1.
Rome
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Rome is a special comune and the capital of Italy. Rome also serves as the capital of the Lazio region, with 2,873,598 residents in 1,285 km2, it is also the countrys largest and most populated comune and fourth-most populous city in the European Union by population within city limits. It is the center of the Metropolitan City of Rome, which has a population of 4.3 million residents, the city is located in the central-western portion of the Italian Peninsula, within Lazio, along the shores of the Tiber. Romes history spans more than 2,500 years, while Roman mythology dates the founding of Rome at only around 753 BC, the site has been inhabited for much longer, making it one of the oldest continuously occupied sites in Europe. The citys early population originated from a mix of Latins, Etruscans and it was first called The Eternal City by the Roman poet Tibullus in the 1st century BC, and the expression was also taken up by Ovid, Virgil, and Livy. Rome is also called the Caput Mundi, due to that, Rome became first one of the major centres of the Italian Renaissance, and then the birthplace of both the Baroque style and Neoclassicism. Famous artists, painters, sculptors and architects made Rome the centre of their activity, in 1871 Rome became the capital of the Kingdom of Italy, and in 1946 that of the Italian Republic. Rome has the status of a global city, Rome ranked in 2014 as the 14th-most-visited city in the world, 3rd most visited in the European Union, and the most popular tourist attraction in Italy. Its historic centre is listed by UNESCO as a World Heritage Site, monuments and museums such as the Vatican Museums and the Colosseum are among the worlds most visited tourist destinations with both locations receiving millions of tourists a year. Rome hosted the 1960 Summer Olympics and is the seat of United Nations Food, however, it is a possibility that the name Romulus was actually derived from Rome itself. As early as the 4th century, there have been alternate theories proposed on the origin of the name Roma. There is archaeological evidence of occupation of the Rome area from approximately 14,000 years ago. Evidence of stone tools, pottery and stone weapons attest to about 10,000 years of human presence, several excavations support the view that Rome grew from pastoral settlements on the Palatine Hill built above the area of the future Roman Forum. Between the end of the age and the beginning of the Iron age. However, none of them had yet an urban quality, nowadays, there is a wide consensus that the city was gradually born through the aggregation of several villages around the largest one, placed above the Palatine. All these happenings, which according to the excavations took place more or less around the mid of the 8th century BC. Despite recent excavations at the Palatine hill, the view that Rome has been indeed founded with an act of will as the legend suggests in the middle of the 8th century BC remains a fringe hypothesis. Traditional stories handed down by the ancient Romans themselves explain the earliest history of their city in terms of legend and myth
Rome
Rome
Rome
Rome
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.
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
4.
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
5.
Andrea Bregno
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Andrea di Cristoforo Bregno was an Italian sculptor and architect of the Early Renaissance who worked in Rome from the 1460s and died just as the High Renaissance was getting under way. He was born in Osteno, Lombardy, into one of the most famous families in Northern Italy. His father, Cristoforo Bregno, and his brothers, Ambrogio and they formed a workshop in Ferrara, and took over the supervision of the architecture at the Doges Palace in Venice after the death of Bartolomeo Bon. Andrea Bregno was invited to move from Venice to Rome when the Venetian Paul II was elected Pope and he was famous among his contemporaries, and was compared to the Greek sculptor Polykleitos in the epitaph of his tomb in Santa Maria sopra Minerva. Raphaels father, Giovanni Santi, mentioned Bregno in the 1480s, in his biography of Federico da Montefeltro and he moved in humanist circles and was an esteemed friend of the humanist in Sixtus circle, Bartolomeo Platina, the librarian of the Vatican Library. Bregno played a significant role in the standardization of an authentically classicizing style of epigraphy, donato Bramante followed in both locations. Most of the side chapels with sexpartite ribbed vaults and balustrades preserved their original layout. His late masterwork is the white marble reredos of the Piccolomini altar in the Duomo of Siena. It takes the form of an architectural facade round a large central exedra with a half-domed head, in 1481, Andrea Bregno had started the altar for the tomb of Cardinal Francesco Todeschini-Piccolomini, who was to succeed Pope Alexander VI briefly as Pius III in 1503. Bregno died in Rome in 1506 and his tomb, dated 1506, in Santa Maria sopra Minerva, bears his portrait bust, probably a work of Luigi Capponi. A symposium held at Urbino, 24–25 June 2006, resulted in the publication Andrea Bregno Giovanni Santi e la cultura adriatica del Rinascimento, Atti del Convegno di Studi, Giuliana Gardelli, niche tomb of Cardinal Louis dAlbret, Santa Maria in Aracoeli, Rome. Traces of gilding and color remain on the marble, Tomb of the polymath Cardinal Nicholas of Cusa, San Pietro in Vincoli, with a polychrome relief of Saint Peter flanked by the kneeling cardinal and the Angel of Resurrection. Tomb of Cardinal Tebaldi, Santa Maria sopra Minerva, executed with Giovanni Dalmata, Tomb of Cardinal Alain de Coëtivy, in Santa Prassede Tomb of Cardinal Pietro Riario (died 1474, in the Church of Santi XII Apostoli. Tomb of Cardinal Cristoforo della Rovere, a nephew of Sixtus IV, in the Della Rovere Chapel, a Madonna is by Mino da Fiesole. Tomb of Raffael Della Rovere, the brother of Sixtus IV, crypt of Santi XII Apostoli Tomb of Cardinal Juan Díaz de Coca, Santa Maria sopra Minerva, wall tomb of Fra Lippo Lippi, Spoleto cathedral, c. Altar in the Salviati Chapel, San Gregorio Magno al Celio, with a relief of The Apparition of St Michael to St Gregory. Tabernacle, Sanctuary of Santa Maria della Quercia, Viterbo Two ciboria, in the Montemirabile Chapel, touring Club Italiano, Roma e Dintorni
Andrea Bregno
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Wall tomb of Nicolas of Cusa, by Andrea Bregno
6.
Architectural style
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An architectural style is characterized by the features that make a building or other structure notable or historically identifiable. A style may include such elements as form, method of construction, building materials, styles therefore emerge from the history of a society. They are documented in the subject of architectural history, at any time several styles may be fashionable, and when a style changes it usually does so gradually, as architects learn and adapt to new ideas. Styles often spread to places, so that the style at its source continues to develop in new ways while other countries follow with their own twist. A style may also spread through colonialism, either by foreign colonies learning from their home country, one example is the Spanish missions in California, brought by Spanish priests in the late 18th century and built in a unique style. After a style has gone out of fashion, revivals and re-interpretations may occur, for instance, classicism has been revived many times and found new life as neoclassicism. Each time it is revived, it is different, the Spanish mission style was revived 100 years later as the Mission Revival, and that soon evolved into the Spanish Colonial Revival. Vernacular architecture works slightly differently and is listed separately and it is the native method of construction used by local people, usually using labour-intensive methods and local materials, and usually for small structures such as rural cottages. It varies from region to region even within a country, as western society has developed, vernacular styles have mostly become outmoded due to new technology and to national building standards. Paul Jacobsthal and Josef Strzygowski are among the art historians who followed Riegl in proposing grand schemes tracing the transmission of elements of styles across great ranges in time and this type of art history is also known as formalism, or the study of forms or shapes in art. Terms originated to describe architectural periods were often applied to other areas of the visual arts, and then more widely still to music, literature. In architecture stylistic change often follows, and is possible by. While many architectural styles explore harmonious ideals, Mannerism wants to take style a step further and explores the aesthetics of hyperbole, Mannerism is notable for its intellectual sophistication as well as its artificial qualities. Mannerism favours compositional tension and instability rather than balance and clarity, the definition of Mannerism, and the phases within it, continues to be the subject of debate among art historians. An example of mannerist architecture is the Villa Farnese at Caprarola. in the country side outside of Rome. The proliferation of engravers during the 16th century spread Mannerist styles more quickly than any previous styles, a center of Mannerist design was Antwerp during its 16th-century boom. Through Antwerp, Renaissance and Mannerist styles were introduced in England, Germany. During the Mannerist Renaissance period, architects experimented with using architectural forms to emphasize solid, the Renaissance ideal of harmony gave way to freer and more imaginative rhythms
Architectural style
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The Architect's Dream by Thomas Cole (1840) shows a vision of buildings in the historical styles of the Western tradition, from Ancient Egypt through to Classical Revival
Architectural style
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The rhyolitic tuff portal of the "church house" at Colditz Castle, Saxony, designed by Andreas Walther II (1584), is an example of the exuberance of "Antwerp Mannerism".
Architectural style
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Town Hall of Zamość by Bernardo Morando.
7.
Renaissance architecture
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Stylistically, Renaissance architecture followed Gothic architecture and was succeeded by Baroque architecture. Developed first in Florence, with Filippo Brunelleschi as one of its innovators, the style was carried to France, Germany, England, Russia and other parts of Europe at different dates and with varying degrees of impact. Italy of the 15th century, and the city of Florence in particular, was home to the Renaissance, the scholarly approach to the architecture of the ancient coincided with the general revival of learning. A number of factors were influential in bringing this about, Italian architects had always preferred forms that were clearly defined and structural members that expressed their purpose. Many Tuscan Romanesque buildings demonstrate these characteristics, as seen in the Florence Baptistery, Italy had never fully adopted the Gothic style of architecture. In the 15th century, Florence, Venice and Naples extended their power through much of the area that surrounded them and this enabled Florence to have significant artistic influence in Milan, and through Milan, France. Successive Popes, especially Julius II, 1503–13, sought to extend the Pope’s temporal power throughout Italy, in the early Renaissance, Venice controlled sea trade over goods from the East. Trade brought wool from England to Florence, ideally located on the river for the production of fine cloth, by dominating Pisa, Florence gained a seaport, and also maintained dominance of Genoa. In this commercial climate, one family in particular turned their attention from trade to the business of money-lending. The Medici became the chief bankers to the princes of Europe, becoming virtually princes themselves as they did so, along the trade routes, and thus offered some protection by commercial interest, moved not only goods but also artists, scientists and philosophers. This commenced in the mid 15th century and gained momentum in the 16th century, the construction of the Sistine Chapel with its uniquely important decorations and the entire rebuilding of St Peters, one of Christendoms most significant churches, were part of this process. In wealthy republican Florence, the impetus for church-building was more civic than spiritual, the unfinished state of the enormous cathedral dedicated to the Blessed Virgin Mary did no honour to the city under her patronage. The dome inspired further religious works in Florence, through Humanism, civic pride and the promotion of civil peace and order were seen as the marks of citizenship. Some major ecclesiastical building works were commissioned, not by the church. During the Renaissance, architecture became not only a question of practice, printing played a large role in the dissemination of ideas. The first treatise on architecture was De re aedificatoria by Leon Battista Alberti in 1450 and it was to some degree dependent on Vitruviuss De architectura, a manuscript of which was discovered in 1414 in a library in Switzerland. De re aedificatoria in 1485 became the first printed book on architecture, Sebastiano Serlio produced the next important text, the first volume of which appeared in Venice in 1537, it was entitled Regole generali darchitettura. It is known as Serlios Fourth Book since it was the fourth in Serlios original plan of a treatise in seven books, in all, five books were published
Renaissance architecture
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Tempietto di San Pietro in Montorio, Rome, 1502, by Bramante. This small temple marks the place where St Peter was put to death.
Renaissance architecture
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Temple of Vesta, Rome, 205 AD. As the most important temple of Ancient Rome, it became the model for Bramante's Tempietto.
Renaissance architecture
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Renaissance
Renaissance architecture
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The Romanesque Baptistery of Florence was the object of Brunelleschi's studies of perspective
8.
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.
9.
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.
10.
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.
11.
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
12.
Blessed Virgin Mary (Roman Catholic)
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In the Catholic Church, veneration of Mary, mother of Jesus encompasses various Marian devotions which includes prayer, pious acts, visual arts, poetry, and music devoted to the Blessed Virgin Mary. Popes have encouraged it, while taking steps to reform some manifestations of it. The Holy See has insisted on the importance of distinguishing true from false devotion, there are significantly more titles, feasts, and venerative Marian practices among Roman Catholics than in other Christian traditions. The term hyperdulia indicates the special veneration due to Mary, greater than the ordinary dulia for other saints, the term Mariolatry is a Protestant pejorative label for perceived excessive Catholic devotion to Mary. Belief in the incarnation of God the Son through Mary is the basis for calling her the Mother of God, at the Second Vatican Council and in Pope John Paul IIs encyclical Redemptoris Mater, she is spoken of also as Mother of the Church. The Holy See approves only a few as worthy of belief. In Roman Catholic teachings, the veneration of Mary is a consequence of Christology, Jesus and Mary are son and mother, redeemer. This sentiment was expressed by Pope John Paul II in his encyclical Redemptoris Mater, At the centre of this mystery, in the midst of this wonderment of faith, stands Mary. As the loving Mother of the Redeemer, she was the first to experience it, in the Roman Catholic tradition Mariology is seen as Christology developed to its full potential. Mary is seen as contributing to an understanding of the life of Jesus. In this view, a Christology without Mary is not based on the revelation of the Bible. Traces of this parallel interpretation go back to the days of Christianity. The development of this continued into the 20th century. The divine salvation plan, being not only material, includes a permanent spiritual unity with Christ, Christians love for Mary intuited, frequently in anticipation, certain aspects of the mystery of the Blessed Virgin, calling the attention of theologians and pastors to them. Venerative and devotional practices have often preceded formal theological declarations by the Magisterium, the veneration of the Blessed Virgin takes place in various ways. Marian prayers and hymns usually begin with praise of her, followed by petitions, the number of Marian titles continued to grow as of the 3rd century, and many titles existed by the 5th century, growing especially during the Middle Ages. Veneration for Mary is based on the reference in the Gospel of Luke to Mary as the handmaid of the Lord who is greeted and praised by both Elizabeth and the angel Gabriel. One of the components of the Catholic veneration of Mary is the focus on her participation in the processes of salvation and redemption and this has been explored by such writers as Edward Schillebeeckx and Adrienne von Speyr
Blessed Virgin Mary (Roman Catholic)
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A series of articles on
Blessed Virgin Mary (Roman Catholic)
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The Catechism of the Catholic Church states: "The Church's devotion to the Blessed Virgin is intrinsic to Christian worship."
