1.
Urbino
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The town, nestled on a high sloping hillside, retains much of its picturesque medieval aspect, an illusion only slightly broken by the large car parks below the town. It hosts the University of Urbino, founded in 1506, and is the seat of the Archbishop of Urbino and its best-known architectural piece is the Palazzo Ducale, rebuilt by Luciano Laurana. The city is located in a hilly area, at the foothills of the Northern Apennines. The city is in the area of Montefeltro, an area classified as medium-high seismic risk. In the database of earthquakes developed by the National Institute of Geophysics and Volcanology and they include 24 April 1741, when the shocks were stronger than VIII on the Mercalli intensity scale, with an epicenter in Fabriano. Though Pepin the Short presented Urbino to the Papacy in 754–56, independent traditions were expressed in its commune, until, around 1200, eventually, though, the Montefeltro noblemen took control once more, and held it until 1508. The most famous member of the Montefeltro family, Federico da Montefeltro, federicos brilliant court, according to the descriptions in Baldassare Castigliones Il Cortegiano, set standards of what would characterize a modern European gentleman for centuries to come. Cesare Borgia dispossessed Guidobaldo da Montefeltro, Duke of Urbino, and Elisabetta Gonzaga in 1502, with the complicity of his father, Pope Alexander VI. They moved in 1523 the court in the city of Pesaro, the state was ruled since then by a papal legate, generally belonging to high ecclesiastical hierarchy. These works went on to form the core of the future Uffizi Gallery, among the works that went to Florence is the diptych of the Dukes of Urbino by Piero della Francesca. Other works of the Ducal Palace were brought to Rome, such as the Barberini Ex Tables of Fra Carnevale, the eighteenth century opened with the election to the papacy of Cardinal Giovan Francesco Albani Urbino, under the name of Clement XI. This was a windfall for the city and was its last great era, especially in terms of arts and culture, thanks to funding by Pope Albani and his family. In addition, due to the patronage of the Pope and of his family and this new age of splendor for the city ended with the death of Clement XI in 1721, placing the city in a long decline that has continued to the present day. After the Popes death, the Albani family remained the patron of the most significant works until the first half of the nineteenth century. In 1789, the collapse of the Cathedral dome following an earthquake led to the total renovation of the church. Between 1797 and 1800 the city was occupied by French troops, like much of northern and this event was a further cause of the impoverished local artistic heritage, already tried by the loss of the works following the devolution of the duchy in the seventeenth century. Sergius, now occupied by the Hotel Raffaello. This resulted in a new layout with the large spit of land below the Doges Palace incorporated into the city
2.
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 climate 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
3.
Painting
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Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
4.
Communion of the Apostles (Barocci)
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The Communion of the Apostles, or Institution of the Eucharist is a painting of the Last Supper by Federico Barocci located at Santa Maria sopra Minerva in Rome. It was commissioned for the chapel of Pope Clement VIII Aldobrandini. It was most likely the sight of Baroccis Presentation of the Virgin in the Chiesa Nuova at its unveiling in 1603 that led to the commission of the Communion four months later. On 13 August 1603 the pope communicated with the minister to Francesco Maria II della Rovere, duke of Urbino, Giacomo Sorbolongo, at this time the Cavaliere dArpino was the popes most important artist, the letter goes on to ask that dArpino not be told of the commission. Gian Pietro Bellori wrote that the pope was supplied with preparatory sketches, the pope sought the removal of Satan from the original design, and thereafter asked that it depict a night scene. Barocci quotes from Raphaels School of Athens by inserting the portrait of Heraclitus, significantly, he depicts Judas Iscariot using Michelangelos portrait. To an audience familiar with this association, this would have taken as particularly strong commentary on the status of the Michelangelo. Barocci asked 1,500 scudi for the altarpiece, the fee undoubtedly was influenced by the number of figures. At the same point in his career, he had accepted 300 scudi for a much simpler Crucifixion
5.
Renaissance
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The Renaissance was a period in European history, from the 14th to the 17th century, regarded as the cultural bridge between the Middle Ages and modern history. It started as a movement in Italy in the Late Medieval period and later spread to the rest of Europe. This new thinking became manifest in art, architecture, politics, science, Early examples were the development of perspective in oil painting and the recycled knowledge of how to make concrete. Although the invention of movable type sped the dissemination of ideas from the later 15th century. In politics, the Renaissance contributed to the development of the customs and conventions of diplomacy, the Renaissance began in Florence, in the 14th century. Other major centres were northern Italian city-states such as Venice, Genoa, Milan, Bologna, the word Renaissance, literally meaning Rebirth in French, first appeared in English in the 1830s. The word also occurs in Jules Michelets 1855 work, Histoire de France, the word Renaissance has also been extended to other historical and cultural movements, such as the Carolingian Renaissance and the Renaissance of the 12th century. The Renaissance was a movement that profoundly affected European intellectual life in the early modern period. Renaissance scholars employed the humanist method in study, and searched for realism, however, a subtle shift took place in the way that intellectuals approached religion that was reflected in many other areas of cultural life. In addition, many Greek Christian works, including the Greek New Testament, were back from Byzantium to Western Europe. Political philosophers, most famously Niccolò Machiavelli, sought to describe life as it really was. Others see more competition between artists and polymaths such as Brunelleschi, Ghiberti, Donatello, and Masaccio for artistic commissions as sparking the creativity of the Renaissance. Yet it remains much debated why the Renaissance began in Italy, accordingly, several theories have been put forward to explain its origins. During the Renaissance, money and art went hand in hand, Artists depended entirely on patrons while the patrons needed money to foster artistic talent. Wealth was brought to Italy in the 14th, 15th, and 16th centuries by expanding trade into Asia, silver mining in Tyrol increased the flow of money. Luxuries from the Eastern world, brought home during the Crusades, increased the prosperity of Genoa, unlike with Latin texts, which had been preserved and studied in Western Europe since late antiquity, the study of ancient Greek texts was very limited in medieval Western Europe. One of the greatest achievements of Renaissance scholars was to bring this entire class of Greek cultural works back into Western Europe for the first time since late antiquity, Arab logicians had inherited Greek ideas after they had invaded and conquered Egypt and the Levant. Their translations and commentaries on these ideas worked their way through the Arab West into Spain and Sicily and this work of translation from Islamic culture, though largely unplanned and disorganized, constituted one of the greatest transmissions of ideas in history
6.
Printmaking
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Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints that have an element of originality, except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print produced is not considered a copy but rather is considered an original, a print may be known as an impression. Printmaking is not chosen only for its ability to multiple impressions. Prints are created by transferring ink from a matrix or through a screen to a sheet of paper or other material. Screens made of silk or synthetic fabrics are used for the screenprinting process, other types of matrix substrates and related processes are discussed below. Multiple impressions printed from the matrix form an edition. Prints may also be printed in book form, such as illustrated books or artists books, Printmaking techniques are generally divided into the following basic categories, Relief, where ink is applied to the original surface of the matrix. Relief techniques include woodcut or woodblock as the Asian forms are known, wood engraving. Intaglio, where ink is applied beneath the surface of the matrix. Intaglio techniques include engraving, etching, mezzotint, aquatint, planographic, where the matrix retains its original surface, but is specially prepared and/or inked to allow for the transfer of the image. Planographic techniques include lithography, monotyping, and digital techniques, stencil, where ink or paint is pressed through a prepared screen, including screenprinting and pochoir. Other types of printmaking techniques outside these groups include collagraphy and viscosity printing, collagraphy is a printmaking technique in which textured material is adhered to the printing matrix. This texture is transferred to the paper during the printing process, Contemporary printmaking may include digital printing, photographic mediums, or a combination of digital, photographic, and traditional processes. Many of these techniques can also be combined, especially within the same family, for example, Rembrandts prints are usually referred to as etchings for convenience, but very often include work in engraving and drypoint as well, and sometimes have no etching at all. Woodcut, a type of print, is the earliest printmaking technique. It was probably first developed as a means of printing patterns on cloth, woodcuts of images on paper developed around 1400 in Japan, and slightly later in Europe. These are the two areas where woodcut has been most extensively used purely as a process for making images without text, the artist draws a design on a plank of wood, or on paper which is transferred to the wood
7.
