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.
Roman Catholic
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The Catholic Church, also known as the Roman Catholic Church or the Universal Church, is the largest Christian church, with more than 1.28 billion members worldwide. As one of the oldest religious institutions in the world, it has played a prominent role in the history, headed by the Bishop of Rome, known as the Pope, the churchs doctrines are summarised in the Nicene Creed and the Apostles Creed. Its central administration is located in Vatican City, enclaved within Rome, the Catholic Church is notable within Western Christianity for its sacred tradition and seven sacraments. It teaches that it is the one church founded by Jesus Christ, that its bishops are the successors of Christs apostles. The Catholic Church maintains that the doctrine on faith and morals that it declares as definitive is infallible. The Latin Church, the Eastern Catholic Churches, as well as such as mendicant orders and enclosed monastic orders. Among the sacraments, the one is the Eucharist, celebrated liturgically in the Mass. The church teaches that through consecration by a priest the sacrificial bread and wine become the body, the Catholic Church practises closed communion, with only baptised members in a state of grace ordinarily permitted to receive the Eucharist. The Virgin Mary is venerated in the Catholic Church as Queen of Heaven and is honoured in numerous Marian devotions. The Catholic Church has influenced Western philosophy, science, art and culture, Catholic spiritual teaching includes spreading the Gospel while Catholic social teaching emphasises support for the sick, the poor and the afflicted through the corporal and spiritual works of mercy. The Catholic Church is the largest non-government provider of education and medical services in the world, from the late 20th century, the Catholic Church has been criticised for its doctrines on sexuality, its refusal to ordain women and its handling of sexual abuse cases. Catholic was first used to describe the church in the early 2nd century, the first known use of the phrase the catholic church occurred in the letter from Saint Ignatius of Antioch to the Smyrnaeans, written about 110 AD. In the Catechetical Discourses of Saint Cyril of Jerusalem, the name Catholic Church was used to distinguish it from other groups that call themselves the church. The use of the adjective Roman to describe the Church as governed especially by the Bishop of Rome became more widespread after the Fall of the Western Roman Empire and into the Early Middle Ages. Catholic Church is the name used in the Catechism of the Catholic Church. The Catholic Church follows an episcopal polity, led by bishops who have received the sacrament of Holy Orders who are given formal jurisdictions of governance within the church. Ultimately leading the entire Catholic Church is the Bishop of Rome, commonly called the pope, in parallel to the diocesan structure are a variety of religious institutes that function autonomously, often subject only to the authority of the pope, though sometimes subject to the local bishop. Most religious institutes only have male or female members but some have both, additionally, lay members aid many liturgical functions during worship services
Roman Catholic
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Saint Peter's Basilica, Vatican City
Roman Catholic
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St. Peter's Basilica, Vatican City
Roman Catholic
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Pope Francis, elected in the papal conclave, 2013
Roman Catholic
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Traditional graphic representation of the Trinity: The earliest attested version of the diagram, from a manuscript of Peter of Poitiers ' writings, c. 1210
3.
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.
4.
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
5.
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
6.
Stanislaw Dziwisz
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Stanisław Dziwisz is a Polish prelate of the Roman Catholic Church. He served as Archbishop of Kraków from 2005 until 2016 and he was created a cardinal in 2006. He was a long-time and influential aide to Pope John Paul II, a friend of Pope Benedict XVI, Dziwisz was born in the village of Raba Wyżna to Stanisław Dziwisz, a railroad worker, and his wife, Zofia Bielarczyk. The fifth of seven children, he has four brothers and two sisters, during World War II, the family hid a Jewish man in their house. When the younger Stanisław was only nine, his father died after being struck by a train crossing the railroad tracks. He attended the classical Secondary School in Nowy Targ, passing the exam of maturity in 1957, Dziwisz then entered the Major Seminary of Kraków, where he completed his studies in philosophy and theology. On 23 June 1963, he was ordained to the priesthood for the Archdiocese of Kraków by its bishop, Bishop Karol Wojtyła. His first assignment was as a curate at a parish in Maków Podhalański and he then continued his studies at the Faculty of Theology of Kraków, specialising in liturgy and earning a Licentiate of Sacred Theology in 1967. In October 1966, he was appointed by Archbishop Wojtyła, who had since been elevated to Archbishop of Kraków, Dziwisz remained in this position until Wojtyłas death in 2005. He also participated in the work of the Committee for the Holy Year, Dziwisz accompanied Cardinal Wojtyła to the papal conclave of August 1978, which resulted in the election of Pope John Paul I. Following the death of John Paul I only thirty-three days later, he and Wojtyła returned to Rome for the next conclave, Dziwisz was appointed as the new Popes principal private secretary, and in that capacity he moved to the Vatican with the new pontiff. Dziwisz served as secretary to the Pope throughout the entirety of John Paul IIs twenty-seven year pontificate. During the first twenty years of his service in the Vatican, Dziwisz held only the title of principal private secretary, in 1998 he was given the additional status of Adjunct Prefect of the Papal Household, and was raised to the episcopate. In 1981 he earned a Doctor of Sacred Theology degree from the Faculty of Theology of Kraków, with a thesis entitled The Cult of Saint Stanislaus, Bishop of Kraków, until the Council of Trent. He was best known as a member of the Prefecture of the Papal Household, John Paul and Dziwisz were said to have a father-son like relationship. Dziwisz slept in a next to that of John Pauls, was always near him during Mass. During John Pauls papacy Dziwisz became one of the most influential voices in the Vatican, Dziwisz was appointed titular bishop of San Leone and joint head of the Prefecture of the Papal Household on 7 February 1998. John Paul II elevated Dziwisz to the rank of archbishop on 29 September 2003, as the health of John Paul declined, some speculated that Dziwisz, as one of John Pauls most trusted aides, may have been preparing the faithful for the worst
Stanislaw Dziwisz
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His Eminence Stanisław Dziwisz
Stanislaw Dziwisz
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Cardinal Dziwisz
7.
Pope Paschal II
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Pope Paschal II, born Ranierius, was Pope from 13 August 1099 to his death in 1118. A monk of the Cluniac order, he was created Cardinal-Priest of San Clemente by Pope Gregory VII in 1073 and he was consecrated as pope in succession to Pope Urban II on 19 August 1099. His reign of almost twenty years was long for a pope of the Middle Ages. He was born in Bleda, near Forlì, Romagna, in the long struggle with the Holy Roman Emperors over investiture, he zealously carried on the Hildebrandine policy in favor of papal privilege, but with only partial success. The future Emperor Henry V took advantage of his fathers excommunication to rebel, even to the point of seeking out Paschal II for absolution for associating with his father, Henry IV. But, Henry V was even more persistent in maintaining the right of investiture than Emperor Henry IV had been before his death in 1105. The imperial Diet at Mainz invited Paschal II to visit Germany and settle the trouble in January 1106, but the Pope in the Council of Guastalla simply renewed the prohibition of investiture. Preparations were made for the coronation on 12 February 1111, but the Romans rose in revolt against Henry, and the German king retired, taking the Pope and Curia with him. After 61 days of imprisonment, during which Prince Robert I of Capuas Norman army was repulsed on its rescue mission. Henry V was then crowned in St. Peters on 13 April 1111, Emperor Henry V at once laid claim to Matildas lands as imperial fiefs and forced the Pope to flee from Rome. Paschal II returned after the Emperors withdrawal at the beginning of 1118, Pope Paschal II ordered the building of the a basilica of Santi Quattro Coronati on the ashes of the one burned during the Norman sack of Rome in 1084. During Paschals trip to France in 1106-1107, he consecrated the Cluniac church of Notre Dame at La Charité-sur-Loire, in 1116, Paschal II, at the behest of Count Ramon Berenguer III, issued a crusade for the capture of Tarragona. This was something the patriarch could not do in face of opposition from the majority of clergy, the world. Paschals demand remained the status quo condition for re-unification of the Churches, the first bishop of America was appointed during Paschal IIs reign, nearly four centuries before Columbus first voyage across the Atlantic. Erik Gnupsson was given the province of Greenland and Vinland, the believed to refer to what is now Newfoundland. Pope Paschal II issued the bull Pie Postulatio Voluntatis on 15 February 1113 and it also confirmed the orders acquisitions and donations in Europe and Asia and exempted it from all authority save that of the Pope. First Council of the Lateran Concordat of Worms This article incorporates text from a now in the public domain, Chisholm, Hugh. Herbermann, Charles, ed. Pope Paschal II
Pope Paschal II
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Pope Paschal II
Pope Paschal II
8.
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
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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
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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
9.
Order of Saint Augustine
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In its establishment in its current form, it was shaped as a mendicant Order, one of the four great Orders which follow that way of life. The Order has done much to extend the influence of the Church, to propagate the Roman Catholic Faith, the Order has, in particular, spread internationally the veneration of the Virgin Mary under the title of Our Lady of Good Counsel. St. Augustine of Hippo, first with friends and afterward as bishop with his clergy. Religious vows were not obligatory, but the possession of property was prohibited. Their manner of life led others to imitate them, epistola ccxi, otherwise cix, contains the early Augustinian Rule for Nuns, Epistolae ccclv and ccclvi De moribus clericorum. Between 430 and 570 this life-style was carried to Europe by monks and this system of life for cathedral clergy continued in various locations throughout Europe for centuries. As the first millennium came to an end, the fervor of this began to wane. At the start of the millennium, there was a revival in interest in the stricter form of clerical life. Several groups of canons were established under various disciplines, all with the Augustinian Rule as their basis, examples of these were the Congregation of canons in Ravenna, founded by the Blessed Peter de Honestis about 1100, as well as the Norbertines. Around the start of the 13th century, many communities, especially in the vicinity of Siena, Italy. These were often small and composed of laymen, thus they lacked the clerical orientation of the canons and their foundational spirit was one of solitude and penance. With time, some of the adopted a more outward looking way of life. As the number of hermit-priests increased, assisting the clergy in providing spiritual care for their neighbors became a larger part of their lives. In 1223 four of the communities around Siena joined in a loose association, at this time there were a number of eremitical groups living in such diverse places as Tuscany, Latium, Umbria, Liguria, England, Switzerland, Germany, and perhaps France. In 1243 the Tuscan hermits petitioned Pope Innocent IV to unite them all as one group, the bull also appointed Cardinal Riccardo Annibaldi as their supervisor and legal guide. The importance of this man in the foundation of the Order cannot be overstated, the delegates from other small religious communities met in Rome on 1 March 1256, which resulted in a union. Lanfranc Septala of Milan, Prior of the Bonites, was appointed the first Prior General of the newly constituted Order, ecclesiastical privileges were granted to the order almost from its beginning. Since the end of the 13th century the sacristan of the Papal Palace was always to be an Augustinian friar and this privilege was ratified by Pope Alexander VI and granted to the Order forever by a Bull issued in 1497
Order of Saint Augustine
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St. Thomas of Villanova Church, on the Villanova University campus.
Order of Saint Augustine
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Order of Saint Augustine Ordo fratrum sancti Augustini
Order of Saint Augustine
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Monastery of San Agustin of Yuriria, Mexico, founded in 1550.
Order of Saint Augustine
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1914 tour group led by Blasius Zeiser, OSA, on the deck of RMS Carpathia.
10.
Piazza del Popolo
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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
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An Egyptian obelisk of Ramesses II from Heliopolis stands in the centre of the Piazza.
Piazza del Popolo
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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
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One side of the Fontana dell'Obelisco.
11.
Porta del Popolo
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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
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Porta del Popolo (Rome): inner façade. On the right, the church of Santa Maria del Popolo
Porta del Popolo
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Porta del Popolo, outer façade
Porta del Popolo
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Etching by Giuseppe Vasi, showing the side towers destroyed in 1879
12.