Blessed Virgin Mary (Roman Catholic)
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Earliest fresco of the Virgin Mary, Catacomb of Priscilla, 2nd century.
Blessed Virgin Mary (Roman Catholic)
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Santa Maria Maggiore, the first Marian church in Rome, originally built between 430 and 440.
13.
Nero
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Nero was Roman Emperor from 54 to 68, and the last in the Julio-Claudian dynasty. Nero was adopted by his great-uncle Claudius to become his heir and successor, during his reign, the redoubtable general Corbulo conducted a successful war and negotiated peace with the Parthian Empire. His general Suetonius Paulinus crushed a revolt in Britain, Nero annexed the Bosporan Kingdom to the empire and may have begun the First Jewish–Roman War. In 64 AD, most of Rome was destroyed in the Great Fire of Rome, Suetonius, writing a generation later, claims that many Romans believed Nero himself had started the fire, in order to clear land for his planned palatial complex, the Domus Aurea. In 68, the rebellion of Vindex in Gaul and later the acclamation of Galba in Hispania drove Nero from the throne, facing a false report of being denounced as a public enemy who was to be executed, he committed suicide on 9 June 68. His death ended the Julio-Claudian dynasty, sparking a period of civil wars known as the Year of the Four Emperors. Neros rule is often associated with tyranny and extravagance and he is known for many executions, including that of his mother, and the probable murder by poison of his stepbrother Britannicus. Nero was rumored to have had captured Christians dipped in oil and this view is based on the writings of Tacitus, Suetonius and Cassius Dio, the main surviving sources for Neros reign, but a few sources paint Nero in a more favourable light. Some sources, including some mentioned above, portray him as an emperor who was popular with the common Roman people, some modern historians question the reliability of ancient sources when reporting on Neros tyrannical acts. Lucius Domitius Ahenobarbus, Nero, was born on 15 December 37 in Antium and he was the only son of Gnaeus Domitius Ahenobarbus and Agrippina the Younger, sister of Emperor Caligula. Neros father, Gnaeus, was the son of Lucius Domitius Ahenobarbus, Gnaeus was thus the grandson of Gnaeus Domitius Ahenobarbus and probably Aemilia Lepida on his fathers side, and the grandson of Mark Antony and Octavia Minor on his mothers side. Thus, Nero had as his paternal grandmother Antonia Major, through Octavia, Nero was the great-nephew of Caesar Augustus. Neros father had employed as a praetor and was a member of Caligulas staff when the latter travelled to the East. Neros father was described by Suetonius as a murderer and a cheat who was charged by Emperor Tiberius with treason, adultery, Tiberius died, allowing him to escape these charges. Neros father died of edema in 39 when Nero was two, Neros mother was Agrippina the Younger, a great-granddaughter of Caesar Augustus and his wife Scribonia through their daughter Julia the Elder and her husband Marcus Vipsanius Agrippa. Agrippinas father, Germanicus, was a grandson of Augustuss wife, Livia, on one side and Mark Antony, Germanicus mother Antonia Minor was a daughter of Octavia Minor and Mark Antony. Germanicus was also the son of Tiberius. Agrippina poisoned her second husband Passienus Crispus, so many ancient historians also accuse her of murdering her third husband, the emperor Claudius
Nero
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Bust of Nero at the Musei Capitolini, Rome
Nero
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Coin issued under Claudius celebrating young Nero as the future emperor, c. 50.
Nero
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Nero and Agrippina. Agrippina crowns her young son Nero with a laurel wreath. She carries a cornucopia, symbol of fortune and plenty, and he wears the armour and cloak of a Roman commander, with a helmet on the ground at his feet. The scene refers to Nero's accession as emperor in 54 AD and is dated before 59 AD when Nero had Agrippina murdered.
Nero
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Coin of Nero and Poppaea Sabina
14.
Pope Gregory IX
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Pope Gregory IX Latin, Gregorius IX, was Pope from 19 March 1227 to his death in 1241. The successor of Pope Honorius III, he inherited the traditions of Pope Gregory VII and of his cousin Pope Innocent III. The date of his birth varies in sources between c.1145 and 1170 and he received his education at the Universities of Paris and Bologna. He was created Cardinal-Deacon of the church of SantEustachio by his cousin Innocent III in December 1198, in 1206 he was promoted to the rank of Cardinal Bishop of Ostia e Velletri. He became Dean of the Sacred College of Cardinals in 1218 or 1219, upon the special request of Saint Francis, in 1220, Pope Honorius III appointed him Cardinal Protector of the order of the Franciscans. As Cardinal Bishop of Ostia, he cultivated a wide range of acquaintances, among them the Queen of England, Gregory IX was elevated to the papacy in the papal election of 1227. He took the name Gregory because he assumed the papal office at the monastery of Saint Gregory ad Septem Solia. Gregorys Bull Parens scientiarum of 1231, after the University of Paris strike of 1229 and this pope, being a remarkably skillful and learned lawyer, caused to be prepared Nova Compilatio decretalium, which was promulgated in numerous copies in 1234. The supplement completed the work, which provided the foundation for papal legal theory, in the 1234 Decretals, he invested the doctrine of perpetua servitus iudaeorum – perpetual servitude of the Jews – with the force of canonical law. According to this, the followers of the Talmud would have to remain in a condition of political servitude until Judgment Day, the doctrine then found its way into the doctrine of servitus camerae imperialis, or servitude immediately subject to the Emperors authority, promulgated by Frederick II. The Jews were thus suppressed from having influence over the political process. In 1239, under the influence of Nicholas Donin, a Jewish convert to Christianity, following a public disputation between Christians and Jewish theologians, this culminated in a mass burning of some 12,000 handwritten Talmudic manuscripts on 12 June 1242, in Paris. Gregory was a supporter of the mendicant orders which he saw an excellent means for counteracting by voluntary poverty the love of luxury and he was a friend of Saint Dominic as well as Clare of Assisi. On 17 January 1235, he approved the Order of Our Lady of Mercy for the redemption of captives. He appointed ten cardinals and canonized Saints Elisabeth of Hungary, Dominic de Guzmán, Anthony of Padua and he transformed a chapel to Our Lady in the church of Santa Maria del Popolo in Rome. Gregory IX endorsed the Northern Crusades and attempts to bring Orthodox Slavic peoples in Eastern Europe under Papacys fold, at the coronation of Frederick II in Rome,22 November 1220, the emperor made a vow to embark for the Holy Land in August 1221. Gregory IX began his pontificate by suspending the Holy Roman Emperor Frederick II, Frederick II appealed to the sovereigns of Europe complaining of his treatment. The suspension was followed by excommunication and threats of deposition, as deeper rifts appeared, Frederick II went to the Holy Land and in fact managed to take possession of Jerusalem
Pope Gregory IX
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Pope Gregory IX
Pope Gregory IX
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Giotto. Dream of Pope Gregory IX with St Francis of Assisi
Pope Gregory IX
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Edicts of Gregory IX with glosses of Bernardo di Bottone. An example of books burned by the Germans.
Pope Gregory IX
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Bas-relief of Gregory IX in the US House of Representatives
15.
Ercole Ferrata
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Ercole Ferrata was an Italian sculptor of the Roman Baroque. A native of Pellio Inferiore, near Como, Ferrata initially apprenticed with Alessandro Algardi and he is best known for two works in SantAgnese in Agone in Rome, the Bernini-inspired The Death of St. Agnes as well as the marble relief Stoning of St Emerenziana. The latter has a restraint influenced by his mentor, Algardi, although the half was completed by one of his pupils. Under the leadership of Bernini, he sculpted the Angel with a Cross for the Ponte SantAngelo, early in his career he worked with Cosimo Fanzago and Giuliano Finelli in Naples. He also made the statue of Saint Catherine of Siena for the Chigi Chapel in the Duomo di Siena, with Francesco Aprile he sculpted SantAnastasia in Santa Anastasia in Rome, another statue resembling Berninis famous dying Beata Ludovica Albertoni. In 1677, when the Grand Duke arranged to get his antique sculptures released from Rome, Ercole Ferrata was recalled to Florence to unpack, Ferrata is less known for the documented fact that he provided the elegant arms for the Venus de Medici. He showed remarkable flair in making just the kind of additions to a mutilated statue which most appealed to connoisseurs, according to Francis Haskell. Of the generation after Bernini and Algardi, which included Domenico Guidi and Antonio Raggi, Ferratas pupils included the Florentine Foggini as well as Caffà, who acted as Ercoles studio assistant. In addition he trained Leonardo Retti, Francesco Aprile, Michele Maglia, Filippo Carcani, Giuseppe Mazzuoli, Lorenzo Ottoni, among his last pupils was Camillo Rusconi, who moved to Rome in 1686 to work briefly in Ferratas studio. Ercole Ferrata died at Rome in 1686, taste and the Antique, The Lure of Ancient Sculpture 1500-1900. Page at Web Gallery of Art Page at Artcyclopedia
Ercole Ferrata
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Angel with a Cross, Ponte Sant'Angelo, Rome
Ercole Ferrata
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Martyrdom of St. Agnes on a pyre (Sant Agnese Agone, Rome)
Ercole Ferrata
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St Catherine of Siena (Chigi Chapel, Siena)
Ercole Ferrata
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Funereal Monument to Giulio Del Corno (Gesù e Maria, Rome)
16.
Andrea Sansovino
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Andrea dal Monte Sansovino or Andrea Contucci del Monte San Savino was an Italian sculptor active during the High Renaissance. He was the son of Niccolò di Domenico di Muccio, and was born at Monte San Savino near Arezzo, hence his name and he was a pupil of Antonio Pollaiuolo, and at first worked in the style of 15th-century Florence. From 1493 to 1500 Andrea worked in Portugal for the king and these early reliefs show strongly the influence of Donatello. His first known works after his return to Rome are a Madonna, the beginning of a more pagan style is shown in the statues of St. John Baptizing Christ over the east door of the Battistero di San Giovanni in Florence. This group was, however, finished by the hand of Vincenzo Danti. In this period he executed the marble font at Volterra, with reliefs of the Four Virtues. These tombs became models which for years were copied by most later sculptors with increasing exaggerations of their defects. In 1512, while still in Rome, Sansovino executed a very beautiful group of the Madonna and Child with St. Anne, though the general effect is rich and magnificent, the individual pieces of sculpture are both dull and feeble. The earlier reliefs, those by Sansovino himself, are the best, Andrea Sansovino This article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. Sansovino, Andrea Contucci del Monte. Giorgio Vasari includes a biography of Sansovino in his Lives, Andrea Sansovino, sculptor and architect of the Italian Renaissance
Andrea Sansovino
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Christ, Baptistery of San Giovanni in Volterra
Andrea Sansovino
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Altar front, Santo Spirito
Andrea Sansovino
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St. John the Baptist by Andrea Sansovino, early 1500s, (Adam, Zaccariah, and Habakkuk, by Matteo Cividali)
Andrea Sansovino
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Baptism Christ, Battistero di San Giovanni,
17.
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
18.
Alderano Cybo
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Alderano Cybo was an Italian Catholic Cardinal. Cybo was born 16 July 1613 in Genoa and went to Rome at an age as prelate to Pope Urban VIII. On 6 March 1645, Cybo was elevated to Cardinal by Pope Innocent X and was appointed Cardinal-Priest of Santa Pudenziana, in 1656 he was appointed Bishop of Jesi, a position he held until he resigned in 1671. He participated in the conclaves of 1655,1667, 1669–1670 and 1676. Cybo was appointed Dean of the College of Cardinals in 1687, as Dean presided over the Papal conclave of 1689 and the conclave of 1691. Between 1676 and 1689, Cybo was appointed Cardinal Secretary of State, Cybo died 22 July 1700 and was buried at the Santa Maria del Popolo in the Cybo Chapel which he radically rebuilt to glorify the achievements of his family
Alderano Cybo
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Cardinal Alderano Cybo
Alderano Cybo
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Sculpture of Alderano Cybo at the Santa Maria del Popolo.
19.