Peter Paul Rubens
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Sir Peter Paul Rubens was a Flemish/Netherlandish draughtsman and painter. He is widely considered as the most notable artist of Flemish Baroque art school, the catalogue of his works by Michael Jaffé lists 1,403 pieces, excluding numerous copies made in his workshop. His commissioned works were mostly history paintings, which included religious and mythological subjects and he painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house and he also oversaw the ephemeral decorations of the royal entry into Antwerp by the Cardinal-Infante Ferdinand in 1635. His drawings are mostly extremely forceful but not overly detailed and he also made great use of oil sketches as preparatory studies. For altarpieces he painted on slate to reduce reflection problems. Rubens was born in the city of Siegen to Jan Rubens and he was named in honour of Saint-Peter and Paul, because he was born on their solemnety. His father, a Calvinist, and mother fled Antwerp for Cologne in 1568, after increased religious turmoil and persecution of Protestants during the rule of the Spanish Netherlands by the Duke of Alba. Jan Rubens became the adviser of Anna of Saxony, the second wife of William I of Orange. Following Jan Rubens imprisonment for the affair, Peter Paul Rubens was born in 1577, the family returned to Cologne the next year. In 1589, two years after his fathers death, Rubens moved with his mother Maria Pypelincks to Antwerp, religion figured prominently in much of his work and Rubens later became one of the leading voices of the Catholic Counter-Reformation style of painting. In Antwerp, Rubens received a Renaissance humanist education, studying Latin, by fourteen he began his artistic apprenticeship with Tobias Verhaeght. Subsequently, he studied under two of the leading painters of the time, the late Mannerist artists Adam van Noort. Much of his earliest training involved copying earlier works, such as woodcuts by Hans Holbein the Younger. Rubens completed his education in 1598, at time he entered the Guild of St. Luke as an independent master. In 1600 Rubens travelled to Italy and he stopped first in Venice, where he saw paintings by Titian, Veronese, and Tintoretto, before settling in Mantua at the court of Duke Vincenzo I Gonzaga. The colouring and compositions of Veronese and Tintoretto had an effect on Rubenss painting. With financial support from the Duke, Rubens travelled to Rome by way of Florence in 1601, there, he studied classical Greek and Roman art and copied works of the Italian masters
8.
Duchy of Urbino
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The Duchy of Urbino was a sovereign state in central-northern Italy. The first lords of Urbino were the House of Montefeltro, who obtained the title of counts from Emperor Frederick II in 1213, the first Duke was Oddantonio, who received the title from Pope Eugene IV in 1443. In 1523 the capital was moved to Pesaro, History of Urbino Pesaro List of historic states of Italy Holy Roman Empire James Dennistoun. Memoirs of the Dukes of Urbino, Illustrating the Arms, Arts, Volume One, Volume Two, Volume Three History of the popes, their church and state by Leopold von Ranke Franceschini, G. Storia dei conti e duchi dUrbino, ugolini, Filippo, Storia dei conti e duchi dUrbino - volume 2
9.
Battista Franco Veneziano
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He is also known as il Semolei or just Battista Franco. Native to Venice, he came to Rome in his twenties and he painted an allegory of the Battle of Montemurlo now in the Pitti Palace, and a fresco of the Arrest of John the Baptist for the Oratory of San Giovanni Decollato. From 1545–51 he painted in Urbino and he may have been, along with Girolamo Genga, one of the mentors of Federico Barocci. His painting, in the Mannerist style, was indebted to Michelangelo. He returned to Venice, where he helped fresco the ceiling of the Biblioteca Marciana and he painted a series of panels, including a Baptism of Christ, for the walls and vault of the Grimani chapel in the church San Francesco della Vigna in Venice. He painted the Raising of Lazarus in the Ducal palace, freedberg, Sydney J. Pelican History of Art, ed. Massimo Firpo, Fabrizio Biferali, Battista Franco «pittore viniziano» nella cultura artistica e nella vita religiosa del 500, Pisa, Edizioni della Scuola Normale Superiore,2007
10.
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
11.
Taddeo Zuccari
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Taddeo Zuccari Italian pronunciation, was an Italian painter, one of the most popular members of the Roman mannerist school. Zuccari was born in SantAngelo in Vado, near Urbino, the son of Ottaviano Zuccari and his brother Federico, born around 1540, was also a painter and architect. As a young man Taddeo was to be encouraged by Pompeo da Fano, Zuccari moved to Rome by age 14, and he succeeded at an early age in gaining a knowledge of painting and in finding patrons to employ him. When he was seventeen a pupil of Correggio, named Daniele da Parma, engaged him to assist in painting a series of frescoes in a chapel at Vitto near Sora, on the borders of the Abruzzi. From that time his success was assured, and he was employed by the popes Julius III and Paul IV, by the della Rovere duke of Urbino. He is documented to have worked alongside Prospero Fontana in decorating the Villa Giulia, in 1556, he painted frescoed Scenes of the Passion in the Cappella Mattei of Santa Maria della Consolazione. He also painted Histories of Alexander in the Castello Orsini at Bracciano, nearly all his paintings were large, rapidly executed frescos, often in chiaroscuro or monochrome. Stylistically, he displays a Mannerist taste for sculpted physicality characteristic of Michelangelo. Vasari praised his skill and the refined fluidity and vigour of his style, singling out his treatment of heads, hands. Zuccaris easel pictures are less common than his decorative frescoes, a small painting on copper of the Adoration of the Shepherds, formerly in the collection of James II, is now at Hampton Court Palace. The Caprarola frescoes were engraved and published by Prenner, Illustri Fatti Farnesiani Coloriti nel Real Palazzo di Caprarola and he painted Conversion of St. Paul in San Marcello al Corso in Rome. He died in Rome in 1566, and was buried in the Pantheon, freedberg, Sydney J. Pelican History of Art, ed. The Zuccaro Scholarship Getty Museum Exhibition Taddeo and Federico Zuccaro, Artist Brothers in Rome
12.
Federico Zuccari
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Federico Zuccari, also known as Federico Zuccaro, was an Italian Mannerist painter and architect, active both in Italy and abroad. Zuccari was born at SantAngelo in Vado, near Urbino and his documented career as a painter began in 1550, when he moved to Rome to work under Taddeo, his elder brother. He went on to complete decorations for Pius IV, and help complete the decorations at the Villa Farnese at Caprarola. Zuccari was recalled to Rome by Pope Gregory XIII to continue in the Pauline chapel of the Vatican and he visited Brussels, and there made a series of cartoons for the tapestry-weavers. In 1574 he came to England, where he received a commission from Robert Dudley, Earl of Leicester to portray himself and he also painted Mary, Queen of Scots, Sir Nicholas Bacon, Sir Francis Walsingham, Lord High Admiral Howard. He painted a portrait of a Man with Two Dogs, in the Pitti Palace, in 1585, he accepted an offer by Philip II of Spain to decorate the new Escorial at a yearly salary of 2,000 crowns. He worked at the palace from January 1586 to end of 1588 and his paintings were disliked by Philip II and many were painted over. However the parting was amicable, We must not blame him and he was succeeded by Pellegrino Tibaldi. He there founded in 1595, under a charter confirmed by Pope Sixtus V, bartolomeo Carducci is said to have studied with him. Like his Giorgio Vasari a generation before, Zuccari aimed at being an art critic and his chief book, Lidea de Pittori, Scultori, ed Architetti, was far less popular. Zuccari was raised to the rank of cavaliere not long before his death, freedberg, Sydney J. Pelican History of Art, ed. The Zuccaro Scholarship Getty Museum Exhibition Taddeo and Federico Zuccari, Artist Brothers in Rome
13.
