1.
Giuseppe Vasi
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Giuseppe Vasi was an Italian engraver and architect, best known for his vedute. He was born in Corleone, Sicily and later, around 1736 and his views for the Calcografia include panoramas of the Trevi Fountain and of the Spanish Steps. Later on Vasi started to work on his own, producing and selling series of his views to a public made principally of grand tourists. The first series of akin consists in the Vedute di Roma sul Tevere, i. e. Views of the Tiber, circa 1743 and later adapted to become part of the Magnificenze di Roma antica e moderna. In these years Vasi also hosted in his workshop for a period of time the young Giovanni Battista Piranesi, his major pupil. From 1747 to 1761 Vasi published a series of ten volumes including circa 240 engravings of vedute of Rome and he also created 15 tablet engravings of opera scenes designed by Vincenzo Re, some of which are part of the collection at the Victoria and Albert Museum in London. Vasi played a role as a cartographer and as writer as well. Vasi was a man and artist up to the 1760s. For over 200 years Vasi was artistically forgotten and his views taken into account only for their topographical and documentary qualities. Things changed in 1981, thanks to the monograph by Luisa Scalabroni and even more in the nineties, mainly thanks to the contributions by Paolo Coen on his catalogue, today Giuseppe Vasi is no longer considered Piranesis defeated rival, but an artist with his own personality and technique. Though far from being a revolutionary, he gave a significant contribution to the Roman school of engraving applied to the veduta, with a role quite similar to Giovanni Paninis in painting. 115,2001 Imago Urbis, Giuseppe Vasis Grand Tour of Rome, University of Oregon,2008 James G. Harper & James T. Tice, Giuseppe Vasis Rome, Lasting Impressions from the Age of the Grand Tour, exh. cat
2.
Annibale Carracci
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Annibale Carracci was an Italian painter, active in Bologna and later in Rome. Painters working under Annibale at the gallery of the Palazzo Farnese would be influential in Roman painting for decades. Annibale Carracci was born in Bologna, and in all likelihood was first apprenticed within his family, in 1582, Annibale, his brother Agostino and his cousin Ludovico Carracci opened a painters studio, initially called by some the Academy of the Desiderosi and subsequently the Incamminati. This eclecticism was to become the defining trait of the artists of the Baroque Emilian or Bolognese School, in many early Bolognese works by the Carraccis, it is difficult to distinguish the individual contributions made by each. For example, the frescoes on the story of Jason for Palazzo Fava in Bologna are signed Carracci, in 1585, Annibale completed an altarpiece of the Baptism of Christ for the church of Santi Gregorio e Siro in Bologna. In 1587, he painted the Assumption for the church of San Rocco in Reggio Emilia, in 1587–88, Annibale is known to have had travelled to Parma and then Venice, where he joined his brother Agostino. From 1589 to 1592, the three Carracci brothers completed the frescoes on the Founding of Rome for Palazzo Magnani in Bologna, by 1593, Annibale had completed an altarpiece, Virgin on the throne with St John and St Catherine, in collaboration with Lucio Massari. His Resurrection of Christ also dates from 1593, in 1592, he painted an Assumption for the Bonasoni chapel in San Francesco. During 1593-94, all three Carraccis were working on frescoes in Palazzo Sampieri in Bologna and his work would later inspire the untrammelled stream of Baroque illusionism and energy that would emerge in the grand frescoes of Cortona, Lanfranco, and in later decades Andrea Pozzo and Gaulli. Throughout the 17th and 18th centuries, the Farnese Ceiling was considered the masterpiece of fresco painting for its age. On the other hand, while admitting Caravaggios talents as a painter, Bellori deplored his over-naturalistic style, if not his turbulent morals and he thus viewed the Caravaggisti styles with the same gloomy dismay. Painters were urged to depict the Platonic ideal of beauty, not Roman street-walkers, yet Carracci and Caravaggio patrons and pupils did not all fall into irreconcilable camps. Contemporary patrons, such as Marquess Vincenzo Giustiniani, found both applied showed excellence in maniera and modeling, in our century, observers have warmed to the rebel myth of Caravaggio, and often ignore the profound influence on art that Carracci had. Caravaggio almost never worked in fresco, regarded as the test of a great painters mettle, on the other hand, Carraccis best works are in fresco. Thus the somber canvases of Caravaggio, with benighted backgrounds, are suited to the contemplative altars, wittkower was surprised that a Farnese cardinal surrounded himself with frescoes of libidinous themes, indicative of a considerable relaxation of counter-reformatory morality. This thematic choice suggests Carracci may have been more rebellious relative to the often-solemn religious passion of Caravaggios canvases, wittkower states Carraccis frescoes convey the impression of a tremendous joie de vivre, a new blossoming of vitality and of an energy long repressed. It is instructive to compare Carraccis Assumption with Caravaggios Death of the Virgin, among early contemporaries, Carracci would have been an innovator. He re-enlivened Michelangelos visual fresco vocabulary, and posited a muscular and vivaciously brilliant pictorial landscape, while Michelangelo could bend and contort the body into all the possible perspectives, Carracci in the Farnese frescoes had shown how it could dance
3.
The Loves of the Gods
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Cardinal Odoardo Farnese, Pope Paul IIIs nephew, commissioned Annibale Carracci and his workshop to decorate the barrel-vaulted gallery on the piano nobile of the family palace. Work was started in 1597 and was not entirely finished until 1608 and his brother Agostino joined him from 1597–1600, and other artists in the workshop included Giovanni Lanfranco, Francesco Albani, Domenichino and Sisto Badalocchio. The Farnese Gallery consists of profusely decorated quadratura and framed mythological scenes, in 1597, he began to decorate the Gallery with mythological themes set within painted frames painted on an illusionistic architectural framework referred to as quadratura. Ignudi or painted nudes, putti, and herms help support the painted framework, gian Pietro Bellori, a famous biographer of artists lives of the next generation, called it Human Love Governed by Celestial Love. In the center panel, the ‘Triumph of Bacchus and Ariadne’ depicts a both riotous and classically restrained procession which ferries Bacchus and Ariadne to their lovers bed. Here, the myth is that Bacchus, the god of wine, had gained the love of the abandoned princess. The procession recalls the triumphs of the Republican and Imperial Roman era, in Carracci’s procession, the two lovers are seated in chariots drawn by tigers and goats, and accompanied by a parade of nymphs, bacchanti, and trumpeting satyrs. At the fore, Bacchus tutor, the paunchy, ugly, the figures carefully cavort in order to hide most naked male genitals. They exerted a formative influence on both canvas and fresco painting in Rome during the seventeenth century. Annibale Carracci, in his day, was seen as one of the key painters to revive the classical style and his work would have been seen as liberating for artists of his day, touching on pagan themes with an unconstrained joy. It could be said that while Mannerism had mastered the art of formal strained contraposto and contorsion, Annibale Carracci had depicted dance and joy. Unlike Raphael, though, his figures can display a Michelangelo-esque muscularity, dijon, Éditions Faton ISBN 978-2-87844-211-3 OCLC944266919. Painting of the room with the fresco A paraphrased copy decorates the ceiling of the Blue Drawing Room at West Wycombe Park in England
4.
Giulia Farnese
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Giulia Farnese was mistress to Pope Alexander VI, and the sister of Pope Paul III. She was known as Giulia la bella, meaning Julia the beautiful in Italian, lorenzo Pucci described her as most lovely to behold. Cesare Borgia, the son of Alexander VI, described her as having dark colouring, black eyes, round face, Giulia Farnese was born in Canino, Latium, Italy. Her parents were Pier Luigi Farnese, Signore di Montalto, one earlier member of this dynasty had been Pope Boniface VIII. Her oldest brother, Alessandro, was a notary who embarked on an ecclesiastical career and her second brother, Bartolomeo, became Lord of Montalto in Alessandros place, married Iolanda Monaldeschi, and had issue. Her third brother, Angelo, was a lord who married Lella Orsini and had female issue, the fourth sibling was a sister, Girolama. On 21 May 1489, she married Orsino Orsini in Rome and her dowry for the match was 3,000 gold florins. Orsini, who was described as being squint-eyed and devoid of any meaningful self-confidence, was the stepson of Adriana de Mila, Adriana de Mila was a third cousin of Cardinal Rodrigo Borgia, who was then Vice-Chancellor of the Church. According to Maria Bellonci, it is uncertain when Rodrigo Borgia fell in love with Giulia, what is known is that Adriana de Mila eventually gave her approval to Rodrigo Borgia and Giulia Farneses relationship in order to win a higher status for her son within the Vatican. The affair was widely rumored among gossips of the time, Giulia and Lucrezia became close friends. Writers like Michael de la Bedoyere dispute her alleged status as mistress, through her intimacy with the Pope, Giulia was able to get her brother Alessandro created Cardinal in 1493. Giulia had a daughter whom she named Laura and it is not clear whether Lauras father was Orsino or Alexander. Maria Bellonci believes that there is evidence that she did have a relationship with her husband. Whatever the case may be, Giulia claimed that Laura was indeed the Popes daughter, in 1494, she angered the Pope by setting off to Capodimonte to be at the deathbed of her brother Angelo. She remained away from Rome, even after her brothers death and he eventually capitulated to papal pressure, however, and she soon set off on the journey back to her lover. This occurred at the time as the French invasion of Italy under Charles VIII. Giulia was captured by the French captain Yves d’Allegre, who demanded from the Pope, and received, Giulia remained close to the Pope until 1499 or 1500. At this time, she seems to have out of his favour due to her age
5.
Domenichino
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Domenico Zampieri, known as Domenichino for his shortness, was an Italian Baroque painter of the Bolognese or Carracci School of painters. Domenichino was born in Bologna, son of a shoemaker, and he left Bologna for Rome in 1602 and became one of the most talented apprentices to emerge from Annibale Carraccis supervision. As a young artist in Rome he lived with his slightly older Bolognese colleagues Albani and Guido Reni, and worked alongside Lanfranco, meanwhile, he had completed frescoes c. Following Annibale Carraccis death in 1609, Annibales Bolognese pupils, foremost Domenichino, Albani, Reni and Lanfranco, became the leading painters in Rome. One of Domenichinos masterpieces, his frescoes of Scenes of the Life of Saint Cecilia in the Polet Chapel of San Luigi dei Francesi, was commissioned in 1612 and completed in 1615. Concurrently he painted his first, and most celebrated, altarpiece and it subsequently would be judged as being comparable to Raphaels great Transfiguration and even as the best picture in the world. With the election of a Bolognese pope in 1621, Domenichino returned to Rome, appointed Papal Architect, he nonetheless continued to be most active as a painter, obtaining many commissions for altarpieces in Roman churches. His Scenes from the Life of San Gennaro occupied him for the rest of his life and he painted four large lunettes, four pendentives, and twelve scenes in the soffits of the arches, all in fresco, plus three large altarpieces in oil on copper. He died, perhaps by poison at the hands of the jealous Cabal of Naples, before completing the fourth altarpiece or the cupola, at the time of his death, Domenichinos chief assistant was an obscure painter from Assisi, Francesco Raspantino, who inherited his masters studio. Earlier, Domenichinos principal pupils were Alessandro Fortuna, Giovanni Battista Ruggieri, Antonio Alberti called Barbalonga, Francesco Cozza, Andrea Camassei, others who studied in his studio include Poussin, Pietro Testa, and his future biographer, Giovanni Pietro Bellori. The portrait of Agucchi in York used to be attributed to Domenichino, Imitation in this sense is not copying but a creative process inspired by rhetorical theory whereby revered models are not only emulated but surpassed. Jerome from an altarpiece of the subject in Bologna by his former teacher. Like Domenichinos paintings, its sources were in ancient models and aimed at clarity of expression capable of moving its audience, as the Florentine composer Giulio Caccini held and Domenichino surely believed, the aim of the composer/artist was to move the passion of the mind. To achieve that goal, Domenichino paid particular attention to expressive gestures, Domenichinos composite score of 58 nonetheless was surpassed only by Raphael and Rubens, and it equalled that of the Carracci. The Balance reflects Domenichinos high standing in the history of European taste— until John Ruskin in the 1840s wrote his devastating attacks on Bolognese Baroque painting in his Modern Painters, the Carracci and their followers were condemned by Ruskin as being insincere. For Ruskin, there was no entirely sincere nor any great art from the seventeenth century, in 1996 the first major exhibition of his work was held at the Palazzo Venezia in Rome. 1620, Royal Collection, Hampton Court Madonna of Loreto with Saints John the Baptist, Paterniano, 1618–19, North Carolina Museum of Art) Rinaldo and Armida, c. 1620–21, Louvre, Paris Martyrdom of St Peter Martyr, c, 1622-23, Louvre, Paris Saint Ignatius de Loyola’s Vision of Christ and God the Father, c
6.