Carlo Fontana
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Carlo Fontana was an Italian architect originating from todays Canton Ticino, who was in part responsible for the classicizing direction taken by Late Baroque Roman architecture. There seems to be no proof that he belonged to the family of architects of the same name. Born in Brusato, near Como, Fontana went to Rome before 1655 and he became a draughtsman for the architectural plans of Pietro da Cortona, Carlo Rainaldi, and Gian Lorenzo Bernini. Bernini employed him for nearly a decade in diverse projects and his first independent project may be the church of San Biagio in Campitelli, completed by 1665. His façade at San Marcello al Corso is described as one of his most successful works. Among his other works were the designs for a Jesuit complex in Azpeitia, Spain, in the village of Loyola where Saint Ignatius of Loyola. This grandiose basilica was an influence upon baroque architecture of the New World. Fontana was an able artist and a designer, but lacked the innovation that characterized early Baroque architects like Cortona. In addition, he was successful as an architect than as a writer. By order of Innocent XI he wrote a historical description of the Templum Vaticanum. Fontana made a calculation of the expense of St. Peters from the beginning to 1694. He also published works on the Colosseum, the Aqueducts, the inundation of the Tiber, furthermore, twenty seven manuscript volumes of his writings and sketches are preserved in the Royal Library at Windsor. Fontana was principe of the Accademia di San Luca in 1686, fontanas studio was one of the most prolific in Europe, its designs for fountains, tombs, and altars were often imitated or reproduced abroad. Other Fontana pupils include Giovan Battista Contini and Carlo Francesco Bizzaccheri, rebuilding and refurbishing, with Francesco Borromini and others Palazzo Montecitorio, the headquarters of the Camera dei Deputati of the Italian government since 1871. Façade of the church of San Marcello al Corso, the conventional scrolls that ordinarily flank the upper central section are appropriately replaced with the martyrs palms. Church of Santa Maria dei Miracoli, in collaboration with Gian Lorenzo Bernini, church of San Biagio in Campitelli. Interior of Basilica dei Santi Apostoli, the fountain in the left of the Piazza San Pietro. The fountain in front of Santa Maria in Trastevere, one of the oldest fountains of Rome, was restored by Fontana The Cybo Chapel in Santa Maria del Popolo, sistine Chapel in Santa Maria Maggiore
Carlo Fontana
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Carlo Fontana
Carlo Fontana
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San Marcello al Corso, by Carlo Fontana, 1682–83.
Carlo Fontana
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Santi Apostoli ceiling.
Carlo Fontana
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Cybo Chapel in Santa Maria del Popolo.
20.
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
21.
Maiolica
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Maiolica, also called Majolica is Italian tin-glazed pottery dating from the Renaissance period. It is decorated in colours on a background, sometimes depicting historical and mythical scenes. By the late 15th century, several places, mainly small cities in northern and central Italy, were producing sophisticated pieces for a market in Italy. The name is thought to come from the medieval Italian word for Majorca, moorish potters from Majorca are reputed to have worked in Sicily and it has been suggested that their wares reached the Italian mainland from Caltagirone. An alternative explanation of the name is that it comes from the Spanish term obra de Malaga, denoting “ wares from Malaga”. or obra de mélequa, the Spanish name for lustre. In the 15th century, the term maiolica referred solely to lusterware, eventually the term came to be used when describing ceramics made in Italy, lustred or not, of tin-glazed earthenware. With the Spanish conquest of Mexico, tin-glazed maiolica wares came to be produced in the Valley of Mexico as early as 1540, mexican maiolica is known famously as Talavera. By a convenient extension and limitation the name may be applied to all tin-glazed ware, of whatever nationality, the name faïence being reserved for the later wares of the 17th Century onwards, either in original styles or, more frequently, in the Dutch-Chinese tradition. The term maiolica is sometimes applied to modern tin-glazed ware made by studio potters, the word, majolica, is also used for Victorian majolica, a hard-wearing type of pottery where coloured lead glazes are applied direct to the biscuit. Tin glazing creates a brilliant white, opaque surface for painting, the colours are applied as metallic oxides or as fritted underglazes to the unfired glaze, which absorbs pigment like fresco, making errors impossible to fix, but preserving the brilliant colors. Sometimes the surface is covered with a glaze that lends greater shine. In the case of lustred wares, a further firing at a temperature is required. Kilns required wood as well as suitable clay, glaze was made from sand, wine lees, lead compounds and tin compounds. Analysis of samples of Italian maiolica pottery from the Middle Ages has indicated that tin was not always a component of the glaze, such archaic wares are sometimes called proto-maiolica. During the later fourteenth century, the palette of colours was expanded from the traditional manganese purple and copper green to include cobalt blue, antimony yellow. Sgraffito wares were produced, in which the white tin-oxide glaze was scratched through to produce a design from the revealed body of the ware. Refined production of tin-glazed earthenwares made for more local needs was concentrated in central Italy from the later thirteenth century. The medium was adopted by the Della Robbia family of Florentine sculptors
Maiolica
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Istoriato decoration on a plate from Castel Durante, c.1550-1570 (Musée des Beaux-Arts de Lille)
Maiolica
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Istoriato charger, Faenza, ca 1555 (Dallas Museum of Art)
Maiolica
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Dish with bird, in Islamic-derived style, Orvieto, ca.1270-1330 (Victoria and Albert Museum)
Maiolica
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Dish from Deruta, 2nd quarter of the 16th century, shows the full range of glaze colors (Victoria and Albert Museum)
22.
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
23.
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
24.
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
25.
Gian Cristoforo Romano
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Giovanni Cristoforo Romano was an Italian Renaissance sculptor and medallist. Born in Rome to Isaia da Pisa, he was probably a pupil of Andrea Bregno and his first known works are in the Ducal Palace of Urbino, dating from before 1482. Later he worked as medallist for the courts of Ferrara and Mantua, after the fall of the Sforza he returned to work for Isabella dEste, for which he executed some fine medals and the precious marble portal of her study in the Ducal Palace of Mantua. Later he sojourned in Rome, Naples, Cremona, and again Milan, the tripartite marble altar-piece in the Costa Chapel in Santa Maria del Popolo was probably created by him for Cardinal Jorge da Costa around 1505. Giorgio Vasari, Le vite A. Venturi, Studi su G. C. R, aspetti della scultura a Cremona nel XVI secolo, in I Campi e la cultura artistica cremonese del cinquecento, Milano 1985
Gian Cristoforo Romano
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Plaster cast of a Battle scene by Gian Cristoforo Romano 1491-1497 (sculpted), ca. 1884 (cast) V&A Museum no. REPRO.1884-669
26.
Montemirabile Chapel (Santa Maria del Popolo)
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The Montemirabile or Saint John the Baptist Chapel, otherwise the Baptistery is the first side chapel in the left aisle in Basilica of Santa Maria del Popolo. The chapel was transformed to the baptistery of the basilica in 1561, the chapel was built by Giovanni Montemirabile, the bishop of Vaison and a confidant of Pope Sixtus IV who rebuilt the basilica at the same time. It was dedicated to St. John the Baptist, the funeral chapel was transformed into a baptistery in 1561. The basic architectural layout is similar to the other 15th century side chapels of the basilica, in the mid-seventeenth century the quattrocento sculptural works were restructured. In the 17th century a new painting was made for the altar by Pasquale Rossi. The side walls of the chapel are articulated by painted Corinthian pilasters decorated with candelabra, flowers and garlands on a yellow background. The vault is now painted white. The original marble slabs of the parapet with the della Rovere coat-of-arms are probably the most finely elaborated in the basilica. They are similar to the slabs of the Della Rovere Chapel but the coats are framed with wreathes. The most valuable works of art in the chapel are the edicules of the baptismal font, the 15th century marbles are exquisite sculptural works by the school of Andrea Bregno. In the middle of the 17th century they were re-assembled and their elements were integrated with new additions. The marbles originate from the old main altar which was demolished, the funeral monument of Cardinal Antoniotto Pallavicini on the left wall was made by the Bregno workshop. It was originally in the Old St. Peters Basilica where a Dutch traveller, Aernout van Buchel saw in 1587 among various other discarded tombs, the monument was transferred to the Basilica of Santa Maria del Popolo in 1596 to which date the inscription on the base belongs. An earlier inscription on the sarcophagus declares that always having death in mind, Antoniotto Cardinal of S. Prassede, erected for himself while still alive and it has been placed in the first chapel of the left aisle in 1630. This is a funeral monument in the form of an aedicule with two finely carved Corinthian pilasters holding a heavy entablature. The marble sarcophagus with the statue of the dead cardinal is placed in a large rectangular niche forming an open tomb. On the back wall of the niche there is a set in a lunette depicting the Madonna with the Child flanked by two angels in adoration. The whole sepulchre is crowned by a gable with the relief of God
Montemirabile Chapel (Santa Maria del Popolo)
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General view of the chapel
Montemirabile Chapel (Santa Maria del Popolo)
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Marble parapet slab
Montemirabile Chapel (Santa Maria del Popolo)
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The Baptism of Christ by Pasquale Rossi
Montemirabile Chapel (Santa Maria del Popolo)
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The inside of the chapel
27.
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
28.
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.
29.
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
30.
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
31.
Theodoli Chapel (Santa Maria del Popolo)
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The Theodoli Chapel or Chapel of Saint Catherine «del Calice» in the Basilica of Santa Maria del Popolo in Rome is an important monument of Roman Mannerism. Although less known than some of the side chapels of the same church it is a major work in the oeuvre of Giulio Mazzoni. The chapel opens at the end of the arm of transept next to the famous Cerasi Chapel. The construction of the chapel coincides with the renovation of the building in the mid-sixteenth century. On 27 June 1553 the chapel was granted to Alicorni, and re-dedicated to Saints Lucy, the dedication to the most important martyrs of Milan is easily explained by the origins of the Alicorni family. After the death of Traiano Alicorni the property was inherited by his sons, Fausto, soon, however, the chapel was returned to the Augustinians, who assigned it to Girolamo Theodoli, the Bishop of Cádiz, on 24 December 1569. The two families were linked by their common homeland, Romagna, the work on the inner decoration had been started by Traiano Alicorni. He commissioned Giulio Mazzoni in a contract dated to 15 October 1555, the artist undertook the task for the considerable sum of 800 scudi and pledged to finish it within two years. He was still working on it ten years later, previously the Theodoli Chapel was thought be a late work of Mazzoni but this was disproved by the discovery of the contract. The iconographic themes of the help to differentiate the two commissions, the vault is part of the first phase from the 1550s as well as the two lunettes with the Sibyls and the Prophets. The third lunette with the figure of Saint Jerome should belong to the Theodoli phase like everything else in the lower parts, the marble statue of Saint Catherine on the altar also belongs to the post-1569 phase. Originally the chapel was called Santa Caterina «del Calice» or «del Cadice» to distinguish it from the Chapel of Santa Caterina «del Portogallo» in the right aisle. There are stucco chalices with ribbons and vases on the spandrels, the symbol of the chalice alluded to the city of Cádiz and the bishopric. The completion of the Theodoli Chapel could be placed around 1575 because Mazzoni returned to Piacenza in the next year, the chapel was refurbished by Marquis Girolamo Theodoli about 150 years later. The large stucco cartouche above the arch with the coat of arms of the Theodoli family probably belongs to this phase. The paintings were restored and refreshed by Giacomo Triga, the painter of marquis. The 18th century redecoration is probably related to the Jubilee Year of 1725, the statue bears the signature of the artist on its pedestal, JULIUS MAZZONUS PLACENTINUS PICTOR ET SCULPTOR. The vault is divided into panels which are separated by delicate white and gold stucco bands of vases
Theodoli Chapel (Santa Maria del Popolo)
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The chapel with the altar statue of Saint Catherine by Giulio Mazzoni
Theodoli Chapel (Santa Maria del Popolo)
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Stucco angels in the corner of the ceiling with the symbols of episcopal authority in the background.
Theodoli Chapel (Santa Maria del Popolo)
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White stucco angels holding a medaillon of St John the Baptist.
Theodoli Chapel (Santa Maria del Popolo)
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God the Father among angels on the right hand wall.
32.
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.
33.
Giulio Mazzoni
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Giulio Mazzoni was an Italian painter and stuccoist, active during the Renaissance period. He was born in Piacenza, but studied in Rome under Daniele da Volterra and he helped decorate the Palazzo Spada. He also painted a canvas of the Four Evangelists for the Cathedral of Piacenza, one of the major works in his oeuvre is the Theodoli Chapel in the Basilica of Santa Maria del Popolo which is a gem of Roman Mannerism. Mazzoni was commissioned by Traiano Alicorni in 1555 to decorate his chapel in the basilica, the work was restarted by a new patron, Girolamo Theodoli, the Bishop of Cádiz after 1569 and finished around 1575. Mazzoni created a harmonious and iconographically coherent ensemble of delicate stuccos, frescos and he was probably related to the sculptor Guido Mazzoni. Walter Armstrong & Robert Edmund Graves, ed, dictionary of Painters and Engravers, Biographical and Critical. Giulio Mazzoni de Piacenza, Pittore e Scultore
Giulio Mazzoni
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The ceiling of the Theodoli chapel at the basilica of Santa Maria del Popolo in Rome, Italy, containing stuccoes by Giulio Mazzoni
34.
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)
35.
Crucifixion of St. Peter (Caravaggio)
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The Crucifixion of Saint Peter is a work by Michelangelo Merisi da Caravaggio, painted for the Cerasi Chapel of Santa Maria del Popolo in Rome. Across the chapel is a second Caravaggio work depicting the Conversion of Saint Paul on the Road to Damascus, on the altar between the two is an Assumption of the Virgin Mary by Annibale Carracci. The painting depicts the martyrdom of St. Peter by crucifixion—Peter asked that his cross be inverted so as not to imitate his God, Jesus Christ, the large canvas shows Ancient Romans, their faces shielded, struggling to erect the cross of the elderly but muscular apostle. Peter is heavier than his body would suggest, and his lifting requires the efforts of three men, as if the crime they perpetrate already weighs on them. The two Caravaggios, as well as the altarpiece by Carracci, were commissioned in September 1600 by Monsignor Tiberio Cerasi, Caravaggios original versions of both paintings were rejected. Petersburg, but this is not generally accepted, in all events, the second versions, which seem to have been more unconventional than the first, were accepted without comment by the executors of Cerasis estate in 1601. Caravaggio, or his patron, appear to have had in mind the Michelangelo frescoes in the Vaticans Capella Paolina when choosing the subjects for these paintings, however, the Caravaggio scene is far more stark than the confusing melee miracle of the mannerist Michelangelo fresco in the Vatican. Boston College page on the Crucifixion of St. Peter
Crucifixion of St. Peter (Caravaggio)
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Crucifixion of St. Peter
36.