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
14.
Pope Pius IV
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Pope Pius IV, born Giovanni Angelo Medici, was Pope from 25 December 1559 to his death in 1565. He is known for presiding over the session of the Council of Trent. Giovanni Angelo Medici was born in Milan on 31 March 1499 as the second of eleven children to Bernardino de Medici and he was not closely related to the Medicis of Florence. Giovanni Medici was the brother of condottiero Gian Giacomo Medici. Medici studied philosophy and medicine in Pavia, after studying at Bologna and acquiring a reputation as a jurist he obtained his doctorate in both canon and civil law on 11 May 1525. Medici went in 1527 to Rome, and as a favourite of Pope Paul III was rapidly promoted to the governorship of several towns, the archbishopric of Ragusa, in April 1549, Pope Paul III made Medici a cardinal. Under Papal authority, he was sent on missions to Germany. On the death of Pope Paul IV, he was elected pope on 25 December 1559, taking the name Pius IV. and installed on 6 January 1560. His first public acts of importance were to grant a pardon to the participants in the riot after the death of his predecessor. One, Cardinal Carlo Carafa, was strangled, and Duke Giovanni Carafa of Paliano, on 18 January 1562 the Council of Trent, which had been suspended by Pope Julius III, was convened by Pius IV for the third and final time. The more marked manifestations of stringency during his pontificate appear to have been prompted rather than spontaneous, his personal character inclining him to moderation, in the same year he published a bull granting the use of the cup to the laity of Austria and Bohemia. A conspiracy against Pius IV, headed by Benedetto Accolti the Younger, katherine Rinne said in her book Waters of Rome that Pius IV also ordered public construction to improve the water supply of Rome. Pius IV died on 9 December 1565 and he was buried in Santa Maria degli Angeli. Cardinals created by Pius IV List of popes from the Medici family House of Medici Bonora, roma 1564, La congiura contro il papa. Freedberg, Sydney J. Pelican History of Art, ed, catholic Hierarchy, Pope Pius IV Cardinals of the Holy Roman Church, Cardinal Medici
15.
Apostolic Palace
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The Apostolic Palace is the official residence of the Pope, which is located in Vatican City. It is also known as the Papal Palace, Palace of the Vatican and Vatican Palace, the Vatican itself refers to the building as the Palace of Sixtus V in honor of Pope Sixtus V. The modern tourist can see these last and other parts of the palace, the Scala Regia can be seen into from one end but not entered. In the fifth century, Pope Symmachus built a palace close to the Old St. Peters Basilica which served an alternative residence to the Lateran Palace. The construction of a fortified palace was sponsored by Pope Eugene III. The Vatican Palace had fallen into disrepair from lack of upkeep, in 1447, Pope Nicholas V razed the ancient fortified palace of Eugene III to erect a new building, the current Apostolic Palace. In the 15th century, the Palace was placed under the authority of a prefect and this position of Apostolic Prefect lasted from the 15th century till the 1800s, when the Papal States fell into economic difficulties. In 1884, when this post was reviewed in light of saving money, the major additions and decorations of the palace are the work of the following popes for 150 years. In the 20th century, Pope Pius XI built an art gallery. Construction of the Papal Palace at the Vatican in Vatican City, covering 162, 000m squared, it contains the Papal Apartments, offices of the Roman Catholic Church and Holy See, chapels, Vatican Library, museums and art galleries. The Apostolic Palace is run by the Prefecture of the Pontifical Household, the palace is more accurately a series of self-contained buildings within the well-recognized outer structure which is arranged around the Courtyard of Sixtus V. It is located northeast of St Peters Basilica and adjacent to the Bastion of Nicholas V, the Apostolic Palace houses both residential and support offices of various functions as well as administrative offices not focused on the life and functions of the Pope himself. Perhaps the best known of the Palace chapels is the Sistine Chapel named in honor of Sixtus IV and it is famous for its decoration that was frescoed throughout by Renaissance artists including Michelangelo, Sandro Botticelli, Pietro Perugino, Pinturicchio, Domenico Ghirlandaio, and others. One of the functions of the chapel is as a venue for the election of each successive Pope in a conclave of the College of Cardinals. In this closed-door election, the cardinals choose a successor to the first pope, St. Peter and this suite of rooms is famous for its frescos by a large team of artists working under Raphael. They were originally intended as a suite of apartments for Pope Julius II and he commissioned Raphael, then a relatively young artist from Urbino, and his studio in 1508 or 1509 to redecorate the existing interiors of the rooms entirely. It was possibly Julius intent to outshine the apartments of his predecessor Pope Alexander VI and they are on the third floor, overlooking the south side of the Belvedere Courtyard. After the death of Julius in 1513, with two rooms frescoed, Pope Leo X continued the program, following Raphaels death in 1520, his assistants Gianfrancesco Penni, Giulio Romano and Raffaellino del Colle finished the project with the frescoes in the Sala di Costantino
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Francesco Maria II della Rovere, Duke of Urbino
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Francesco Maria II della Rovere was the last Duke of Urbino. Born at Pesaro, Francesco Maria was the son of Guidobaldo II della Rovere, Duke of Urbino, Count of Montefeltro and Vittoria Farnese and he was raised between 1565 and 1568 at the Royal court of Philip II of Spain. While there he met a Spanish girl and informed his father of his intention to marry her, but his father would not allow it and demanded he return to Urbino. In 1570 Francesco Maria married Lucrezia dEste, a daughter of Ercole II dEste and his father died only a few years later, in 1574, and Francesco Maria succeeded his father as Duke of Urbino. By 1580 the family estate was in crisis and Francesco Maria was forced to sell his familys titles - the Duchy of Sora, Francesco Marias marriage, though, remained childless and Francesco Maria needed a male heir. Without one, his familys remaining titles would lapse on his death and his estate would be acquired, by default. So in 1599, after the death of first wife Lucrezia, on 16 May 1605 their long-expected and only child Federico Ubaldo was born. Federico Ubaldo married Claudia de Medici in 1621 and was made Duke by his father, the aging Francesco Maria took up the title of Duke again, but as there was no more hope for a male heir, he gave his Duchy to Pope Urban VIII in 1625. The Popes nephew Taddeo Barberini took control of the duchy which was annexed to the Papal States after Francescos death at Urbania in 1631, the last member of the della Rovere family, Vittoria, inherited the Dukes art collection and had it transferred to Florence to the Uffizi Gallery. Lucrezia dEste on 19 January 1570, daughter of Ercole II dEste, Duke of Ferrara, Livia della Rovere on 29 April 1599, daughter of Ippolito della Rovere and Isabella Vitelli dei Signori dellAmatrice. Federico Ubaldo della Rovere son of Livia della Rovere, was Duke of Urbino and the father of Vittoria della Rovere
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Antonio da Correggio