Aurelian Wall
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The Aurelian Walls are a line of city walls built between 271 AD and 275 AD in Rome, Italy, during the reign of the Roman Emperors Aurelian and Probus. They superseded the earlier Servian Wall built during the 4th century BC, the walls enclosed all the seven hills of Rome plus the Campus Martius and, on the right bank of the Tiber, the Trastevere district. The river banks within the city appear to have been left unfortified. The size of the enclosed area is 1,400 hectares. The full circuit ran for 19 kilometres surrounding an area of 13.7 square kilometres, the walls were constructed in brick-faced concrete,3.5 metres thick and 8 metres high, with a square tower every 100 Roman feet. In the 4th century, remodelling doubled the height of the walls to 16 metres, by 500 AD, the circuit possessed 383 towers,7,020 crenellations,18 main gates,5 postern gates,116 latrines, and 2,066 large external windows. By the third century AD, the boundaries of Rome had grown far beyond the area enclosed by the old Servian Wall, Rome had remained unfortified during the subsequent centuries of expansion and consolidation due to lack of hostile threats against the city. The citizens of Rome took great pride in knowing that Rome required no fortifications because of the stability brought by the Pax Romana and the protection of the Roman Army. However, the need for updated defences became acute during the crisis of the Third Century, when barbarian tribes flooded through the Germanic frontier and the Roman Army struggled to stop them. In 270, the barbarian Juthungi and Vandals invaded northern Italy, further trouble broke out in Rome itself in the summer of 271, when the mint workers rose in rebellion. Several thousand people died in the fighting that resulted. The construction of the walls was by far the largest building project that had taken place in Rome for many decades, the construction project was unusually left to the citizens themselves to complete as Aurelian could not afford to spare a single legionary for the project. The walls were built in the time of only five years. Progress was accelerated, and money saved, by incorporating existing buildings into the structure and these included the Amphitheatrum Castrense, the Castra Praetoria, the Pyramid of Cestius, and even a section of the Aqua Claudia aqueduct near the Porta Maggiore. As much as a sixth of the walls is estimated to have composed of pre-existing structures. An area behind the walls was cleared and sentry passages were built to enable it to be reinforced quickly in an emergency, the actual effectiveness of the wall is disputable, given the relatively small size of the citys garrison. The entire combined strength of the Praetorian Guard, cohortes urbanae, instead, they carried out hit-and-run raids against ill-defended targets. The wall was a deterrent against such tactics, parts of the wall were doubled in height by Maxentius, who also improved the watch-towers
Aurelian Wall
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A section of Aurelian wall between the Porta Ardeatina and Porta San Sebastiano.
Aurelian Wall
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Sentry passage near Porta Metronia.
Aurelian Wall
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Porta Asinaria.
Aurelian Wall
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A section of wall near the Pyramid of Cestius.
13.
Via Flaminia
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It leaves Rome, goes up the Val Tevere, strikes into the mountains at Castello delle Formiche, ascends to Gualdo Tadino, goes over the divide at Scheggia Pass,575 m, to Cagli. From there it descends the eastern slope waterways between the Tuscan-Emilian Apennines and the Umbrian Apennines to Fano on the coast and goes north parallel to Highway A1 to Rimini. This route, convenient to ancients, is now far from it due to modern traffic between north Italy and the capital. It was constructed by Gaius Flaminius during his censorship, sources mention frequent improvements being made to it during the imperial period. Triumphal arches were erected in his honour on the bridge and at Ariminum. Vespasian constructed a new tunnel through the pass of Intercisa, in 77, in the Middle Ages it was known as the Ravenna road, as it led to the then more important city of Ravenna. As the SS3 it remains one of the highways from Rome to the Adriatic. A number of battles were therefore fought on or near the Via Flaminia, for example at Sentinum. In the early Middle Ages, the road, controlled by the Eastern Empire, was a civilizing influence, and accounted for much of what historians call the Byzantine corridor. The Via Flaminia starts at Porta del Popolo in the Aurelian Walls of Rome, Via del Corso, from there it descended to Cales, where it turned north-east following the gorges of the Burano. The narrowest pass was crossed by means of a tunnel chiseled out of solid rock and this is the modern Gola del Furlo, the ancient name of which, Intercisa, means cut through with reference to these tunnels. The modern 2‑lane road, the SS3 Flaminia, still uses Vespasians tunnel, the Flaminia emerged from the gorges of the Apennines at Forum Sempronii and reached the coast of the Adriatic at Fanum Fortunae. Thence, it ran north-west through Pisaurum to Ariminum, the total distance from Rome was 210 Roman miles by the older road and 222 by the newer. For an overview of the location of Roman bridges, see List of Roman bridges, giovanni de Butris Ponte del Diavolo at Cavallara near Bastardo Along the eastern branch, Ponte Sanguinaro in Spoleto scant remains of a bridge at Pontebari After the branches rejoin at S. A small stretch of the remains in the ruins of Carsulae where it passes through the impressive Arco di Traiano. The road was used as part of the road race cycling event for the 1960 Summer Olympics in Rome. In Rome it runs past and gives its name to the Stadio Flaminio sports stadium, Roman road Roman bridge Roman engineering Via del Corso Piazza del Popolo 1960 Summer Olympics official report. The Via Flaminia at LacusCurtius Omnes Viae, Via Flaminia on the Peutinger Map This article incorporates text from a now in the public domain, Chisholm, Hugh
Via Flaminia
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Route of the Via Flaminia; the purple route indicates the Via Flaminia nova.
Via Flaminia
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The bridge of Narni in an 1826 painting by Jean-Baptiste-Camille Corot.
Via Flaminia
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Via Flaminia at Carsulae
Via Flaminia
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Mallio Bridge at Cagli
14.
Pinturicchio
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Pintoricchio or Pinturicchio whose formal name was Bernardino di Betto, also known as Benetto di Biagio or Sordicchio, was an Italian painter of the Renaissance. Born in Perugia in 1454 and dying in Siena in 1513, Pintoricchio acquired his nickname, meaning and he also used it to sign some of his 14th and 15th century artworks. Pinturicchio was born the son of Benedetto or Betto di Blagio, in his career, he may have trained under lesser known Perugian painters such as Bonfigli and Fiorenzo di Lorenzo. According to Vasari, Pinturicchio was an assistant of Perugino. The works of the Perugian Renaissance school are very similar, and paintings by Perugino, Pinturicchio, Lo Spagna, the Sistine Chapel was also where it is believed that Pinturicchio was collaborating with Perugino to some extent. Would be, if it had left with all its original decorations. A great deal still remains, but much has been swept away, the earliest of his works is an altarpiece of the Adoration of the Shepherds, in the Della Rovere Chapel, the first chapel on the south, built by Cardinal Domenico della Rovere. The old fresco of the Virgin and the Child by Pinturicchio was detached from the wall, the fragment was re-used as the altarpiece of the Ducal Chapel of the Cathedral of Massa. The third chapel on the south is that of Girolamo Basso della Rovere, nephew of Pope Sixtus IV, and bishop of Recanati. The Basso Della Rovere Chapel contains an altarpiece of the Madonna enthroned between Four Saints, and on the east side a very nobly composed fresco of the Assumption of the Virgin. In the Costa Chapel, Pinturicchio or one of his helpers painted the Four Latin Doctors in the lunettes of the vault, most of these frescoes are considerably injured by moisture and have suffered little from restoration. In the centre is a panel of the Coronation of the Virgin. The spaces between them are filled by reclining figures of the Four Sibyls, on each pendentive is a figure of one of the Four Doctors enthroned under a niched canopy. No finer specimen of the decoration of a quadripartite vault can be seen anywhere. In 1492, Pinturicchio was summoned to Orvieto Cathedral and he was employed by Pope Alexander VI to decorate a recently completed suite of six rooms, the Borgia Apartments in the Apostolic Palace of the Vatican. These rooms now form part of the Vatican Library, and five still retain a series of Pinturicchio frescoes, the Umbrian painter worked in these rooms till around 1494, assisted by his pupils, and not without interruption. It was not until Pope Alexander VI died that Pinturicchio left Rome for Umbria, leaving much of the work in Rome to be completed by Michelangelo, Raphael, and company. His other chief frescoes in Rome, still existing in good condition, are in the Bufalini Chapel in the southwest sector of Santa Maria in Ara Coeli, probably executed around 1484-1486
Pinturicchio
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Self-portrait in the Baglioni Chapel.
Pinturicchio
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The Crucifixion with Sts. Jerome and Christopher, 1471, oil on wood, 59 × 40 cm, Galleria Borghese, Rome.
Pinturicchio
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Fresco at Siena Cathedral depicting Pope Pius II.
Pinturicchio
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Bernard of Clairvaux between Louis of Toulouse and Anthony of Padua, Bufalini Chapel, Santa Maria in Aracoeli, Rome.
15.
Guillaume de Marcillat
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Guillaume de Marcillat was a French painter and stained glass artist. He was born in La Châtre, Indre about 1470. He was in Rome by 1509, where he was employed by the popes Julius II and Leo X in the Vatican and at Santa Maria del Popolo, where the two windows in the choir are his earliest surviving works. In 1515, he was summoned by Cardinal Silvio Passerini to Cortona, where he established a workshop, by 1519 he was in Arezzo, where he produced windows for the Cathedral of Arezzo and the The Basilica of San Francesco. He also painted frescos in the vault of the Cathedral of Arezzo. He died in Arezzo, Italy in 1529, henry, Tom, Centro e Periferia, Guillaume de Marcillat and the Modernisation of Taste in the Cathedral of Arezzo, Artibus et Historiae, Vol.15, No. Vasari, Giorgio, Le Vite delle più eccellenti pittori, scultori, ed architettori, many editions and translations
Guillaume de Marcillat
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depiction of Guillaume de Marcillat, part of Giorgio Vasari 's Le Vite
Guillaume de Marcillat
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stained glass window in The Basilica of San Francesco, Arezzo, Italy, by Guillaume de Marcillat
16.
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
17.
Walnut
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A walnut is the nut of any tree of the genus Juglans, particularly the Persian or English walnut, Juglans regia. Technically a walnut is the seed of a drupe or drupaceous nut and it is used for food after being processed while green for pickled walnuts or after full ripening for its nutmeat. Nutmeat of the black walnut from the Juglans nigra is less commercially available. The walnut is nutrient-dense with protein and essential fatty acids, walnuts are rounded, single-seeded stone fruits of the walnut tree commonly used for the meat after fully ripening. Following full ripening, the removal of the husk reveals the wrinkly walnut shell, during the ripening process, the husk will become brittle and the shell hard. The shell encloses the kernel or meat, which is made up of two halves separated by a partition. The seed kernels – commonly available as shelled walnuts – are enclosed in a seed coat which contains antioxidants. The antioxidants protect the seed from atmospheric oxygen, thereby preventing rancidity. Walnuts are late to grow leaves, typically not until more than halfway through the spring and they secrete chemicals into the soil to prevent competing vegetation from growing. Because of this, flowers or vegetable gardens should not be planted close to them, the two most common major species of walnuts are grown for their seeds – the Persian or English walnut and the black walnut. The English walnut originated in Persia, and the black walnut is native to eastern North America, the black walnut is of high flavor, but due to its hard shell and poor hulling characteristics it is not grown commercially for nut production. Numerous walnut cultivars have been developed commercially, which are nearly all hybrids of the English walnut, other species include J. californica, the California black walnut, J. cinerea, and J. major, the Arizona walnut. In 2013, worldwide production of walnuts was 3.458 million tonnes, other major producers were, Iran, United States, Turkey and Ukraine. The average worldwide walnut yield was about 3.5 tonnes per hectare in 2013, eastern European countries had the highest yield, with Slovenia and Romania each harvesting about 22 tonnes per hectare. The United States is the worlds largest exporter of walnuts, followed by Turkey, the Central Valley of California produces 99 percent of United States commercial English walnuts. Walnuts, like tree nuts, must be processed and stored properly. Poor storage makes walnuts susceptible to insect and fungal mold infestations, a mold-infested walnut batch should be entirely discarded. The ideal temperature for longest possible storage of walnuts is in the −3 to 0 °C and low humidity – for industrial and home storage
Walnut
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The common walnut in growth.
Walnut
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Californian black walnut in growth.
Walnut
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Walnut shell inside its green husk
Walnut
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A whole walnut kernel, with both halves unbroken.
18.
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
19.
Exorcism
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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
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Painting of Saint Francis Borgia performing an exorcism, by Goya
Exorcism
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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
20.
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)
21.
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
22.
Sancta Sanctorum
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The Sancta Sanctorum chapel is a chapel entered from the Scala Sancta of the Lateran Palace, Rome. The artwork of the Sancta Sanctorum in Rome was the basis for the art at Assisi, the chapel is the only building from the old Lateran palace that was not destroyed during its reconstruction. It was the private chapel of the papacy before it moved to Avignon. The chapel contains a reliquary box, which supposedly houses the bones of at least 13 saints and an icon supposedly being painted half by Saint Luke. Holy of Holies, in Ancient Israel
Sancta Sanctorum
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Chiesa di San Lorenzo in Palatio ad Sancta Sanctorum
23.
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
24.
Napoleonic era
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The Napoleonic era is a period in the history of France and Europe. The Congress of Vienna soon set out to restore Europe to pre-French Revolution days, Napoleon brought political stability to a land torn by revolution and war. He made peace with the Roman Catholic Church and reversed the most radical religious policies of the Convention, in 1804 Napoleon promulgated the Civil Code, a revised body of civil law, which also helped stabilize French society. The Civil Code confirmed many of the revolutionary policies of the National Assembly. The code restored patriarchal authority in the family, for example, whilst working to stabilise France, Napoleon also sought to extend his authority throughout Europe. Napoleons armies conquered the Iberian and Italian peninsulas, occupied lands, and he forced Austria, Prussia, the United Kingdom refused to recognise French hegemony and continued the war throughout. The First French Empire began to unravel in 1812, when he decided to invade Russia, Napoleon underestimated the difficulties his army would have to face whilst occupying Russia. Convinced that the Tsar was conspiring with his British enemies, Napoleon led an army of 600,000 soldiers to Moscow. He defeated the Russian army at Borodino before capturing Moscow, but the Tsar withdrew and Moscow was set ablaze, leaving Napoleons vast army without adequate shelter or supplies. Napoleon ordered a retreat, but the bitter Russian winter and repeated Russian attacks whittled down his army, the allies then continued a united effort against Napoleon until they had seized Paris forcing his abdication in 1814. His return to power the year was resisted by all the allies
Napoleonic era
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Strategic Situation of Europe 1798
25.