Feoli and Cicada Chapels (Santa Maria del Popolo)
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The Chapel of Saint Thomas of Villanova and the Chapel of Saint Rita are two little chapels opening in the right transept of the Basilica of Santa Maria del Popolo. They are relatively insignificant in terms of artistic value compared to the side chapels of the church. Borgia Chapel The Chapel of Saint Lucy or the Borgia Chapel was bought by the mistress of Pope Alexander VI. It was located in the transept of the church. The chapel became the place of Vannozza, her second and third husbands, and also the sons of the pope, Pier Luigi de Borgia and Giovanni Borgia. The right for obtaining a funeral chapel in the basilica had been secured by Vannozzas second husband, Vannozza, a rich businesswoman in her own right, became the patroness of the Augustinian convent. The Vicar General of the Congregation, Gaudientio di Bargi gave her permission on 24 February 1500 to acquire the first chapel to the right of the high altar, on 4 March 1501 Vannozza commissioned Andrea Bregno and Giovanni di Larigo to design a tabernacle and an altar. She also commissioned a painting of Saint Lucy, the patron of her chapel, the painting supposedly portrayed Vannozza herself and remained in the chapel until its demolition in 1658. During the Sack of Rome in 1527 the Borgia tombs were probably vandalised, twin chapels After the Borgia Chapel was demolished two new identical chapels were built during Berninis intervention in 1658 at the expense of the convent. The left one, which was dedicated to St. Thomas of Villanova at the time of its construction, was given first to Abbot Benedetto Mazzini in 1671. He planned to use it as a burial place. The chapel was obtained in 1857 by Pietro Feoli who commissioned Giambattista Benedetti to completely redesign it in Neo-Renaissance style, the other chapel inherited the old dedication to Saint Lucy but it was restored and re-dedicated to St. Rita of Cascia in 1901 by Cardinal Agostino Ciasca. There was a Baroque painting on the altar of the Chapel of St. Thomas by Fabrizio Chiari depicting St. Thomas of Villanueva Distributing Alms in the 17th century which is now placed near the sacristy. The current Renaissance Revival decoration of the chapel was executed in 1858 by Casimiro Brugnone de Rossi who was a favoured artist at the time of Pope Pius IX. He painted the Four Evangelists and the dove of the Holy Spirit on the dome, the new altar painting of St. Thomas of Villanueva Distributing Alms is dated to 1860. It is a conventional work than the previous Baroque painting. There are many 19th century family tombs and memorials in the chapel, in the Chapel of St. Rita the altarpiece is a painting by Giovanni Piancastelli. The sepulchral monument of Odoardo Cicada, the Bishop of Sagona by Guglielmo della Porta is dated around 1545, the Renaissance wall tomb followed the design of Michelangelos Late Renaissance monument for Cecchino Bracci in Santa Maria in Aracoeli but much of it was later demolished
Feoli and Cicada Chapels (Santa Maria del Popolo)
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The two small chapels from the transept
Feoli and Cicada Chapels (Santa Maria del Popolo)
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Painted Renaissance Revival decoration on the vault of the Feoli Chapel by Casimiro Brugnone de Rossi.
Feoli and Cicada Chapels (Santa Maria del Popolo)
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The Feoli Chapel
Feoli and Cicada Chapels (Santa Maria del Popolo)
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The Cicada Chapel
37.
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
38.
Paolo Posi
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Paolo Posi was an Italian architect of the late-Baroque period. Among the cities in which he was active were Rome, Narni, in 1734-1742 he helped in the restoration of the Cathedral of Naples. From 1751 onwards he was the architect of the Colonna family. Posi decorated the altar of the church of Santa Maria dellAnima in Rome as if it had been a pagan Bacchus temple. Nominated as architect to St Peters Basilica and Knight of the Golden Spur, Posi helped design the Jesuit church in Sinigaglia, and he helped rebuild the Palazzo Colonna and rebuilt the church of Santa Caterina dei Senesi. Poli also designed the façade of the church in the Certosa of Trisulti. Translated by Mrs. Edward Cresy, ed, the lives of celebrated architects, ancient and modern. Volume 1. J. Taylor Architectural Library, High Holborn, London
Paolo Posi
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The Jesuit Church in Senigallia, designed by Posi.
39.
Gian Girolamo Albani
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Gian Girolamo Albani was an Italian Roman Catholic cardinal. A member of the Albani family, Gian Girolamo Albani was born in Bergamo on January 3,1509 and he studied grammar and rhetoric under Giovita Rapicio da Chiari at the University of Padua, he later received a doctorate in civil law from the university in 1529. After university, he returned to Bergamo, there, Andrea Gritti, Doge of Venice gave him the honor cavaliere aurato. He went on to serve as collaterale generale in the army of the Republic of Venice and he then became podestà of Bergamo. In 1550, he became magistrate in Bergamo, during this period he made the acquaintance of Michele Ghislieri, the Albani family had long engaged in a feud with the Brembati family. This climaxed in 1563, when the sons of the Albani murdered Count Achille Brembati in Santa Maria Maggiore, the Council of Ten sentenced Albani and his brothers to five years exile on the island of Lesina. Albanis wife died while he was serving this sentence, after completing his sentence, Albani accepted an invitation from Pope Pius V to come to Rome. The pope soon named him a protonotary apostolic and he served as governor of the March of Ancona from February 3,1569 until May 1570. Pope Pius V made him a cardinal priest in the consistory of May 17,1570 and he received the red hat and the titular church of San Giovanni a Porta Latina on November 20,1570. He participated in the conclave of 1572 that elected Pope Gregory XIII. The new pope sent him on a number of diplomatic missions and he was a participant in the papal conclave of 1585 that elected Pope Sixtus V. From 1585 to his death, he was the governor of Bagnoregio, in 1586, his son, Giovanni Battista Albani, became Titular Patriarch of Alexandria. He participated in both the conclave of September 1590 that elected Pope Urban VII and the papal conclave of October–December 1590 that elected Pope Gregory XIV. He died in Rome on April 25,1591 and he was buried in Santa Maria del Popolo. De donatione Constantini De cardinalatu De immunitate ecclesiarum De potestate papæ et concilii Catholic Church in Italy
Gian Girolamo Albani
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Gian Girolamo Albani
Gian Girolamo Albani
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Portrait of Gian Girolamo Albani by Giovanni Battista Moroni.
Gian Girolamo Albani
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Monument to Albani in Santa Maria del Popolo.
40.
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
41.
Renaissance sculpture
–
Sculpture is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts, a wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or molded, or cast. However, most ancient sculpture was painted, and this has been lost. Those cultures whose sculptures have survived in quantities include the cultures of the ancient Mediterranean, India and China, the Western tradition of sculpture began in ancient Greece, and Greece is widely seen as producing great masterpieces in the classical period. During the Middle Ages, Gothic sculpture represented the agonies and passions of the Christian faith, the revival of classical models in the Renaissance produced famous sculptures such as Michelangelos David. Relief is often classified by the degree of projection from the wall into low or bas-relief, high relief, sunk-relief is a technique restricted to ancient Egypt. Relief sculpture may also decorate steles, upright slabs, usually of stone, techniques such as casting, stamping and moulding use an intermediate matrix containing the design to produce the work, many of these allow the production of several copies. The term sculpture is used mainly to describe large works. The very large or colossal statue has had an enduring appeal since antiquity, another grand form of portrait sculpture is the equestrian statue of a rider on horse, which has become rare in recent decades. The smallest forms of life-size portrait sculpture are the head, showing just that, or the bust, small forms of sculpture include the figurine, normally a statue that is no more than 18 inches tall, and for reliefs the plaquette, medal or coin. Sculpture is an important form of public art, a collection of sculpture in a garden setting can be called a sculpture garden. One of the most common purposes of sculpture is in form of association with religion. Cult images are common in cultures, though they are often not the colossal statues of deities which characterized ancient Greek art. The actual cult images in the innermost sanctuaries of Egyptian temples, of which none have survived, were rather small. The same is true in Hinduism, where the very simple. Some undoubtedly advanced cultures, such as the Indus Valley civilization, appear to have had no monumental sculpture at all, though producing very sophisticated figurines, the Mississippian culture seems to have been progressing towards its use, with small stone figures, when it collapsed. Other cultures, such as ancient Egypt and the Easter Island culture, from the 20th century the relatively restricted range of subjects found in large sculpture expanded greatly, with abstract subjects and the use or representation of any type of subject now common. Today much sculpture is made for intermittent display in galleries and museums, small sculpted fittings for furniture and other objects go well back into antiquity, as in the Nimrud ivories, Begram ivories and finds from the tomb of Tutankhamun
Renaissance sculpture
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The Dying Gaul, or The Capitoline Gaul a Roman marble copy of a Hellenistic work of the late 3rd century BCE Capitoline Museums, Rome
Renaissance sculpture
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Michelangelo 's Moses, (c. 1513–1515), housed in the church of San Pietro in Vincoli in Rome. The sculpture was commissioned in 1505 by Pope Julius II for his tomb.
Renaissance sculpture
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Assyrian lamassu gate guardian from Khorsabad, c. 721–800 BCE
Renaissance sculpture
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Netsuke of tigress with two cubs, mid-19th century Japan, ivory with shell inlay
42.
Bernardino Lonati
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Bernardino Lunati was an Italian Roman Catholic cardinal. Bernardino Lunati was born in Pavia in 1452, early in his career, he was a protonotary apostolic. He obtained the patronage of Cardinal Ascanio Sforza, who insisted that Lunati be made a cardinal, as such, Pope Alexander VI made him a cardinal deacon in the consistory of September 20,1493. He received the red hat and the titulus of San Ciriaco alle Terme Diocleziane on September 23,1493, immediately after he was raised to the cardinalate, Lunati was ordained as a priest. He supported Cardinal Ascanio Sforza in Cardinal Sforzas dispute with the pope and he was detained after visiting the Apostolic Palace on December 9,1494. However, he was allowed to participate in the consistory of December 11,1494 and was sent to Ostia. From there, he joined Charles VIII of France and was part of his entourage when he entered Rome on December 31,1494. Following the agreement reached between the pope and the king on January 15,1495, Cardinal Lunati traveled with Cardinal Sforza to Milan and he accompanied the pope to Orvieto on May 27,1495 and returned with him to Rome on June 27. On July 10,1495, he was named administrator of the see of Aquino. In the consistory of October 26,1496, he was named legate to Guidobaldo da Montefeltro, Duke of Urbino, captain general of the papal troops. He was with the duke for the occupation of Anguillara Sabazia, Galera, Bassano, Sutri, Campagnano di Roma, Formello, Sacrofano and he died during the siege of Bracciano, on August 8,1497. He is buried in Santa Maria del Popolo
Bernardino Lonati
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Bernardino Lunati
Bernardino Lonati
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Coat of arms of Cardinal Bernardino Lunati.
43.
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.
44.
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
45.
Scipione Gonzaga
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Scipione Gonzaga was an Italian cardinal. Born in Mantua, he belonged to the family of the Dukes of Sabbioneta, passed his youth under the care of Cardinal Ercole Gonzaga, and made rapid progress in Greek and Latin studies. At Bologna, and later at Padua, he studied mathematics and philosophy, gonzagas home in Rome, the Palazzo Aragona Gonzaga, was a meeting place for the most eminent musicians and intellectuals of the day. Having finished his studies he went to Rome, became cameriere segreto to Pope Pius IV. In the early years of the reign of Pope Gregory XIII Gonzaga had a lawsuit with the Duke of Mantua over some property. Through the Guise party, whose cause he had aided, he became Bishop of Mende in France, but Charles, Duke of Guise pleaded unsuccessfully with Gregory XIII to have him made cardinal. Pope Sixtus V, immediately on his elevation, appointed him Latin Patriarch of Jerusalem, Sixtus also made constant use of his services in the execution of his policies, domestic and foreign. Cardinal Gonzaga was a friend Charles Borromeo and Philip Neri, for a time Gonzaga was Governor of the March of Montferrat, in the name of the Marquess Vincenzo. The three books of his Commentarii, written in polished Latin, are an important source of information for the history of his cardinalate and he was buried in the church of San Sebastiano al Palatino in Rome He had 7 children between 1565 and 1579. He also ordained Francesco Maria Bourbon Del Monte Santa Maria to the priesthood and this article incorporates text from a publication now in the public domain, Herbermann, Charles, ed. article name needed
Scipione Gonzaga
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Cardinal Scipione Gonzaga
46.