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In his use of dynamic composition, illusionistic perspective and dramatic foreshortening, Correggio prefigured the Rococo art of the 18th century. He is considered a master of chiaroscuro, antonio Allegri was born in Correggio, Italy, a small town near Reggio Emilia. His date of birth is uncertain, otherwise little is known about Correggios early life or training. It is, however, often assumed that he had his first artistic education from his fathers brother, after a trip to Mantua in 1506, he returned to Correggio, where he stayed until 1510. To this period is assigned the Adoration of the Child with St. Elizabeth and John, by 1516, Correggio was in Parma, where he spent most of the remainder of his career. Here, he befriended Michelangelo Anselmi, a prominent Mannerist painter, in 1519 he married Girolama Francesca di Braghetis, also of Correggio, who died in 1529. One of his sons, Pomponio Allegri, became an undistinguished painter, from this period are the Madonna and Child with the Young Saint John, Christ Leaving His Mother and the lost Madonna of Albinea. Correggios first major commission was the decoration of the private dining salon of the mother-superior of the convent of St Paul called the Camera di San Paolo at Parma. Here he painted an arbor pierced by oculi opening to glimpses of playful cherubs, below the oculi are lunettes with images of feigned monochromic marble. The fireplace is frescoed with an image of Diana, the iconography of the scheme is complex, combining images of classical marbles with whimsical colorful bambini. While it recalls the secular frescoes of the palace of the Villa Farnesina in Rome. He then painted the illusionistic Vision of St. John on Patmos for the dome of the church of San Giovanni Evangelista. Three years later he decorated the dome of the Cathedral of Parma with a startling Assumption of the Virgin, the recession and movement implied by the figures presage the dynamism that would characterize Baroque painting. Other masterpieces include The Lamentation and The Martyrdom of Four Saints, the Lamentation is haunted by a lambence rarely seen in Italian painting prior to this time. The Martyrdom is also remarkable for resembling later Baroque compositions such as Berninis Truth and Ercole Ferratas Death of Saint Agnes, aside from his religious output, Correggio conceived a now-famous set of paintings depicting the Loves of Jupiter as described in Ovids Metamorphoses. The voluptuous series was commissioned by Federico II Gonzaga of Mantua, however, they were given to the visiting Holy Roman Emperor Charles V and thus left Italy within years of their completion. Danaë, now in Romes Borghese Gallery, depicts the maiden as she is impregnated by a curtain of gilded divine rain. Her lower torso semi-obscured by sheets, Danae appears more demure and gleeful than Titians 1545 version of the same topic, the picture once called Antiope and the Satyr is now correctly identified as Venus and Cupid with a Satyr
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Perspective (graphical)
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Perspective in the graphic arts is an approximate representation, on a flat surface, of an image as it is seen by the eye. If viewed from the spot as the windowpane was painted. Each painted object in the scene is thus a flat, scaled down version of the object on the side of the window. All perspective drawings assume the viewer is a distance away from the drawing. Objects are scaled relative to that viewer, an object is often not scaled evenly, a circle often appears as an ellipse and a square can appear as a trapezoid. This distortion is referred to as foreshortening, Perspective drawings have a horizon line, which is often implied. This line, directly opposite the viewers eye, represents objects infinitely far away and they have shrunk, in the distance, to the infinitesimal thickness of a line. It is analogous to the Earths horizon, any perspective representation of a scene that includes parallel lines has one or more vanishing points in a perspective drawing. A one-point perspective drawing means that the drawing has a vanishing point, usually directly opposite the viewers eye. All lines parallel with the line of sight recede to the horizon towards this vanishing point. This is the standard receding railroad tracks phenomenon, a two-point drawing would have lines parallel to two different angles. Any number of vanishing points are possible in a drawing, one for each set of lines that are at an angle relative to the plane of the drawing. Perspectives consisting of parallel lines are observed most often when drawing architecture. In contrast, natural scenes often do not have any sets of parallel lines, the only method to indicate the relative position of elements in the composition was by overlapping, of which much use is made in works like the Parthenon Marbles. Chinese artists made use of perspective from the first or second century until the 18th century. It is not certain how they came to use the technique, some authorities suggest that the Chinese acquired the technique from India, oblique projection is also seen in Japanese art, such as in the Ukiyo-e paintings of Torii Kiyonaga. This was detailed within Aristotles Poetics as skenographia, using flat panels on a stage to give the illusion of depth, the philosophers Anaxagoras and Democritus worked out geometric theories of perspective for use with skenographia. Alcibiades had paintings in his house designed using skenographia, so this art was not confined merely to the stage, Euclids Optics introduced a mathematical theory of perspective, but there is some debate over the extent to which Euclids perspective coincides with the modern mathematical definition
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Uffizi
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The Uffizi Gallery is a prominent art museum located adjacent to the Piazza della Signoria in central Florence, region of Tuscany, Italy. The building of Uffizi complex was begun by Giorgio Vasari in 1560 for Cosimo I de Medici so as to accommodate the offices of the Florentine magistrates, hence the name uffizi, the construction was later continued by Alfonso Parigi and Bernardo Buontalenti and completed in 1581. The niches in the piers that alternate with columns filled with sculptures of artists in the 19th century. The Uffizi brought together under one roof the administrative offices, the Tribunal and the Archivio di Stato, the state archive. He commissioned from the architect Buontalenti the design of the Tribuna degli Uffizi that collected a series of masterpieces in one room, over the years, more sections of the palace were recruited to exhibit paintings and sculpture collected or commissioned by the Medici. The gallery had been open to visitors by request since the sixteenth century, because of its huge collection, some of its works have in the past been transferred to other museums in Florence—for example, some famous statues to the Bargello. A project was finished in 2006 to expand the exhibition space some 6,000 metres² to almost 13,000 metres². On 27 May 1993, a car exploded in Via dei Georgofili and damaged parts of the palace. The most severe damage was to the Niobe room and classical sculptures and neoclassical interior, the identity of the bomber or bombers are unknown, although it was almost certainly attributable to the Sicilian Mafia who were engaged in a period of terrorism at that time. Today, the Uffizi is one of the most popular tourist attractions of Florence, in high season, waiting times can be up to five hours. In early August 2007, Florence experienced a heavy rainstorm, the Gallery was partially flooded, with water leaking through the ceiling, and the visitors had to be evacuated. There was a more significant flood in 1966 which damaged most of the art collections in Florence severely. Here is a selection from the collection, The collection also contains some ancient sculptures, such as the Arrotino. Collections of the Uffizi Official website Uffizi – Google Art Project
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Order of Friars Minor Capuchin
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The Order of Friars Minor Capuchin is an Order of friars in the Catholic Church, among the chief offshoots of the Franciscans. The worldwide head of the Order, called the Minister General, is currently Mauro Jöhri and he sought to return to the primitive way of life of solitude and penance as practiced by the founder of their Order. The popular name of their Order originates from this feature of their religious habit, in 1528, Friar Matteo obtained the approval of Pope Clement VII and was given permission to live as a hermit and to go about everywhere preaching to the poor. These permissions were not only for himself, but for all such as might join him in the attempt to restore the most literal observance possible of the Rule of St. Francis, Matteo and the original band were soon joined by others. The Observants, the branch of the Franciscan Order at that time. In 1529, they had four houses and held their first General Chapter, the eremitical idea was abandoned, but the life was to be one of extreme austerity, simplicity and poverty — in all things as near an approach to St Francis ideals as was practicable. Neither the monasteries nor the Province should possess anything, nor were any loopholes to be resorted to for evading this law, no large provision against temporal wants should be made, and the supplies in the house should never exceed what was necessary for a few days. Everything was to be obtained by begging, and the friars were not allowed even to touch money, the communities were to be small, eight being fixed as the normal number and twelve as the limit. In furniture and clothing extreme simplicity was enjoined and the friars were discalced, required to go bare-footed — without even