Franciscans
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The Franciscans are a group of related mendicant religious orders within the Catholic Church, founded in 1209 by Francis of Assisi. These orders include the Order of Friars Minor, the Order of Saint Clare, Francis began preaching around 1207 and traveled to Rome to seek approval from the Pope in 1209. The original Rule of Saint Francis approved by the Pope disallowed ownership of property, the austerity was meant to emulate the life and ministry of Jesus Christ. Franciscans traveled and preached in the streets, while boarding in church properties, Saint Clare, under Franciss guidance, founded the Poor Clares in 1212, which remains a Second Order of the Franciscans. The extreme poverty required of members was relaxed in final revision of the Rule in 1223, the degree of observance required of members remained a major source of conflict within the order, resulting in numerous secessions. The Order of Friars Minor, previously known as the Observant branch, is one of the three Franciscan First Orders within the Catholic Church, the others being the Capuchins and Conventuals. The Order of Friars Minor, in its current form, is the result of an amalgamation of smaller orders completed in 1897 by Pope Leo XIII. The latter two, the Capuchin and Conventual, remain distinct religious institutes within the Catholic Church, observing the Rule of Saint Francis with different emphases, Franciscans are sometimes referred to as minorites or greyfriars because of their habit. In Poland and Lithuania they are known as Bernardines, after Bernardino of Siena, the name of original order, Friars Minor, means lesser brothers, and stems from Francis of Assisis rejection of extravagance. Francis was the son of a cloth merchant, but gave up his wealth to pursue his faith more fully. Francis adopted of the tunic worn by peasants as the religious habit for his order. Those who joined him became the original Order of Friars Minor and they all live according to a body of regulations known as the Rule of St Francis. First Order The First Order or the Order of Friars Minor are commonly called simply the Franciscans and this Order is a mendicant religious order of men, some of whom trace their origin to Francis of Assisi. Their official Latin name is the Ordo Fratrum Minorum, St. Francis thus referred to his followers as Fraticelli, meaning Little Brothers. Franciscan brothers are informally called friars or the Minorites and they all live according to a body of regulations known as the Rule of St Francis. These are The Order of Friars Minor, known as the Observants, most commonly simply called Franciscan friars, official name, the Order of Friars Minor Capuchin or simply Capuchins, official name, Friars Minor Capuchin. The Conventual Franciscans or Minorites, official name, Friars Minor Conventual, Second Order The Second Order, most commonly called Poor Clares in English-speaking countries, consists of religious sisters. The order is called the Order of St. Clare, but in the century, prior to 1263, this order was referred to as The Poor Ladies, The Poor Enclosed Nuns
Franciscans
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Francis of Assisi, founder of the Order of Friars Minor; oldest known portrait in existence of the saint, dating back to St. Francis' retreat to Subiaco (1223–1224)
Franciscans
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Regula bullata, the Rule confirmed by Honorius III
Franciscans
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"The Confirmation of the Franciscan Rule" by Domenico Ghirlandaio (1449-1494), Capella Sassetti, Florence.
Franciscans
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Anthony of Padua (c1195-1231) with the Infant Christ, painting by Antonio de Pereda (c1611-1678)
26.
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.
27.
Palmette
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The palmette is a motif in decorative art which, in its most characteristic expression, resembles the fan-shaped leaves of a palm tree. It has a history, originating in Ancient Egypt with a subsequent development through the art of most of Eurasia. In Ancient Greek and Ancient Roman uses it is known as the anthemion. It is found in most artistic media, but especially as an ornament, whether carved or painted. It is very often a component of the design of a frieze or border, the complex evolution of the palmette was first traced by Alois Riegl in his Stilfragen of 1893. The half-palmette, bisected vertically, is also a common motif, found in many mutated and vestigial forms. The essence of the palmette is a group of spreading fronds that spread out from a single base, normally widening as they go out. There may be a central frond that is larger than the rest, the number of fronds is variable, but typically between five and about fifteen. In the repeated border design commonly referred to as anthemion the palm fronds more closely resemble petals of the honeysuckle flower, some compare the shape to an open hamsa hand – explaining the commonality and derivation of the palm of the hand. In some forms of the motif the volutes or scrolls resemble a pair of eyes, like those on the harmika of the Tibetan or Nepalese stupa and the eyes and sun-disk at the crown of Egyptian stelae. Common to all forms is the pair of volutes at the base of the fan – constituting the defining characteristics of the palmette. It is thought that the palmette originated in ancient Egypt 2,500 years B. C. and has influenced Greek art, from earliest times there was a strong association with the sun and it is probably an early form of the halo. A second form, apparently evolved from this, is a fully developed palmette similar to the forms found in Ancient Greece. Third is a version consisting of a clump of lotus or papyrus blooms on tall stems, with a bud or flower on either side. This unification scene appeared on the base of the throne of several kings, the further implication is that it is from this apparently occult and magical, undivided source that fertility and new life spring. Another variant of this motif is a lotus bloom between two upright buds, a favourite fragrant offering. The god of fragrance, Nefertem, is represented by such a lotus, the link between these hanging clusters and the volutes of the palmette is visually clear, but remains inexplicit. When the sun is reborn in the morning it is said to be born from the womb of Nut, most early Egyptian forms of the motif appear later in Crete, Mesopotamia, Assyria and Ancient Persia, including the daisy-wheel-style lotus and bud border
Palmette
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An antefix in the form of a palmette
Palmette
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Example of the eyes and sun-disk at the crown of Egyptian stelae. Stela showing high Egyptian official Senebsumai, 13th Dynasty. Roanne, France
Palmette
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The hieroglyph ' akhet ' of the horizon guarded by the twin lions of Aker
Palmette
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Hapy, god of the Nile inundation: by making offerings and ensuring that Upper and Lower Egypt remain unified, the Pharaoh helps to guarantee that the annual flood of the Nile will recur
28.
Girolamo Basso della Rovere
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Girolamo Basso della Rovere was an Italian Cardinal of the Roman Catholic Church. He was created cardinal on December 10,1477, by his uncle, the Basso Della Rovere Chapel was decorated by the favourite artist of the family, Pinturicchio, and his workshop. Girolamos father, Giovanni Basso, was buried in the chapel, ian Verstegen, Patronage and Dynasty, the Rise of the Della Rovere in Renaissance Italy
Girolamo Basso della Rovere
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Tomb in Santa Maria del Popolo, created by Andrea Sansovino.
29.
Domenico della Rovere
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Domenico della Rovere was an Italian cardinal and patron of arts. He was born at Vinovo, near Turin, and was a relative of Pope Sixtus IV, in 1478 he was appointed as Bishop of Tarantaise succeeding his brother, Cristoforo. In the same year, on 10 February, he was created cardinal of San Vitale by Sixtus IV, also in 1478 he received the title of bishop of Montefiascone and Corneto, which he kept until his death. In 1482 he was appointed to the diocese of Geneva, which he exchanged with that of Turin. After Sixtus death in 1484, he went to Rome to participate in the conclave which elected Pope Innocent VIII. Della Rovere remained in Rome for most of the rest of his life, leaving the diocese of Turin to his collaborators, including in nephew Giovanni Ludovico della Rovere. In Piedmont, he funded the Collegiate church of Saluzzo and the rebuilding of the Turin Cathedral, in the Borgo rione of Rome, he commissioned Pinturicchio the decoration of the Palazzo bearing his name, whose construction he had started in 1480, perhaps under design by Baccio Pontelli. He died in Rome in 1501, and is now buried in the Turin Cathedral, storia della Chiesa Metropolitana di Torino. Udinet, François Ch. Della Rovere, Domenico
Domenico della Rovere
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Domenico della Rovere
30.
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
31.
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
32.
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
33.
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
34.
Deruta
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Deruta is a hill town and comune in the Province of Perugia in the Umbria region of central Italy. Long known as a center of refined maiolica manufacture, Deruta remains known for its ceramics, probably built upon Roman foundations, Derutas name in its early variants all signify the “ruin” of this strategic site caused by the 6th-century Gothic War and the Lombard invasion. The towns fortifications date from the 12th century, when it was an outpost in Perugias marches, in 1465, under a new agreement with Perugia, the magistrate sent from Perugia would govern with the consent of four local men of good character. The ravages of plague were so fierce at Deruta that rewalling in the later 15th century took in a circuit to accommodate the reduced population. With the papal reduction of Perugia, the settled down to uneventful history as part of the Papal States. The lack of fuel enforced low firing temperatures, but from the beginning of the 16th century, Deruta compensated with its metallic lustre glazes in golds, in the 16th century Deruta produced the so-called Rafaellesque ware, decorated with fine arabesques and grottesche on a fine white ground. Deruta, with Gubbio and Urbino, continues to some of the finest Italian maiolica. The historic town center features the Gothic church of San Francesco built in 1388, and the Palazzetto Municipale, the gallery also houses works received from various Deruta churches including San Francesco, Sant Antonio, the Defunti di Ripabianca and the Ospedale San Giacomo. The church of SantAntonio, with frescoes by Bartolommeo and Giovanni Battista Caporali, rises at the end of a narrow street, another church worth seeing is the Madonna del Divino Amore on Piazza Cavour. Along the Tiberina road, at the foot of the old town, yet another church, Deruta was the birthplace of Girolamo Diruta, an organist, music theorist, and composer
Deruta
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Deruta
35.
Costa Chapel (Santa Maria del Popolo)
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The Costa or St Catherine 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 Catherine of Alexandria. The lunettes were painted by Pinturicchio and the marble altar-piece is attributed to Gian Cristoforo Romano, the chapel was originally owned by Domenico della Rovere but it was acquired by Portuguese Cardinal Jorge da Costa for 200 gold ducats in 1488. Costa was a well-known and influential person in the court of Pope Alexander VI, the Cardinal employed the same workshop of painters as the Della Rovere dynasty, the school of Pinturicchio. It is not unlikely that the patron consciously sought out the same artist, the chapel preserved its original form except one window that was walled up for the creation of a new funeral monument in 1833. The small chapel is hexagonal with a ribbed vault and the entrance is protected by an elegant marble parapet which is decorated by garlands, ribbons. The fresco decoration was painted by a helper of Pinturicchio, stylistically close to Melozzo da Forli, the side walls are articulated by painted Corinthian pilasters decorated with candelabra, flowers and garlands on a yellow background, resting on a fake monochrome pedestal. The ribs and the splays of the two arched windows were decorated with grotesques but only the window is preserved. The vault is covered with a carpet and gold stars. The overall concept of the decoration is similar to that of the Della Rovere Chapel. The most important original frescos in the chapel are the paintings of the five lunettes, four of them depict the Fathers of the Church in front of a blue background, St. Jerome, Ambrose, Augustine and Gregory the Great. The central lunette is filled with the sculpted coats-of-arms of Cardinal Costa which is supported by two painted angels, the main altar-piece is attributed to Gian Cristoforo Romano. It was certainly built after 1503 because the inscription at the base calls the Cardinal the Bishop of Porto, the tripartite marble reredos is articulated by Corinthian pilasters and crowned by an elaborate pediment with the figure of God, the Father. There are three sculptures of saints in shell-headed niches, St. Catherine of Alexandria in the middle, St. Vincent, the latter two are the patrons of the city of Lisbon. Three tondos above them contain reliefs of the Annunciation, the high pedestal is decorated with the coats-of-arms of Cardinal Costa. The funeral monument of a young Roman knight, Marcantonio Albertoni, the marble sepulchre with the recumbent effigy of the deceased was created by Iacopo di Andrea da Firenze in 1487. Originally, at least until 1600, it was placed in the right transept, the marble tomb was commissioned by the knights mother, Caterina Albertoni. It is the only work of the Florentine sculptor who was mentioned in the contract dated to 20 April 1487
Costa Chapel (Santa Maria del Popolo)
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View of the chapel
Costa Chapel (Santa Maria del Popolo)
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General view with tombs and monuments
Costa Chapel (Santa Maria del Popolo)
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The marble altar-piece by Gian Cristoforo Romano
Costa Chapel (Santa Maria del Popolo)
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Tomb of Cardinal Pietro Foscari by Giovanni di Stefano
36.
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
37.
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
38.
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
39.
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
40.
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.
41.