Guido Bentivoglio
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Guido Bentivoglio dAragona was an Italian cardinal, statesman and historian. A member of the Ferrara branch of the influential Bentivoglio family of Bologna, he was the son of marchese Cornelio Bentivoglio. There Pope Clement VIII, on a visit to the city that had fallen under direct papal control, made him his private chamberlain. He arrived in Brussels when negotiations between the Habsburgs and the Dutch Republic to end the Eighty Years War were about to begin, following the conclusion of the Twelve Years Truce in April 1609, he was greatly concerned with the position of Catholicism in the Republic. Accredited to a Habsburg court, he took a keen interest in the final stages of the reign. His correspondence reveals Bentivoglio as the skilled diplomatist, polished by constant intercourse with the most refined society, as well as the mature observer, according to Ludwig Pastor. The King rewarded his services as nuncio with the appointment on 11 July 1622 to the bishopric of Riez, in accordance to custom, Bentivoglio was made a cardinal on 11 January 1621 at the end of his mission at the Court of France. His first titular church was the San Giovanni a Porta Latina and he subsequently switched to the Santa Maria del Popolo, the Santa Prassede and the Santa Maria in Trastevere. On 1 July 1641, his friend, Pope Urban VIII appointed him to the suburbican see of Palestrina. Until his nomination to the order of cardinal-bishops, Louis XIII, on 22 June 1633, Cardinal Bentivoglio was one of the signers of the papal condemnation of Galileo. An able writer and skilful diplomat, Bentivoglio was marked out as Urbans successor and he is buried in the church of San Silvestro al Quirinale, Rome. Bentivoglio took Girolamo Frescobaldi with him to Brussels as his household composer, on his return to Rome in 1621 Bentivoglio bought Cardinal Scipione Borgheses new palazzo on the Quirinale. He commissioned his portrait from Anthony van Dyck and his portrait bust was sculpted by François Duquesnoy Il Fiammingo, a Franco-Flemish sculptor working in Rome Della guerra di Fiandria. Relazioni di G. Bentivoglio in tempo delle sue Nunziature di Fiandria e di Francia Lettere diplomatiche di Guido Bentivoglio, costantino Panigada, ed. Memorie e Lettere 1934. The complete edition of his works was published at Venice in 1668, rovigo, Centro di Cultura Aldo Masieri. Memorie e lettere Cardinals of the Holy Roman Church, Guido Bentivoglio Catholic Hierarchy, Guido Cardinal Bentivoglio dAragona
Guido Bentivoglio
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Guido Cardinal Bentivoglio.
Guido Bentivoglio
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Cardinal Bentivoglio, by Anthony van Dyck (Palazzo Pitti).
Guido Bentivoglio
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Guido Bentivoglio painted by Anthony Van Dyck and engraved by Jean Morin
47.
Lelio Biscia
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Lelio Biscia was an Italian Catholic cardinal. Biscia was born on 15 June 1575 in Rome, the son of Bernardino Biscia and Vittoria Scapucci. Biscias father was a noble and a consistorial lawyer. Biscia followed his father and received legal education before becoming a lawyer himself at the age of 20. He became a referendary of the Tribunals of the Apostolic Signature of Justice and of Grace and he was appointed governor of Civitavecchia for a year, between 1605 and 1606 and then again between 1609 and 1610. Soon after he was appointed dean of the Apostolic Chamber, Biscia was known as a great collector of books and manuscripts. In 1622, he employed theologian Leo Allatius to curate his personal library and he was also a patron of mathematician and scientist Benedetto Castelli. Biscia was elevated to cardinal by Pope Urban VIII on 19 January 1626 and was appointed cardinal-deacon of the church of Santi Vito, Modesto e Crescenzia the following month. In 1633 he was appointed cardinal-deacon of the church of Santa Maria in Cosmedin and he died in Rome on 19 November 1638 after a week spent suffering severe erysipelas
Lelio Biscia
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Lelio Biscia painted by Andrea Sacchi, c. 1630, National Gallery of Canada, Ottawa
48.
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
49.
Francesco del Giudice
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Francesco del Giudice was a Roman Catholic cardinal from 1690 to 1725 who also held a variety of other ecclesiastical and governmental offices. Francesco del Giudice was born in Naples on December 7,1647, Pope Alexander VIII named him a cardinal priest in the consistory of February 13,1690, with dispensation for not having received the minor orders. He received the red hat on April 10,1690, receiving the titulus of Santa Maria del Popolo at that time and he was then named cardinal protector of Spain. He participated in the conclave of 1691 that elected Pope Innocent XII and he declined a promotion to the see of Salerno in 1696. He managed Spanish affairs in Rome 1698-99, on March 30,1700, he transferred Santa Maria del Popolo for Santa Sabina as his titulus. He participated in the conclave of 1700 that elected Pope Clement XI, in December 1701, he became Viceroy and Captain General of the Kingdom of Sicily. In 1711, Philip V of Spain named Cardinal Giudice Grand Inquisitor of Spain, in 1716, his disagreements with Cardinal Giulio Alberoni ultimately led to his resignation as Grand Inquisitor of Spain. On July 12,1717, Cardinal Giudice exchanged his titulus of Santa Sabina for the Suburbicarian See of Palestrina, on August 11,1719, he became Austrias minister to the Holy See, a post he held until 1720. He also became Secretary of the Roman Inquisition in 1719, a post he held until his death and he exchanged his titular see of Palestrina for the Suburbicarian See of Frascati on March 3,1721. He participated in the conclave of 1721 that elected Pope Innocent XIII and he became Dean of the College of Cardinals on June 12,1724, exchanging his titular see for the Suburbicarian See of Ostia at that time. He resigned as Archbishop of Monreale on February 15,1725, Cardinal Giudice died in Rome on October 10,1725. His funeral was held at San Marcello al Corso on October 12,1725 and his remains were then transferred for temporary burial at Santa Maria sopra Minerva before eventually being returned to Naples for permanent burial in Santa Maria del Carmine
Francesco del Giudice
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Francesco del Giudice (1690)
50.
Camillo Cybo
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Camillo Cybo Malaspina was an Italian cardinal of the Catholic Church. Born into the aristocratic Cybo Malaspina family, he was the son of Carlo II Cybo, duke of Massa, Cybo was great grand nephew of Pope Innocent X, and nephew of Cardinal Benedetto Pamphili. 1705 — Ordained as Priest 1718 — Appointed as Titular Patriarch of Constantinople and he was ordained Bishop that same year, and named Auditor general of the Apostolic Chamber. 1729 — Elevated to Cardinal Santo Stefano al Monte Celio in the Consistory of March 23,1731 — Appointed Cardinal-Priest of Santa Maria del Popolo 1741 — Appointed Protector of Santa Maria degli Angeli As many important figures of the time, Cybo was a patron of the arts. One of his proteges was Pietro Locatelli, who dedicated his Concerti Grossi Op 1 to him in 1721
Camillo Cybo
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Camillo Cybo in 1729 after he was elevated to Cardinal
51.
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
52.
George William Mundelein
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George William Mundelein was an American Cardinal of the Roman Catholic Church. He served as Archbishop of Chicago from 1915 until his death, george Mundelein was born on the Lower East Side of Manhattan to Francis and Mary Mundelein. One of three children, he had two sisters, Margaret and Anna and his father was of German descent, and his mother was Irish. His grandfather fought in the Civil War and he attended La Salle Academy and Manhattan College, where he befriended Patrick Joseph Hayes. He graduated from Manhattan in 1889 with high honors, returning to the United States, he then did pastoral work in the Diocese of Brooklyn and served as secretary to Bishop McDonnell until 1897. From 1897 to 1909, he was chancellor for the Diocese, on June 30,1909, Mundelein was appointed Auxiliary Bishop of Brooklyn and Titular Bishop of Loryma by Pope Pius X. He received his consecration on the following September 21 from Bishop McDonnell, with Bishops Charles H. Colton and John OConnor serving as co-consecrators. Mundelein was later named the third Archbishop of Chicago, Illinois and he was formally installed as archbishop on February 9,1916, and was appointed an Assistant at the Pontifical Throne on May 8,1920. The soup was watered down due to the arrival of about fifty extra guests. None of the guests died, as a hastily prepared emetic was supplied by a doctor, J. B. Murphy. Mundelein ate only a bite or two of the soup, newspapers referred to the mass-murder attempt as the Mundelein poison soup plot. Dondoglio allegedly wrote letters to American newspapers after the crime and he was never apprehended, though police spent years taking men into custody thought to be Jean Crones. He died peacefully in Connecticut in 1932 where he had found haven with friends, the archdiocese greatly expanded its charity functions during the Great Depression, rivalling that of Chicagos Associated Jewish Charities. A city-wide network of St. Vincent de Paul Societies was established, Pope Pius XI created him Cardinal-Priest of Santa Maria del Popolo in the consistory of March 24,1924. With his elevation, Chicago became the first diocese west of the Allegheny Mountains to have a cardinal, in 1933, he was appointed judge for the apostolic process for Mother Cabrinis cause for canonization. Mundelein died from disease in his sleep in Mundelein, Illinois. He is buried behind the altar of the chapel at Mundelein Seminary. Considered a liberal, Mundelein was a friend of President Franklin D. Roosevelt, a staunch supporter of trade unions, the Cardinal once remarked, The trouble with in the past has been that we were too often allied or drawn into an alliance with the wrong side
George William Mundelein
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George William Mundelein circa 1916
George William Mundelein
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His Eminence George William Mundelein
George William Mundelein
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Mundelein as Auxiliary Bishop of Brooklyn
53.
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
54.
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.
55.
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
56.
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
57.
Minor basilica
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Minor basilica is a title given to some Roman Catholic church buildings. According to canon law, no church building can be honoured with the title of basilica unless by apostolic grant or from immemorial custom, presently, the authorising decree is granted by the Pope through the Congregation for Divine Worship and the Discipline of the Sacraments. In relation to churches, writers on architecture use the term basilica to describe a church built in a particular style, in the 18th century, the term took on a canonical sense, unrelated to this architectural style. Basilicas in this sense are divided into major and minor basilicas. Today only four, all in Rome, are classified as major basilicas. These external signs, except that of the cappa magna, are still seen in basilicas. It should be large and with an ample sanctuary. It should be renowned for history, relics or sacred images, many basilicas are notable churches, and often receive significant pilgrimages. In December 2009 the Basilica of Our Lady of Guadalupe in Mexico set a record with 6.1 million pilgrims in two days for the feast of Our Lady of Guadalupe. As of June 30,2013, there were four major basilicas and 1,748 minor basilicas in the world, of these 1,748 minor basilicas, three have the title of papal minor basilica and four the title of pontifical minor basilica. The three papal minor basilicas are Saint Lawrence outside the Walls, Rome, and the Basilica of San Francesco dAssisi, All four pontifical minor basilicas now have individual pontifical delegates. For the Bari basilica, which is a dependency of the Secretariat of State, for the basilicas of Loreto and Pompei, which are within their own territorial prelatures, the pontifical delegate is the local territorial prelate. Only for the Paduan basilica is the pontifical delegate distinct from the local bishop, the remaining 1,741 minor basilicas are all classified merely as such. Another such Italian church, recognized as a basilica. This name, qualifying it as both pontifical and royal, is confirmed by other sources. Others are the Pontifical Basilica of Saints Cosmas and Damian in Bitonto, one patriarchal basilica, namely the Patriarchal Cathedral Basilica of St Mark in Venice, called patriarchal because it is the cathedral of the Patriarch of Venice, is a minor basilica. The minor basilicas form the vast majority, including cathedrals, many technically parish churches, some shrines. Some oratories and semi-private places of worship, have raised to the status of a minor basilica
Minor basilica
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Tintinnabulum and conopaeum, privileges formerly granted to basilicas
Minor basilica
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Notre-Dame de Québec Cathedral, the first church in North America north of Mexico elevated to the rank of minor Basilica
Minor basilica
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Barcelona: Sagrada Família consecrated and proclaimed a minor basilica by Pope Benedict XVI in 2010
Minor basilica
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Ireland: Basilica Shrine of Our Lady of Knock, Queen of Ireland, Knock, County Mayo
58.
Sant'Agnese fuori le mura
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What are said to be the remains of Saint Agnes are below the high altar. The church is built over the Catacombs of Saint Agnes, where the saint was buried. A large basilica with the name was built nearby in the 4th century and its ruins can be seen near Santa Costanza. The existing church was built by Pope Honorius I in the 7th century, in particular the mosaic in the apse of Agnes, Honorius, and another Pope is largely in its original condition. The current Cardinal Priest of the Titulus S. Agnetis Extra moenia is Camillo Ruini, a very large basilica was built some metres from the present church in the 4th century, to which was attached the large private mausoleum for Constantina, the daughter of Constantine I. The mausoleum was converted into a church, which survives and is now known as Santa Costanza. The large basilica decayed during the decline of Rome, and was replaced in the 7th century by the present much smaller church, the lower part of the walls from about half of one side of the Constantinian basilica, and its apse, can still be seen. The new church was over what was believed to be Agness grave, the floor level of the 7th-century church is some two metres above the level of the catacomb floor, and the public street entrances are at the level of the 2nd floor gallery. A long wide internal set of steps, lined with inscriptions from the catacombs and other ancient buildings set into the walls, the apse mosaic from Honoriuss time is still present, and less affected by restoration than most mosaics of this date. On a gold ground, a standing figure of Agnes in the costume of a Byzantine empress is flanked by Honorius, offering a model of the building. The church was built with a separate upper gallery for women. Saint Emerentiana was also buried here, the catacombs are on three levels, dating from the 2nd to the 5th centuries, part of the highest level dating to the 2nd century can be visited by a guided tour. Though no paintings remain in place, there are a number of inscriptions, many more inscriptions line the large staircase leading from the main convent above to the church. It is in church that on the feast day of St. The church is administrated by a French traditionalist order, the Canons Regular of San Giovanni in Laterano. The Church of S. Visser, Margaret, the Geometry of Love, Space, Time, Mystery, and Meaning in an ordinary church. Friedrich Wilhelm Deichmann, S. Agnese Fuori le Mura und die byzantinische Frage in der frühchristlichen Architektur Roms, carlo Cecchelli, S. Agnese fuori le mura e S. Costanza. Media related to SantAgnese fuori le mura at Wikimedia Commons Media related to Santa Costanza at Wikimedia Commons
Sant'Agnese fuori le mura
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The outside of Sant'Agnese fuori le Mura taken in 1911.