High Renaissance
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In art history, High Renaissance is the period denoting the apogee of the visual arts in the Italian Renaissance. This term was first used in German in the nineteenth century. High Renaissance style in architecture conventionally begins with Donato Bramante, whose Tempietto at S. Pietro in Montorio at Rome was begun in 1510, the Tempietto, signifies a full-scale revival of ancient Roman commemorative architecture. David Watkin writes that the Tempietto, like Raphaels works in the Vatican, is an attempt at reconciling Christian, the High Renaissance was traditionally viewed as a great explosion of creative genius, following a model of art history first proposed by the Florentine Giorgio Vasari. Even relatively minor painters of the period, such as Fra Bartolomeo and Mariotto Albertinelli, produced works that are still lauded for the harmony of their design, the serene mood and luminous colours of paintings by Giorgione and early Titian exemplify High Renaissance style as practiced in Venice. Other recognizable pieces of this period include Leonardo da Vincis Mona Lisa, Raphaels fresco, set beneath an arch, is a virtuoso work of perspective, composition and disegno. High Renaissance sculpture, as exemplified by Michelangelos Pietà and the iconic David, is characterized by a balance between stillness and movement. High Renaissance sculpture was commissioned by the public and the state. Sculpture was often used to decorate or embellish architecture, normally within courtyards where others were able to study, wealthy individuals like cardinals, rulers and bankers were the more likely private patrons along with very wealthy families, Pope Julius II also patronized many artists. During the High Renaissance there was the development of small scale statuettes for private patrons, the subject matter related to sculpture was mostly religious but also with a significant strand of classical individuals in the form of tomb sculpture and paintings as well as ceilings of cathedrals. Toward The High Renaissance at Smarthistory
7.
House of Farnese
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For the town in Italy with the same name, see Farnese, Lazio. The Farnese family is a family in Renaissance Italy. The titles of Duke of Parma and Piacenza and Duke of Castro were held by members of the family. A number of important architectural works and antiquities are associated with the Farnese family, buildings include the Palazzo Farnese in Rome and the Villa Farnese at Caprarola, and ancient artifacts include the Farnese Marbles. The family could trace its origins back to around AD984, there has been some debate as to the origins of the name Farnesi/Farnese. In the 12th century, they are recorded as minor feudataries in the areas of Tuscania and Orvieto, one Pietro defeated the Tuscan Ghibellines in 1110 and, most likely, fought against the Italo-Normans in 1134. His son Prudenzio was consul in Orvieto and defeated the Orvieto Ghibellines backed by Siena, in 1254, one Ranuccio defeated Todis troops and fought for Pope Urban IV against Manfred of Sicily. His son Niccolò was in the Guelph army in the Battle of Benevento, the Farnese returned to Tuscia in 1319, when they acquired Farnese, Ischia di Castro, and the castles of Sala and San Savino. In 1354, Cardinal Albornoz, in return for the help in the war against the Papal riotous barons. In this period they fought against the fierce Papal rivals, the Prefetti di Vico, in 1362, Pietro Farnese was commander-in-chief of the Florentine army against Pisa in the war for Volterra. Six years later Niccolò Farnese saved Pope Urban V from the attack of Giovanni di Vico, first in the castle of Viterbo and then in that of Montefiascone. The family substantially increased its power in the course of the 15th century, as their territories reached the shore of the Lake Bolsena and Montalto. He was commander-in-chief of the forces of neighbouring Siena against the Orsini of Pitigliano and, after his victory and his son, Gabriele Francesco, also took up a military career, a line of employment which disappeared after three generations. Ranuccios son, Pier Luigi, married a member of the ancient baronial family of the Caetani, thus giving the Farnese further importance in Rome. His daughter, Giulia, who was a mistress of Pope Alexander VI, under Alexanders successor, Pope Julius II, he became governor of the Marca Anconetana and, in 1534, he was elected as pope and took the name of Paul III. Notable features of his included the establishment of the Council of Trent. For example, two months after becoming pope in 1534, he made his 14-year-old grandson Alessandro a cardinal deacon. Paul III died in 1549 and his role in the Curia passed to his grandson Alessandro
8.
Pope Paul III
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Pope Paul III, born Alessandro Farnese, was Pope from 13 October 1534 to his death in 1549. He came to the throne in an era following the sack of Rome in 1527. He convened the Council of Trent in 1545 and he was a significant patron of the arts and employed nepotism to advance the power and fortunes of his family. It is to Pope Paul III that Nicolaus Copernicus dedicated De revolutionibus orbium coelestium, alessandro’s humanist education was at the University of Pisa and the court of Lorenzo de Medici. Initially trained as a notary, he joined the Roman Curia in 1491. Farnese’s sister, Giulia was reputedly a mistress of Alexander VI, for this reason, he was sometimes mockingly referred to as the Borgia brother-in-law, just as Giulia was mocked as the Bride of Christ. More disparagingly he was referred to as Cardinal Fregnese, as Bishop of Parma, he came under the influence of his vicar general, Bartolomeo Guidiccioni. This led to the future pope breaking off the relationship with his mistress, under Pope Clement VII he became Cardinal Bishop of Ostia and dean of the College of Cardinals, and on the death of Clement VII in 1534, was elected as Pope Paul III. As a young cleric, Alessandro lived a dissolute life, taking for himself a mistress. By Silvia Ruffini, he fathered Pier Luigi Farnese, whom he created Duke of Parma, others included Ranuccio Farnese, the fourth pope during the period of the Protestant Reformation, Paul III became the first to take active reform measures in response to Protestantism. Paul III first deferred for a year and then discarded the whole project, in 1536, Paul III invited nine eminent prelates, distinguished by learning and piety alike, to act in committee and to report on the reformation and rebuilding of the Church. This report was printed not only at Rome, but at Strasburg, yet the Pope was in earnest when he took up the problem of reform. Yet it is clear that the Concilium bore no fruit in the situation. On the other hand, serious political complications resulted, in order to vest his grandson Ottavio Farnese with the dukedom of Camerino, Paul forcibly wrested the same from the duke of Urbino. He also incurred virtual war with his own subjects and vassals by the imposition of burdensome taxes, perugia, renouncing its obedience, was besieged by Pauls son, Pier Luigi, and forfeited its freedom entirely on its surrender. The burghers of Colonna were duly vanquished, and Ascanio was banished, after this the time seemed ripe for annihilating heresy. In 1540, the Church officially recognized the young society forming about Ignatius of Loyola, the second visible stage in the process becomes marked by the institution, or reorganization, in 1542, of the Congregation of the Holy Office of the Inquisition. On another side, the Emperor was insisting that Rome should forward his designs toward a recovery of the German Protestants
9.
Antonio da Sangallo the Younger
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Antonio da Sangallo the Younger, also known as Antonio da San Gallo, was an Italian architect active during the Renaissance, mainly in Rome and the Papal States. Sangallo was born Antonio Cordiani in Florence, the son of Bartolomeo Piccioni and his grandfather Francesco Giamberti was a woodworker, and his uncles Giuliano and Antonio da Sangallo were noted architects of the time. Vasari writes that the young Sangallo followed his uncles to Rome in order to pursue a career in architecture, he ended up taking the name ″Sangallo″ in their tracks. As an assistant to Bramante, Sangallo prepared a number of sketches due to the disability of his master, due to his success, Bramante gave Sangallo a number of projects to complete with no more than an outline of the design and motifs. Eventually, Sangallo was put in charge of the Passetto di Borgo between the Papal apartments and the Castel SantAngelo and that particular project was left unfinished, but it left Sangallo with a working reputation as an architect. Now living in Rome, Sangallo quickly received a commission for the church of Santa Maria di Loreto in 1507. His design called for a square first story and a second story built in travertine and brick. Sangallo also drew the attention of the Cardinal Alessandro Farnese, from whom he received a number of commissions, first and foremost of these is the Farnese Palace on the Piazza Farnese, although it was not completed until after his death. Sangallo also received a number of contracts from the Farnese family. For instance, he designed a palace and the Church of Santa Maria Maddalena in the Farnese town of Gradoli and he also designed fortifications for Capo di Monte and Caprarola, the latter eventually became a country estate, the Villa Farnese. In addition to the Farnese family, Sangallo had a number of patrons in Rome and he designed the Palazzo Baldassini near the Basilica of SantAgostino for Melchiore Baldassini, he designed a tomb for the Cardinal Jaume Serra i Cau in San Giacomo degli Spagnoli. Peters Basilica by Pope Leo X. Sangallo was hired extensively by Leo X, not only as an architect, some time later, Sangallo was hired to build the foundation for the church of San Giovanni dei Fiorentini on the bank of the Tiber. Jacopo Sansovinos design called for the church to extend into the river, Sangallo successfully completed the foundation, although at such great expense that there was no longer enough money to build the church. Thus the model that Sangallo designed for the church was not built, another project was the Basilica della Santa Casa in Loreto. The church had not been particularly well, with cracking vaults. Sangallo was also hired to do work on the Vatican loggias. Sangallo was also a military architect, working on the fortifications of numerous cities such as Parma, Piacenza, Ancona. In Orvieto, he was tasked by Pope Clement VII with building a well, called Saint Patricks Well
10.
Michelangelo
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Michelangelo di Lodovico Buonarroti Simoni was an Italian sculptor, painter, architect, and poet of the High Renaissance who exerted an unparalleled influence on the development of Western art. Considered to be the greatest living artist during his lifetime, he has since described as one of the greatest artists of all time. A number of Michelangelos works of painting, sculpture, and architecture rank among the most famous in existence and he sculpted two of his best-known works, the Pietà and David, before the age of thirty. As an architect, Michelangelo pioneered the Mannerist style at the Laurentian Library, at the age of 74, he succeeded Antonio da Sangallo the Younger as the architect of St. Peters Basilica. Michelangelo transformed the plan so that the end was finished to his design, as was the dome, with some modification. Michelangelo was unique as the first Western artist whose biography was published while he was alive, in his lifetime he was often called Il Divino. One of the qualities most admired by his contemporaries was his terribilità, the attempts by subsequent artists to imitate Michelangelos impassioned and highly personal style resulted in Mannerism, the next major movement in Western art after the High Renaissance. Michelangelo was born on 6 March 1475 in Caprese near Arezzo, at the time of Michelangelos birth, his father was the Judicial administrator of the small town of Caprese and local administrator of Chiusi. Michelangelos mother was Francesca di Neri del Miniato di Siena, the Buonarrotis claimed to descend from the Countess Mathilde of Canossa, this claim remains unproven, but Michelangelo himself believed it. Several months after Michelangelos birth, the returned to Florence. There Michelangelo gained his love for marble, as Giorgio Vasari quotes him, If there is good in me. Along with the milk of my nurse I received the knack of handling chisel and hammer, as a young boy, Michelangelo was sent to Florence to study grammar under the Humanist Francesco da Urbino. The young artist, however, showed no interest in his schooling, preferring to copy paintings from churches, the city of Florence was at that time the greatest centre of the arts and learning in Italy. Art was sponsored by the Signoria, by the merchant guilds and by patrons such as the Medici. The Renaissance, a renewal of Classical scholarship and the arts, had its first flowering in Florence, the sculptor Lorenzo Ghiberti had laboured for fifty years to create the bronze doors of the Baptistry, which Michelangelo was to describe as The Gates of Paradise. The exterior niches of the Church of Orsanmichele contained a gallery of works by the most acclaimed sculptors of Florence – Donatello, Ghiberti, Andrea del Verrocchio, and Nanni di Banco. The interiors of the churches were covered with frescos, begun by Giotto. During Michelangelos childhood, a team of painters had been called from Florence to the Vatican, among them was Domenico Ghirlandaio, a master in fresco painting, perspective, figure drawing, and portraiture who had the largest workshop in Florence at that period
11.
Giacomo Barozzi da Vignola
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Giacomo Barozzi da Vignola was one of the great Italian architects of 16th century Mannerism. His two great masterpieces are the Villa Farnese at Caprarola and the Jesuits Church of the Gesù in Rome, the three architects who spread the Italian Renaissance style throughout Western Europe are Vignola, Serlio and Palladio. Giacomo Barozzi was born at Vignola, near Modena and he began his career as architect in Bologna, supporting himself by painting and making perspective templates for inlay craftsmen. He made a first trip to Rome in 1536 to make measured drawings of Roman temples, then François I called him to Fontainebleau, where he spent the years 1541–1543. Here he probably met his fellow Bolognese, the architect Sebastiano Serlio, after his return to Italy, he designed the Palazzo Bocchi in Bologna. Here he worked for Pope Julius III and, after the death, he was taken up by the papal family of the Farnese and worked with Michelangelo. In 1558, he was in Piacenza to revise the designs of Palazzo Farnese, commissioned by Margaret of Austria, wife of the Duke Ottavio Farnese, from 1564 Vignola carried on Michelangelos work at St Peters Basilica, and constructed the two subordinate domes according to Michelangelos plans. Giacomo Barozzi died in Rome in 1573, in 1973 his remains were reburied in the Pantheon, Rome. Vignolas main works include, Villa Giulia for Pope Julius III, here Vignola was working with Ammanati, who designed the nymphaeum and other garden features under the general direction of Vasari, with guidance from the knowledgeable pope and Michelangelo. A medal of 1553 shows Vignolas main villa substantially as it was completed, Palazzo dei Banchi, Bologna Palazzo Farnese, Piacenza. This was a project of a vast palace on a scale paralleled only by the Vatican Palace in Italy. Ten arches on the sides and seven on the short are sustained by pilasters with Tuscan style ornamentation that rise from high plinths. A simple frieze with triglyphs and metopes separates the lower from the upper levels. Like many other architects, Vignola submitted his plans for completing the facade of San Petronio, the clarity and ease of use of Vignolas treatise caused it to become in succeeding centuries the most published book in architectural history. Vignolas second treatise, the posthumously-published Due regole della prospettiva pratica, Vignola presented— without theoretical obscurities— practical applications which could be understood by a prospective patron. Egnatio Danti, Les deux règles de la pratique de Vignole,1583, Pascal Dubourg Glatigny, Paris,2003. Website Architectura, Centre détudes supérieures de la Renaissance, Tours Brief biographical sketch Paolo Zauli on Vignola from a Bolognese perspective Vignolas effect on garden design
12.