Creation of the World (Raphael)
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Creation of the World is a mosaic composition in the dome of the Chigi Chapel in Santa Maria del Popolo, Rome, designed by Raphael. The chapel itself was designed by Raphael for his friend and patron, banker Agostino Chigi as a private chapel, the dome was decorated with mosaics, a somewhat unusual and old-fashioned technique in the 16th century. Raphaels cartoons were executed by a Venetian craftsman, Luigi da Pace in 1516, the original cartoons were lost but some preparatory drawings, that confirm the originality of the work, survived in the Ashmolean Museum, Oxford. There are two studies for the figure of God and one for the angel above Jupiter, another drawing in the Palais des Beaux-Arts in Lille shows the planet Mars with an angel. This is probably a creative drawing by a pupil suggested by its inferior quality, eight mosaic panels show the Sun, the Moon, the starry sky and the six known planets as pagan deities depicted in half-length, each accompanied by an angel with colourful feathered wings. The figures are accompanied by the signs of the zodiac, a French engraver, Nicolas Dorigny created a series of plates depicting the mosaics in 1695 for Louis, Duke of Burgundy. The mosaic panels are surrounded by richly gilded stucco decoration, the blue background creates an optical illusion giving the impression of an architectural framework opening to the sky above the chapel. The panels look like illusionistic skylights between the gilt stucco ribs while God is standing on the edge of the central oculus, the traditional interpretation of the dome is that the composition shows the Creation of the World. Another interpretation claims that it represents the cosmos as described by Plato in a Christianized Neoplatonist form and this idea had a widespread popularity in the Renaissance. In this case the dome is a depiction of the Realm of the Soul after Death with God, the Father recepting the soul in his new home
Creation of the World (Raphael)
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Raphael's Creation of the World
Creation of the World (Raphael)
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Early works
42.
Lorenzetto
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Lorenzo Lotti, also known as Lorenzetto, born Lorenzo di Lodovico di Guglielmo, was an Italian Renaissance sculptor and architect in the circle of Raphael. He was born in Florence and married the sister of Giulio Romano, another painter, sculptor and he is profiled in Vasaris Le Vite delle più eccellenti pittori, scultori, ed architettori. According to Vasari, as a young sculptor Lorenzetto completed the tomb of Cardinal Niccolò Forteguerri, begun by Andrea Verrocchio in 1477, then in Rome, he made many works of which, according to Vasari, there is no need to make any further record. At the urging of Raphael, Lorenzetto received a commission from Agostino Chigi to create his tomb in Santa Maria del Popolo, according to Vasari, Lorenzetto worked very hard on the project, both to impress Chigi and reflect well on Raphael. Lorenzetto was also assigned by Raphael to execute bronze reliefs for Agostinos tomb, the relief of Christ and the Women of Samaria was moved to the base of the altar by Bernini during later work on the Chapel. According to Vasari, the almost simultaneous death of Chigi and Raphael heralded a decline in Lorenzettos fortunes, Lorenzetto did, however, find work creating a statue for Raphaels tomb in the Pantheon, assisted by Raffaello da Montelupo. Called the Madonna del Sasso, it is so named because Mary rests one foot on a boulder, in 1524, Lorenzetto completed the tomb of poet Bernardino Cappella in Santo Stefano Rotondo. In his later years, Lorenzetto also assisted Antonio da Sangallo the Younger as an architect, according to Vasari, this proved to be the most lucrative engagement of Lorenzettos career because, the walls were being built at a fixed price of so much for every four braccia. And if he had lived longer, he would have even more towards wiping out those injuries that a cruel fate had unjustly brought upon him during his best period of work. Lorenzetto died in Rome in 1541 at age 47
Lorenzetto
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Jonah by Lorenzetto, Chigi Chapel, Santa Maria del Popolo.
Lorenzetto
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Madonna del Sasso, above the Tomb of Raphael, Pantheon, Rome
43.
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)
44.
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
45.
Cybo-Soderini Chapel (Santa Maria del Popolo)
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The Cybo-Soderini Chapel or the Chapel of the Crucifixion is a side chapel of the Basilica of Santa Maria del Popolo, Rome. Its most important works of art are the frescos of a Flemish artist, the chapel was founded by Teodorina Cybo, Cardinal Giovanni Battista Cybos daughter. She was married to a Genovese gentleman, Gherardo Usodimare, the concession to the chapel was renewed in 1530 to Teodorinas son, Giovanni Battista Usodimare, the Bishop of Mariana and his heirs. The chapel contained the sepulchral monuments of Teodorina, her husband and their son, the altar was consecrated in 1595. The chapel was returned to the House of Cybo in 1636, Teodorinas heirs renounced the patronage of the chapel in 1747. It was bought by a new owner, Lorenzo Soderini in 1821, at the time the Cybo tombs were removed. There is a 15th-century wooden crucifix above the altar in a Corinthian aedicule. The side walls are articulated by painted Corinthian pilasters and the splays of the windows are decorated with monochrome trophies, the archivolt of the entrance arch is decorated with coffers and rosettes. The painted architecture, which is among the finest from the period in Rome, was executed by Pietro Paolo Drei. Two big frescos by a Flemish artist, Pieter van Lint depict scenes from the legend of the True Cross, on the side the Invention of the True Cross. The gate of Jerusalem on the latter closely resembles the original Porta del Popolo outside of the basilica. The first painting shows the moment when the True Cross was identified, the True Cross restored the dead to life. The second painting shows Emperor Heraclius when he back the cross to Jerusalem in 629. He tried to enter the city carrying the cross but he was stopped until he took off his imperial robes, the richly decorated stucco frames of the paintings are crowned with the Soderini coat-of-arms. The frescos on the depict the Angels with the Symbols of the Passion. There are four Prophets in the lunettes, Daniel, King David, Hosea and Jonah while the central lunette is filled with clouds, a small coat-of-arms of the Cybo family survived on the vault as part of the decoration. Two enigmatic portraits on both sides of the altar represent Innocenzo Cybo and probably his wife, the entrance of the chapel is barred by a solid Renaissance marble parapet which is decorated with vases and cornucopias. Some preparation drawings of the frescos of the vault survived in Paris, the soft chromatic passages and the peaceful landscapes show the influence of Domenichino and Guido Reni
Cybo-Soderini Chapel (Santa Maria del Popolo)
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View of the chapel
Cybo-Soderini Chapel (Santa Maria del Popolo)
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Invention of the True Cross by Pieter van Lint
Cybo-Soderini Chapel (Santa Maria del Popolo)
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Exaltation of the Cross by Pieter van Lint
Cybo-Soderini Chapel (Santa Maria del Popolo)
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General view
46.
Mannerism
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Mannerism is a style in European art that emerged in the later years of the Italian High Renaissance around 1520, lasting until about 1580 in Italy, when the Baroque style began to replace it. Northern Mannerism continued into the early 17th century, stylistically, Mannerism encompasses a variety of approaches influenced by, and reacting to, the harmonious ideals associated with artists such as Leonardo da Vinci, Raphael, and early Michelangelo. Where High Renaissance art emphasizes proportion, balance, and ideal beauty, Mannerism exaggerates such qualities, Mannerism is notable for its intellectual sophistication as well as its artificial qualities. Mannerism favors compositional tension and instability rather than the balance and clarity of earlier Renaissance painting, Mannerism in literature and music is notable for its highly florid style and intellectual sophistication. The definition of Mannerism and the phases within it continue to be a subject of debate among art historians, for example, some scholars have applied the label to certain early modern forms of literature and music of the 16th and 17th centuries. The term is used to refer to some late Gothic painters working in northern Europe from about 1500 to 1530. Mannerism also has been applied by analogy to the Silver Age of Latin literature, the word mannerism derives from the Italian maniera, meaning style or manner. Like the English word style, maniera can either indicate a type of style or indicate an absolute that needs no qualification. Vasari was also a Mannerist artist, and he described the period in which he worked as la maniera moderna, james V. Mirollo describes how bella maniera poets attempted to surpass in virtuosity the sonnets of Petrarch. This notion of bella maniera suggests that artists thus inspired looked to copying and bettering their predecessors, in essence, bella maniera utilized the best from a number of source materials, synthesizing it into something new. As a stylistic label, Mannerism is not easily defined, “High Renaissance” connoted a period distinguished by harmony, grandeur and the revival of classical antiquity. The term Mannerist was redefined in 1967 by John Shearman following the exhibition of Mannerist paintings organised by Fritz Grossmann at Manchester City Art Gallery in 1965. The label “Mannerism” was used during the 16th century to comment on social behaviour, however, for later writers, such as the 17th-century Gian Pietro Bellori, la maniera was a derogatory term for the perceived decline of art after Raphael, especially in the 1530s and 1540s. From the late 19th century on, art historians have used the term to describe art that follows Renaissance classicism. By the end of the High Renaissance, young artists experienced a crisis, no more difficulties, technical or otherwise, remained to be solved. The young artists needed to find a new goal, and they sought new approaches, at this point Mannerism started to emerge. The new style developed between 1510 and 1520 either in Florence, or in Rome, or in both cities simultaneously and this period has been described as a natural extension of the art of Andrea del Sarto, Michelangelo, and Raphael. Michelangelo from an early age had developed a style of his own, one of the qualities most admired by his contemporaries was his terribilità, a sense of awe-inspiring grandeur, and subsequent artists attempted to imitate it
Mannerism
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In Parmigianino 's Madonna with the Long Neck (1534-40), Mannerism makes itself known by elongated proportions, highly stylized poses, and lack of clear perspective.
Mannerism
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Mannerism role-model: Laocoön and His Sons, an ancient sculpture, rediscovered in 1506; now in the Vatican. The artists of Mannerism greatly admired this piece of sculpture.
Mannerism
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Ignudi from Michelangelo's Sistine Chapel ceiling.
Mannerism
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The Libyan Sibyl from Michelangelo's Sistine Chapel ceiling.
47.
Cerasi Chapel
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The Cerasi Chapel or Chapel of the Assumption is one of side chapels in the transept of the Church of Santa Maria del Popolo in Rome. It contains significant paintings by Michelangelo Merisi da Caravaggio and Annibale Carracci, before the present-day edifice another funerary chapel on the same spot was dedicated to the Virgin Mary. It was built by Pietro Foscari, the Cardinal of Venice, johann Burchard notes in his diary that the cardinal died on 11 August 1485. His body was transferred to the city, and given over for burial in a chapel of the Church of Santa Maria del Popolo. This construction obviously correlated to the rebuilding of the basilica by Pope Sixtus IV which began in 1472. The Cardinal of Venice was a person in the Roman court. It seems a choice that he built himself a chapel in the Popes favourite church in a very prominent position in the left transept. The construction might have begun in 1476, the chapel was covered by a barrel vault with a depth equal to the 15th century arch of the papal chapel. According to the precise will of the patron, the sarcophagus, due to its particular placement and visibility the sarcophagus was decorated on all four sides. This arrangement was different than the Florentine type wall tombs of the basilica. Probably it was modelled after the tomb of Pope Sixtus IV by Pollaiolo or even more after other 15th century sculptural works in the city of Siena and this sepulchral monument is the only remaining vestige of the demolished chapel. Now it is placed in the Costa Chapel in the right aisle, the patronage rights of the chapel were purchased on 8 July 1600 by Monsignor Tiberio Cerasi, Consistorial Advocate and Treasurer-General to Pope Clement VIII. He bought the chapel from the Augustinian friars with the option to rebuild and adorn it in the manner, the edifice was reconfigured by Carlo Maderno. The precedent already existed for this juxtaposition in the Cappella Paolina at the Vatican by Michelangelo, the first versions of the Caravaggio paintings were rejected by the patron and then Caravaggio painted two paintings in oil instead of cypress panels as it had been formerly stipulated. The story of the rejection of the first versions was recorded by Giovanni Baglione in his 1642 Life of Caravaggio, Tiberio Cerasi died on 5 May 1601 and was buried in the chapel. In his will he named the Fathers of the Hospital of the Madonna della Consolazione as his heir with the responsibility to complete the unfinished chapel, annibales altarpiece was already complete while Caravaggio was paid on 10 November 1601 for his work. The paintings were installed in the chapel by a woodworker Bartolomeo in May 1604. The chapel was restored in 1851 and 1899 by Antonio Cerasi, the oblong shaped chapel consists of a sail-vaulted anteroom and a narrower, barrel-vaulted chancel with the altar which is lit by a lunette window on the back wall
Cerasi Chapel
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View of the chapel
Cerasi Chapel
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Conversion of Saint Paul (Caravaggio)
Cerasi Chapel
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Assumption of the Virgin Mary (Carracci)
Cerasi Chapel
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Crucifixion of St. Peter (Caravaggio)
48.
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.
49.
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
50.
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
51.
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
52.