Sant'Agnese fuori le mura
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The altar and apse
Sant'Agnese fuori le mura
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View from the matroneum
Sant'Agnese fuori le mura
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Catacomb of Saint Agnes.
59.
Basilica of Sant'Agostino
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SantAgostino is a Roman Catholic church in the piazza of the same name near Piazza Navona, in the rione SantEustachio, of Rome, Italy. It is one of the first Roman churches built during the Renaissance, the construction the church was funded by Guillaume dEstouteville, Archbishop of Rouen and Cardinal Camerlengo. The façade was built in 1483 by Giacomo di Pietrasanta, using travertine taken from the Colosseum, the design of the church is attributed to the late 15th century architect Baccio Pintelli, with later 18th century restorations of the interior by Luigi Vanvitelli. It is a work of the early Renaissance style. The Titulus S. Augustini has been held by Cardinal Jean-Pierre Ricard since 2006, furthermore, it is the station church of the first Saturday in Lent. The most famous work of art presently in the church is the Madonna di Loreto in the Cavalletti Chapel, an important Baroque painting by Caravaggio. The latter sculpture, based, according to a legend, on an ancient statue of Agrippina holding Nero in her arms, is reputed by tradition to work miracles in childbirth, the statue is laden with thank-offerings and always surrounded by offerings of flowers and candles. In 1616, the 17th-century Baroque artist Giovanni Lanfranco decorated the Buongiovanni Chapel with three canvases and a fresco of the Assumption. The church also houses Melchiorre Caffàs sculpture St. Thomas of Villanova Distributing Alms, the inscriptions found in S. Agostino, a valuable source illustrating the history of the church, have been collected and published by Vincenzo Forcella. In 1741, Pietro Bracci designed and sculpted the tomb of Cardinal Giuseppe Renato Imperiali. Pope Sixtus V established the church as a title in April 1587. Burials at the Basilica of SantAgostino P Antonino Ronci and D. Torre, S. Agostino in Campo Marzio, Roma
Basilica of Sant'Agostino
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Facade of Sant'Agostino, by Giacomo di Pietrasanta (1483)
Basilica of Sant'Agostino
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Madonna di Loreto, by Caravaggio
60.
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
61.
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
62.
Santi Bonifacio e Alessio
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It is dedicated to Saint Boniface of Tarsus and Saint Alexius. It lies on Piazza Sant’Alessio 23, near the gardens of St. Alexius. The 16th century style facade, elaborated from the De Marchis phase, is built onto the medieval-style quadriportico, the church has a Romanesque campanile. The church also contains the tombstone of Peter Savelli, a Romanesque crypt survives below the church, whose main altar contains relics of St Thomas of Canterbury. Connected to the basilica are the buildings of the former monastery, giovanni Vincenzo Gonzaga The basilica has been a titular church for Cardinal-priests from 1587, originally called SantAlessio. In the 19th century, the dedication of the basilica was renewed, and from that time on the official name of the basilica. Bonifacio ed Alessio Cardinal Title Church
Santi Bonifacio e Alessio
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Basilica dei Santi Bonifacio e Alessio
63.
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
64.
San Carlo al Corso
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SantAmbrogio e Carlo al Corso is a basilica church in Rome, Italy, facing onto the central part of the Via del Corso. The apse of the church faces across the street, the Mausoleum of Augustus on Via di Ripetta and this church is dedicated to Saint Ambrose and Saint Charles Borromeo, both natives of Milan. It is one of at least three churches in Rome dedicated to Borromeo, others including San Carlo ai Catinari and San Carlo alle Quattro Fontane. Its construction was begun in honour of the canonization of St. Charles Borromeo in 1610, under the direction of Onorio Longhi and, after his death, the site was that of the former church of San Nicola de Tofo. The ground plan is based on the Latin cross, the dome, resembling that of Santi Luca e Martina, was designed by Pietro da Cortona, who was also responsible for the apse and rich internal decorations. The façade was designed by Cardinal Luigi Alessandro Omodei, who did not like the project prepared by Carlo Rainaldi, the central vault is frescoed with a Fall of the Rebel Angels by Giacinto Brandi. The altarpiece, depicting the Saints Ambrose and Charles Borromeo with the Virgin, the stucco decoration was by Giacomo and Cosimo Fancelli. The statue of the saints were by Francesco Cavallini, frescoes of Justice and Peace were painted by Girolamo Troppa. In the ambulatory behind the sanctuary is a niche where a reliquary containing the heart of St Charles is kept and it was donated to the church in 1614 by Cardinal Federico Borromeo, a cousin of the saint. The 16th-century oratory of St. Ambrose is beyond the left transept, the first chapel on the right is dedicated to the Crucifixion and has a fresco of Vigilance by Paolo Albertoni. The second chapel, on the right is dedicated to Mary, the third chapel on the right is dedicated to the Holy Family. On its left side is a depiction of The Redemptor and Sts Ambrose, on the exterior, to the sides of the apse and facing the ancient Mausoleum of Augustus, are two giant statues of the titular saints, among the largest in Rome. Other artists active in the church include Pasquale de Rossi, Luigi Garzi, Francesco Rosa, Giovanni Battista Buonocore, and Fabbrizio Chiari. The Chapel of St. Olav of Norway, to the left of the nave, is dedicated to the king who converted to Christianity and was slain in the Battle of Stiklestad in 1030. The chapel was inaugurated by Cardinal Lucido Maria Parocchi on 9 April 1893, the painting, by the Polish artist Pius Weloński, depicts the Viking kings victory over his own pagan past, which is represented by a dragon. It was a gift, presented on 3 March 1893, to Pope Leo XIII for the 50th anniversary of his episcopal ordination. Bishop Johannes Olav Fallize, then the Vicar Apostolic of Norway, had asked that it be placed in this chapel and it was unveiled by the Papal chamberlain, the Pope supported the idea of a Norwegian chapel in Rome. A smaller picture on the altar shows St. Anne and her daughter, St Anne was a very popular saint in pre-Reformation Norway
San Carlo al Corso
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San Carlo al Corso
San Carlo al Corso
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San Carlo al Corso view from top of Spanish Steps
San Carlo al Corso
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Interior
65.
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.
66.
Sant'Eugenio
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SantEugenio is a titular church in Rome, Italy, dedicated to Pope St. Eugenius I. The first church here was built in a style imitating and updating the Baroque, the church was established by Pope Pius XII, in honor of his Patron Saint, and was funded by gifts he received on the Silver Jubilee of his episcopate in 1942. He consecrated its altar in 1951, a residence college for young men studying for the priesthood at the Roman universities is annexed to the church. The frescoes inside include The Triumph of the Cross above the altar, the church is being staffed by the Prelature of Opus Dei. The church is regarded as a parish of the Prelature of Opus Dei. The church of S. Eugenio was established as a Deaconry for a Cardinal Deacon by Pope John XXIII on 12 March 1960, the following have been Cardinal Deacons of S. Eugenio, Antonio Bacci Umberto Mozzoni Paul Joseph Jean Poupard. Francesco Colasuonno Julián Herranz Casado Martin Bräuer, Handbuch der Kardinäle, Opus Dei, US, Recent News March 8,2004, Cardinals Tauran and Herranz installed at their titular churches
Sant'Eugenio
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Sant'Eugenio.
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Santa Francesca Romana, Rome
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Santa Francesca Romana, previously known as Santa Maria Nova, is a church in Rome, Italy, situated next to the Roman Forum in the rione Campitelli. The interior has been altered since, since 1352 the church has been in the care of the Olivetans. In the 16th century, the church was rededicated to Frances of Rome and its travertine porch and façade is by Carlo Lambardi, and was completed in 1615. The inscriptions found in Santa Francesca Romana, a valuable source illustrating the history of the church, have collected and published by Vincenzo Forcella. The interior, a nave with side chapels, was rebuilt by Lombardi in the years preceding Francesca Buzzis canonization. In the middle of the nave is the rectangular schola cantorum of the old church, another prominent feature is the confessional designed by Gian Lorenzo Bernini, in polychrome marbles with four columns veneered in jasper. The church houses the precious Madonna Glycophilousa, an early 5th-century Hodegetria icon brought from Santa Maria Antiqua, the twelfth-century Madonna and Child that had been painted over it was meticulously detached from the panel in 1950, and is now kept in the sacristy. The ancient oratory on which the current church was built was located by Pope Paul I on the place in which Simon Magus died. According to this legend, Simon Magus wanted to prove his powers as stronger than those of the apostles, the two apostles fell on their knees preaching, and Simon fell, dying. The basalt stones where the apostles were imprinted by the knees of the two apostles and are embedded in the wall of the south transept. The tomb of Pope Gregory XI, who returned the papacy to Rome from Avignon, the Deaconry was suppressed on 8 August 1661. S. Maria Nova was reestablished, as the Titulus of a Cardinal Priest, the titulus of the church remains Sancta Mariae Novae, the current Cardinal Priest of the Titulus S. Mariae Novae is Angelo Sodano. A Cardinal Priest no longer has any jurisdiction over his church or its clergy. He is only the Cardinal Protector, saint Francesca Romana has been named the patron of car drivers, because of a legend that an angel used to light her way with a lamp when she travelled at night. Automobiles line up on the day of her feast as far as the Colosseum, the facade of the Church of Holy Cross College, in Clonliffe in Dublin, Ireland, is a replica of Santa Francesca Romana. It was designed by the Gothic Architect J. J, mcCarthy and is the only exception to his list of Gothic works. Pierre Roger de Beaufort Elected Pope Gregory XI, jacobus de Torso Utinensis Pietro Barbo translated to S. Marco, later Pope Paul II Francesco Gonzaga. Translated to the Deaconry of S. Eustachio, translated to the Deaconry of S. Eustachio
Santa Francesca Romana, Rome
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Santa Francesca Romana's travertine façade (by Carlo Lambardi, 1615) and its 12th-century Romanesque campanile
Santa Francesca Romana, Rome
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Rear area of the church, showing the ruins of the Temple of Venus and Rome.
Santa Francesca Romana, Rome
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View from Palatine Hill
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San Giovanni dei Fiorentini
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San Giovanni dei Fiorentini is a minor basilica and a titular church in the Ponte rione of Rome, Italy. The main façade fronts onto the Via Giulia, julius IIs successor, the Florentine Pope Leo X de Medici initiated the architectural competition for a new church in 1518 on the site of the old church of San Pantaleo. Designs were put forward by a number of architects, among them Baldassare Peruzzi, Jacopo Sansovino, Antonio da Sangallo the Younger, the dominant initial ideas were for a centralised church arrangement. Sansovino won the competition but the construction was subsequently executed by Sangallo. In 1559, Michelangelo was asked by Cosimo I de Medici, Duke of Tuscany, to designs for the church and he presented a centralised church arrangement. The main construction of the church was carried out in 1583-1602 under the architect Giacomo della Porta based on the Latin cross arrangement, carlo Maderno took over from 1602 to 1620, and directed construction of the dome and the main body of the church completed. However, the main façade, based on a design by Alessandro Galilei, was not finished until 1734, in 1623-24 Giovanni Lanfranco produced paintings for the Sacchetti chapel. In 1634, the Baroque painter and architect Pietro da Cortona was asked by the Florentine nobleman Orazio Falconieri to design the high altar, drawings for the altar and its setting and a model were prepared but the project was not carried out. After Borromini died in 1667, the work was completed and partly modified by Cortona and on his death in 1669, by Ciro Ferri, Cortona’s pupil and associate. By a decree of Pope John XXIII of 12 March 1960 and they were, Joseph-Charles Lefèbvre appointed on 28 March 1960 - died 2 April 1973. Juan Carlos Aramburu appointed on 24 May 1976 - died 18 Nov 2004, carlo Caffarra appointed on 24 March 2006. - present Francesco Borromini is buried under the dome
San Giovanni dei Fiorentini
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San Giovanni dei Fiorentini
San Giovanni dei Fiorentini
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Iron bridge at San Giovanni dei Fiorentini, ca. 1890. The bridge was built 1827 and demolished 1941. Photo by Giuseppe Primoli.
San Giovanni dei Fiorentini
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The central nave
San Giovanni dei Fiorentini
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Left side wall of the choir or Falconieri Chapel
69.