Giacomo della Porta
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Giacomo della Porta was an Italian architect and sculptor, who worked on many important buildings in Rome, including St. Peters Basilica. He was born at Porlezza, Lombardy and died in Rome, della Porta was influenced by and collaborated with Michelangelo, and Giacomo Barozzi da Vignola, his teacher of architecture. After the death of Vignola in 1573, he continued the construction of Il Gesù, the church of the Jesuit order. From 1573 he was in charge of the construction of St. Peters Basilica. Trinità de Monti Fontana di Piazza alli Monti Cupola of St. Peters Basilica Fountains at the Piazza di Santa Maria in Campitelli Fountains opposite SS. Venanzio e Ansovino Fontana della Terrina Sculpture Christ delivering the keys of Heaven to St. Peter, altar of the St. Jan Birksted, 183-201
13.
Baroque
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The style began around 1600 in Rome and Italy, and spread to most of Europe. The aristocracy viewed the dramatic style of Baroque art and architecture as a means of impressing visitors by projecting triumph, power, Baroque palaces are built around an entrance of courts, grand staircases, and reception rooms of sequentially increasing opulence. However, baroque has a resonance and application that extend beyond a reduction to either a style or period. It is also yields the Italian barocco and modern Spanish barroco, German Barock, Dutch Barok, others derive it from the mnemonic term Baroco, a supposedly laboured form of syllogism in logical Scholastica. The Latin root can be found in bis-roca, in informal usage, the word baroque can simply mean that something is elaborate, with many details, without reference to the Baroque styles of the 17th and 18th centuries. The word Baroque, like most periodic or stylistic designations, was invented by later critics rather than practitioners of the arts in the 17th, the term Baroque was initially used in a derogatory sense, to underline the excesses of its emphasis. In particular, the term was used to describe its eccentric redundancy and noisy abundance of details, although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music. Another hypothesis says that the word comes from precursors of the style, Giacomo Barozzi da Vignola and he did not make the distinctions between Mannerism and Baroque that modern writers do, and he ignored the later phase, the academic Baroque that lasted into the 18th century. Long despised, Baroque art and architecture became fashionable between the two World Wars, and has remained in critical favour. In painting the gradual rise in popular esteem of Caravaggio has been the best barometer of modern taste, William Watson describes a late phase of Shang-dynasty Chinese ritual bronzes of the 11th century BC as baroque. The term Baroque may still be used, usually pejoratively, describing works of art, craft, the appeal of Baroque style turned consciously from the witty, intellectual qualities of 16th-century Mannerist art to a visceral appeal aimed at the senses. It employed an iconography that was direct, simple, obvious, germinal ideas of the Baroque can also be found in the work of Michelangelo. Even more generalised parallels perceived by some experts in philosophy, prose style, see the Neapolitan palace of Caserta, a Baroque palace whose construction began in 1752. In paintings Baroque gestures are broader than Mannerist gestures, less ambiguous, less arcane and mysterious, more like the stage gestures of opera, Baroque poses depend on contrapposto, the tension within the figures that move the planes of shoulders and hips in counterdirections. Baroque is a style of unity imposed upon rich, heavy detail, Baroque style featured exaggerated lighting, intense emotions, release from restraint, and even a kind of artistic sensationalism. There were highly diverse strands of Italian baroque painting, from Caravaggio to Cortona, the most prominent Spanish painter of the Baroque was Diego Velázquez. The later Baroque style gradually gave way to a more decorative Rococo, while the Baroque nature of Rembrandts art is clear, the label is less often used for Vermeer and many other Dutch artists. Flemish Baroque painting shared a part in this trend, while continuing to produce the traditional categories
14.
Classicism
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Classicism, in the arts, refers generally to a high regard for a classical period, classical antiquity in the Western tradition, as setting standards for taste which the classicists seek to emulate. Classicism is a genre of philosophy, expressing itself in literature, architecture, art, and music, which has Ancient Greek and Roman sources. It was particularly expressed in the Neoclassicism of the Age of Enlightenment, Classicism is a recurrent tendency in the Late Antique period, and had a major revival in Carolingian and Ottonian art. Until that time the identification with antiquity had been seen as a history of Christendom from the conversion of Roman Emperor Constantine I. Renaissance classicism introduced a host of elements into European culture, including the application of mathematics and empiricism into art, humanism, literary and depictive realism, importantly it also introduced Polytheism, or paganism, and the juxtaposition of ancient and modern. The classicism of the Renaissance led to, and gave way to and this period sought the revival of classical art forms, including Greek drama and music. Opera, in its modern European form, had its roots in attempts to recreate the combination of singing and dancing with theatre thought to be the Greek norm, examples of this appeal to classicism included Dante, Petrarch, and Shakespeare in poetry and theatre. Tudor drama, in particular, modeled itself after classical ideals, studying Ancient Greek became regarded as essential for a well-rounded education in the liberal arts. They also began reviving plastic arts such as bronze casting for sculpture, for example, the painting of Jacques-Louis David which was seen as an attempt to return to formal balance, clarity, manliness, and vigor in art. Various movements of the period saw themselves as classical revolts against a prevailing trend of emotionalism and irregularity. The 20th century saw a number of changes in the arts, thus, both pre-20th century disciplines were labelled classical and modern movements in art which saw themselves as aligned with light, space, sparseness of texture, and formal coherence. Examples of classicist playwrights are Pierre Corneille, Jean Racine and Moliere, the influence of these French rules on playwrights in other nations is debatable. In the English theatre, Restoration playwrights such as William Wycherly and those of Shakespeares plays that seem to display the unities, such as The Tempest, probably indicate a familiarity with actual models from classical antiquity. Classicism in architecture developed during the Italian Renaissance, notably in the writings and designs of Leon Battista Alberti and this style quickly spread to other Italian cities and then to France, Germany, England, Russia and elsewhere. In the 16th century, Sebastiano Serlio helped codify the classical orders, building off of these influences, the 17th-century architects Inigo Jones and Christopher Wren firmly established classicism in England. For the development of classicism from the mid-18th-century onwards, see Neoclassical architecture, for Greek art of the 5th century B. C. E. See Classical art in ancient Greece and the Severe style Italian Renaissance painting and sculpture are marked by their renewal of classical forms, motifs and subjects. In the 15th century Leon Battista Alberti was important in theorizing many of the ideas for painting that came to a fully realised product with Raphaels School of Athens during the High Renaissance
15.
National Archaeological Museum, Naples
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The Naples National Archaeological Museum is a museum in Naples, southern Italy, at the northwest corner of the original Greek wall of the city of Neapolis. The museum contains a collection of Roman artifacts from Pompeii, Stabiae. The collection includes works of the highest quality produced in Greek, Roman and it is the most important Italian archaeological museum and is considered one of the most important in the world. Charles of Bourbon founded the museum in the 1750s, the building he used for it had been erected as a cavalry barracks and during its time as the seat of the University of Naples was extended, in the late 18th century. The museum hosts extensive collections of Greek and Roman antiquities and their core is from the Farnese Collection, which includes a collection of engraved gems and the Farnese Marbles. Among the notable works found in the museum are the Herculaneum papyri, carbonized by the eruption of Mount Vesuvius, many of these works, especially the larger ones, have been moved to the Museo di Capodimonte for display in recent years. The Farnese Hercules, which fixed the image of Hercules in the European imagination, a major collection of ancient Roman bronzes from the Villa of the Papyri is housed at the museum. These include the Seated Hermes, a sprawling Drunken Satyr, a bust of Thespis, another variously identified as Seneca or Hesiod, the museums Mosaic Collection includes a number of important mosaics recovered from the ruins of Pompeii and the other Vesuvian cities. This includes the Alexander Mosaic, dating from circa 100 BC and it depicts a battle between the armies of Alexander the Great and Darius III of Persia. Another mosaic found is that of the gladiatorial fighter depicted in a found from the Villa of the Figured Capitals in Pompeii. With 2,500 objects, the museum has one of the largest collection of Egyptian artifacts in Italy after the Turin, Florence and Bologna ones. It is made up primarily of works from two collections, assembled by Cardinal Stefano Borgia in the second half of the 18th century. In its new layout the collection provides both an important record of Egyptian civilization from the Old Kingdom up to the Ptolemaic-Roman era, access was limited to only persons of mature age and known morals. The rooms were also called Cabinets of matters reserved or obscene or pornographic, the highlight of the censorship occurred in 1851 when even nude Venus statues were locked up, and the entrance walled up in the hope that the collection would vanish from memory. In September 1860, when the forces of Garibaldi occupied Naples, since the Royal Butler was no longer available, they broke into the collection. Limiting viewership and censorship have always been part of the history of the collection, censorship was restored during the era of the Kingdom of Italy, and peaked during the Fascist period, when visitors to the rooms needed the permission of the Minister of National Education in Rome. Censorship persisted in the period up to 1967, abating only after 1971 when the Ministry was given the new rules to regulate requests for visits. Completely rebuilt a few years ago with all of the new criteria, visitors under the age of 14 can tour the exhibit only with an adult
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Museo di Capodimonte
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Museo di Capodimonte is an art museum located in the Palace of Capodimonte, a grand Bourbon palazzo in Naples, Italy. The museum is the repository of Neapolitan painting and decorative art, with several important works from other Italian schools of painting. It is one of the largest museums in Italy, the vast collection at the museum traces its origins back to 1738. Over the years the palace was enlarged and filled with more art, in 1787, on the advice of Jacob Philipp Hackert, a laboratory for the restoration of paintings was created. When the Parthenopaean Republic was declared in 1799, Ferdinand fled to Palermo on board Nelsons Vanguard, what remained was looted by the French troops of General Championnet who were billeted there during the short life of the Republic in 1799. Later on during the ten years of French reoccupation, the art collection was transferred to the Naples National Archaeological Museum, when King Ferdinand returned from Sicily in 1815, he employed many painters and sculptors to work on the redecoration of the palace. It was finally completed in 1840, and a gallery housing contemporary art was added, after the palace passed in 1861 to the House of Savoy, further pieces were added to the art collections, appointing Domenico Morelli as consultant for new acquisitions. They also added a collection of historic firearms and other weapons. In 1866, the boudoir of Maria Amalia of Saxony was transferred to Capodimonte from the Palace of Portici, after the end of the monarchy, the palace became purely a national museum in 1950, with many of the exhibits being returned from the National Museum. Elsewhere in the palace the royal apartments are furnished with antique 18th-century furniture, le Guide di Dove - Campania, Corriere della sera,2007. Il Museo di Capodimonte, valori di Napoli, Pubblicomit,2002
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Naples
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Naples is the capital of the Italian region Campania and the third-largest municipality in Italy, after Rome and Milan. In 2015, around 975,260 people lived within the administrative limits. The Metropolitan City of Naples had a population of 3,115,320, Naples is the 9th-most populous urban area in the European Union with a population of between 3 million and 3.7 million. About 4.4 million people live in the Naples metropolitan area, Naples is one of the oldest continuously inhabited cities in the world. Bronze Age Greek settlements were established in the Naples area in the second millennium BC, a larger colony – initially known as Parthenope, Παρθενόπη – developed on the Island of Megaride around the ninth century BC, at the end of the Greek Dark Ages. Naples remained influential after the fall of the Western Roman Empire, thereafter, in union with Sicily, it became the capital of the Two Sicilies until the unification of Italy in 1861. Naples was the most-bombed Italian city during World War II, much of the citys 20th-century periphery was constructed under Benito Mussolinis fascist government, and during reconstruction efforts after World War II. The city has experienced significant economic growth in recent decades, and unemployment levels in the city, however, Naples still suffers from political and economic corruption, and unemployment levels remain high. Naples has the fourth-largest urban economy in Italy, after Milan, Rome and it is the worlds 103rd-richest city by purchasing power, with an estimated 2011 GDP of US$83.6 billion. The port of Naples is one of the most important in Europe, numerous major Italian companies, such as MSC Cruises Italy S. p. A, are headquartered in Naples. The city also hosts NATOs Allied Joint Force Command Naples, the SRM Institution for Economic Research, Naples is a full member of the Eurocities network of European cities. The city was selected to become the headquarters of the European institution ACP/UE and was named a City of Literature by UNESCOs Creative Cities Network, the Villa Rosebery, one of the three official residences of the President of Italy, is located in the citys Posillipo district. Naples historic city centre is the largest in Europe, covering 1,700 hectares and enclosing 27 centuries of history, Naples has long been a major cultural centre with a global sphere of influence, particularly during the Renaissance and Enlightenment eras. In the immediate vicinity of Naples are numerous culturally and historically significant sites, including the Palace of Caserta, culinarily, Naples is synonymous with pizza, which originated in the city. Neapolitan music has furthermore been highly influential, credited with the invention of the romantic guitar, according to CNN, the metro stop Toledo is the most beautiful in Europe and it won also the LEAF Award 2013 as Public building of the year. Naples is the Italian city with the highest number of accredited stars from the Michelin Guide, Naples sports scene is dominated by football and Serie A club S. S. C. Napoli, two-time Italian champions and winner of European trophies, who play at the San Paolo Stadium in the south-west of the city, the Phlegraean Fields around Naples has been inhabited since the Neolithic period. The earliest Greek settlements were established in the Naples area in the second millennium BC, sailors from the Greek island of Rhodes established a small commercial port called Parthenope on the island of Megaride in the ninth century BC
18.