Santa Maria sopra Minerva
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Santa Maria sopra Minerva is one of the major churches of the Roman Catholic Order of Preachers in Rome, Italy. The church is located in Piazza della Minerva one block behind the Pantheon in the Pigna rione of Rome within the ancient district known as the Campus Martius, the present church and disposition of surrounding structures is visible in a detail from the Nolli Map of 1748. While many other churches in Rome have been given Baroque makeovers that cover Gothic structures. The church and adjoining convent served at times throughout its history as the Dominican Orders headquarters. Today the headquarters have been re-established in their location at the Roman convent of Santa Sabina. Details of the temple to Minerva are not known but recent investigations indicate that a small round Minervium once stood a little further to east on the Piazza of the Collegio Romano. In 1665 an Egyptian obelisk was found, buried in the garden of the Dominican cloister adjacent to the church, there are other Roman survivals in the crypt. The structure he commissioned has disappeared, in 1255 Pope Alexander IV established a community of converted women on the site. A decade later this community was transferred to the Roman Church of San Pancrazio thereby allowing the Dominicans to establish a convent of friars, the Friars were on site beginning in 1266 but took official possession of the Church in 1275. The ensemble of buildings that formed around the church and convent came to be known as the insula sapientae or insula dominicana, the Dominicans began building the present Gothic church in 1280 modelling it on their church in Florence Santa Maria Novella. Architectural plans were drawn up during the pontificate of Nicholas III by two Dominican friars, Fra Sisto Fiorentino and Fra Ristoro da Campi. With the help of funds contributed by Boniface VIII and the faithful the side aisles were completed in the 14th century. In 1453 church interior construction was completed when Cardinal Juan Torquemada ordered that the main nave be covered by a vault that reduced the overall projected height of the church. In the same year of 1453 Count Francesco Orsini sponsored the construction of the façade at his own expense, however work on the façade remained incomplete until 1725 when it was finally finished by order of Pope Benedict XIII. In 1431, the Church and the adjacent Convent of the Dominicans was the site of a Papal conclave. The city of Rome was in an uproar upon the death of Pope Martin V, whose family had dominated Roman political life for fifteen years, and enriched themselves on the wealth of the Church. The Sacristy of the Church served as the hall for the fourteen cardinals who attended the Conclave. The dormitory of the monks in the Convent to the north of the Church, served as the living quarters for the cardinals and their refectory
Santa Maria sopra Minerva
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Santa Maria sopra Minerva façade by Carlo Maderno
Santa Maria sopra Minerva
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Santa Maria sopra Minerva interior
Santa Maria sopra Minerva
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The Pulcino della Minerva, the famous elephant sculpture by Bernini and Ercole Ferrata, making the base of one of Rome's eleven Egyptian obelisks.
Santa Maria sopra Minerva
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Carafa chapel in 2010
53.
Giovanni Battista Pallavicino
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Giovanni Battista Pallavicino was an Italian Roman Catholic bishop and cardinal. Giovanni Battista Pallavicino was born in Genoa in 1480, the son of Cipriano Pallavicino and he was the nephew of Cardinal Antonio Pallavicini Gentili. He received a doctorate in law from the University of Padua and he became the dean of the cathedral chapter of Ourense Cathedral. On November 22,1507, he was elected Bishop of Cavaillon and he occupied this see until his death. In 1511, he became a scriptor of apostolic letters and he participated in the Fifth Council of the Lateran in 1512. In 1513, he became an abbreviator, on March 17,1514, he became a canon of the cathedral chapter of Como Cathedral. Pope Leo X made him a cardinal priest in the consistory of July 1,1517 and he received the red hat and the titular church of SantApollinare alle Terme Neroniane-Alessandrine on July 6,1517. He participated in both the conclave of 1521-22 that elected Pope Adrian VI, and in the papal conclave of 1523 that elected Pope Clement VII. He died in Rome on August 13,1524 and he was buried in Santa Maria del Popolo
Giovanni Battista Pallavicino
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Giovanni Battista Pallavicino
Giovanni Battista Pallavicino
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Coat of arms of Cardinal Giovanni Battista Pallavicino
54.
Greek Cypriots
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Greek Cypriots are the ethnic Greek population of Cyprus, forming the islands largest ethnolinguistic community at 78% of the population. Greek Cypriots are mostly members of the Church of Cyprus, an autocephalous Greek Orthodox Church within the communion of Orthodox Christianity. Cyprus was part of the Mycenaean civilization, with production of Mycenaean vases dating to the Late Helladic III. The quantity of this pottery concludes that there were numerous Mycenaean settlers, if not settlements, archaeological evidence shows that Greek settlement began unsystematically in c.1400 BC, then steadied with definite settlements established in c.1200 BC. The close connection between the Arcadian dialect and those of Pamphylia and Cyprus indicates that the migration came from Achaea, Achaeans settled among the old population, and founded Salamis. The epic Cypria, dating to the 7th century BC, may have originated in Cyprus, the majority of Greek Cypriots descend from the Achaeans but also from the other three Greek tribes, Ionians, Aeolians and Dorians. Throughout the history of Cyprus, Greek people continuously colonized the island from different parts of the Hellenic world, Cyprus is the third largest island in the Mediterranean after Sicily and Sardinia, and the largest island in the eastern Mediterranean. Mount Olympus, the highest point of the Troodos Mountains, is the highest point on the island, the island gradually became part of the Hellenic world as the settlers prospered over the next centuries. Alexander the Great conquered the island from the Persians in 333 BC, after the division of the Roman Empire in 285 AD, Cypriots had home rule for almost nine centuries under the jurisdiction of the Byzantine Empire, something not seen again until 1960. Perhaps the most important event of the early Byzantine period was the churchs independence from the Patriarchate of Antioch. The bishop of the ancient capital Salamis was constituted metropolitan by Emperor Zeno, the Byzantine era profoundly molded Greek Cypriot culture. The Greek Orthodox Christian legacy bestowed on Greek Cypriots in this period would live on during the centuries of foreign domination. The Cypriots did however endure the oppressive rule of first the Lusignans, king Amaury, who succeeded his brother Guy de Lusignan in 1194, was particularly intolerant of the Orthodox Church. Greek Cypriot land was appropriated for the Latin churches after they were established in the towns on the island. In addition, tax collection was part of the heavy oppressive attitude of the occupiers to the locals of the island. The Ottoman conquest of Cyprus in 1571 delivered the Greek population from serfdom, Cypriot Greeks were now able to take control of the land they had been working on for centuries. The local Christians resumed practicing their religion in the only way they knew. Despite the inherent oppression of foreign subjugation, the period of Ottoman rule had a impact on Greek Cypriot culture
Greek Cypriots
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Ioannis Kigalas (c. 1622 – 1687) was a Nicosia born Greek Cypriot scholar and professor of Philosophy who was largely active in Padova and Venice.
Greek Cypriots
55.
Pope Alexander VI
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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
Pope Alexander VI
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Pope Alexander VI
Pope Alexander VI
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Plaque outside the Archbishop's Palace, Valencia.
Pope Alexander VI
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Giovanni Borgia, 2nd Duke of Gandia.
Pope Alexander VI
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Presumed portrait of Lucrezia Borgia by Bartolomeo Veneto
56.
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.
57.
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
58.
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
59.
Franz Konrad von Rodt
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The Bishopric of Constance, or Prince-Bishopric of Constance, was a Prince-Bishopric and Imperial Estate of the Holy Roman Empire from the mid–12th century until its secularisation in 1802–1803. The much larger Roman Catholic Diocese of Konstanz existed from about 585 until its dissolution in 1821 and it belonged to the ecclesiastical province of Mainz since 780/782. They did not include the Imperial City of Constance nor Petershausen Abbey, in the south, the bishops territory bordered on the Landgraviate of Thurgau which was conquered by the Swiss Confederacy in 1460. While the Prince-Bishop was the ruler in his prince-bishopric, his powers in his diocese were limited to the pastoral duties exercised by any bishop. Originally subordinated to the Archdiocese of Besançon, Constance became suffragan to the Archdiocese of Mainz in 782, a deed by Emperor Frederick I Barbarossa in 1155 confirmed the princely status of the bishop and of his bishopric as an Imperial Estate. The territory of the prince-bishopric contracted during the centuries under pressure from both the Swiss Confederacy and the House of Habsburg. Furthermore, the city of Konstanz was granted the status of an imperial city. In 1527, during the Protestant Reformation, the seat of the Prince-Bishop was finally moved to Meersburg across Lake Constance. In the course of the German Mediatisation in 1803, the Prince-Bishopric was dissolved, while Wessenberg was supported by the government of Baden, the Pope never recognized his election as he disagreed with Wessenbergs liberal views. By a bull of 16 August 1821, the pope dissolved the diocese in order to prevent Wessenberg from becoming bishop, gebhard I von Wetterau, von Tegerfelden 27. Conrad I36 Warmann von Dillingen 32, Franz Johann von Vogt von Altensumerau und Prasberg 96. Johann Franz I. von Praßberg und Altensummerau 97, Johann Franz Schenk von Stauffenberg 99. Karl Theodor von Dahlberg Ignaz Heinrich von Wessenberg, elected in 1817 but never recognised by Pius VII, caspar Burchard Tuberflug, O. P. Daniel Zehender, O. F. M
Franz Konrad von Rodt
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The Bishopric of Constance lying astride the western end of Lake Constance
Franz Konrad von Rodt
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Coat of arms
Franz Konrad von Rodt
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Upper Rhenish dioceses of Constance, Straßburg, Speyer, and Worms, c. 1801
Franz Konrad von Rodt
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Constance Cathedral
60.
Giovanni Carlo Bandi
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Giovanni Carlo Bandi JUD was an Italian Cardinal who served as Bishop of Imola. He was the uncle of Pope Pius VI on his mothers side and he was educated at the University of Fermo where he received a doctorate in utroque iure, both canon and civil law on 9 December 1734. He was ordained on the 18 September 1734 and he served as an Auditor of Cardinal Tommaso Ruffo. He served as general of the Suburbicarian See of Ostia. He was appointed as bishop of Botri and appointed suffragan of Ostia. He was Consecrated on 28 December 1744 by Carlo Alberto Guidobono Cavalchini and he was transferred to the See of Imola on 20 March 1752. He was created cardinal in pectore in the consistory of 29 May 1775 and his nomination was published in the consistory of 11 September of that year, when he was named Cardinal-Priest of Santa Maria del Popolo. He served as bishop of Imola until his death at the age of 74 in 1784
Giovanni Carlo Bandi
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Giovanni Carlo Bandi
61.
Carlo Sacconi
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Carlo Sacconi J. U. D. was a Cardinal of the Roman Catholic Church and Dean of the College of Cardinals. Carlo Sacconi was born in Montalto and he was educated at the seminary of Fermo and later at La Sapienza University, Rome, where he earned a doctorate utriusque iuris. He was ordained and worked in the diocese of Montalto as a professor in its seminary in 1829 and he worked with the Congregation of the Tridentine Council for three years. He served as Auditor in the nunciature to the Kingdom of Sardinia in 1839 and he served as chargé daffaires in the Grand Duchy of Tuscany from 1845 to 1847 and was Internuncio to the Kingdom of Bavaria from 1847-1851. He was appointed archbishop of Nicaea on 27 May 1851 by Pope Pius IX and was named full nuncio to Bavaria on 6 June 1851. He was created and proclaimed Cardinal-Priest of Santa Maria del Popolo by Pope Pius in the consistory of 27 September 1861 and he was commissioned with the erection and organisation of the Latin American Seminary, Rome. He was appointed as Prefect of the economy of the Congregation of Propaganda Fide and he participated in the First Vatican Council from 1869-1870. He opted for the order of bishops and the see of Palestrina on 8 October 1870. He participated in the conclave of 1878 that elected Pope Leo XIII and he served as Prefect of the Congregation of Ceremonies from 1884 until his death. He died of pneumonitis on 25 February 1889 at 4,15 p. m. in the palace of the Apostolic Datary, the body was transferred to the basilica of Ss. XII Apostoli on 27 February at 11 a. m, the funeral took place in the same basilica on 4 March 1889 at 10 a. m. The body was taken first to Campo Verano cemetery, Rome, and later to Montalto and buried in his familys tomb
Carlo Sacconi
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Carlo Sacconi
62.
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
63.