sandals, like the Observants, the Capuchins wore a brown habit. By visual analogy, the Capuchin monkey and the style of coffee are both named after the shade of brown used for their habit. Besides the canonical choral celebration of the Divine Office, a portion of which was recited at midnight, the fasts and disciplines were rigorous and frequent. The great external work was preaching and spiritual ministrations among the poor, in theology the Capuchins abandoned the later Franciscan School of Scotus, and returned to the earlier school of St. Bonaventure. The movement at the outset of its history underwent a series of severe blows. Years later, claims that he had written in favor of polygamy and Unitarianism caused him to be exiled from that city and he fled again, first to Poland and then to Slovakia, where he died. As a result, the province came under the suspicion of heretical tendencies. He was dissuaded with difficulty, but the Capuchins were forbidden to preach, despite earlier setbacks, the authorities were eventually satisfied as to the soundness of the general body of Capuchin friars and the permission to preach was restored. They are said to have had at that time 1500 houses divided into fifty provinces, the activities of the Capuchins were not confined to Europe. From an early date they undertook missions to non-Catholics in America, Asia and Africa, due to this strong missionary thrust, a large number of Capuchins have suffered martyrdom over the centuries
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Franciscans
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The Franciscans are a group of related mendicant religious orders within the Catholic Church, founded in 1209 by Francis of Assisi. These orders include the Order of Friars Minor, the Order of Saint Clare, Francis began preaching around 1207 and traveled to Rome to seek approval from the Pope in 1209. The original Rule of Saint Francis approved by the Pope disallowed ownership of property, the austerity was meant to emulate the life and ministry of Jesus Christ. Franciscans traveled and preached in the streets, while boarding in church properties, Saint Clare, under Franciss guidance, founded the Poor Clares in 1212, which remains a Second Order of the Franciscans. The extreme poverty required of members was relaxed in final revision of the Rule in 1223, the degree of observance required of members remained a major source of conflict within the order, resulting in numerous secessions. The Order of Friars Minor, previously known as the Observant branch, is one of the three Franciscan First Orders within the Catholic Church, the others being the Capuchins and Conventuals. The Order of Friars Minor, in its current form, is the result of an amalgamation of smaller orders completed in 1897 by Pope Leo XIII. The latter two, the Capuchin and Conventual, remain distinct religious institutes within the Catholic Church, observing the Rule of Saint Francis with different emphases, Franciscans are sometimes referred to as minorites or greyfriars because of their habit. In Poland and Lithuania they are known as Bernardines, after Bernardino of Siena, the name of original order, Friars Minor, means lesser brothers, and stems from Francis of Assisis rejection of extravagance. Francis was the son of a cloth merchant, but gave up his wealth to pursue his faith more fully. Francis adopted of the tunic worn by peasants as the religious habit for his order. Those who joined him became the original Order of Friars Minor and they all live according to a body of regulations known as the Rule of St Francis. First Order The First Order or the Order of Friars Minor are commonly called simply the Franciscans and this Order is a mendicant religious order of men, some of whom trace their origin to Francis of Assisi. Their official Latin name is the Ordo Fratrum Minorum, St. Francis thus referred to his followers as Fraticelli, meaning Little Brothers. Franciscan brothers are informally called friars or the Minorites and they all live according to a body of regulations known as the Rule of St Francis. These are The Order of Friars Minor, known as the Observants, most commonly simply called Franciscan friars, official name, the Order of Friars Minor Capuchin or simply Capuchins, official name, Friars Minor Capuchin. The Conventual Franciscans or Minorites, official name, Friars Minor Conventual, Second Order The Second Order, most commonly called Poor Clares in English-speaking countries, consists of religious sisters. The order is called the Order of St. Clare, but in the century, prior to 1263, this order was referred to as The Poor Ladies, The Poor Enclosed Nuns
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Philip Neri
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Philip Romolo Neri, known as the Third Apostle of Rome, after Saints Peter and Paul, was an Italian priest noted for founding a society of secular clergy called the Congregation of the Oratory. He was the son of Francesco di Neri, a lawyer and he was carefully brought up, and received his early teaching from the friars at San Marco, the famous Dominican monastery in Florence. He was accustomed in later life to ascribe most of his progress to the teaching of two of them, Zenobio de Medici and Servanzio Mini. He gained Romolos confidence and affection, but soon after coming to San Germano Philip had a conversion, he no longer cared for things of the world. After arriving in Rome, Neri became a tutor in the house of a Florentine aristocrat named Galeotto Caccia, after two years he began to pursue his own studies under the guidance of the Augustinians. Following this, he began those labours amongst the sick and poor which, in later life and he also ministered to the prostitutes of the city. For seventeen years Philip lived as a layman in Rome, probably thinking of becoming a priest. Around 1544, he made the acquaintance of Ignatius of Loyola, many of Neris disciples found their vocations in the infant Society of Jesus. Members met for prayer at the church of San Salvatore in Campo where the devotion of the Forty Hours of Exposition of the Blessed Sacrament was first introduced into Rome, in 1551 Neri received all the minor orders, and was ordained deacon, and finally priest. He thought of going to India as a missionary, but was dissuaded by his friends who saw that there was abundant work to be done in Rome, the musical selections were called oratorios. Giovanni Palestrina was one of Philip’s followers, and composed music for the services and he also spent much of his time hearing confessions, and effected many conversions in this way. Neri sometimes led “excursions” to other churches, often with music, in 1564 the Florentines requested that Neri leave San Girolamo to oversee their newly built church in Rome, San Giovanni dei Fiorentini. He was at first reluctant, but by consent of Pope Pius IV he accepted, while remaining in charge of San Girolamo, the building, however, not large enough for their purpose, was pulled down, and a splendid church erected on the site. He was at first elected for a term of three years, but in 1587 was nominated superior for life, Neri continued in the government of the Oratory until his death. Philip Neri embodied a number of contradictions, combining popular venerations with intensely individual piety and he became embedded in the church hierarchy while seeking to reform a corrupt Rome and an uninterested clergy. He possessed a playful humour, combined with a shrewd wit and he considered a cheerful temper to be more Christian than a melancholy one, and carried this spirit into his whole life, A joyful heart is more easily made perfect than a downcast one. This was the secret of Neris popularity and of his place in the folklore of the Roman poor, many miracles were attributed to him. When his body was autopsied it was found two of his ribs had been broken, an event attributed to the expansion of his heart while fervently praying in the catacombs about the year 1545
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Santa Maria in Vallicella