Bramante
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Donato Bramante, born as Donato di Pascuccio dAntonio and also known as Bramante Lazzari, was an Italian architect. He introduced Renaissance architecture to Milan and the High Renaissance style to Rome and his Tempietto marked the beginning of the High Renaissance in Rome when Pope Julius II appointed him to build a sanctuary over the spot where Peter was allegedly crucified. Bramante was born under the name Donato dAugnolo, Donato di Pascuccio dAntonio, here, in 1467, Luciano Laurana was adding to the Palazzo Ducale an arcaded courtyard and other Renaissance features to Federico da Montefeltros ducal palace. Around 1474, Bramante moved to Milan, a city with a deep Gothic architectural tradition, and built several churches in the new Antique style. The Duke, Ludovico Sforza, made him virtually his court architect, beginning in 1476, space was limited, and Bramante made a theatrical apse in bas-relief, combining the painterly arts of perspective with Roman details. There is a sacristy, surmounted by a dome. In Milan, Bramante also built the tribune of Santa Maria delle Grazie, other works include the Cloisters of SantAmbrogio, Milan. However, in 1499, with his Sforza patron driven from Milan by an invading French army, Bramante made his way to Rome, in Rome, he was soon recognized by Cardinal Della Rovere, shortly to become Pope Julius II. Despite its small scale, the construction has all the proportions and symmetry of Classical structures, surrounded by slender Doric columns. According to an engraving by Sebastiano Serlio, Bramante planned to set it within a colonnaded courtyard. In November 1503, Julius engaged Bramante for the construction of the grandest European architectural commission of the 16th century, the cornerstone of the first of the great piers of the crossing was laid with ceremony on 17 April 1506. Very few drawings by Bramante survive, though some by his assistants do, Bramantes plan envisaged four great chapels filling the corner spaces between the equal transepts, each one capped with a smaller dome surrounding the great dome over the crossing. So Bramantes original plan was much more Romano-Byzantine in its forms than the basilica that was actually built. Bramante also worked on other commissions. Among his earliest works in Rome, before the Basilicas construction was under way, is the cloister of Santa Maria della Pace near Piazza Navona, Santa Maria presso San Satiro, Milan, ca. Palazzo Caprini, Rome, started around 1510 Leon Battista Alberti Giorgio Vasari Davies, Paul, Bramante, Donato, The Dictionary of Art, Vol. IV, New York, Grove, pp. 642–653, ISBN9781884446009. Bramante, Encyclopædia Britannica, 9th ed. Vol. IV, New York, Charles Scribners Sons,1878, Bramante, Encyclopædia Britannica, 11th ed. Vol. IV, Cambridge, Cambridge University Press,1911, p.418. Donato Bramante Source Information, Pictures & Documentaries about Donato
19.
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
20.
Cardinal (Catholicism)
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A cardinal is a senior ecclesiastical leader, considered a Prince of the Church, and usually an ordained bishop of the Roman Catholic Church. The cardinals of the Church are collectively known as the College of Cardinals, the duties of the cardinals include attending the meetings of the College and making themselves available individually or in groups to the Pope as requested. Most have additional duties, such as leading a diocese or archdiocese or managing a department of the Roman Curia, a cardinals primary duty is electing the pope when the see becomes vacant. During the sede vacante, the governance of the Holy See is in the hands of the College of Cardinals. The right to enter the conclave of cardinals where the pope is elected is limited to those who have not reached the age of 80 years by the day the vacancy occurs. In 1059, the right of electing the pope was reserved to the clergy of Rome. The term was applied in this sense as early as the century to the priests of the tituli of the diocese of Rome. The Church of England retains an instance of this origin of the title, which is held by the two senior members of the College of Minor Canons of St Pauls Cathedral. In Rome the first persons to be called cardinals were the deacons of the seven regions of the city at the beginning of the 6th century, when the word began to mean principal, eminent, or superior. The name was given to the senior priest in each of the title churches of Rome. By the 8th century the Roman cardinals constituted a class among the Roman clergy. They took part in the administration of the church of Rome, by decree of a synod of 769, only a cardinal was eligible to become pope. In 1059, during the pontificate of Nicholas II, cardinals were given the right to elect the pope under the Papal Bull In nomine Domini. For a time this power was assigned exclusively to the cardinal bishops, Cardinals were granted the privilege of wearing the red hat by Pope Innocent IV in 1244. In cities other than Rome, the name began to be applied to certain church men as a mark of honour. This meaning of the word spread rapidly, and from the 9th century various episcopal cities had a class among the clergy known as cardinals. The use of the title was reserved for the cardinals of Rome in 1567 by Pius V, in the year 1563 the influential Ecumenical Council of Trent, headed by Pope Pius IV, wrote about the importance of selecting good Cardinals. The earlier influence of temporal rulers, notably the French kings, in early modern times, cardinals often had important roles in secular affairs
21.
Sack of Rome (1527)
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The Sack of Rome on 6 May 1527 was a military event carried out by the mutinous troops of Charles V, Holy Roman Emperor, in Rome, then part of the Papal States. It marked a crucial victory in the conflict between Charles and the League of Cognac —the alliance of France, Milan, Venice, Florence. The army of the Holy Roman Emperor defeated the French army in Italy, the 34,000 Imperial troops mutinied and forced their commander, Charles III, Duke of Bourbon and Constable of France, to lead them towards Rome. Numerous bandits, along with the Leagues deserters, joined the army during its march, the Duke left Arezzo on 20 April 1527, taking advantage of the chaos among the Venetians and their allies after a revolt which had broken out in Florence against the Medici. In this way, the undisciplined troops sacked Acquapendente and San Lorenzo alle Grotte. The troops defending Rome were not at all numerous, consisting of 5,000 militiamen led by Renzo da Ceri and 189 Papal Swiss Guard, the citys fortifications included the massive walls, and it possessed a good artillery force, which the Imperial army lacked. Duke Charles needed to conquer the city swiftly, to avoid the risk of being trapped between the city and the Leagues army. On 6 May, the Imperial army attacked the walls at the Gianicolo, Duke Charles was fatally wounded in the assault, allegedly shot by Benvenuto Cellini. The Duke was wearing his famous white cloak to him out to his troops. The death of the last respected command authority among the Imperial army caused any restraint in the soldiers to disappear, Philibert of Châlon took command of the armies, but he was not as popular or feared, leaving him with little authority. One of the Swiss Guards most notable hours occurred at this time, almost the entire guard was massacred by Imperial troops on the steps of St Peters Basilica. After the brutal execution of some 1,000 defenders of the Papal capital and shrines, churches and monasteries, as well as the palaces of prelates and cardinals, were looted and destroyed. Even pro-Imperial cardinals had to pay to save their properties from the rampaging soldiers, on 8 May, Cardinal Pompeo Colonna, a personal enemy of Clement VII, entered the city. He was followed by peasants from his fiefs, who had come to avenge the sacks they had suffered by Papal armies, however, Colonna was touched by the pitiful conditions of the city and hosted in his palace a number of Roman citizens. The Vatican Library was saved because Philibert had set up his headquarters there, after three days of ravages, Philibert ordered the sack to cease, but few obeyed. In the meantime, Clement remained a prisoner in Castel SantAngelo, francesco Maria della Rovere and Michele Antonio of Saluzzo arrived with troops on 1 June in Monterosi, north of the city. Their cautious behaviour prevented them from obtaining a victory against the now totally undisciplined Imperial troops. At the same time Venice took advantage of this situation to capture Cervia and Ravenna, Emperor Charles V was greatly embarrassed by the fact that he had been powerless to stop his troops striking against Pope Clement VII and imprisoning him
22.
Michelangelo Buonarroti
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Michelangelo di Lodovico Buonarroti Simoni was an Italian sculptor, painter, architect, and poet of the High Renaissance who exerted an unparalleled influence on the development of Western art. Considered to be the greatest living artist during his lifetime, he has since described as one of the greatest artists of all time. A number of Michelangelos works of painting, sculpture, and architecture rank among the most famous in existence and he sculpted two of his best-known works, the Pietà and David, before the age of thirty. As an architect, Michelangelo pioneered the Mannerist style at the Laurentian Library, at the age of 74, he succeeded Antonio da Sangallo the Younger as the architect of St. Peters Basilica. Michelangelo transformed the plan so that the end was finished to his design, as was the dome, with some modification. Michelangelo was unique as the first Western artist whose biography was published while he was alive, in his lifetime he was often called Il Divino. One of the qualities most admired by his contemporaries was his terribilità, the attempts by subsequent artists to imitate Michelangelos impassioned and highly personal style resulted in Mannerism, the next major movement in Western art after the High Renaissance. Michelangelo was born on 6 March 1475 in Caprese near Arezzo, at the time of Michelangelos birth, his father was the Judicial administrator of the small town of Caprese and local administrator of Chiusi. Michelangelos mother was Francesca di Neri del Miniato di Siena, the Buonarrotis claimed to descend from the Countess Mathilde of Canossa, this claim remains unproven, but Michelangelo himself believed it. Several months after Michelangelos birth, the returned to Florence. There Michelangelo gained his love for marble, as Giorgio Vasari quotes him, If there is good in me. Along with the milk of my nurse I received the knack of handling chisel and hammer, as a young boy, Michelangelo was sent to Florence to study grammar under the Humanist Francesco da Urbino. The young artist, however, showed no interest in his schooling, preferring to copy paintings from churches, the city of Florence was at that time the greatest centre of the arts and learning in Italy. Art was sponsored by the Signoria, by the merchant guilds and by patrons such as the Medici. The Renaissance, a renewal of Classical scholarship and the arts, had its first flowering in Florence, the sculptor Lorenzo Ghiberti had laboured for fifty years to create the bronze doors of the Baptistry, which Michelangelo was to describe as The Gates of Paradise. The exterior niches of the Church of Orsanmichele contained a gallery of works by the most acclaimed sculptors of Florence – Donatello, Ghiberti, Andrea del Verrocchio, and Nanni di Banco. The interiors of the churches were covered with frescos, begun by Giotto. During Michelangelos childhood, a team of painters had been called from Florence to the Vatican, among them was Domenico Ghirlandaio, a master in fresco painting, perspective, figure drawing, and portraiture who had the largest workshop in Florence at that period
23.
Villa Farnese
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The Villa Farnese, also known as Villa Caprarola, is a mansion in the town of Caprarola in the province of Viterbo, Northern Lazio, Italy, approximately 50 kilometres north-west of Rome. This villa should not be confused with the Palazzo Farnese and the Villa Farnesina, a property of the Republic of Italy, Villa Farnese is run by the Polo Museale del Lazio. The Villa Farnese is situated directly above the town of Caprarola and it is a massive Renaissance and Mannerist construction, opening to the Monte Cimini, a range of densely wooded volcanic hills. It is built on a plan in reddish gold stone. As a centerpiece of the vast Farnese holdings, Caprarola has always been an expression of Farnese power, rather than a villa in the more usual agricultural or pleasure senses, in 1504, Cardinal Alessandro Farnese, the future Pope Paul III, acquired the estate at Caprarola. He had designs made for a castle or rocca by the architects Antonio da Sangallo the Younger. Peruzzis plan also shows a central courtyard and it is likely that the later development of the circular central court was also determined by the necessities of the pentagonal plan. In 1556, he commissioned Giacomo Barozzi da Vignola as his architect, building commenced in 1559. He therefore selected Caprarola on the holding of Ronciglione, being both near and yet far enough from Rome as the ideal place to build a country house. The villa is one of the finest examples of Renaissance architecture, ornament is used sparingly to achieve proportion and harmony. Thus while the villa dominates the surroundings, its design also complements the site. This particular style, known today as Mannerism, was a reaction to the ornate earlier High Renaissance designs of twenty years earlier. Vignola, the chosen for this difficult and inhospitable site, had recently proved his mettle in designing Villa Giulia on the outskirts of Rome for the preceding pope. Vignola in his youth had been influenced by Michelangelo. For the villa at Caprarola, his plans as built were for a pentagon constructed around a colonnaded courtyard. A further Bramantesque detail is the entablature that breaks forward over the columns, linking them above, the interior loggia formed by the arcade is frescoed with Raphaelesque grotesques, in the manner of the Vatican Logge. The gallery and upper floors were reached by five spiral staircases around the courtyard and this in turn has a formal double staircase to the principal entrance on the Piano dei Prelati floor which is accessed from the broad terrace. This bastion-like floor, which appears in the elevation as a ground floor, is rusticated
24.
Piano nobile
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The piano nobile is the principal floor of a large house, usually built in one of the styles of Classical Renaissance architecture. This floor contains the reception and bedrooms of the house. The piano nobile is often the first or sometimes the second storey, located above a ground floor containing minor rooms, the reasons for this were so the rooms would have finer views, and more practically to avoid the dampness and odors of the street level. This is especially true in Venice where the piano nobile of the many palazzi is especially obvious from the exterior by virtue of its windows and balconies. Examples of this are Ca Foscari, Ca dOro, Ca Vendramin Calergi, larger windows than those on other floors are usually the most obvious feature of the piano nobile. Often in England and Italy the piano nobile is reached by an outer staircase. Kedleston Hall is an example of this in England, as is Villa Capra in Italy, most houses contained a secondary floor above the piano nobile which contained more intimate withdrawing and bedrooms for private use by the family of the house when no honoured guests were present. Above this floor would often be an attic floor containing staff bedrooms, in these instances, occasionally in museums etc. the principal piano nobile is described as the primo piano nobile to differentiate it. Though often found, this usage is potentially misleading, rooms in the piano nobile are always the grandest, the term is not used in Britain. This arrangement of floors continued throughout Europe for as long as large houses continued to be built in the classical styles and this arrangement was designed at Buckingham Palace as recently as the mid-19th century. Holkham Hall, Osterley Park and Chiswick House are among the innumerable 18th-century English houses which employed this design, Life in the English Country House. Harris, John, de Bellaigue, Geoffrey, & Miller, Oliver, English Country Houses, Early Georgian 1715–1760 London, Country Life. Pavilion Books Ltd. Kaminski Marion, Art and Architecture of Venice,1999, Könemann, ISBN 3-8290-2657-9 Masson, Georgina
25.