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 in Domnica
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The current Cardinal Deacon of the Titulus S. Mariae in Domnica is William Joseph Levada. The appellation in Domnica has been differently explained, one interpretation is the derivation from dominicum, and by extension church. Another interpretation is that it refers to the name of Cyriaca, a third interpretation is that the name derives from the Latin phrase in dominica. The basilica was built in ancient times, close to the barracks of the Fifth Cohort of the Roman Vigiles on the Caelian Hill, the basilica is mentioned in the records of a synod of Pope Symmachus in AD499. In 678, it was one of seven churches assigned to deacons by Pope Agatho, the basilica was rebuilt from 818-22 by Pope Paschal I, and included mosaic decoration. Pope Paschal I is credited with Romes early 9th century age of renovation, the Medici family extensively modified the interior in the 16th century, because some of them were the cardinal holders of the archdiaconate through much of that century. In 1513, Cardinal Giovanni di Lorenzo de Medici, shortly before he became Pope Leo X, in conjunction with Andrea Sansovino added the portico with Tuscan columns. He was followed by Giulio di Giuliano de Medici, the future Pope Clement VII from 1513-7, Giovanni de Medici became cardinal-deacon at the age of 17 in 1560, but died in 1562. He was followed by his brother Ferdinando I de Medici, who also became Grand Duke of Tuscany, the facade of the basilica is in the Renaissance style, and has a porch with five arches separated by travertine pilasters, with two square and one round window. The tympanum has the coat of arms of Pope Innocent VIII in the center, the inconspicuous bell tower houses a bell from 1288. The design of the facade has been attributed to Andrea Sansovino, the wall above the windows was frescoed by Perin del Vaga, based on designs of Giulio Romano. The nave has frescos by Lazzaro Baldi, the coffered ceiling has the Medici coat of arms in the center, with symbolic representations of Noah’s Ark and Solomon’s Temple. The triumphal arch is flanked by two porphyry columns, the mosaics of the apse from the 9th century depict Christ with two angels, and the twelve Apostles, with Moses and Elias depicted underneath. In the semi-dome, Pope Paschal kissing the foot of the Blessed Virgin Mary, vested as a Byzantine noblewoman, seated on a throne with the Christ Child, and surrounded by a multitude of angels. Armellini, Mariano, Le chiese di Roma dal secolo IV al XIX Thayer, Bill, S. Maria in Domnica, Gazetteer Richard Krautheimer, the early Christian basilicas of Rome, pp.309 ff. Guglielmo Matthiae, S. Maria in Domnica, london, A & C Black,1994. Alia Englen, Caelius I, Santa Maria in Domnica, San Tommaso in Formis e il Clivus Scauri, erik Thunø, Materializing the Invisible in Early Medieval Art, The Mosaic of Santa Maria in Domnica in Rome, Seeing the Invisible. Michael G. Sundell, Mosaics in the Eternal City, pp.43 ff, caroline Goodson, The Rome of Pope Paschal I, Papal Power, Urban Renovation, Church Rebuilding and Relic Translation, 817-24
Santa Maria in Domnica
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Santa Maria in Domnica, facade
Santa Maria in Domnica
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9th century apse mosaic commissioned by Pope Paschal I
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Santa Maria in Aracoeli
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The Basilica of St. Mary of the Altar of Heaven is a titular basilica in Rome, located on the highest summit of the Campidoglio. It is still the designated Church of the city council of Rome, the present Cardinal Priest of the Titulus Sancta Mariae de Aracoeli is Salvatore De Giorgi. Originally the church was named Sancta Maria in Capitolio, since it was sited on the Capitoline Hill of Ancient Rome, for this reason the figures of Augustus and of the Tiburtine sibyl are painted on either side of the arch above the high altar. A later legend substituted an apparition of the Virgin Mary, in The History of Money, Anthropologist Jack Weatherford goes into some detail about the churchs previous incarnation as the temple of Juno Moneta—on the Arx—after whom Money is named. From Moneta came the modem English words mint and money and, ultimately, today, the site of the Temple of Juno Moneta, the source of the great stream of Roman currency, has given way to the ancient. Brick church of Santa Maria in Aracoeli, centuries ago, church architects incorporated the ruins of the ancient temple into the new building. The church is thought to have replaced the auguraculum, the seat of the augurs. The foundation of the church was laid on the site of a Byzantine abbey mentioned in 574. Many buildings were built around the first church, in the part they gave rise to a cloister, while on the slopes of the hill a little quarter. Remains of these buildings - such as the church of San Biagio de Mercato. At first the church followed the Greek rite, a sign of the power of the Byzantine exarch, the arches that divide the nave from the aisles are supported on columns, no two precisely alike, scavenged from Roman ruins. During the Middle Ages, this became the centre of the religious. In 1571, Santa Maria in Aracoeli hosted the celebrations honoring Marcantonio Colonna after the victorious Battle of Lepanto over the Turkish fleet, marking this occasion, the compartmented ceiling was gilded and painted, to thank the Blessed Virgin for the victory. In 1797, with the Roman Republic, the basilica was deconsecrated and turned into a stable. The original unfinished façade has lost the mosaics and subsequent frescoes that decorated it, save a mosaic in the tympanum of the main door. The Gothic window is the detail that tourists can see from the bottom of the stairs. The church is built as a nave and two aisles that are divided by Roman columns, all different, taken from diverse antique monuments. Among its numerous treasures are Pinturicchios 15th-century frescoes depicting the life of Saint Bernardino of Siena in the Bufalini Chapel and it houses also Madonna Aracoeli, in the Altar
Santa Maria in Aracoeli
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Façade of the Basilica with the monumental staircase.
Santa Maria in Aracoeli
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Interior of the church.
Santa Maria in Aracoeli
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Fresco of Madonna and the Child by Pietro Cavallini.
Santa Maria in Aracoeli
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Central fresco by Pinturicchio in the S. Bernardino Chapel (1486).
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Santa Maria in Trastevere
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The Basilica of Santa Maria in Trastevere, English, Our Lady in Trastevere) is a titular minor basilica in the Trastevere district of Rome, and one of the oldest churches of Rome. The basic floor plan and wall structure of the date back to the 340s. The first sanctuary was built in 221 and 227 by Pope Callixtus I, the church has large areas of important mosaics from the late 13th century by Pietro Cavallini. It is certainly one of the oldest churches in the city, a Christian house-church was founded here about 220 by Pope Saint Callixtus I on the site of the Taberna meritoria, a refuge for retired soldiers. In 340, when Pope Julius I rebuilt the titulus Callixti on a scale, it became the titulus Iulii in commemoration of his patronage. The church underwent two restorations in the fifth and eighth centuries and in 1140-43 it was re-erected on its old foundations under Pope Innocent II, Innocent II razed the church along with the recently completed tomb of the Antipope Anacletus II, his former rival. Innocent II arranged for his own burial on the formerly occupied by the tomb. The richly carved Ionic capitals reused along its nave were taken either from the ruins of the Baths of Caracalla or the nearby Temple of Isis on the Janiculum. When scholarship during the 19th century identified the faces in their carved decoration as Isis, Serapis and Harpocrates, the inscriptions found in Santa Maria in Trastevere, a valuable resource illustrating the history of the Basilica, were collected and published by Vincenzo Forcella. The present nave preserves its original plan and stands on the earlier foundations. The 22 granite columns with Ionic and Corinthian capitals that separate the nave from the aisles came from the ruins of the Baths of Caracalla, as did the lintel of the entrance door. Inside the church are a number of late 13th-century mosaics by Pietro Cavallini on the subject of the Life of the Virgin centering on a Coronation of the Virgin in the apse, domenichinos octagonal ceiling painting, Assumption of the Virgin fits in the coffered ceiling setting that he designed. The fifth chapel to the left is the Avila Chapel designed by Antonio Gherardi and this, and his Chapel of S. Cecilia in San Carlo ai Catinari are two of the most architecturally inventive chapels of the late-17th century in Rome. The lower order of the chapel is fairly dark and employs Borromini-like forms, in the dome, there is an opening or oculus from which four putti emerge to carry a central tempietto, all of which frames a light-filled chamber above, illuminated by windows not visible from below. The church keeps a relic of Saint Apollonia, her head, among those buried in the church are the relics of Pope Callixtus I, Pope Innocent II, Antipope Anacletus II, Cardinal Philippe of Alençon and Cardinal Lorenzo Campeggio. The Romanesque campanile is from the 12th century, near the top, a niche protects a mosaic of the Madonna and Child. The mosaics on the façade are believed to be from the 12th century and they depict the Madonna enthroned and suckling the Child, flanked by 10 women holding lamps. This image on the façade showing Mary nursing Jesus is an example of a popular late-medieval
Santa Maria in Trastevere
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Façade of Santa Maria in Trastevere
Santa Maria in Trastevere
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Madonna and Child at the top of the campanile.
Santa Maria in Trastevere
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Santa Maria in Trastevere, with the Domenichino 's works, Rome Italy
Santa Maria in Trastevere
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13th-century mosaics in the apse
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Santa Maria in Via
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This Church is not to be confused with the Church of Santa Maria in Via Lata, a Deaconry. Santa Maria in Via is a church in Rome. The church or a chapel existed in the 9th century, but was rebuilt following reports of a miracle, in 1165, it is recorded as Santa Maria in Via, whose appellative means on the Way, with a reference to the nearby Via Flaminia. On the site there was the house of Cardinal Pietro Capocci, on the night of 26 September 1256, the well overflowed. A picture of Our Lady was floating on the waters, which disappeared as soon as the picture was taken, Pope Alexander IV declared it a miracle, and ordered the construction of a chapel on its place, in the chapel there is still the well of the miracle. Pope Innocent VIII ordered the construction of the current church, which was built in 1491-1513, renovations were performed under Francesco da Volterra and later by Carlo Lombardi. The façade and portico were designed by Pietro da Cortona, the main altar was decorated by Santi Ghetti. The works were completed under Cardinal Saint Robert Bellarmine, titular of the church, the church of S. Maria in Via now serves as a national church in Rome for the Ecuadorian community. The church has served by the Servite Order since a grant of Pope Leo X in 1513. The Titulus S. Mariae in Via was instituted by Pope Julius III in 1551, mariano Armellini, Le chiese di Roma, dalle loro origine sino al secolo XVI, pp. 334–336. Carlo Cecchelli, S. Maria in Via, Santa Maria in Via, by Chris Nyborg. Media related to Santa Maria in Via at Wikimedia Commons
Santa Maria in Via
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The facade of Santa Maria in Via was designed by Giacomo della Porta.
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Santi Nereo e Achilleo
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Santi Nereo e Achilleo is a fourth-century basilica church in Rome, Italy, located in via delle Terme di Caracalla in the rione Celio facing the main entrance to the Baths of Caracalla. The current Cardinal Priest of the Titulus Ss, nerei et Achillei is Theodore Edgar McCarrick. Peter lost the foot bandage that wrapped the wounds caused by his chains, in the acts of the synod of Pope Symmachus, in 499, the Titulus Fasciolae is recorded as served by five priests. In 814, Pope Leo III rebuilt the old titulus, in the 13th century the relics of the two martyrs were transferred from the Catacomb of Domitilla to the SantAdriano, whence they were transferred to this church by Cardinal Baronius. The church degradated with the time, and in 1320, according to the Catalogue of Turin, behind its unassuming facade the church is built according to the typical basilica plan, with a single nave and two side aisles. The original columns were replaced in the 15th century by octagonal pillars, the cardinal in his iconographic scheme timed for the 1600 Jubilee emphasized the role of the Roman martyrs during the early centuries of Christianity. The execution of the frescoes were entrusted to a painter, generally thought to be Niccolò Circignani. There are a lot of details and blood all over the walls. The medieval ambo is set on a large, porphyry urn taken from the nearby Baths of Caracalla, the low screen separating the choir is faced with 13th-century Cosmatesque style inlays. A white marble candelabra has been here from San Paolo fuori le Mura. The ciborium, dating to the 16th century, is raised on African marble columns, the spandrels of the arch at the end of the nave retains some of the former mosaics of the time of Leo III, with a central Transfiguration in a mandorla. The high altar, made of three Cosmatesque panels, houses the relics of Nereus, Achilleus, and of St Flavia Domitilla, next to the altar there are two pagan stones depicting two winged spirits, taken from a nearby temple. Gregory the Great, inscribed under the tradition that he preached them here. Nereus and Achilleus on their feast day, the arch of the apse has mosaics of the 9th century with the Annunciation, the Transfiguration, and the Theotokos. Pierfrancesco Scarampi Roma, collection LItalia, Touring Editore,2004, Milano
Santi Nereo e Achilleo
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Facade of the basilica of Santi Nereo e Achilleo
Santi Nereo e Achilleo
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The centrale nave and the altar
Santi Nereo e Achilleo
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Lions of the episcopal throne
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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
76.