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Santa Maria in Vallicella, also called Chiesa Nuova, is a church in Rome, Italy, which today faces onto the main thoroughfare of the Corso Vittorio Emanuele and the corner of Via della Chiesa Nuova. St. Gregory the Great built the first church on the site, by the 12th century, it was dedicated to Santa Maria in Vallicella. In 1575, Pope Gregory XIII recognised Neris group as a religious Congregation and gave them the church, st. Philip Neri, helped by Cardinal Pier Donato Cesi and Pope Gregory XIII, had the church rebuilt, starting in 1575. When Pierdonato died, his brother Angelo Cesi, Bishop of Todi, initially the architect was Matteo di Città di Castello, but he was replaced later by Martino Longhi the Elder. The nave was completed in 1577, and the church was consecrated in 1599, the facade, designed by Fausto Rughesi, was completed in 1605 or 1606. The Cesi heraldry is still evident in the church, the ground plan follows the Counter-Reformation design of churches established at the Gesù, a single main nave with transepts and side chapels, leading towards the High Altar. It is renowned for its altarpieces by Barocci, Pietro da Cortonas ceilings, Pietro da Cortonas decorations include the Trinity in the dome. The prophets Isiah, Jeremiah, Daniel and Ezechiel in the four pendentives were painted in 1655–56, Cortonas nave vault fresco of the Miracle of the Madonna della Vallicella was executed in 1664–65. This is clearly set within a gold frame, a quadro riportato. The first altarpiece on the right is a Crucifixion by Pulzone with a fresco painted by Lanfranco. The third altarpiece is an Ascension by Girolamo Muziano, the fourth, a Pentecost by Giovanni Maria Morandi, the fifth, in the transept is a Coronation of Mary by the Cavaliere dArpino, who also painted the first altarpiece on the right. In the right presbytery, is the Spada family chapel completed in 1593 by Rainaldi, inside, a Madonna with Child and Santi Carlo Borromeo and Ignazio di Loyola was painted by Maratta. In the central presbytery, the ciborium was designed by Ciro Ferri in 1681. When installed, the three panels are said to have caused a stir among observers in Rome, who were generally unaccustomed to the Flemish painterly style. The Rubens altarpiece was commissioned by Monsignor Jacopo Serra for 300 scudi, in the left transept is a Presentation of Mary to the Temple by Federico Barocci. He completed two altarpieces that were admired in his time, including one in the Chapel of the Visitation. The sacristy was begun in 1621 based on plans by Mario Arconio. In the sacristy is a sculptural group of S. Filippo with an Angel by Alessandro Algardi
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Perugia
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Perugia is the capital city of both the region of Umbria in central Italy, crossed by the river Tiber, and of the province of Perugia. The city is located about 164 kilometres north of Rome and 148 km south-east of Florence and it covers a high hilltop and part of the valleys around the area. The region of Umbria is bordered by Tuscany, Lazio, the history of Perugia goes back to the Etruscan period, Perugia was one of the main Etruscan cities. Perugia is also a cultural and artistic centre of Italy. The famous painter Pietro Vannucci, nicknamed Perugino, was a native of Città della Pieve and he decorated the local Sala del Cambio with a beautiful series of frescoes, eight of his pictures can also be admired in the National Gallery of Umbria. Perugino was the teacher of Raphael, the great Renaissance artist who produced five paintings in Perugia, another famous painter, Pinturicchio, lived in Perugia. Galeazzo Alessi is the most famous architect from Perugia, the citys symbol is the griffin, which can be seen in the form of plaques and statues on buildings around the city. Perugia was an Umbrian settlement but first appears in history as Perusia, one of the 12 confederate cities of Etruria. Fabius Pictors account, utilized by Livy, of the carried out against the Etruscan League by Fabius Maximus Rullianus in 310 or 309 BC. At that time a thirty-year indutiae was agreed upon, however, in 295 Perusia took part in the Third Samnite War and was reduced, with Volsinii and Arretium, a number of lead bullets used by slingers have been found in and around the city. Negotiations with the besieging forces fell to the bishop, Herculanus. Totila is said to have ordered the bishop to be flayed and beheaded, st. Herculanus later became the citys patron saint. In the Lombard period Perugia is spoken of as one of the cities of Tuscia. Peter, acknowledged the validity of the statement and recognised the established civic practices as having the force of law. However this dominant tendency was rather an anti-Germanic and Italian political strategy, midway through the 14th century Bartholus of Sassoferrato, who was a renowned jurist, asserted that Perugia was dependent upon neither imperial nor papal support. Civic peace was constantly disturbed in the 14th century by struggles between the party representing the people and the nobles. A citadel known as the Rocca Paolina, after the name of Pope Paul III, was built, in 1797, the city was conquered by French troops. On 4 February 1798, the Tiberina Republic was formed, with Perugia as capital, in 1799, the Tiberina Republic merged to the Roman Republic
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Pope Gregory XIII
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Pope Gregory XIII, born Ugo Boncompagni, was Pope of the Catholic Church from 13 May 1572 to his death in 1585. He is best known for commissioning and being the namesake for the Gregorian calendar, during his pontificate, Gregory fostered cultural patronages associated with his papacy. He strengthened many ecclesiastical and diplomatic envoys to Asia, namely the islands of Japan and he was also the first Pope to bestow the Immaculate Conception as Patroness to the Philippine Islands on 9 February 1579 through the Papal Bull Ilius Fulti Præsido. Ugo Boncompagni was born the son of Cristoforo Boncompagni and of his wife Angela Marescalchi in Bologna and he later taught jurisprudence for some years, and his students included notable figures such as Cardinals Alexander Farnese, Reginald Pole and Charles Borromeo. He had a son after an affair with Maddalena Fulchini, Giacomo Boncompagni. At the age of thirty-six he was summoned to Rome by Pope Paul III, under whom he held appointments as first judge of the capital, abbreviator. Pope Paul IV attached him as datarius to the suite of Cardinal Carlo Carafa, Pope Pius IV made him Cardinal-Priest of San Sisto Vecchio and he also served as a legate to Philip II of Spain, being sent by the Pope to investigate the Cardinal of Toledo. It was there that he formed a lasting and close relationship with the Spanish King, upon the death of Pope Pius V, the conclave chose Cardinal Boncompagni, who assumed the name of Gregory XIII in homage to the great reforming Pope, Gregory I, surnamed the Great. It was a very brief conclave, lasting less than 24 hours, many historians have attributed this to the influence and backing of the Spanish King. Gregory XIIIs character seemed to be perfect for the needs of the church at the time, unlike some of his predecessors, he was to lead a faultless personal life, becoming a model for his simplicity of life. Additionally, his brilliance and management abilities meant that he was able to respond and deal with major problems quickly and decisively. Once in the chair of Saint Peter, Gregory XIIIs rather worldly concerns became secondary and he committed himself to putting into practice the recommendations of the Council of Trent. He allowed no exceptions for cardinals to the rule that bishops must take up residence in their sees and he was the patron of a new and greatly improved edition of the Corpus juris canonici. In a time of considerable centralisation of power, Gregory XIII abolished the Cardinals Consistories, replacing them with Colleges and he was renowned for having a fierce independence, some confidants noted that he neither welcomed interventions nor sought advice. The power of the papacy increased under him, whereas the influence, a central part of the strategy of Gregory XIIIs reform was to apply the recommendations of Trent. He was a patron of the recently formed Society of Jesus throughout Europe. The Roman College of the Jesuits grew substantially under his patronage and it is now named the Pontifical Gregorian University. Pope Gregory XIII also founded numerous seminaries for training priests, beginning with the German College at Rome, in 1575 he gave official status to the Congregation of the Oratory, a community of priests without vows, dedicated to prayer and preaching
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Giovanni Pietro Bellori