Cornice (architecture)
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A simple cornice may be formed just with a crown molding. The function of the cornice of a building is to throw rainwater free of the building’s walls. In residential building practice, this function is handled by projecting gable ends, roof eaves, however, house eaves may also be called cornices if they are finished with decorative molding. The projecting cornice of a building may appear to be heavy and hence in danger of falling, particularly on commercial buildings, a rake is an architectural term for an eave or cornice which runs along the gable end of the roof of a modern residential structure. It may also be called a sloping cornice, a raking cornice, the trim and rafters at this edge are called rake-, verge-, or barge-board or verge- or barge-rafter. It is a sloped timber on the facing edge of a roof running between the ridge and the eave. On a typical house, any gable will have two rakes, one on each sloped side, the rakes are supported by a series of lookouts and may be enclosed with a rake fascia board on the outside facing edge and a rake soffit along the bottom. The cornices of a residential building will usually be one of three types, a box cornice, a close or closed cornice, or an open cornice. Box cornices enclose the cornice of the building with what is essentially a narrow box. A box cornice may further be divided into either the box cornice or the wide box cornice type. A narrow box cornice is one in which the projection of the rafter serves as a surface for the soffit board as well as the fascia trim. This is possible if the slope of the roof is fairly steep, box cornices often have ventilation screens laid over openings cut in the soffits in order to allow air to circulate within the cornice. A close, closed, or snub cornice is one in there is no projection of the rafters beyond the walls of the building. This type of cornice is easy to construct, but provides little aid in dispersing water away from the building, in an open cornice, the shape of the cornice is similar to that of a wide box cornice except that both the lookouts and the soffit are absent. It is a lower-cost treatment that requires fewer materials, and may not have a fascia board. Ancient Egyptian architectural tradition made special use of large cavetto mouldings as a cornice, with only a short fillet above, inspired by this precedent, it was then revived by Ardashir I, the founder of the Sasanian dynasty. The cavetto took the place of the cymatium in many Etruscan temples, often painted with vertical tongue patterns, additional more-obscure varieties of cornice include the architrave cornice, bracketed cornice, and modillion cornice. A cornice return is a detail that occurs where the horizontal cornice of a roof connects to the rake of a gable
26.
Doric order
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The Doric order was one of the three orders of ancient Greek and later Roman architecture, the other two canonical orders were the Ionic and the Corinthian. The Doric is most easily recognised by the simple circular capitals at the top of columns and it was the earliest and in its essence the simplest of the orders, though still with complex details in the entablature above. The Greek Doric column was fluted or smooth-surfaced, and had no base, the capital was a simple circular form, with some mouldings, under a square cushion that is very wide in early versions, but later more restrained. In stone they are purely ornamental, the relatively uncommon Roman and Renaissance Doric retained these, and often introduced thin layers of moulding or further ornament, as well as often using plain columns. The Doric order was used in Greek Revival architecture from the 18th century onwards, often earlier Greek versions were used, with wider columns. Since at least Vitruvius it has been customary for writers to associate the Doric with masculine virtues and it is also normally the cheapest of the orders to use. In their original Greek version, Doric columns stood directly on the pavement of a temple without a base. The Parthenon has the Doric design columns and it was most popular in the Archaic Period in mainland Greece, and also found in Magna Graecia, as in the three temples at Paestum. These are in the Archaic Doric, where the capitals spread wide from the column compared to later Classical forms, pronounced features of both Greek and Roman versions of the Doric order are the alternating triglyphs and metopes. The triglyphs are decoratively grooved with two vertical grooves and represent the original wooden end-beams, which rest on the plain architrave that occupies the half of the entablature. Under each triglyph are peglike stagons or guttae that appear as if they were hammered in from below to stabilize the post-and-beam construction and they also served to organize rainwater runoff from above. The spaces between the triglyphs are the metopes and they may be left plain, or they may be carved in low relief. The spacing of the triglyphs caused problems which some time to resolve. The architecture followed rules of harmony, since the original design probably came from wooden temples and the triglyphs were real heads of wooden beams, every column had to bear a beam which lay across the centre of the column. Triglyphs were arranged regularly, the last triglyph was centred upon the last column and this was regarded as the ideal solution which had to be reached. Changing to stone instead of wooden beams required full support of the architrave load at the last column. At the first temples the final triglyph was moved, still terminating the sequence, even worse, the last triglyph was not centered with the corresponding column. That “archaic” manner was not regarded as a harmonious design, the resulting problem is called the doric corner conflict
27.
Ionic order
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The Ionic order forms one of the three classical orders of classical architecture, the other two canonic orders being the Doric and the Corinthian. There are two orders, the Tuscan, and the rich variant of Corinthian called the composite order. The Ionic columns are the thinnest and smallest columns out of the three canonic orders, the Ionic capital is characterized by the use of volutes. The Ionic columns normally stand on a base which separates the shaft of the column from the stylobate or platform, since Vitruvius a female character has been ascribed to the Ionic, in contrast to the masculine Doric. The major features of the Ionic order are the volutes of its capital, the only tools required to design these features were a straight-edge, a right angle, string and a compass. Originally the volutes lay in a plane, then it was seen that they could be angled out on the corners. Ionic columns are most often fluted, after a little early experimentation, the number of hollow flutes in the shaft settled at 24. This standardization kept the fluting in a proportion to the diameter of the column at any scale. Roman fluting leaves a little of the surface between each hollow, Greek fluting runs out to a knife edge that was easily scarred. In some instances, the fluting has been omitted, mohr included 8 unfluted Ionic frontal columns on his 1928 design for the railroads St. Louis suburban stop Delmar Station. Pictorial often narrative bas-relief frieze carving provides a feature of the Ionic order. Roman and Renaissance practice condensed the height of the entablature by reducing the proportions of the architrave, the Ionic order originated in the mid-6th century BC in Ionia, the southwestern coastland and islands of Asia Minor settled by Ionian Greeks, where an Ionian dialect was spoken. The Ionic order column was being practiced in mainland Greece in the 5th century BC and it was most popular in the Archaic Period in Ionia. The first of the great Ionic temples was the Temple of Hera on Samos and it stood for only a decade before it was leveled by an earthquake. A longer-lasting 6th century Ionic temple was the Temple of Artemis at Ephesus, the Parthenon, although it conforms mainly to the Doric order, also has some Ionic elements. A more purely Ionic mode to be seen on the Athenian Acropolis is exemplified in the Erechtheum, following the conquests of Alexander the Great in the east, a few examples of the Ionic order can be found as far as Pakistan with the Jandial temple near Taxila. Several examples of capitals displaying Ionic influences can seen as far away as Patna, especially with the Pataliputra capital. Renaissance architectural theorists took his hints, to interpret the Ionic order as matronly in comparison to the Doric order, the Ionic is a natural order for post-Renaissance libraries and courts of justice, learned and civilized
28.
Corinthian order
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The Corinthian order is the last developed of the three principal classical orders of ancient Greek and Roman architecture. The other two are the Doric order which was the earliest, followed by the Ionic order, when classical architecture was revived during the Renaissance, two more orders were added to the canon, the Tuscan order and the Composite order. The Corinthian, with its offshoot the Composite, is the most ornate of the orders, characterized by slender fluted columns and elaborate capitals decorated with acanthus leaves and it was employed in southern Gaul at the Maison Carrée, Nîmes and at the comparable podium temple at Vienne. Other prime examples noted by Mark Wilson Jones are the order of the Basilica Ulpia and the arch at Ancona the column of Phocas. The Corinthian order is named for the Greek city-state of Corinth, however, according to the architectural historian Vitruvius, the column was created by the sculptor Callimachus, probably an Athenian, who drew acanthus leaves growing around a votive basket. Its earliest use can be traced back to the Late Classical Period, the earliest Corinthian capital was found in Bassae, dated at 427 BC. In its proportions, the Corinthian column is similar to the Ionic column, though it is more slender, the abacus upon the capital has concave sides to conform to the outscrolling corners of the capital, and it may have a rosette at the center of each side. Corinthian columns were erected on the top level of the Roman Colosseum, holding up the least weight and their height to width ratio is about 10,1. One variant is the Tivoli Order, found at the Temple of Vesta, the Tivoli Orders Corintinan Capital has two rows of Acanthus and its abacus is decorated with oversize fleuron in the form of hibiscus flowers with pronounced spiral pistils. The column flutes have flat tops, the frieze exhibits fruit swag suspended between bucrania. Above each swag is a rosette, the cornice does not have modillions. Indo-Corinthian capitals are capitals crowning columns or pilasters, which can be found in the northwestern Indian subcontinent and these capitals are typically dated to the 1st centuries of our era, and constitute important elements of Greco-Buddhist art of Gandhara. The classical design was adapted, usually taking a more elongated form. Indo-Corinthian capitals also incorporated figures of the Buddha or Bodhisattvas, usually as central figures surrounded, the Corinthian architrave is divided in two or three sections, which may be equal, or they may bear interesting proportional relationships, one with another. Above the plain, unadorned architrave lies the frieze, which may be carved with a continuous design or left plain. At the Capitol the proportions of architrave to frieze are exactly 1,1, above that, the profiles of the cornice moldings are like those of the Ionic order. If the cornice is deep, it may be supported by brackets or modillions. The Corinthian column is almost always fluted, if it is not, it is often worth pausing to unravel the reason why
29.
Tiber
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It drains a basin estimated at 17,375 square kilometres. The river has achieved lasting fame as the watercourse of the city of Rome. The river rises at Mount Fumaiolo in central Italy and flows in a southerly direction past Perugia. However, it does not form a delta, owing to a strong north-flowing sea current close to the shore, to the steep shelving of the coast. The source of the Tiber consists of two springs 10 metres away from each other on Mount Fumaiolo and these springs are called Le Vene. The springs are in a beech forest 1,268 metres above sea level, during the 1930s, Benito Mussolini placed an antique marble Roman column at the point where the river arises, inscribed QUI NASCE IL FIUME SACRO AI DESTINI DI ROMA. There is an eagle on the top of this column, the first miles of the Tiber run through Valtiberina before entering Umbria. It is probable that the genesis of the name Tiber was pre-Latin, like the Roman name of Tibur, the same root is found in the Latin praenomen Tiberius. There are also Etruscan variants of this praenomen in Thefarie and Teperie, the legendary king Tiberinus, ninth in the king-list of Alba Longa, was said to have drowned in the river Albula, which was afterward called Tiberis. Yet another etymology is from *dubri-, water, considered by Alessio as Sicel and this root *dubri- is widespread in Western Europe e. g. Dover, Portus Dubris. According to the legend, Jupiter made him a god and guardian spirit of the river and this gave rise to the standard Roman depiction of the river as a powerfully built reclining god, also named Tiberinus, with streams of water flowing from his hair and beard. The Tiber was also believed to be the river into which Romulus and Remus were thrown as infants, according to legend, the city of Rome was founded in 753 BC on the banks of the Tiber about 25 kilometres from the sea at Ostia. The island Isola Tiberina in the centre of Rome, between Trastevere and the ancient center, was the site of an important ancient ford and was later bridged. Legend says Romes founders, the twin brothers Romulus and Remus, were abandoned on its waters, the river marked the boundary between the lands of the Etruscans to the west, the Sabines to the east and the Latins to the south. Benito Mussolini, born in Romagna, adjusted the boundary between Tuscany and Emilia-Romagna, so that the springs of the Tiber would lie in Romagna and it was later used to ship stone, timber and foodstuffs to Rome. During the Punic Wars of the 3rd century BC, the harbour at Ostia became a key naval base and it later became Romes most important port, where wheat, olive oil, and wine were imported from Romes colonies around the Mediterranean. Wharves were also built along the riverside in Rome itself, lining the riverbanks around the Campus Martius area, the Romans connected the river with a sewer system and with an underground network of tunnels and other channels, to bring its water into the middle of the city. Wealthy Romans had garden-parks or horti on the banks of the river in Rome up through the first century BC and these may have been sold and developed about a century later
30.