Pantheon, Rome
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The Pantheon is a former Roman temple, now a church, in Rome, Italy, on the site of an earlier temple commissioned by Marcus Agrippa during the reign of Augustus. The present building was completed by the emperor Hadrian and probably dedicated about 126 AD and he retained Agrippas original inscription, which has confused its date of construction as the original Pantheon burnt down so it is not certain when the present one was built. The building is circular with a portico of large granite Corinthian columns under a pediment, a rectangular vestibule links the porch to the rotunda, which is under a coffered concrete dome, with a central opening to the sky. Almost two thousand years after it was built, the Pantheons dome is still the worlds largest unreinforced concrete dome, the height to the oculus and the diameter of the interior circle are the same,43.3 metres. Mary and the Martyrs but informally known as Santa Maria Rotonda, the square in front of the Pantheon is called Piazza della Rotonda. The Pantheon is a property, ruled by Italys Ministry of Cultural Heritage and Activities and Tourism through the Polo Museale del Lazio. The Pantheons large circular domed cella, with a temple portico front, is unique in Roman architecture. Nevertheless, it became a standard exemplar when classical styles were revived, Pantheon is derived from the Ancient Greek Pantheion meaning of, relating to, or common to all the gods. His uncertainty strongly suggests that Pantheon was merely a nickname, not the name of the building. In fact, the concept of a dedicated to all the gods is questionable. The only definite pantheon recorded earlier than Agrippas was at Antioch in Syria and it seems highly significant that Dio does not quote the simplest explanation for the name—that the Pantheon was dedicated to all the gods. Godfrey and Hemsoll maintain that the word Pantheon need not denote a group of gods, or, indeed, even all the gods. Certainly the word pantheus or pantheos, could be applicable to individual deities…, bearing in mind also that the Greek word θεῖος need not mean of a god but could mean superhuman, or even excellent. It seems likely that the Pantheon and the Basilica of Neptune were Agrippas sacra privata and this less solemn designation would help explain how the building could have so easily lost its original name and purpose in such a relatively short period of time. However, archaeological excavations have shown that the Pantheon of Agrippa had been destroyed except for the façade. Lise Hetland argues that the present construction began in 114, under Trajan and her argument is particularly interesting in light of Heilmeyers argument that, based on stylistic evidence, Apollodorus of Damascus, Trajans architect, was the obvious architect. The form of Agrippas Pantheon is debated and this description was widely accepted until the late 20th century. The only passages referring to the decoration of the Agrippan Pantheon written by an eyewitness are in Plinys Natural History, from him we know that the capitals, too, of the pillars, which were placed by M
Pantheon, Rome
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Pantheon
Pantheon, Rome
Pantheon, Rome
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The Pantheon and the Fontana del Pantheon.
Pantheon, Rome
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The Pantheon dome. The concrete for the coffered dome was poured in moulds, probably mounted on temporary scaffolding. The oculus is the main source of natural light.
77.
Santa Prassede
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The Basilica of Saint Praxedes, commonly known in Italian as Santa Prassede, is an ancient titular church and minor basilica in Rome, Italy, located near the papal basilica of Saint Mary Major. The current Cardinal Priest of Titulus Sancta Praxedis is Paul Poupard, peters first Christian convert in Rome. The two female saints were murdered for providing Christian burial for early martyrs in defiance of Roman law, the basilica was enlarged and decorated by Pope Paschal I in c. Pope Paschal, who reigned 817-824, was at the forefront of the Carolingian Renaissance started and advocated by the emperor Charlemagne and they desired to get back to the foundations of Christianity theologically and artistically. Paschal, thus, began two, linked, ambitious programs, the recovery of martyrs bones from the catacombs of Rome, Paschal dug up numerous skeletons and transplanted them to this church. The Titulus S. Praxedis was established by Pope Evaristus, around 112, the inscriptions found in Santa Prassede, a valuable source illustrating the history of the church, have been collected and published by Vincenzo Forcella. The church provided the inspiration for Robert Brownings poem The Bishop Orders His Tomb at Saint Praxeds Church, the main altarpiece is a canvas of St Praxedes Gathering the Blood of the Martyrs by Domenico Muratori. The most famous element of the church is the mosaic decorative program, Paschal hired a team of professional mosaicists to complete the work in the apse, the apsidal arch, and the triumphal arch. In the apse, Jesus is in the center, flanked by Sts, peter and Paul who present Prassede and Pudenziana to God. On the far left is Paschal, with the halo of the living, presenting a model of the church as an offering to Jesus. Below runs an inscription of Paschals, hoping that this offering will be sufficient to secure his place in heaven, on the apsidal arch are twelve men on each side, holding wreaths of victory, welcoming the souls into heaven. Those mosaics, as well as those in the Chapel of Saint Zeno, ascending a spiral staircase, one enters a small room, covered in scaffolding, on the wall is a fresco cycle, dating most likely from the 8th century. The frescoes probably depict the life-cycle of the saint of the church. Santa Prassede also houses an alleged segment of the pillar upon which Jesus was flogged and tortured before his crucifixion in Jerusalem, among these legendary relics retrieved by Helena, which included pieces of the True Cross and wood from the Jesus crib enshrined at S. Maria Maggiore. Among known titulars of this see are Lambertus Scannabecchi, Ubaldo Allucingoli, Alain de Coëtivy, Giovanni Maria Ciocchi del Monte, Saint Charles Borromeo, B. M. Apollonj Ghetti, Santa Prassede. Gillian Vallance Mackie, The Iconographic Programme of the Zeno Chapel at Santa Prassede, Rome. Mauck, “The Mosaic of the Triumphal Arch of Santa Prassede, A Liturgical Interpretation. ”Rotraut Wisskirchen, Mosaikprogramm von Santa Prassede in Rom. Anna Maria Affanni, La chiesa di Santa Prassede, la storia, il rilievo, il restauro. Mary M. Schaefer, Women in Pastoral Office, The Story of Santa Prassede, maurizio Caperna, La basilica di Santa Prassede, il significato della vicenda architettonica
Santa Prassede
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Ceiling of the San Zeno chapel.
Santa Prassede
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External video
Santa Prassede
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The Column of the Flagellation.
Santa Prassede
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Interior of Santa Prassede.
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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.
79.
San Saba, Rome
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San Saba is an ancient basilica church in Rome, Italy. It lies on the so-called Piccolo Aventino, which is a close to the ancient Aurelian Walls next to the Aventine Hill. The current Cardinal Deacon of the Titulus S. Sabae is Jorge Medina Estévez, the titulus was established in 1959. According to legend, St. Silvia, mother of Pope Gregory I, had an estate at the site. After her death, so legend reads, her estate was transformed into a monastery of St. Andreas. The historic origin of the site goes back to the year 645. In this year, fugitive monks from the monastery of St. Sabas, here, they founded an eremitic cell. The Sabaites introduced the cult of St. Sabas to Rome, in ancient sources, their monastery however goes by the name cellas novas or cellaenovae, which refers to the cellae of their mother abbey, Mar Saba. The Sabaite monastery prospered quickly and for a long time, in the 8th and 9th centuries, San Saba was one of the most prestigious of Rome and among the leading Greek monasteries. Since 680, its abbots held important diplomatic roles in the relationships between Rome and Byzantium, and represented the Roman Church and Pope at several church councils in Constantinople, in 768, Antipope Constantine II was held prisoner in this monastery, before being killed by the Lombards. The Benedictine monks of Monte Cassino received the church after it was rebuilt in the 10th century, Anselm, the nephew of St Anselm, was one of its abbots before departing to England as a papal legate. After many years of decay, the basilica was renovated in the 13th century. In 1503 the Cistercians were entrusted with the church, which in 1573 was finally conveyed to the Jesuits, the church, preceded by a small porch from the 13th century, has a nave with two aisles. The interior is characterized by numerous interventions from different ages, the columns are from ancient buildings, and the floor is an example of Cosmatesque marble art from the beginning of the 13th century. The main artpieces are the frescoes in a room on the left side of the church. The crypt, built on the house of St. Silvia, the sacristy houses a fragment of fresco from the very first church
San Saba, Rome
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Facade
San Saba, Rome
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San Saba seen from outside the external wall.
80.
Santa Sabina
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The Basilica of Saint Sabina is a historical church on the Aventine Hill in Rome, Italy. It is a minor basilica and mother church of the Roman Catholic Order of Preachers. Santa Sabina is perched high above the Tiber river to the north and it is next to small public park Giardino degli Aranci, which has a scenic terrace overlooking Rome. It is a distance to the headquarters of the Knights of Malta. Santa Sabina is the oldest extant Roman basilica in Rome that preserves its original colonnaded rectangular plan and its decorations have been restored to their original restrained design. Other basilicas, such as Santa Maria Maggiore, are heavily and gaudily decorated. Because of its simplicity, the Santa Sabina represents the crossover from a roofed Roman forum to the churches of Christendom and its Cardinal Priest is Jozef Tomko. It is the church for Ash Wednesday. Santa Sabina was built by Peter of Illyria, a Dalmatian priest, the church was built on the site of early Imperial houses, one of which is said to be of Sabina, a Roman matron originally from Avezzano in the Abruzzo region of Italy. Sabina was beheaded under the Emperor Vespasian, or perhaps Hadrian, because she had converted to Christianity by her servant Seraphia. She was later declared a Christian Saint, in the 9th century, it was enclosed in a fortification area. The interior was renovated by Domenico Fontana in 1587 and by Francesco Borromini in 1643. Italian architect and art historian Antonio Muñoz restored the medieval appearance of the church. The bell tower was built in the 10th century and remade in the Baroque period, the church was the seat of a conclave in 1287, although the prelates left the church after a plague had killed six of them. They returned in the only on 1288 February, electing Nicholas IV as pope. The exterior of the church, with its large windows made of selenite, not glass, the wooden door of the basilica is generally agreed to be the original door from 430–32, although it was apparently not constructed for this doorway. Eighteen of its wooden panels survive — all but one depicting scenes from the Bible, above the doorway, the interior preserves an original dedication in Latin hexameters. The campanile dates from the 10th century, the original fifth-century apse mosaic was replaced in 1559 by a very similar fresco by Taddeo Zuccari
Santa Sabina
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Basilica of Saint Sabina at the Aventine Basilica di Santa Sabina all'Aventino (Italian) Basilica Sanctae Sabinae (Latin)
Santa Sabina
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Side portico.
Santa Sabina
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Interior.
Santa Sabina
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Depiction of the crucifixion on the wooden door of Santa Sabina. This is one of the earliest surviving depiction of the crucifixion of Christ.
81.
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)
82.
San Sebastiano fuori le mura
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San Sebastiano fuori le mura, or San Sebastiano ad Catacumbas, is a basilica in Rome, central Italy. Up to the Great Jubilee of 2000, San Sebastiano was one of the Seven Pilgrim Churches of Rome, built originally in the first half of the 4th century, the basilica is dedicated to St. Sebastian, a popular Roman martyr of the 3rd century. The dedication to Sebastian dates to the 9th century, sebastians remains were moved here around 350. They were transferred to St. Peters in 826, fearing a Saracen assault, the latter, in fact, materialized, and the church was destroyed. The building was refounded under Pope Nicholas I, while the altar was reconsecrated by Honorius III, by request of the Cistercians. In the 13th century the arcade of the nave was walled in. The statue of St Sebastian at the altar in the first chapel on the left is by Giuseppe Giorgetti, noteworthy is the Albani Chapel and designed by Carlo Maratta, Alessandro Specchi, Filippo Barigioni and Carlo Fontana, commissioned by Pope Clement XI, and dedicated to Pope Fabian. Fabian had been Bishop of Rome during the persecution of Decius, flanking the altar, busts of Saints Peter and Paul by Nicolò Cordier recall the first dedication of the basilica. Quirinus of Sescia Pope Fabian St. Sebastian San Sebastiano al Palatino Paolo Coen, Le basiliche giubilari romane, Newton Compton, Rome,1994. Claudio Rendina, Enciclopedia di Roma, Newton Compton, Rome,2000, San Sebastiano fuori le Mura, by Chris Nyborg. San Sebastiano fuori le Mura site
San Sebastiano fuori le mura
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San Sebastiano fuori le mura, façade (1612) by Flaminio Ponzio, assisted by Giovanni Vasanzio
San Sebastiano fuori le mura
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Catacombs of San Sebastiano – entrance detail
83.
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.
84.
Church of San Sisto Vecchio
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The Basilica of San Sisto Vecchio is one of e over sixty minor basilicas among the churches of Rome, and a titular church since 600 AD. As such, it is connected to the title of a Cardinal priest, the church is dedicated to St. Pope Sixtus II and houses his relics, San Sisto was rebuilt in the early 13th century by Pope Innocent III. The current church is the result of the restorations of Pope Benedict XIII in the 18th century, which only the bell tower. A 13th-century fresco cycle depicting scenes from the New Testament and the Apocrypha has been preserved, Pope Honorius III entrusted the reform of the monastery at San Sisto Vecchio to Saint Dominic in the 1220s, intending it as part of the reformation of womens religious life in Rome. Dominican nuns still occupy the monastery at San Sisto Vecchio, the following persons are known to have been Cardinal priests of S. Sisto, Joannes. He followed Pope Anacletus II in the Schism of 1130-1139, Spanish Juan de Torquemada, O. P. Valladolid, Castile Pseudocardinal-priest Giovanni di Ragusa, O. P. Croatian Pietro Riario, O. Min. Savona Pedro Ferris, Cocentaina, Alicante, Spain Cosma Orsini, roman, father from Fermo Pierre de Foix, le jeune, O. Min. Spanish Cardinal-deacon Charles de Bourbon-Vendome, French, Italian Nicolò Spinola, Spanish Agostino Pipia, O. P. Italian Louis-Antoine de Noailles, French Francesco Antonio Finy, Italian Vincenzo Ludovico Gotti, O. P. Bologna, Italy Luigi Maria Lucini, Italian Carlo Vittorio Amedeo Delle Lanze, Italian Giuseppe Agostino Orsi, O. P. Italian Giovanni Molino, Italian Juan Tomás de Boxadors y Sureda de San Martín, Spanish Jean-Baptist-Marie-Anne-Antoine de Latil, French Gaspare Bernardo Pianetti, Italian Cardinal-priest Filippo Maria Guidi, O. P
Church of San Sisto Vecchio
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Woodcut of San Sisto Vecchio in the 16th century, from Le cose maravigliose dell'alma città di Roma (Venice: Girolamo Francino, 1588)
85.
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
86.
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.