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His Lives of the Artists, published in 1672, was influential in consolidating and promoting the theoretical case for classical idealism in art. As an art historical biographer, he favoured classicising artists rather than Baroque artists to the extent of omitting some of the key figures of 17th-century art altogether. Bellori, possibly the nephew of the collector and writer Francesco Angeloni. As a young man, he took art lessons from the painter Domenichino and became a member of the Accademia di San Luca. Bellori was curator of antiquities for Pope Clement X, in 1671, he was appointed secretary of the Accademia di San Luca. He was later appointed as librarian and antiquarian to Queen Christina of Sweden and he died in 1696 in Rome and was buried in the Church of S. Isidoro. In 1664 Bellori delivered a speech to the Accademia on the Ideal in Art. In 1672 he published this as a preface to his biographies of recent and contemporary artists, entitled and he planned a work on Bolognese artists, but, only completed entries for Guido Reni, Andrea Sacchi and Carlo Maratta. Bellori advocated idealism over realism or naturalism and this famously led to Belloris reverence of the painting of Annibale Carracci and repudiation of Caravaggio. His writing of the Idea is influenced by Giovanni Battista Agucchi, Vasari, Leon Battista Alberti, Aristotle, Bellori often relied for his facts on the earlier biographies of Roman artists by Giovanni Baglione. Vasaris definition of disegno or design, at that time seen as the most important artistic element, is tied up in the concept of prudence. An artists work could essentially be seen as a series of choices, and this forms the basis of subsequent value judgments in art by Bellori and his contemporaries. Bellori and Agucchi, after Aristotle, equated the practice of idealism with prudent choice, vite dePittori, Scultori et Architetti Moderni, Parte Prima. Corpus informatico belloriano a cura di Paola Barocchi, Sonia Maffei, centro di Ricerche Informatiche per i Beni Culturali della Scuola Normale di Pisa. Patrons and Painters, Art and Society in Baroque Italy, commentary on Annibale Carracci Introduces Painting to Apollo and Minerva, etching by Pietro Aquila, after a drawing by Carlo Maratti, frontispiece to Galeriae Farnesianae Icones. A catalogue of Carraccis Palazzo Farnese drawings, published by Giovanni Giacomo de Rossi in 1674, metropolitan Museum of Art website, accessed 3 March 2015. 3, pp. 673–675, in The Dictionary of Art, Art and Architecture in Italy 1600–1750, sixth edition in 3 volumes, revised by Joseph Connors and Jennifer Montagu. Erwin Panofsky, Idea, A Concept in Art Theory at Art History Resources
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Giorgio Vasari
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Vasari was born in Arezzo, Tuscany. Recommended at an age by his cousin Luca Signorelli, he became a pupil of Guglielmo da Marsiglia. He was befriended by Michelangelo whose painting style would influence his own, in 1529, he visited Rome where he studied the works of Raphael and other artists of the Roman High Renaissance. Vasaris own Mannerist paintings were admired in his lifetime than afterwards. In 1547 he completed the hall of the chancery in Palazzo della Cancelleria in Rome with frescoes that received the name Sala dei Cento Giorni and he was consistently employed by members of the Medici family in Florence and Rome, and worked in Naples, Arezzo and other places. He also helped to organize the decoration of the Studiolo, now reassembled in the Palazzo Vecchio, aside from his career as a painter, Vasari was also successful as an architect. In Florence, Vasari also built the long passage, now called Vasari Corridor, the enclosed corridor passes alongside the River Arno on an arcade, crosses the Ponte Vecchio and winds around the exterior of several buildings. He also renovated the medieval churches of Santa Maria Novella and Santa Croce, at both he removed the original rood screen and loft, and remodelled the retro-choirs in the Mannerist taste of his time. In Santa Croce, he was responsible for the painting of The Adoration of the Magi which was commissioned by Pope Pius V in 1566 and it was recently restored, before being put on exhibition in 2011 in Rome and in Naples. Eventually it is planned to return it to the church of Santa Croce in Bosco Marengo, in 1562 Vasari built the octagonal dome on the Basilica of Our Lady of Humility in Pistoia, an important example of high Renaissance architecture. In Rome, Vasari worked with Giacomo Barozzi da Vignola and Bartolomeo Ammanati at Pope Julius IIIs Villa Giulia, the Lives also included a novel treatise on the technical methods employed in the arts. The book was rewritten and enlarged in 1568, with the addition of woodcut portraits of artists. The work has a consistent and notorious bias in favour of Florentines, and tends to attribute to them all the developments in Renaissance art – for example, Venetian art in particular, is systematically ignored in the first edition. Between the first and second editions, Vasari visited Venice and while the edition gave more attention to Venetian art. Vasaris biographies are interspersed with amusing gossip, with a few exceptions, however, Vasaris aesthetic judgement was acute and unbiased. He did not research archives for exact dates, as art historians do, and naturally his biographies are most dependable for the painters of his own generation. Modern criticism – with new materials opened up by research – has corrected many of his traditional dates and attributions. Vasari includes a sketch of his own biography at the end of the Lives, according to the historian Richard Goldthwaite, Vasari was one of the earliest authors to use the term competition in its economic sense
28.
Palm branch
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The palm branch is a symbol of victory, triumph, peace and eternal life originating in the ancient Near East and Mediterranean world. The palm was sacred in Mesopotamian religions, and in ancient Egypt represented immortality, in Judaism, a closed frond of the date palm is part of the festival of Sukkot. A palm branch was awarded to athletes in ancient Greece. In Christianity, the branch is associated particularly with Palm Sunday. It was adopted into Christian iconography to represent the victory of martyrs, since a victory signals an end to a conflict or competition, the palm developed into a symbol of peace, a meaning it can have in Islam, where it is often associated with Paradise. The palm appears on several flags or seals representing countries or other places, in Assyrian religion, the palm is one of the trees identified as the Sacred Tree connecting heaven, represented by the crown of the tree, and earth, the base of the trunk. Reliefs from the 9th century BC show winged genii holding palm fronds in the presence of the Sacred Tree and it is associated with the goddess Ishtar and is found on the Ishtar Gate. In ancient Mesopotamia, the palm may have represented fertility in humans. The Mesopotamian goddess Inanna, who had a part in the marriage ritual, was believed to make the dates abundant. Palm stems represented long life to the Ancient Egyptians, and the god Huh was often holding a palm stem in one or both hands. The palm was carried in Egyptian funeral processions to represent eternal life, the Kingdom of Nri used the omu, a tender palm frond, to sacralize and restrain. The palm was a symbol of Phoenicia and appeared on Punic coins, in ancient Greek, the word for palm, phoinix, was thought to be related to the ethnonym. In Archaic Greece, the tree was a sacred sign of Apollo. The palm thus became an icon of the Delian League, in recognition of the alliance, Cimon of Athens erected a bronze statue of a palm tree at Delphi as part of a victory monument commemorating the Battle of the Eurymedon. In addition to representing the victorious League, the palm was a visual pun on the defeated Phoenician fleet. From 400 BC onward, a branch was awarded to the victor in athletic contests. The palm became so associated with victory in ancient Roman culture that the Latin word palma could be used as a metonym for victory. A lawyer who won his case in the forum would decorate his front door with palm leaves, the toga palmata was a toga ornamented with a palm motif, it was worn to celebrate a military triumph only by those who had a previous triumph
29.
Antonio Viviani
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Antonio Viviani was an Italian painter of the late Renaissance and early Baroque. He was also called il Sordo de Urbino, because of his self-absorption while painting frescoes and he was born in Urbino, and there became a follower of Federigo Barocci, said to have been his uncle. These works are now in the Pinacoteca Civica of Fano and he also painted for the Oratory of the Santissima Annunziata in Urbino. In Rome, he is said to have gravitated to the syle of Cesare DArpino, after 1585, he traveled to Rome, where he helped fresco the Vatican library and the Scala Santa. He also helped fresco for the loggia of the Palazzo Altemps and for the Palazzo Barberini, from 1596 to 1598, he lived in Genoa. In Urbino, he painted for the Chapels of the Immaculate Conception, pietro e Paolo parish church Bryan, Michael. Walter Armstrong & Robert Edmund Graves, ed, dictionary of Painters and Engravers, Biographical and Critical. York St. #4, Covent Garden, London, Original from Fogg Library, Digitized May 18,2007, George Bell and Sons
30.