Chigi Family
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The Chigi family is a Roman princely family of Sienese extraction descended from the counts of Ardenghesca, which possessed castles in the Maremma, southern Tuscany. The earliest authentic mention of them is in the 13th century, with one Alemanno, the first very prominent member was Mariano, a banker and two times ambassador of Siena to the Popes Alexander VI and Julius II. He founded the Roman branch of the family, the branch was started by his brother. Agostino Chigi was the most famous member of the family during the Renaissance and he became an immensely rich banker, and built the palace and gardens afterwards known as the Farnesina, decorated by Raphael, and was noted for the splendour of his entertainments. Pope Julius II made him practically his finance minister and gave him the privilege of quartering his own arms with those of the Chigi, Cardinal Fabio Chigi, on being elected pope as Alexander VII at the Conclave of 1655, conferred the Roman patriciate on his family. His elder brother Mario, last commander of the Corsican Guard in Rome and his brother Augusto continued the line in Rome. Augustos son Agostino was made Reichsfurst by Leopold I in 1659, Agostino married Maria Virginia Borghese, and acquired the principates of Farnese, Campagnano and Ariccia, where a famous palazzo bearing the family name still exists. The pope also had two nephews who became cardinals, Flavio I, who was his Cardinal-Nephew and one of the art collectors of the family and built the Villa Cetinale in 1680. During the 18th century, Flavio II became cardinal, on the marriage in 1735 of another Agostino Chigi with Giulia Albani, heiress of the Albani, a Venetian patrician family, said to be of Albanian origin, her name was added to that of Chigi. Prince Sigismondo Chigi Albani della Rovere, Prince of Campagnano, had a son, Don Mario Chigi, and four daughters. Prince Sigismondos brother, Flavio III, became a Cardinal on December 22,1873 with the title of Santa Maria del Popolo, Prince Mario Chigi Albani della Rovere succeeded his father in 1877 and served as Marshal of the Holy Roman Church at the Conclave of 1878. He married Antonietta, the daughter of Prince Louis of Sayn-Wittgenstein-Sayn in 1857 and they had three children, Agostino, Ludovico and Eleonora. Prince Ludovico Chigi Albani della Rovere, son of Prince Mario, in 1893 he married Donna Anna Aldobrandini, Princess of Sarsina, they had three children, Sigismondo, Petro and Laura. Prince Ludovico was Marshal of both the conclave of 1922 and that of 1939, Prince Sigismondo Chigi, Hereditary Marshal of the Holy Roman Church, was the son of Prince Ludovico Chigi Albani della Rovere and Donna Anna Aldobrandini, princess of Sarsina. He had one son, Don Agostino Chigi Albani della Rovere and one daughter and he was the Marshal of the Conclave both in 1958 and 1963. The office, to which the Chigi had succeeded after the extinction of the Savelli in 1712, was abolished by Pope Paul VI in a motu proprio, Pontificalis Domus, the family owns large estates at Siena. The family palace on the Via del Corso in Rome is currently seat of the Italian government, another Palazzo Chigi in Ariccia is now a museum and site for meetings. The familys mausoleum is in the Chigi Chapel of the Basilica of Santa Maria del Popolo in Rome, annuario della nobilta italiana Anno I
31.
Villa Farnesina
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The Villa Farnesina is a Renaissance suburban villa in the Via della Lungara, in the district of Trastevere in Rome, central Italy. The villa was built for Agostino Chigi, a rich Sienese banker, between 1506–1510, the Sienese artist and pupil of Bramante, Baldassarre Peruzzi, aided perhaps by Giuliano da Sangallo, designed and erected the villa. The novelty of this suburban villa design can be discerned from its differences from that of a typical urban palazzo, Renaissance palaces typically faced onto a street and were decorated versions of defensive castles, rectangular blocks with rusticated ground floors and enclosing a courtyard. This villa, intended to be a summer pavilion, presented a side towards the street and was given a U shaped plan with a five bay loggia between the arms. In the original arrangement, the entrance was through the north facing loggia which was open. Today, visitors enter on the side and the loggia is glazed. Chigi also commissioned the decoration of the villa by artists such as Raphael, Sebastiano del Piombo, Giulio Romano. The themes were inspired by the Stanze of the poet Angelo Poliziano, best known are Raphaels frescoes on the ground floor, in the loggia depicting the classical and secular myths of Cupid and Psyche, and The Triumph of Galatea. This, one of his few purely secular paintings, shows the near-naked nymph on a shell-shaped chariot amid frolicking attendants and is reminiscent of Botticellis The Birth of Venus. This same Galatea loggia has a vault that displays the positions of the planets around the zodiac on the patrons birth date,29 November 1466. The two main ceiling panels of the give his precise time of birth,9,30 pm on that date. At first floor level, Peruzzi painted the main salone with trompe-lœil frescoes of a grand open loggia with city. The perspective view only works from a point in the room otherwise the illusion is broken. In the adjoining bedroom, Sodoma painted scenes from the life of Alexander the Great, the marriage of Alexander and Roxana, the villa became the property of the Farnese family in 1577. Also in the 16th century, Michelangelo proposed linking the Palazzo Farnese on the side of the River Tiber. This was initiated, remnants of a few arches are in still visible in the back of Palazzo Farnese towards via Giulia on the other side of the Tiber. Later the villa belonged to the Bourbons of Naples and in 1861 to the Spanish Ambassador in Rome, Bermudez de Castro, today, owned by the Italian State, it accommodates the Accademia dei Lincei, a long-standing and renowned Roman academy of sciences. Until 2007 it also housed the Gabinetto dei Disegni e delle Stampe of the Istituto Nazionale per la Grafica, the main rooms of the villa, including the Loggia, are open to visitors
32.
Baths of Caracalla
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The Baths of Caracalla in Rome, Italy, were the second largest Roman public baths, or thermae, built in Rome between AD212 and 217, during the reigns of Septimius Severus and Caracalla. They would have had to install over 2,000 t of material every day for six years in order to complete it in this time. Records show that the idea for the baths were drawn up by Septimius Severus and this would allow for a longer construction timeframe. Today they are a tourist attraction, the baths remained in use until the 6th century when the complex was taken by the Ostrogoths during the Gothic War, at which time the hydraulic installations were destroyed. The bath was free and open to the public, the earthquake of 847 destroyed much of the building, along with many other Roman structures. The building was heated by a hypocaust, a system of burning coal and it was in use up to the 19th century. The Aqua Antoniniana aqueduct, a branch of the earlier Aqua Marcia and it was most likely reconstructed by Garbrecht and Manderscheid to its current place. At the 1960 Summer Olympics, the hosted the gymnastics events. The baths were the archaeological site in Rome damaged by an earthquake near LAquila in 2009. They were again damaged, though minor, in August 2016 by an earthquake in central Italy, the baths were originally ornamented with high quality sculptures. One of the statues is the colossal 4 m statue of Asclepius. The Caracalla bath complex of buildings was more a leisure centre than just a series of baths, the baths were the second to have a public library within the complex. Like other public libraries in Rome, there were two separate and equal sized rooms or buildings, one for Greek language texts and one for Latin language texts. The baths consisted of a central frigidarium measuring 55.7 by 24 m under three groin vaults 32.9 m high, a double pool tepidarium, and a caldarium 35 m in diameter, the north end of the bath building contained a natatio or swimming pool. The natatio was roofless with bronze mirrors mounted overhead to direct sunlight into the pool area, the entire bath building was on a raised platform 6 m high to allow for storage and furnaces under the building. The libraries were located in exedrae on the east and west sides of the bath complex, the entire north wall of the complex was devoted to shops. The reservoirs on the wall of the complex were fed with water from the Marcian Aqueduct. The mithraeum was approximately 23 m long and 10 m wide with a cross-vaulted ceiling, the bath complex covered approximately 25 ha
33.
Palace
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A palace is a grand residence, especially a royal residence, or the home of a head of state or some other high-ranking dignitary, such as a bishop or archbishop. The word is derived from the Latin name Palātium, for Palatine Hill in Rome which housed the Imperial residences, in many parts of Europe, the term is also applied to ambitious private mansions of the aristocracy. Many historic palaces are now put to uses such as parliaments, museums, hotels. The word is sometimes used to describe a lavishly ornate building used for public entertainment or exhibitions. The word palace comes from Old French palais, from Latin Palātium, the original palaces on the Palatine Hill were the seat of the imperial power while the capitol on the Capitoline Hill was the religious nucleus of Rome. Long after the city grew to the seven hills the Palatine remained a residential area. Emperor Caesar Augustus lived there in a purposely modest house only set apart from his neighbours by the two trees planted to flank the front door as a sign of triumph granted by the Senate. His descendants, especially Nero, with his Golden House, enlarged the house, the word Palātium came to mean the residence of the emperor rather than the neighbourhood on top of the hill. Palace meaning government can be recognized in a remark of Paul the Deacon, AD790 and describing events of the 660s, When Grimuald set out for Beneventum, he entrusted his palace to Lupus. At the same time, Charlemagne was consciously reviving the Roman expression in his palace at Aachen, in the 9th century, the palace indicated the housing of the government too, and the constantly travelling Charlemagne built fourteen. In the Holy Roman Empire the powerful independent Electors came to be housed in palaces and this has been used as evidence that power was widely distributed in the Empire, as in more centralized monarchies, only the monarchs residence would be a palace. In modern times, the term has been applied by archaeologists and historians to large structures that housed combined ruler, court, in informal usage, a palace can be extended to a grand residence of any kind. The earliest known palaces were the residences of the Egyptian Pharaohs at Thebes, featuring an outer wall enclosing labyrinthine buildings. Other ancient palaces include the Assyrian palaces at Nimrud and Nineveh, the Minoan palace at Knossos, the Brazilian new capital, Brasília, hosts modern palaces, most designed by the citys architect Oscar Niemeyer. The Alvorada Palace is the residence of the Brazils president. The Planalto Palace is the official workplace, the Jaburu Palace is the official residence of Brazils vice-president. In Canada, Government House is a given to the official residences of the Canadian monarchy. The use of the term Government House is a custom from the British Empire
34.
Odoardo Farnese (cardinal)
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Odoardo Farnese was an Italian nobleman, the second son of Alessandro Farnese, Duke of Parma and Maria of Portugal, known for his patronage of the arts. He became a Cardinal of the Roman Catholic Church in Italy in 1591, Cardinal Odoardo is probably best known today for commissioning the Bolognese artist Annibale Carracci to fresco the Camerino in the Palazzo Farnese in Rome. Carracci undertook this from 1595 to 1597, just prior to starting his decoration of the more famous, the Camerino was Farneses private study. The subject of the scene in the ceiling is The Choice of Hercules. This quadro riportato device was brought to fruition by Carracci in the Farnese Gallery a few years later, in addition, Farnese commissioned various oil paintings from Carracci, including his Rinaldo and Armida now in the Capodimonte Museum in Naples. It was on the recommendation of Carracci that he commissioned Domenichino to fresco the Chapel of St Nilo in the abbey at Grottaferrata, Farnese also commissioned Carraccis Sleeping Venus. His patronage of architecture was less extensive but included the Casa Professa, il Marmo Spirante, Sculpture and Experience in Seventeenth-Century Rome
35.
Wars of Castro
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The Wars of Castro were a series of conflicts during the mid-17th century revolving around the ancient city of Castro, which eventually resulted in the citys destruction on 2 September 1649. Papal politics of the century were complicated, with frequently shifting military. In 1611 a group of conspirators, nobles from Modena and Mantua, was accused of devising a plot to assassinate Ranuccio I Farnese, Duke of Parma, in reality, the plot had been uncovered when a prisoner confessed to it and implicated members of various noble houses. Though the accusations were untrue,100 of the conspirators were tortured. Many of their estates were confiscated leaving a number of now legitimately discontented nobles. Until his death in 1622, Ranuccio remained paranoid about future assassination attempts and about curses from witches and he persecuted witches and alleged conspirators savagely and even had his own mistress, Claudia Colla, burned to death. He remained convinced that other families were plotting his downfall. However, tensions between the Farnese and other Italian nobility were not limited to events in Parma. Historian Leopold von Ranke gives an account of a 1639 visit to Rome by Odoardo Farnese, Duke of Parma, the Duke arrived in Rome to great fanfare - he was given gifts and escorted around the city by Pope Urbans Cardinal-nephews, Antonio Barberini and Francesco Barberini. But the Duke refused to pay due deference to the Popes other nephew, as the Duke prepared to leave, he suggested that an escort from the city would be appropriate. The Duke took his leave but urged the Pope to chastise both Cardinal-nephews, Duke Odoardos Roman creditors saw their chance - the Duke was unable to pay his debts, which he had accumulated in military adventures against the Spanish in Milan and in luxurious living. The unpaid and unhappy creditors sought relief from the pope, who turned to action in an attempt to force payment. Pope Urban VIII responded to the requests of Duke Odoardos creditors by sending his nephew Antonio, Fabrizio Savelli, Papal forces also included commanders Achille dÉtampes de Valençay and Marquis Cornelio Malvasia. At the same time, the pope sent cardinal Bernardino Spada as plenipotentiary in an effort to resolve the crisis, Spada later published a manifesto detailing his version of events which, according to contemporary John Bargrave, many accepted to be the truth. Indeed, Urban VIII had been amassing troops in Rome throughout 1641, mercenaries and regular troops filled the streets and Antonio Barberini was forced to institute special measures to maintain authority over the city. But the papacy needed yet more troops, on 12 October 1641, Luigi Mattei led 12,000 infantry and up to 4,000 cavalry against the fortified town. The popes forces were met by a contingent of 40 troops guarding a bridge leading to the town, Castro, and several other small towns nearby, surrendered. Fabrizio Savelli, though, proved to be an unenthusiastic commander, the army was split into three and the Popes nephew, Taddeo Barberini, replaced Savelli as Generalissimo, arriving with one contingent in the papal city of Ferrara on 5 January 1642
36.
Odoardo Farnese, Duke of Parma
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See also, Odoardo Farnese, Hereditary Prince of Parma for Odoardo II Farnese, grandson of this Odoardo and father of Elizabeth Farnese. Odoardo Farnese, also known as Odoardo I Farnese to distinguish him from his grandson Odoardo II Farnese, was Duke of Parma, Piacenza, Odoardo was the eldest legitimate son of Ranuccio I Farnese and Margherita Aldobrandini. He came of age in 1628 and in the year he married Margherita de Medici. His first notable act as Duke was an alliance with France in 1633 and he also asked for loans to improve the army, but his first campaigns were ineffective, Piacenza was occupied by the Spanish troops, and his army was defeated by Francesco I dEste. Spanish troops overran the duchy and devastated the countryside, but did not attempt to lay siege to the cities, in the absence of French assistance, Odoardo was convinced by Pope Urban VIII to sign a treaty of peace with Spain in 1637. His aggressive rule of Castro, a Farnese fief in the Papal States north of Rome, instead of reconciliation, he sought alliances with Venice, Florence and the Duchy of Modena, and invaded northern Lazio with 7,000 troops. His army was composed mostly of cavalry, and were unable to recover Castro by siege, Odoardo died suddenly in Piacenza, his favorite residence, on 11 September 1646. Odoardo Farnese married Margherita de Medici on 11 October 1628, the daughter of Cosimo II de Medici, Grand Duke of Tuscany
37.