Churches of Rome
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There are more than 900 churches in Rome, including some notable Roman Catholic Marian churches. Most, but not all, of these are Roman Catholic, the first churches of Rome originated in places where Christians met. Peters, Basilica of Saint Paul Outside the Walls, Basilica di Santa Maria Maggiore, only the tituli were allowed to distribute sacraments. The most important priest in a titulus was given the name of Cardinal, Pope Marcellus I confirmed that the tituli were the only centres of administration in the Church. Peters Basilica were referred to as the seven cardinals of S. Peters, the four basilicas had no cardinal, since they were under the direct supervision of the Pope. The Basilica of St. John Lateran was also the seat of the bishop of Rome, in the Great Jubilee in 2000, the seventh church was instead Santuario della Madonna del Divino Amore as appointed by Pope John Paul II. This is a list of churches of Rome cited in Wikipedia articles or with related files on Wikimedia Commons, the churches are grouped according to the time of their initial construction, the dates are those of the first record of each church. The reader, however, should not expect the current fabric of the buildings to reflect that age, almost all the churches will thus appear considerably more recent, and as a patchwork of periods and styles. A number of interesting churches are now closed, it must be noted, except on special occasions and these include, Santa Balbina, Santi Nereo e Achilleo, San Cesareo in Palatio and SantUrbano. Architecture of Rome Religion in Rome Kehr, Paul Fridolin, Rome of the Pilgrims and Martyrs, A Study in the Martyrologies, Itineraries, Syllogae, & Other Contemporary Documents. Le chiese di Roma nel medio evo, cataloghi ed appvnti, H. W. Klewitz, Die Entstehung des Kardinalskollegiums, Zeitschrift der Savigny-Stiftung für Rechtsgeschichte. Krautheimer, R. Corpus Basilicarum Christianarum Romae, vol, cardinalis, The History of a Canonical Concept. A Catholics Guide to Rome, Discovering the Soul of the Eternal City, thayers Churches of Rome, including the books by Christian Huelsen, Mariano Armellini, and Filippo Titi Clarkes Churches of Rome Map of titular churches
Churches of Rome
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The facade of Santa Barbara dei Librari, one of the many churches of Rome, Italy.
64.
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.
65.
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
66.
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
67.
Basilica di Sant'Anastasia al Palatino
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SantAnastasia is a basilica and titular church in for cardinal-priests in Rome, Italy. SantAnastasia was built in the late 3rd century - early 4th century, the church is listed under the titulus Anastasiae in the acts of the 499 synod. Later the church was entitled to the martyr with the same name, the church was restored several times, Pope Damasus I, Pope Hilarius, Pope John VII, Pope Leo III, and Pope Gregory IV. The current church dates back to the 17th century restoration commissioned by Pope Urban VII, traditionally, the church is connected to the cult of St Jerome, who possibly celebrated mass here. The saint is depicted over the altar, by Domenichino, the ceiling is frescoed with a martyrdom of the saints by Michelangelo Cerruti. The chapel to the right, has a painting of St. John the Baptist by Pier Francesco Mola, while the last chapel on the right has a fresco of Scenes of the life of Saints Carlo Borromeo and Filippo Neri by Lazzaro Baldi. The right transept has a painting of S. Toribio by Francesco Trevisani, the high altar has a Nativity by Lazzaro Baldi and below the altar is a statue of Saint Anastasia by Ercole Ferrata. It clearly shows the influence of Berninis Beata Ludovica Albertoni, the left transept has a Madonna of the Rosary by Baldi, and the tomb of Cardinal and philologist Angelo Mai by the late neoclassical sculptor Giovanni Maria Benzoni. The last chapel to the left, by Domenichino depicts a St. Jerome, the other chapel has a Ss. Giorgio e Publio by Etienne Parrocel. The current Cardinal Priest of the Titulus S. Anastasiae is Godfried Danneels, past holders have included Boso, a Bishop of Turin, and John Morton, an Archbishop of Canterbury
Basilica di Sant'Anastasia al Palatino
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Facade of Sant'Anastasia
68.
Sant'Andrea della Valle
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SantAndrea della Valle is a basilica church in the rione of SantEustachio of the city of Rome, Italy. The basilica is the seat for the religious order of the Theatines. It is located on Piazza Vidoni at the intersection of Corso Vittorio Emanuele, since Amalfis patron was Saint Andrew, the church was planned in his honor. Work initially started around 1590 under the designs of Giacomo della Porta and Pier Paolo Olivieri, with the previous patrons death, direction of the church passed to Cardinal Alessandro Peretti di Montalto, nephew of Pope Sixtus V. Work restarted by 1608, financed by what was then an enormous endowment of over 150,000 gold scudi, the interior of the church was completed by 1650, with some changes added by Francesco Grimaldi. The fresco decoration of SantAndreas dome was one of the largest commissions of its day, the work was disputed by two Carracci pupils, Giovanni Lanfranco and Domenichino. In 1608, Lanfranco had been chosen by Cardinal Alessandro, in the end, both artists were employed, and Lanfrancos lavish dome decoration set the model for such decorations for the following decades. This dome was for a time the third largest dome in Rome, after the Basilica of St Peter. The angel is depicted in the style of his mentor, Bernini, in this chapel are buried Cardinal Marzio Ginetti and his nephew, the Cardinal Giovanni Francesco Ginetti. The second Strozzi Chapel has a Pietà, Leah and Rachel, the chapel was probably designed by Michelangelo, but executed by Leone Strozzi. Beneath the statues of Leah and Rachel are two bronze bas-reliefs depicting a Deposition from the Cross and Christs Descent into Limbo, the cenotaphs in black marble in the side walls were erected for the Strozzi family, Cardinal Lorenzo, Leone, Pietro, Roberto Strozzi and Maddalena Medici. The chapel of Our Lady of the Sacred Heart was designed by Aristide Leonori, the painting of the Madonna is by Silverio Capparoni and was blessed by Pope Pius IX. In the corner of the transept are situated two chapels. The chapel of the Crucifix displays an antique wooden crucifix above a painting of the Madonna inside a radiant halo, on the right side is the tomb of the Theatine Cardinal St Giuseppe Maria Tomasi. The Oratory of the Divine Love dates from 1751, the Chapel of the Madonna della Purità was originally dedicated to the Holy Family. In 1647 it was designated to the Madonna, patroness of the Theatines, the altar was consecrated in 1725 and shows beneath the tomb of the martyr Saint Fortunatus. The four lunettes on the arches were painted by Silvio Galimberti in 1912 and it was adorned with a golden radiant halo in gratitude for having saved the city from famine. On the left wall of the chapel is the tomb of cardinal Stoppani, the left transept is dedicated to Saint Cajetan, founder of the Theatines
Sant'Andrea della Valle
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The Baroque façade of Sant'Andrea della Valle.
Sant'Andrea della Valle
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Windows on the ceiling, allowing natural light to illuminate the interior
Sant'Andrea della Valle
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Interior of the church.
69.
Sant'Antonio da Padova in Via Merulana
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The church was elevated to minor basilica status in 1931. On the 12 March 1960 Pope John XXIII granted it a church as a seat for Cardinals. The present Cardinal Priest of the Titulus San Antonii Patavini de Urbe is Cláudio Hummes, two staircases provide access to the gantry of the church, where stands a statue of Saint Anthony of Padua, holding the Christ Child. Inside, the church is constructed of three naves, divided by two columns of pillars made of pink marble, peter Doi António Ribeiro Cláudio Hummes Mariano Armellini, Le chiese di Roma dal secolo IV al XIX, Roma 1891 C. Rendina, Le Chiese di Roma, Newton & Compton Editori, Milano 2000, cerchiai, Rione XV Esquilino, in AA. VV, I rioni di Roma, Newton & Compton Editori, Milano 2000, Vol. III, pp. 968–1014
Sant'Antonio da Padova in Via Merulana
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Facade of Sant'Antonio da Padova in Via Merulana.
70.
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
71.
Santi Apostoli, Rome
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Today, the basilica is under the care of the Conventual Franciscans, whose headquarters in Rome is in the adjacent building. The Cardinal Priest of the Titulus XII Apostolorum is Angelo Scola, among the previous Cardinal Priests are Pope Clement XIV, whose tomb by Canova is in the basilica, and Henry Benedict Stuart. Santi Apostoli was ruined by the earthquake of 1348, and left abandoned, in 1417, Pope Martin V, whose Colonna family owned the adjacent Palazzo Colonna, restored the church, while the facade was built at the end of the same century by Baccio Pontelli. It was frescoed by Melozzo da Forlì whose wall-paintings at Santi Apostoli were renowned for their techniques of foreshortening. Pope Clement XI instigated dramatic renovations of the church, Melozzos frescoes were either destroyed or moved partly to the Quirinal and partly to the Vatican Museums. A new Baroque interior was designed by Carlo Fontana and Francesco Fontana, the church was later restored again, with the facade completed by Giuseppe Valadier in 1827. XII Apostoli, a valuable source illustrating the history of the church, have collected and published by Vincenzo Forcella. This church has three naves, divided by a row of Corinthian pillars, supporting the ceiling, on the middle of which is painted in 1707 the Triumph of the Order of St Francis, there are also frescoes of the Evangelists by Luigi Fontana. The use of perspective is very good, and the angels appear to come out of the vault, above the sanctuary is a fresco from 1709 by Giovanni Odazzi, representing the Fall of Lucifer and his Angels. To the right of the altar are the tombs of Count Giraud de Caprières and Cardinal Raffaele Riario. To the left is a monument to Cardinal Riario, by the school of Andrea Bregno, there is also a Madonna by Mino da Fiesole. On the wall, to the right of the portico of the ancient church, is an antique bas-relief of a surrounded by an oak crown that it holds in its talons. Opposite is the monument of the engraver Giovanni Volpato executed and erected by his friend and it consists of a large bas-relief, representing Friendship in the form of a woman weeping before the bust of the deceased Volpato. On a pier of the nave on the side, near the first chapel, is enshrined the heart of Maria Klementyna Sobieska, wife of the Old Pretender. Her tomb is in St Peters Basilica and her monument is by Filippo della Valle. Her husband used to pray every morning. James III was laid in state here himself in 1766, before he was buried with his wife at St Peters, Melozzo da Forlì painted, on the ceiling of the great chapel, the Ascension of our Lord. This painting was executed for Cardinal Raffaele Riario, nephew of Pope Sixtus IV about the year 1472, several heads of the apostles which surrounded it, and were likewise cut away, were deposited in the Vatican palace
Santi Apostoli, Rome
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View of the church from the Vittoriano
Santi Apostoli, Rome
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Entrance to the crypt
Santi Apostoli, Rome
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A fragment of the removed fresco by Melozzo da Forlì
Santi Apostoli, Rome
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Baroque ceiling
72.
San Bartolomeo all'Isola
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The Basilica of St. Bartholomew on the Island is a titular minor basilica, located in Rome, Italy. It was founded at the end of the 10th century by Otto III and it contains the relics of St. Its Cardinal priest has been Cardinal Blase Cupich since 19 November 2016, in Roman times, the Temple of Aesculapius stood on the site of the modern church. The entire Isola Tiberina had actually covered in marble in an effort to make the island look like a ship. The prow can still be seen today, Emperor Otto built this church, which was initially dedicated to his friend Adalbert of Prague. It was renovated by Pope Paschal II in 1113 and again in 1180, the relics were sent to Rome from Benevento, where they had arrived from Armenia in 809. The relics are located within an ancient Roman porphyry bathtub with lions heads, the marble wellhead bears the figures of the Savior, Adalbert and Bartholomew and Otto III. The church was damaged by a flood in 1557 and was reconstructed, with its present Baroque façade, in 1624. Further restorations were undertaken in 1852, the interior of the church preserves fourteen ancient Roman columns and two lion supports that date from the earliest reconstruction of the basilica. The inscriptions found in S. Bartolomeo, a valuable source illustrating the history of the Basilica, have collected and published by Vincenzo Forcella. In 2000, San Bartolomeo was dedicated by Pope John Paul II to the memory of the new martyrs of the 20th, in the center of the piazzetta before the church is a four-sided guglia with saints in niches by the sculptor Ignazio Jacometti, erected here in 1869. The 12th-century tower near the church, the Torre dei Caetani, is all that remains of the medieval castello erected on the island by the Pierleoni. San Bartolomeo houses the memorial to new martyrs of the 20th and 21st century and this memorial is taken care of by the Community of SantEgidio, who also painted the icon on the main altar. One of the relics that are kept as part of the memorial is the piece of rock that was used in 1984 to kill Blessed Jerzy Popiełuszko, San Bartolomeo allIsola was established as a titulus of a Cardinal Priest by Pope Leo X on 6 July 1517. The current holder of the title is Cardinal Blase J. Cupich, roma e dintorni Official website of the Basilica Richiello, Maria. S. Bartolomeo allIsola, storia e restauro 2001
San Bartolomeo all'Isola
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Façade of San Bartolomeo all'Isola on the Tiber Island
San Bartolomeo all'Isola
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Basilica di San Bartolomeo all'Isola, with the Torre dei Caetani behind
73.
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
74.