Giovanni Giacomo Pandolfi
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Giovanni Giacomo Pandolfi was an Italian painter, who was born and lived in Pesaro. He was likely the son of the painter Giovanni Antonio Pandolfi, also from Pesaro, gian Giacomo studied with Federico and Taddeo Zuccari, but was strongly influenced by another artist, Federico Barocci. His best known work adorns the ceiling and the Oratory of the Nome di Dio, in Pesaro and his style follows the Emilian mannerism, characterized by the sfumato of colors and well rounded human bodies. Among his students were Simone Cantarini and Domenico Peruzzini, Giovanni Giacomo Pandolfi in the French Museums Collections The Nome di Dio church in Pesaro
31.
Benedetto Bandiera
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Benedetto Bandiera was an Italian painter of the early-Baroque period. Born in Perugia, where he painted in the style of Federico Barocci and he painted frescoes in the convent adjacent to the Church of San Pietro of Perugia. There are paintings of his in the church and museum of San Francesco in Corciano, ralph Nicholson Wornum, ed. Biographical catalogue of the principal Italian painters. Woodfall & Kinder, Angel Court, Skinner Street, London, Digitized by Googlebooks from Oxford University copy on Jun 27,2006
32.
Gian Lorenzo Bernini
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Gian Lorenzo Bernini was an Italian sculptor and architect. While a major figure in the world of architecture, he was the sculptor of his age. Bernini was also a figure in the emergence of Roman Baroque architecture along with his contemporaries, the architect Francesco Borromini. Early in their careers they had all worked at the time at the Palazzo Barberini, initially under Carlo Maderno and, following his death. Later on, however, they were in competition for commissions, Peters Basilica, completed under Pope Paul V with the addition of Madernos nave and facade and finally re-consecrated by Pope Urban VIII on 18 November 1626, after 150 years of planning and building. Berninis design of the Piazza San Pietro in front of the Basilica is one of his most innovative, during his long career, Bernini received numerous important commissions, many of which were associated with the papacy. At an early age, he came to the attention of the nephew, Cardinal Scipione Borghese. Although he did not fare so well during the reign of Innocent X, under Alexander VII, he again regained pre-eminent artistic domination. Bernini and other artists fell from favor in later neoclassical criticism of the Baroque, the art historian Howard Hibbard concludes that, during the seventeenth century, there were no sculptors or architects comparable to Bernini. Bernini was born in Naples in 1598 to Angelica Galante and Mannerist sculptor Pietro Bernini and he was the sixth of their thirteen children. Gianlorenzo Bernini was the definition of childhood genius and he was “recognized as a prodigy when he was only eight years old, he was consistently encouraged by his father, Pietro. His precocity earned him the admiration and favor of powerful patrons who hailed him as ‘the Michelangelo of his century’” and his father was so impressed by his son’s obvious talent that he took him to Rome to showcase him to the cardinals and Pope. Bernini was presented before Pope Paul V, for whom he did a sketch of Saint Paul, once he was brought to Rome, he never left. “For Bernini there could be only one Rome, ‘You are made for Rome, ’ said Pope Urban VIII to him, ‘and Rome for you’”. It was in world of 17th century Rome and religious power. Under the patronage of the wealthy and most powerful Cardinal Scipione Borghese. By the time he was twenty-two, he was considered talented enough to have given a commission for a papal portrait. Berninis reputation, however, was established by four masterpieces
33.
Ecstasy of Saint Teresa
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The Ecstasy of Saint Teresa is the central sculptural group in white marble set in an elevated aedicule in the Cornaro Chapel, Santa Maria della Vittoria, Rome. It was designed and completed by Gian Lorenzo Bernini, the sculptor of his day. It is generally considered to be one of the masterpieces of the High Roman Baroque. The entire ensemble was overseen and completed by a mature Bernini during the Pamphili papacy of Innocent X, when Innocent acceded to the papal throne, he shunned Bernini’s artistic services, the sculptor had been the favourite artist of the previous and profligate Barberini pope. Without papal patronage, the services of Berninis studio were therefore available to a such as the Venetian Cardinal Federico Cornaro. Cornaro had chosen the hitherto unremarkable church of the Discalced Carmelites for his burial chapel, the selected site for the chapel was the left transept that had previously held an image of ‘St. It was completed in 1652 for the princely sum of 12,000 scudi. Her experience of ecstasy in her encounter with the angel is described as follows, I saw in his hand a long spear of gold. The pain was so great, that it made me moan, and yet so surpassing was the sweetness of this excessive pain, the soul is satisfied now with nothing less than God. The pain is not bodily, but spiritual, though the body has its share in it. It is a caressing of love so sweet which now takes place between the soul and God, that I pray God of His goodness to make him experience it who may think that I am lying. The group is illuminated by light which filters through a hidden window in the dome of the surrounding aedicule. Teresa is shown lying on a cloud indicating that this is intended to be a divine apparition we are witnessing, although the figures are executed in white marble, the aedicule, wall panels and theatre boxes are made from coloured marbles. Above, the vault of the Chapel is frescoed with an illusionistic cherub-filled sky with the light of the Holy Ghost allegorized as a dove. They belong to our space and our world, the supernatural event of Teresa’s vision is raised to a sphere of its own, removed from that of the beholder mainly by virtue of the isolating canopy and the heavenly light. Gallery The effects are theatrical, the Cornaro family seeming to observe the scene from their boxes, caroline Babcock speaks of Berninis melding of sensual and spiritual pleasure in the orgiastic grouping as both intentional and influential on artists and writers of the day. Irving Lavin said the transverberation becomes a point of contact between earth and heaven, between matter and spirit, see also entry titled Berninis Cornaro chapel found in the Baroque section. Death of the Blessed Ludovica Albertoni —San Francesco a Ripa, Rome, martyrdom of Saint Lawrence Truth Unveiled by Time – Galleria Borghese, Rome
34.
Urbino Cathedral
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Urbino Cathedral is a Roman Catholic cathedral in the city of Urbino, Italy, dedicated to the Assumption of the Blessed Virgin Mary. Since 1986 it has been the seat of the Archbishop of Urbino-Urbania-SantAngelo in Vado, the first cathedral on the site was built here in 1021, to replace an earlier one located outside the city walls. Under the patronage of Count Federico da Montefeltro, it was rebuilt in the 15th century, construction was not finished until 1604. The west front, using stone quarried from Furlo, was designed by Camillo Morigia and it was ornamented with five statues, representing the three theological virtues of Faith, Hope, and Charity, between Saint Augustine to the left and Saint John Chrysostom to the right. On January 12,1789, an earthquake toppled the cupola. The project was entrusted to Giuseppe Valadier, and completed by 1801 in the present Neoclassical style, valadiers Neocassical interior is on a Latin cross groundplan and has a central nave between two side aisles, under a barrel vaulted roof. The crossing of the transept supports an impressive coffered cupola, as to works of art, the cathedral contains two canvases by Federigo Barocci, a Saint Sebastian in the north aisle, and a Last Supper in the Chapel of the Holy Sacrament. There is also an Assumption of the Virgin by Carlo Maratta, on the pendentives of the cupola are depicted the Four Evangelists, possibly by Domenico Corvi and Giuseppe Cades. The main altarpiece, by Christopher Unterberger, represents the Madonna between the patron saints. The humanist scholar and historian Polydore Vergil died in Urbino in 1555 and it was agreed in 1613 that a memorial stone should be set over his tomb. This was eventually put in place in 1631, with an inscription stating that his fame would live for ever in the world, however, it is believed to have been lost in the 1789 earthquake. Negroni, F.1993, Il Duomo di Urbino
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Focus on: Barocci, (6:16) with four additional videos, National Gallery
Herbermann, Charles, ed. (1913). "Federigo Baroccio". Catholic Encyclopedia. New York: Robert Appleton Company.
Herbermann, Charles, ed. (1913). "
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