Pope Alexander VII
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Pope Alexander VII, born Fabio Chigi, was pope from 7 April 1655 to his death in 1667. He began his career as a legate, and he held various diplomatic positions in the Holy See. He was ordained as a priest in 1634, and he became Bishop of Nardo in 1635 and he was later transferred in 1652, and he became Bishop of Imola. Pope Innocent X made him Secretary of State in 1651, and in 1652, he was appointed as a Cardinal. Early in his papacy, Alexander, who was seen as anti-Nepotist at the time of his election, lived simply, later, however, he gave jobs to his relatives and his administration worked to support the Jesuits. However, his administrations relations with France were strained due to his frictions with French diplomats, Alexander was interested in architecture and supported various urban projects in Rome. He also wrote poetry and patronized artists who expanded the decoration of churches and his theological writings included discussions of heliocentrism and the Immaculate Conception. Fabios elder brother, Mario, married Berenice, the daughter of Tiberio della Ciala, producing four children, Flavio was created cardinal by his uncle on April 9,1657. His brother, Augusto Chigi, married Olimpia della Ciaia and continued the line as the parents of Agostino Chigi. Fabios sister Onorata Mignanelli married Firmano Bichi, their son Antonio was named Bishop of Montalcino and then Osimo, in 1627 he began his apprenticeship as vice-papal legate at Ferrara, and on recommendations from two cardinals he was appointed Inquisitor of Malta. Chigi was ordained a priest in December 1634 and he was appointed Referendarius utriusque signaturae, which made him a prelate and gave him the right to practice before the Roman courts. On 8 January 1635, Chigi was named Bishop of Nardò in southern Italy and consecrated on 1 July 1635 by Miguel Juan Balaguer Camarasa, on 13 May 1652 he was transferred to the Bishopric of Imola. Bishop Chigi was named nuncio in Cologne on 11 June 1639, there, he supported Urban VIIIs condemnation of the heretical book Augustinus by Cornelius Jansen, Bishop of Ypres, in the papal Bull In eminenti of 1642. Though expected to take part in the negotiations which led in 1648 to the Peace of Westphalia, negotiations therefore took place in two cities, Osnabrück and Münster in Westphalia, with intermediaries travelling back and forth between the Protestant and the Catholic delegates. Chigi, of course, protested on behalf of the Papacy, Pope Innocent himself stated that the Peace is null, void, invalid, unjust, damnable, reprobate, inane, empty of meaning and effect for all time. The Peace ended the Thirty Years War and established the balance of European power that lasted until the wars of the French Revolution, Pope Innocent X recalled Chigi to Rome. In December 1651 Pope Innocent named Cardinal Chigi Secretary of State and he was created cardinal by Innocent X in the Consistory of 19 February 1652, and on 12 March was granted the title of Cardinal-Priest of Santa Maria del Popolo. In December 1651 Pope Innocent named Cardinal Chigi Cardinal Secretary of State
38.
Christina, Queen of Sweden
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Christina reigned as Queen of Sweden from 1632 to 1654. She was the surviving legitimate child of King Gustav II Adolph. At the age of six, Christina succeeded her father on the throne upon his death at the Battle of Lützen, Christina is remembered as one of the most educated women of the 1600s. She was fond of books, manuscripts, paintings, and sculptures, with her interest in religion, philosophy, mathematics and alchemy, she attracted many scientists to Stockholm, wanting the city to become the Athens of the North. She was intelligent, fickle and moody, she rejected what the role of a woman was at the time. She caused a scandal when she decided not to marry and in 1654 when she abdicated her throne and she changed her name from Kristina Augusta Wasa, adopting the name Christina Alexandra. At the age of 28, the Minerva of the North moved to Rome, the Pope described Christina as a queen without a realm, a Christian without faith, and a woman without shame. Notwithstanding all that, she became a leader of the theatrical and musical life and protected many Baroque artists, composers, being the guest of five consecutive popes, and a symbol of the Counter Reformation, she is one of the few women buried in the Vatican grotto. Her unconventional lifestyle and masculine dressing and behavior have been featured in novels, plays, opera. In all the biographies on Christina her gender and cultural identity play an important role, Christina was born in the royal castle Tre Kronor. The king had already sired two daughters – a nameless princess stillborn in 1620 and then the first princess Christina, who was born in 1623, excited expectation surrounded Maria Eleonoras third pregnancy in 1626. When the baby was born it was first thought to be a boy as it was hairy and screamed, with a strong and she later wrote in her autobiography that, Deep embarrassment spread among the women when they discovered their mistake. The king, though, was happy, stating, Shell be clever. From most accounts, Gustav Adolf appears to have been attached to his daughter. Her mother remained disappointed that Christina was a girl and her mother, of the House of Hohenzollern, was a woman of quite distraught temperament and was melancholic. It is possible she was insane, after the king died on 6 November 1632 on the battlefield, his corpse was brought home in a coffin, with his heart in a separate box. Maria Eleonora ordered that the king should not be buried until she could be buried with him and she also demanded that the coffin be kept open, and went to see it regularly, patting it and taking no notice of the putrefaction. Eventually, the embarrassed Chancellor, Axel Oxenstierna, saw no other solution than to have a guard posted at the room to prevent further episodes, as a result, he was not buried until 22 June 1634, more than eighteen months later
39.
Fresco
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Fresco is a technique of mural painting executed upon freshly-laid, or wet lime plaster. Water is used as the vehicle for the pigment to merge with the plaster, and with the setting of the plaster, the fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting. Buon fresco pigment mixed with water of temperature on a thin layer of wet, fresh plaster, for which the Italian word for plaster. Because of the makeup of the plaster, a binder is not required, as the pigment mixed solely with the water will sink into the intonaco. The pigment is absorbed by the wet plaster, after a number of hours, many artists sketched their compositions on this underlayer, which would never be seen, in a red pigment called sinopia, a name also used to refer to these under-paintings. Later, new techniques for transferring paper drawings to the wall were developed. The main lines of a drawing made on paper were pricked over with a point, the paper held against the wall, if the painting was to be done over an existing fresco, the surface would be roughened to provide better adhesion. This area is called the giornata, and the different day stages can usually be seen in a large fresco, buon frescoes are difficult to create because of the deadline associated with the drying plaster. Once a giornata is dried, no more buon fresco can be done, if mistakes have been made, it may also be necessary to remove the whole intonaco for that area—or to change them later, a secco. An indispensable component of this process is the carbonatation of the lime, the eyes of the people of the School of Athens are sunken-in using this technique which causes the eyes to seem deeper and more pensive. Michelangelo used this technique as part of his trademark outlining of his central figures within his frescoes, in a wall-sized fresco, there may be ten to twenty or even more giornate, or separate areas of plaster. After five centuries, the giornate, which were nearly invisible, have sometimes become visible, and in many large-scale frescoes. Additionally, the border between giornate was often covered by an a secco painting, which has fallen off. One of the first painters in the period to use this technique was the Isaac Master in the Upper Basilica of Saint Francis in Assisi. A person who creates fresco is called a frescoist, a secco or fresco-secco painting is done on dry plaster. The pigments thus require a medium, such as egg. Blue was a problem, and skies and blue robes were often added a secco, because neither azurite blue nor lapis lazuli. By the end of the century this had largely displaced buon fresco
40.
Allegorical
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As a literary device, an allegory is a metaphor whose vehicle may be a character, place or event, representing real-world issues and occurrences. Many ancient religions are based on astrological allegories, that is, allegories of the movement of the sun, in classical literature two of the best-known allegories are the Cave in Platos Republic and the story of the stomach and its members in the speech of Menenius Agrippa. One of the examples of allegory, Platos Allegory of the Cave. In this allegory, Plato describes a group of people who have lived chained in an all of their lives. The people watch shadows projected on the wall by things passing in front of a fire behind them and begin to ascribe forms to these shadows, using language to identify their world. He tries to tell the people in the cave of his discovery, also allegorical is Ezekiel 16 and 17, wherein the capture of that same vine by the mighty Eagle represents Israels exile to Rome. Allegory has an ability to freeze the temporality of a story, Mediaeval thinking accepted allegory as having a reality underlying any rhetorical or fictional uses. The allegory was as true as the facts of surface appearances, if, then, the Greeks or others say that they were not committed to the care of Peter and his successors, they necessarily confess that they are not of the sheep of Christ. This text also demonstrates the frequent use of allegory in religious texts during the Mediaeval Period, following the tradition, since meaningful stories are nearly always applicable to larger issues, allegories may be read into many stories which the author may not have recognised. This is allegoresis, or the act of reading a story as an allegory. S, lewis and A Kingdom Far and Clear, The Complete Swan Lake Trilogy by Mark Helprin. The story of the apple falling onto Isaac Newtons head is another famous allegory and it simplified the idea of gravity by depicting a simple way it was supposedly discovered. It also made the scientific revelation well known by condensing the theory into a short tale. According to Henry Littlefields 1964 article, L. Yet, George MacDonald emphasised in 1893 that, A fairy tale is not an allegory, I much prefer history – true or feigned– with its varied applicability to the thought and experience of readers. I think that many confuse applicability with allegory, but the one resides in the freedom of the reader, and this further reinforces the idea of forced allegoresis, as allegory is often a matter of interpretation and only sometimes of original artistic intention. Like allegorical stories, allegorical poetry has two meanings – a literal meaning and a symbolic meaning, some unique specimens of allegory can be found in the following works, Edmund Spenser – The Faerie Queene, The several knights in the poem actually stand for several virtues. Nathaniel Hawthorne – Young Goodman Brown, The Devils Staff symbolises defiance of God, the characters names, such as Goodman and Faith, ironically serve as paradox in the conclusion of the story. Nathaniel Hawthorne – The Scarlet Letter, The scarlet letter symbolises many things, the characters, while developed with interiority, are allegorical in that they represent ways of seeing the world. George Orwell – Animal Farm, The pigs stand for political figures of the Russian Revolution, lászló Krasznahorkai - The Melancholy of Resistance and the film Werckmeister Harmonies, It uses a circus to describe an occupying dysfunctional government
41.
Hercules
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Hercules is the Roman adaptation of the Greek divine hero Heracles, who was the son of Zeus and the mortal Alcmene. In classical mythology, Hercules is famous for his strength and for his numerous far-ranging adventures, the Romans adapted the Greek heros iconography and myths for their literature and art under the name Hercules. In later Western art and literature and in culture, Hercules is more commonly used than Heracles as the name of the hero. Hercules was a figure with contradictory characteristics, which enabled later artists and writers to pick. This article provides an introduction to representations of Hercules in the later tradition, Hercules is known for his many adventures, which took him to the far reaches of the Greco-Roman world. One cycle of these adventures became canonical as the Twelve Labours, one traditional order of the labours is found in the Bibliotheca as follows, Slay the Nemean Lion. Capture the Golden Hind of Artemis, clean the Augean stables in a single day. Obtain the girdle of Hippolyta, Queen of the Amazons, obtain the cattle of the monster Geryon. Steal the apples of the Hesperides, Hercules was a favorite subject for Etruscan art, and appears often on bronze mirrors. The Etruscan form Herceler derives from the Greek Heracles via syncope, a mild oath invoking Hercules was a common interjection in Classical Latin. Hercules had a number of myths that were distinctly Roman, one of these is Hercules defeat of Cacus, who was terrorizing the countryside of Rome. The hero was associated with the Aventine Hill through his son Aventinus, Mark Antony considered him a personal patron god, as did the emperor Commodus. Roman brides wore a belt tied with the knot of Hercules. The comic playwright Plautus presents the myth of Hercules conception as a sex comedy in his play Amphitryon, during the Roman Imperial era, Hercules was worshipped locally from Hispania through Gaul. Tacitus records a special affinity of the Germanic peoples for Hercules, in chapter 3 of his Germania, Tacitus states. They say that Hercules, too, once visited them, and they have also those songs of theirs, by the recital of this barditus as they call it, they rouse their courage, while from the note they augur the result of the approaching conflict. For, as their line shouts, they inspire or feel alarm, some have taken this as Tacitus equating the Germanic Þunraz with Hercules by way of interpretatio romana. In the Roman era Hercules Club amulets appear from the 2nd to 3rd century, distributed over the empire, mostly made of gold, a specimen found in Köln-Nippes bears the inscription DEO HER, confirming the association with Hercules
42.
