, and the curved connecting element with the rich garlands
Basilica of Santa Maria del Popolo
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Basilica of Santa Maria del Popolo
Basilica of Santa Maria del Popolo
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Front of the basilica.
Basilica of Santa Maria del Popolo
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Interior of the basilica.
Basilica of Santa Maria del Popolo
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The dome.