Santa Cecilia in Trastevere
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Santa Cecilia in Trastevere is a 5th-century church in Rome, Italy, in the Trastevere rione, devoted to the Roman martyr Saint Cecilia. The first church on site was founded probably in the 3rd century, by Pope Urban I, it was devoted to the young Roman woman Cecilia. Tradition holds that the church was built over the house of the saint, the baptistery associated with this church, together with the remains of a Roman house of the early Empire, was found during some excavations under the Chapel of the Relics. By the late century, at the Synod of 499 of Pope Symmachus. On 22 November 545, Pope Vigilius was celebrating the Feast of the saint in the church, Pope Paschal I rebuilt the church in 822, and moved here the relics of St Cecilia from the Catacombs of St Calixtus. More restorations followed in the 18th century, the Cardinal priest who is currently assigned to the Titulus S. Caeciliae is Gualtiero Bassetti. Since 1527, a community of Benedictine nuns has lived in the next to Santa Cecilia. The inscriptions found in Santa Cecilia, a valuable source illustrating the history of the church, have collected and published by Vincenzo Forcella. The church has a built in 1725 by Ferdinando Fuga, which incloses a courtyard decorated with ancient mosaics, columns. Its decoration includes the coat of arms and the dedication to the cardinal who paid for the facade. The Gothic ciborium is surrounded by four marble columns white and black, decorated with statuettes of angels, saints, prophets, the apse has remains of 9th century mosaics depicting the Redeemer with Saints Paul, Cecilia, Paschal I, Peter, Valerian, and Agatha. The ceiling of Cappella dei Ponziani was decorated God the Father with evangelists by Antonio del Massaro, the Cappella delle Reliquie was frescoed and provided with an altarpiece by Luigi Vanvitelli. The nave is frescoed with the Apotheosis of Santa Cecilia by Sebastiano Conca, the church contains two altarpieces by Guido Reni, Saints Valerian and Cecilia and a Decapitation of Saint Cecilia. Among the most remarkable works is the graphic altar sculpture of St. Cecilia by the late-Renaissance sculptor Stefano Maderno. The pavement in front of the statue encloses a marble slab with Madernos sworn statement that he has recorded the body as he saw it when the tomb was opened in 1599, the statue depicts the three axe strokes described in the 5th-century account of her martyrdom. It also is meant to underscore the incorruptibility of her cadaver and this statue could be conceived as proto-Baroque, since it depicts no idealized moment or person, but a theatric scene, a naturalistic representation of a dead or dying saint. It is striking, because it precedes by decades the similar high-Baroque sculptures of Gian Lorenzo Bernini, the Crypt is also noteworthy, decorated with cosmatesque styles, containing the relics of St. Cecilia and her husband St. Valerian. In the apse of the Crypt there are remains of an altar whose inscription indicates that it was dedicated by Pope Gregory VII on 3 June 1080, • Henry James, Roderick Hudson Jacobus Laderchius, S. Cæciliæ virg
Santa Cecilia in Trastevere
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Chapel Interior at Night.
Santa Cecilia in Trastevere
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Facade of Santa Cecilia, a 1725 project by Ferdinando Fuga, with the 12th century belltower.
Santa Cecilia in Trastevere
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The Last Judgment (detail of the apostles), by Pietro Cavallini (1295-1300).
Santa Cecilia in Trastevere
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Ciborium attributed to Arnolfo di Cambio.
75.
Santi Celso e Giuliano
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Santi Celso e Giuliano is a minor basilica church in Rome, Italy. It has held this status by custom and practice since ancient times, the church is located on Vicolo del Curato number 12, just off Via del Banco di Santo Spirito, the road leading to Ponte SantAngelo. Celso e Giuliano is a papal chapel, Canons of the collegiate church are mentioned in the 14th century. In the 17th century, it is recorded, there was an Archpriest, a church on the site was built in the 9th century, reconstruction of the church began in the 16th century under Pope Julius II, who asked Bramante for a design. The designs were never fully implemented, under Pope Clement XII, the architect Carlo de Dominicis created the church we see today in an oval plan, completed in 1735, including the facade. The main altarpiece is a Christ in Glory by Pompeo Batoni, peter Cornelius Claussen, Die Kirchen der Stadt Rom im Mittelalter,1050 -1300, pp. 265-268. Gabriele Segui, Christof Thoenes, and Luisa Mortari, Ss, Celso e Giuliano, Collegiata e Cappella Papale
Santi Celso e Giuliano
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Facade
76.
Basilica of San Clemente
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The Basilica of Saint Clement is a Roman Catholic minor basilica dedicated to Pope Clement I located in Rome, Italy. The archaeological traces of the history were discovered in the 1860s by Joseph Mullooly. The lowest levels of the present basilica contain remnants of the foundation of a possibly republican era building that might have destroyed in the Great Fire of 64. An industrial building – probably the imperial mint of Rome from the late 1st century A. D. onwards, was built or remodelled on the site during the Flavian period. Shortly after an insula, or apartment block, was also built and it was separated from the industrial building by a narrow alleyway. About a hundred years later a mithraeum, a sanctuary of the cult of Mithras, was built in the courtyard of the insula. The main cult room, which is about 9. 6m long and 6m wide, was discovered in 1867, the exedra, the shallow apse at the far end of the low vaulted space, was trimmed with pumice to render it more cave-like. Central to the room of the sanctuary was found an altar, in the shape of a sarcophagus. The torchbearers Cautes and Cautopates appear on respectively the left and right faces of the same monument, a dedicatory inscription identifies the donor as one pater Cnaeus Arrius Claudianus, perhaps of the same clan as Titus Arrius Antoninus mother. Other monuments discovered in the include a bust of Sol kept in the sanctuary in a niche near the entrance. Fragments of statuary of the two torch bearers were also found, one of the rooms adjoining the main chamber has two oblong brickwork enclosures, one of which was used as a ritual refuse pit for remnants of the cult meal. All three monuments mentioned above are still on display in the mithraeum, a fourth monument, – a statue of St. Peter found in the speleums vestibule and still on display there – is not of the mysteries. At some time in the 4th century, the level of the industrial building was filled in with dirt and rubble. An apse was built out over part of the domus, whose lowest floor, restorations were undertaken in the 9th century and ca 1080-99. The early basilica was the site of councils presided over by Pope Zosimus and Symmachus, the last major event that took place in the lower basilica was the election in 1099 of Cardinal Rainerius of St Clemente as Pope Paschal II. Apart from those in Santa Maria Antiqua, the largest collection of Early Medieval wall paintings in Rome is to be found in the basilica of San Clemente. Clement, and on the life of St. Alexius, sisinnius encourages the servants in Italian Fili de le pute, traite. Which, translated into English means, Come on, you sons of bitches, carvoncello, give it to him from the back with the pole
Basilica of San Clemente
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Basilica of Saint Clement Basilica di San Clemente al Laterano (Italian)
Basilica of San Clemente
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Mithraeum in the basement, 2nd century
Basilica of San Clemente
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Plan of the church
Basilica of San Clemente
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Interior of the second basilica
77.
Santi Cosma e Damiano
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For the Italian city, see Santi Cosma e Damiano, Lazio. The basilica of Santi Cosma e Damiano is a church in the Roman Forum, the circular building at the entrance onto the Forum was built in the early 4th century as a Roman temple, thought to have been dedicated to Valerius Romulus, deified son of the emperor Maxentius. The main building was perhaps the library of an imperial forum and it became a church in 527 and contains important but much restored early Christian art, especially in its mosaics. Today it is one of the ancient churches called tituli, of which cardinals are patrons as cardinal-deacons, cosmae et Damiani is Beniamino Stella, created Cardinal on 22 February 2014. The basilica, devoted to the two Greek brothers, doctors, martyrs and saints Cosmas and Damian, is located in the Forum of Vespasian, also known as the Forum of Peace. The Temple is traditionally held to have been dedicated by Emperor Maxentius to his son and co-consul Valerius Romulus, the temple has also been speculated as a rebuilding of the original temple of Jupiter Stator, or one dedicated to Penates, restored by Maxentius. The apse was decorated with a Roman-Byzantine mosaic, representing a parousia, the bodies of Saints Mark and Marcellian were translated, perhaps in the ninth century, to this church, where they were rediscovered in 1583 during the reign of Pope Gregory XIII. In 1632, Pope Urban VIII ordered the restoration of the basilica, the works, projected by Orazio Torriani and directed by Luigi Arrigucci, raised the floor level seven metres, bringing it equal with the Campo Vaccino, thus avoiding the infiltration of water. The old floor of the basilica is still visible in the lower church, in 1947, the restorations of the Imperial Forums gave a new structure to the church. The old entrance, through the Temple of Romulus, was closed, and the temple restored to its forms, with the Pantheon. A new entrance was opened on the side, whose arch gives access to the cloister. Next to the new entrance to the complex, there are the rooms with the original marble paving of the Forum of Peace, through the cloister, the entrance to the church opens on the side of the single nave. The mosaics are masterpieces of 6th- and 7th-century art, in the middle is Christ, with Saint Peter presenting Saint Cosmas and Saint Theodorus, and Saint Paul presenting Saint Damian and Pope Felix IV, the latter holds a model of the church. Furthermore, for centuries, in this medical area Roman physicians had their meetings, pietro Chioccioni, La Basilica E Il Convento Dei Santi Cosma E Damiano in Roma. Roberta Budriesi, La Basilica dei Ss, vitaliano Tiberia, Il Restauro Del Mosaico Della Basilica Dei Santi Cosma E Damiano a Roma. Roma, Touring Club Italiano,2004, pp. 276–277, Cosma e Damiano in the Twelfth Century, Memoirs of the American Academy in Rome 49 99–126. Jacalyn Duffin, Medical Saints, Cosmas and Damian in a Postmodern World, photo Official Website Basilica of Saints Cosmas and Damian, Rome Roman architecture List of Roman domes
Santi Cosma e Damiano
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View of the Temple of Romulus, from the Palatine Hill.
Santi Cosma e Damiano
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The mosaics, with the parousia of Christ, among saints.
78.
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.
79.
Santa Croce in Gerusalemme
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The Basilica of the Holy Cross in Jerusalem or Basilica di Santa Croce in Gerusalemme, is a Roman Catholic minor basilica and titular church in rione Esquilino, Rome, Italy. It is one of the Seven Pilgrim Churches of Rome, the current Cardinal Priest of the Titulus S. Crucis in Hierusalem is Miloslav Vlk. Some decades later, the chapel was converted into a basilica, after falling into neglect, the Pope Lucius II restored the Basilica. It assumed a Romanesque appearance, with a nave, two aisles, belfry, and porch. The Basilica was also modified in the 16th century, but it assumed its current Baroque appearance under Pope Benedict XIV, new streets were also opened to connect the Basilica to two other Roman major basilicas, namely, San Giovanni in Laterano and Santa Maria Maggiore. The façade of the Basilica, which was designed by Pietro Passalacqua and Domenico Gregorini, according to a Vatican spokesman, an inquiry found evidence of liturgical and financial irregularities as well as lifestyles that were probably not in keeping with that of a monk. The relics were once in the ancient St. Helenas Chapel, here the founder of the Basilica had some soil from Calvary dispersed. In the vault is a designed by Melozzo da Forlì before 1485 depicting Jesus Blessing, Histories of the Cross. The altar has a statue of St. Helena, which was obtained from an ancient statue of the pagan goddess Juno discovered at Ostia. The apse of the Basilica includes frescoes telling the Legends of the True Cross, attributed to Melozzo, Antoniazzo Romano, and Marco Palmezzano. The Museum of the Basilica houses an icon from the 14th century which, according to the legend. Notable also is the tomb of Cardinal Francisco de los Ángeles Quiñones sculpted by Jacopo Sansovino in 1536. Peter Paul Rubens, who had arrived in Rome by way of Mantua in 1601, was commissioned by Archduke Albert of Austria to paint an altarpiece with three panels for the Chapel of St. Helena. Two of these paintings, St. Helena with the True Cross and The Mocking of Christ, are now in Grasse, the third, The Elevation of the Cross, was lost. Before his marriage, the Archduke had been made a cardinal in the Basilica, raimondo Besozzi, La storia della Basilica di Santa Croce in Gerusalemme. Marie-Théodore de Busierre, Les sept basiliques de Rome Tome second, claudio Rendina, La Grande Enciclopedia di Roma Belkin, Kristin Lohse. Official Site Description in the site of the Soprintendenza Speciale per il Colosseo, il MNR e lArea archeologica di Roma
Santa Croce in Gerusalemme
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Basilica of the Holy Cross in Jerusalem Basilica di Santa Croce in Gerusalemme (Italian) Basilica Sanctae Crucis in Hierusalem (Latin)
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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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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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San Lorenzo in Damaso
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The Minor Basilica of St. Lawrence in Damaso or simply San Lorenzo in Damaso is a parish and titular church in central Rome, Italy that is dedicated to St. Lawrence, deacon and martyr. It is incorporated into the Palazzo della Cancelleria, which enjoys the extraterritoriality of the Holy See, archaeological evidence suggests the site, like those of many churches in Rome, may have formerly housed a pagan temple. The first documentary evidence of a church at this site is the reference in the synod of Pope Symmachus of AD499 of a Titulus Damasi, according to tradition, in the AD 380s a basilica church was erected by Pope Damasus I in his own residence. This church is one of many in Rome dedicated to St. Lawrence, including the ancient and then extra-urban Basilica di San Lorenzo Fuori le Mura. The original basilica of San Lorenzo in Damaso was demolished by Cardinal Raffaele Riario, the architect of the basilica, like that of the Palace of the Chancellery, is unknown. Titi also independently attributed reconstruction of the basilica to Bramante, the last restoration was necessary after a fire damaged the basilica in 1944. The inscriptions in the basilica are valuable illustrations of the history of the Roman Catholic Church, the Cardinal Priest of the Titulus S. Laurentii in Damaso is Antonio Rouco Varela, Archbishop of Madrid, Spain. The interior decoration was begun by commissions of the resident of the Palace, Cardinal Alessandro Farnese, cavaliere dArpino painted the walls of the right counter-facade. The main altar hosts the painting of Saints and Coronation of St. Mary by Federico Zuccari, below the altar are the relics of Pope St. Eutychian and Pope St. Damasus I. To the left of the altar is a copy of a statue of St. Hippolytus of Rome, tradition holds that St. Lawrence instigated the conversion of St. Hippolytus to the Catholic Faith. This copy was commissioned for the basilica by Cardinal Pietro Ottoboni, immediately to the right of the entrance is the memorial to Alessandro Valtrini, a minister of Pope Urban VIII, that Gian Lorenzo Bernini designed in 1639. The second vestibule has statues of St. Francis Xavier and St. Charles Borromeo by Stefano Maderno, to the right of the entrance is a chapel designed by Nicola Salvi and commissioned by Cardinal Tommaso Ruffo in the late 18th century. The ceiling is frescoed with Glory of San Nicola by Corrado Giaquinto, philip Neri and Nicolò was painted by Sebastiano Conca. To the left of the entrance is the Chapel of the Blessed Sacrament, the altarpiece is the Last Supper by Vincenzo Berrettini. Inside the basilica, the first chapel to the right of the nave has a 19th-century monument to Prince Camillo Massimi and his wife, by Filippo Gnaccarini and Pietro Tenerani, respectively. The second chapel to the right has the tomb of Pellegrino Rossi, Pope Pius IX, by Pietro Tenerani. His murder in 1848 in the adjacent Palace was one of the events led to the ensconcement of the Pope in the Vatican City. The first chapel to the left has the tomb and funerary monument of Cardinal Ludovico Trevisan, Patriarch of Aquileia, the second chapel to the left contains the tomb of Fra Annibal Caro by Giovanni Antonio Dosio
San Lorenzo in Damaso
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Entrance to San Lorenzo in Damaso, incorporated into side facade of the Cancelleria
San Lorenzo in Damaso
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Interior of San Lorenzo
San Lorenzo in Damaso
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Seated Hippolytus at Vatican
San Lorenzo in Damaso
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Monument for Pellegrino Rossi, sculpted by Tenerani.
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San Lorenzo in Lucina
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The Minor Basilica of St. Lawrence in Lucina is a Roman Catholic parish, titular church, and minor basilica in central Rome, Italy. The basilica is located in Piazza di San Lorenzo in Lucina in the Rione Colonna, the basilica is dedicated to St. Lawrence of Rome, deacon and martyr. The name Lucina derives from that of the Roman matron of the AD 4th century who permitted Christians to erect a church on the site. Putatively, Pope Marcellus I hid on the site during the persecutions of Roman Emperor Maxentius, Pope Sixtus III consecrated a church on the site in 440 AD. The church was denominated the Titulus Lucinae, and thus is mentioned in the acts of the synod of AD499 of Pope Symmachus, the church was first reconstructed by Pope Paschal II in the early 12th century. In 1606, Pope Paul V assigned the basilica to the order of Clerics Regular Minor, cosimo Fanzago completely renovated the interior in the 17th century, including conversion of the lateral aisles of the basilica into chapels. The ceiling was frescoed by the Neapolitan Mometto Greuter. In the 19th century, in a subsequent restoration of the interior that Pope Pius I commissioned the Baroque decorations in the nave were replaced with frescoes that Roberto Bompiani painted. The current Cardinal Priest of the Titulus S. Laurentii in Lucina, established in AD684, is Malcolm Ranjith Patabendige Don, Archbishop of Colombo, Sri Lanka, who was appointed on 20 November 2010. In the rebuilding of 1650, the aisled basilical plan was destroyed and the naves were replaced by Baroque chapels. This was done by inserting walls behind the piers of the arcades, the arcades themselves have solid, square piers with imposts. The flat ceiling is coffered, gilded, and decorated with rosettes and has a painting of the Apotheosis of St. Lawrence in the central panel and this ceiling was made in 1857 under Pope Pius IX. Guido Renis Christ on the Cross is visible above the high altar, below the altar is a reliquary in which is preserved the gridiron on which tradition maintains that St. Lawrence was martyred. The marble throne of Pope Paschal II in the apse behind the altar has an inscription that records the translation to the basilica of its relics of St. Lawrence of Rome. A Madonna and Child with John of Nepomuk and Archangel Michael by Onofrio Avellino hangs in the apse behind the high altar, gian Lorenzo Bernini designed the Capella Fonseca, fourth on the right, for the Portuguese Gabriele Fonseca, who was physician to Pope Innocent X. The chapel has some fine busts by Bernini and his workshop and this chapel also has the painting Elisha Pouring Salt into the Bitter Fountain by Giacinto Gimignani of 1664. The French artist Nicolas Poussin is buried in the chapel on the right side and is commemorated with a monument that the French Ambassador François-René de Chateaubriand donated in 1830. The second chapel on the left has an altarpiece by Carlo Saraceni, the fifth chapel on the left was designed and decorated by Simon Vouet
San Lorenzo in Lucina
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Facade of San Lorenzo in Lucina in1911
San Lorenzo in Lucina
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Interior
San Lorenzo in Lucina
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Bust of Gabriel Fonseca by Bernini
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Santa Maria Ausiliatrice, Rome
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For the church in Turin, see Basilica di Maria Ausiliatrice. The Church of Saint Mary Help of Christians in Via Tuscolana is a parish and titular church, the titulus S. Mariae Auxiliatricis in via Tusculana was established by Pope Paul VI on June 7,1967, by the apostolic constitution Ad gubernacula christianae. The interior follows a plan of a mix between a Latin cross and Greek cross, with three naves, the walls and ceiling are decorated with frescoes of Baroque inspiration, made by Giuseppe Melle between 1957 and 1965. Francesco Carpino, pro illa vice Giuseppe Caprio Pio Laghi Tarcisio Bertone, SDB pro hac vice Paolo Sardi Description of the frescoes of the church of Saint Mary Help of Christians in Via Tuscolana
Santa Maria Ausiliatrice, Rome
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Santa Maria Ausiliatrice
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San Marco, Rome
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San Marco is a minor basilica in Rome dedicated to St. Mark the Evangelist located in the small Piazza di San Marco adjoining Piazza Venezia. It was first built in 336 by Pope Mark, whose remains are in an urn located below the main altar, the basilica is the national church of Venice in Rome. In 336, Pope Mark built a devoted to one of the Evangelists, his patron saint, St. Mark. The church is recorded as Titulus Marci in the 499 synod of Pope Symmachus. At that time it became one of the churches of the city. After a restoration in 792 by Pope Adrian I, the church was rebuilt by Pope Gregory IV in 833, the façade is attributed to Leon Battista Alberti. Paul II being a Venetian by birth, assigned the church to the Venetian people living in Rome, the last major reworking of the basilica was started in 1654-57 and completed by Cardinal Angelo Maria Quirini in 1735-50. With these restorations, the received its current Baroque decoration. The floor of the church is below the level of the Renaissance period. The church retains its ancient basilica format, with a raised sanctuary, the inside of the church is clearly Baroque. The tomb of Leonardo Pesaro of Venice, aged 16, by Antonio Canova, in the portico are several early Christian grave stones, as well as the gravestone of Vannozza dei Cattanei, the mistress of Cardinal Rodrigo Borgia. Roma, collection LItalia, Touring Editore,2004, Milano, a & C Black, London, ISBN 07136-3939-3 Domenico Bartolini, La sotterranea confessione della romana basilica di S. Marco. Vincenzo Forcella, Le inscrizioni delle chiese e d altri edifice di Roma Volume IV. pp. 341–376, mariano Armellini, Le chiese di Roma, dalle loro origine sino al secolo XVI, pp. 327–329. Barbara Zenker, Die Mitglieder des Kardinalkollegiums von 1130 bis 1159, rudolf Hüls, Kardinäle, Klerus und Kirchen Roms, 1049-1130, pp. 185–187. Werner Malaczek, Papst und Kardinalskolleg von 1191 bis 1216
San Marco, Rome
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Façade of the basilica. To the right, Palazzo Venezia, the former embassy of the Republic of Venice, whose protector was St. Mark
San Marco, Rome
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Madama Lucrezia is one of the "talking statues" of Rome, and is located next to the basilica entrance. It was once the bust of a statue of the goddess Isis, to whom a temple was dedicated in Rome not far from its current location.
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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 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 Pancrazio
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The church of San Pancrazio is a Roman Catholic ancient basilica and titular church founded by Pope Symmachus in the 6th century in Rome, Italy. It stands in via S. Pancrazio, westward beyond the Porta San Pancrazio that opens in a stretch of the Aurelian Wall on the Janiculum, the Cardinal Priest of the Titulus S. Pancratii is Antonio Cañizares Llovera. Among the previous titulars, Pope Paul IV and Pope Clement VIII, the basilica was built by Pope Symmachus, on the place where the body of the young martyr Saint Pancras of Rome, or Pancratius, had been buried, Via Aurelia miliario secundo. The church was placed by him under the care of the clergy of the Church of S. Crisogono. Due to their neglect of the site, Pope Gregory I ( handed it over to the members of the newly founded Benedictine Order after the Lombards sacked their monastery of Montecassino in 580. In the 17th century, it was given to the Discalced Carmelites, below the church there are huge catacombs, the Catacombe di S. Pancrazio or di Ottavilla. Entrance is next to the small Museo di S. Pancrazio with fragments of sculpture and pagan, the Church of S. Pancrazio was established as the titulus of a Cardinal-Priest by Pope Leo X on 6 July 1517. Richart Krautheimer, Corpus Basilicarum Christianarum Romae, The Early Christian Basilicas of Rome Part II, john Crook, The Architectural Setting of the Cult of Saints in the Early Christian West c. 300-c.1200, pp. 82-83. Giuseppe Burragato and Antonio Palumbo, Sulle orme di San Pancrazio, media related to San Pancrazio at Wikimedia Commons
San Pancrazio
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Basilica of San Pancrazio, facade
San Pancrazio
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Entrance avenue through the forecourt
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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
92.
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
Santa Pudenziana
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Apse mosaic (enhanced image).
Santa Pudenziana
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St Praxedes and Pudenziana collecting the Blood of the Martyrs by Giovanni Paolo Rossetti
93.
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.
Santi Quattro Coronati
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Cardinal Roger Mahony, the current Cardinal-Priest of Santi Quattro Coronati.
94.
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)
95.
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.
96.
Santa Teresa, Rome
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Santa Teresa dAvila is a church on the Corso dItalia in Rome, Italy. It is dedicated to Teresa of Avila and it was founded by Cardinal Girolamo Gotti in 1901, designed in a Romanesque-Gothic hybrid style by Tullio Passarelli. In 1906 Pope Pius X made it a church and granted it to the Discalced Carmelites. Pope Pius XII elevated it to the status of basilica in 1951, Teresa of Avila is depicted on the churchs facade, being blessed by Christ, and on the high-altarpiece. The interior is decorated with works by 20th-century Roman artists
Santa Teresa, Rome
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FaçAde of the church.
97.
San Vitale, Rome
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Vitalis, Valeris, Gervase and Protase is a titular minor basilica church in Rome. The Roman Catholic church is commonly named Basilica di San Vitale, the Cardinal Priest of the Titulus S. Vitalis is Adam Maida. The basilica was built in 400 with funds provided by Vestina, a wealthy dowager, the dedication to St. Vitalis and his family is dated to 412. This church is recorded as Titulus Vestinae in the acts of the 499 synod of Pope Symmachus, San Vitale was restored several times, the most important being the rebuilding by Pope Sixtus IV before the Jubilee of 1475, and then in 1598,1938 and 1960. The church is located several metres under the level of the street. The portico is the most ancient part of the church, possibly dating back to the 5th century and it was altered at the end of the 16th century. The inscription on the portico, with the arms of Pope Sixtus IV, Pope Pius IX built the staircase to the 5th century portico in 1859. The church has a nave, with walls frescoed with scenes of martyrdom, among which a Martyrdom of St Ignatius of Antioch. The apsis, original of the 5th century, is decorated with a fresco by Andrea Commodi, among the previous titulars, Gennaro Cesio, appointed in 494 by Pope Gelasius I, and St. John Fisher, martyred in 1535 by Henry VIII. The current Cardinal Priest of the Titulus S. Vitalis is Adam Maida, free bread was distributed to the poor by the church according to the will of a Roman nobleman, Francesco Silla. Official website of the Basilica di San Vitale
San Vitale, Rome
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Façade of the Basilica of San Vitale
San Vitale, Rome
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Inside
98.
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.