Daniele da Volterra
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Daniele Ricciarelli, better known as Daniele da Volterra, was a Mannerist Italian painter and sculptor. He is best remembered for his association, for better or worse, several of Danieles most important works were based on designs made for that purpose by Michelangelo. After Michelangelos death Daniele was hired to cover the genitals in his Last Judgment with vestments and this earned him the nickname Il Braghettone. Daniele Ricciarelli was born in Volterra, as a boy, he initially studied with the Sienese artists Il Sodoma and Baldassare Peruzzi, but he was not well received and left them. He appears to have accompanied the latter to Rome in 1535 and he then became an apprentice to Perin del Vaga. He was commissioned the painting of a frieze in the salon of the Palazzo Massimo alle Colonne. In Rotman he also started working in the circle of Michelangelo, Michelangelo used his influence with Pope Paul III to secure Daniele commissions and the post of superintendent of the works of the Vatican, a position he retained until the Popes death. Later Daniele was commissioned by Paul III to complete the decoration of the Sala Regia, on the death of the pope in 1549 he lost his position as superintendent and the pension to which it entitled him. He then devoted himself chiefly to sculpture, according to Danieles will, the marble knee of the missing left leg of the Christ from Michelangelos Deposition was in his possession at the time of his death. Among his pupils was Giulio Mazzoni from Piacenza, jerome by Domenichino as the most famous pictures in Rome. Danieles two-sided painting of David killing Goliath in the Louvre too seems to have based on Michelangelos designs. Other notable works include the Massacre of the Innocents in the Uffizi Gallery, Florence, a portrait he drew of Michelangelo, a well-known sculpture is the Cleopatra in the Belvedere. This work was begun in 1565, shortly after the Council of Trent had condemned nudity in religious art and it earned Daniele the nickname Il Braghettone. He also chiseled away a part of the fresco and repainted the larger part of Saint Catherine and this was done because in the original version Blaise had appeared to look at Catherines naked behind, and because to some observers the position of their bodies suggested sexual intercourse. The loincloths and draperies in the half of the fresco. His pupils included painter Michele Alberti, Daniele Ricciarelli is a distant ancestor of Christian Orlandi on the part of paternal grandmother. Daniele was a friend of Michelangelo Buonarroti, fabrizio Mancinelli, The Painting of the Last Judgment, History, Technique and Restoration. In Loren Partridge, Michelangelo, The Last Judgment – A Glorious Restoration, new York, Harry N. Abrams, Inc.2000
43.
Farnese Hercules
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Like much Ancient Roman sculpture it is a copy or version of a much older Greek original that was well-known, in this case an original by Lysippos that would have been made in the fourth century BC. The enlarged copy was made for the Baths of Caracalla in Rome, where the statue was recovered in 1546, the heroically-scaled Hercules is one of the most famous sculptures of antiquity, and has fixed the image of the mythic hero in the European imagination. The Farnese Hercules is a marble statue, following a lost original cast in bronze through a method called lost wax casting. It depicts a muscular, yet weary, Hercules leaning on his club, in myths about Heracles, killing the lion was his first task. He has just performed one of the last of The Twelve Labours, the type was well known in antiquity, and among many other versions a Hellenistic or Roman bronze reduction, found at Foligno is in the Musée du Louvre. A small Roman marble copy can be seen in the Museum of the Ancient Agora, the rediscovered statue quickly made its way into the collection of Cardinal Alessandro Farnese, grandson of Pope Paul III. Alessandro Farnese was well placed to one of the greatest collections of classical sculpture that has been assembled since Antiquity. The Farnese statue was moved to Naples in 1787 with most of the Farnese Collection and is now displayed in the Museo Archeologico Nazionale there, the sculpture has been reassembled and restored by degrees. The original legs, from the Borghese collection, were not reunited with the sculpture until 1787, goethe, in his Italian Journey, recounts his differing impressions upon seeing the Hercules with each set of legs, however, marvelling at the clear superiority of the original ones. Hercules is caught in a moment of repose. Leaning on his club which is draped with the pelt of the Nemean Lion, he holds the apples of the Hesperides. Many engravings and woodcuts spread the fame of the Farneses Hercules, in 1590–91, during his trip to Rome, Hendrik Goltzius sketched the statue in the palazzo courtyard. Later Goltzius recorded the less-common rear view, in a bravura engraving, the young Rubens made quick sketches of the planes and massing of the statue of Hercules. Before photography, prints were the way to put the image into many hands. The sculpture was admired from the start, reservations about its exaggerated musculature only surfacing in the eighteenth century. Napoleon remarked to Antonio Canova that its omission from the museum he accumulated in Paris was the most important gap in the collection, more than once, the sculpture was crated and made ready for shipment to Paris before the Napoleonic regime fled Naples. Ancient copies of the include, Hercules, 2nd century AD, Roman copy, Uffizi Gallery. The “Weary Herakles” is a Roman marble statue that was excavated in 1980 in Perge, Turkey, colossal statue of Hercules, uncovered at the baths in Hippo Regius, Algeria
44.
Detroit Athletic Club
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The Detroit Athletic Club is a private social club and athletic club located in the heart of Detroits theater, sports, and entertainment district. It is located across the street from Detroits historic Music Hall, the clubhouse was designed by Albert Kahn and inspired by Romes Palazzo Farnese. It maintains reciprocal agreements for their members at other clubs worldwide. It contains full-service athletic facilities, pools, restaurants, ballrooms, members include businessmen of all types as well as professional athletes. Ty Cobb is among the athletes to have been a member of the DAC, the building is visible beyond center field from Comerica Park. The Detroit Athletic Club was founded in 1887 to encourage athletic activities. He felt that the rich new titans of the automobile industry spent too much time in the Woodward Avenue pubs. He thought they needed a club commensurate with this stature, on January 4,1913, Joy and 108 other leading Detroit citizens came together to reorient the Detroit Athletic Club. Joy and his colleagues selected Detroits most accomplished architect, Albert Kahn, Kahn, in 1912, had visited Italy and was inspired by the buildings he saw there. Two of Detroits most impressive current downtown edifices—the Detroit Athletic Club, in the 1990s, the membership devoted substantial fund to a major refurbishing of the attractive building. Over the years, the Detroit Athletic Club has provided financial assistance, at the 1956 U. S. Olympic Team Trials, springboard divers Jeanne Stunyo and Mackenzie High School graduate Barbara Gilders-Dudeck were sponsored by the DAC. Stunyo and Gilders-Dudeck qualified for the Summer Olympic Games in Melbourne, at the Games, Jeanne Stunyo won the springboard diving silver medal, and Barbara Gilders-Dudeck finished in fourth place - less than one point from a bronze medal. A. Duncan Carse created paintings to decorate the Detroit Athletic Club, the paintings were covered at the club but they were on show again after a remodeling of the club in 1999. List of American gentlemens clubs 1956 Summer Olympics Sports in Detroit Hill, AIA Detroit, The American Institute of Architects Guide to Detroit Architecture. Meyer, Katherine Mattingly and Martin C. P. McElroy with Introduction by W. Hawkins Ferry, cS1 maint, Multiple names, authors list Sobocinski, Melanie Grunow. Detroit and Rome, building on the past, regents of the University of Michigan
45.
Aix-en-Provence
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Aix-en-Provence, or simply Aix, is a city-commune in the south of France, about 30 km north of Marseille. It is in the region of Provence-Alpes-Côte dAzur, in the department of Bouches-du-Rhône, the population of Aix numbers approximately 143,000. Its inhabitants are called Aixois or, less commonly, Aquisextains, Aix was founded in 123 BC by the Roman consul Sextius Calvinus, who gave his name to its springs, following the destruction of the nearby Gallic oppidum at Entremont. In the 4th century AD it became the metropolis of Narbonensis Secunda and it was occupied by the Visigoths in 477. In the succeeding century, the town was plundered by the Franks and Lombards. Aix passed to the crown of France with the rest of Provence in 1487, and in 1501 Louis XII established there the parliament of Provence, in the 17th and 18th centuries, the town was the seat of the Intendance of Provence. Current archeological excavations in the Ville des Tours, a suburb of Aix, have unearthed the remains of a Roman amphitheatre. The city slopes gently north to south and the Montagne Sainte-Victoire can easily be seen to the east. Aixs position in the south of France gives it a warm climate and it has an average January temperature of 5 °C and a July average of 23 °C. It has an average of 300 days of sunshine and only 91 days of rain, while it is partially protected from the Mistral, Aix still occasionally experiences the cooler and gusty conditions it brings. Unlike most of France which has a climate, Aix-en-Provence has a Mediterranean climate. The Cours Mirabeau is a thoroughfare, planted with double rows of plane-trees, bordered by fine houses. It follows the line of the old city wall and divides the town into two sections. The new town extends to the south and west, the old town, with its narrow, along this avenue, which is lined on one side with banks and on the other with cafés, is the Deux Garçons, the most famous brasserie in Aix. Built in 1792, it has been frequented by the likes of Paul Cézanne, Émile Zola, the Cathedral of the Holy Saviour is situated to the north in the medieval part of Aix. The archbishops palace and a Romanesque cloister adjoin the cathedral on its south side, the Archbishopric of Aix is now shared with Arles. Among its other public institutions, Aix also has the second most important Appeal Court outside of Paris, the Hôtel de Ville, a building in the classical style of the middle of the 17th century, looks onto a picturesque square. It contains some fine woodwork and tapestries, at its side rises a handsome clock-tower erected in 1510
46.
National Building Museum
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The National Building Museum, historically known as the Pension Building, in Washington, D. C. United States, is a museum of architecture, design, engineering, construction and it was created by an act of Congress in 1980, and is a private non-profit institution, it is adjacent to the National Law Enforcement Officers Memorial and the Judiciary Square Metro station. The museum hosts temporary exhibits in galleries around the spacious Great Hall. The National Building Museum is housed in the former Pension Bureau building, Meigs, the U. S. Army quartermaster general. The vast interior, measuring 316 ×116 feet, has used to hold inauguration balls. The number of staff needed to implement and administer the new benefits system ballooned to over 1,500, Meigs was chosen to design and construct the new building. He departed from the established Greco-Roman models that had been the basis of government buildings in Washington, D. C. until then, Meigs based his design on Italian Renaissance precedents, notably Romes Palazzo Farnese and the Palazzo della Cancelleria. Included in his design was a frieze sculpted by Caspar Buberl, because of the 28 sections modification and mixture, it is only in careful examination that the frieze is seen to be the same figures repeated several times. Meigss correspondence with Buberl reveals that Meigs insisted that a black teamster, who must be a negro and this figure was ultimately to assume a central position, over the buildings west entrance. Made of brick and tile, the stairs were designed for the limitations of disabled and aging veterans, in addition, each step slanted slightly from back to front to allow easy drainage, a flight could be washed easily by pouring water from the top. When Philip Sheridan was asked to comment on the building, his reply echoed the negative sentiment of much of the Washington establishment of the day. A similar quote is attributed to William Tecumseh Sherman, perhaps casting doubt on the truth of the Sheridan tale. The completed building, sometimes called Meigs Old Red Barn, required more than 15,000,000 bricks, the building was used for federal government offices until the 1960s when it had fallen into a state of disrepair and was considered for demolition. After pressure from conservationists, the government commissioned a report by architect Chloethiel Woodard Smith of possible uses for the building. Her 1967 report suggested a museum dedicated to the building arts, the building was then listed on the National Register of Historic Places in 1969. In 1980, Congress created the National Building Museum as a private, the building itself was formally renamed the National Building Museum in 1997. Every year, the annual Christmas in Washington program is filmed at the museum, with the President and First Lady. C. by National Geographic Travelers blog, Intelligent Travel, in July 2009. In 2010, The Huffington Post included the National Building Museum in a story, the Museum Shop sells books about the built environment and an array of housewares, educational toys, watches, and items for an office, all with an emphasis on design
47.
Chief Secretary's building
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The sandstone building was the seat of colonial administration, has been used continuously by the Government of New South Wales, and even today holds the office of the Governor of New South Wales. Its main occupant is the Industrial Relations Commission of New South Wales, constructed 1873-1880, the building was designed by colonial architect James Barnet. Its style has been called Venetian Renaissance as well as Victorian Free Classical, a fifth floor and dome were added in the 1890s by Barnet’s successor Walter Liberty Vernon in the Victorian Second Empire style, as well as an extension south at 50 Phillip Street. Barnet resented the additions, which lessened the resemblance to his model, the dome was originally covered in aluminium in 1895-1896, one of the earliest such uses of this metal in the world. The building features nine life-size statues placed according to the function of three parts of the building. The entrances on three streets are labelled in sandstone, directing visitors to the appropriate section, the prestigious 121 Macquarie Street entrance is labelled Colonial Secretary. He occupied the North-East corner office on the First Floor, sandstone sculptures in the buildings exterior personify Mercy, Justice, and Wisdom. Inside stands a statue of Queen Victoria. The 65 Bridge Street ground floor entrance, one level below, is labelled Public Entrance, inside stands a female figure representing New South Wales, a merino at her foot. The NSW Badge, adopted in 1876, is sculpted above in the pediment, the 44 Phillip Street entrance is labelled Secretary for Works and features a bust of Queen Victoria. The Minister for Public Works had his office in the North-West corner, the external statues personify Art, Science, and Labour. The internal statue on this side is of Edward VII when Prince of Wales, the internal Carrara marble statues are by Giovanni Giuseppe Fontana. He was born in Italy but lived and worked in England, the external sandstone statues are by Achille Simonetti, who in 1874 established a large studio in Balmain. The interior features Australian Red Cedar and ornate tiles, plaster ceilings, the buildings design and furnishings reflect in large part the taste of the first Colonial Secretary, Sir Henry Parkes. The Executive Council Chamber was the venue for meetings that led to Federation. The room is well preserved, with period furniture, paintings of a young Queen Victoria and James Cook. Some of the objects on display were acquired from the Sydney International Exhibition, extensive restorations between 1988 and 2005 were performed with a degree of care that set new standards. It is open to the public, several historical displays interpret the history
48.
Stockholm Palace
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Stockholm Palace or The Royal Palace is the official residence and major royal palace of the Swedish monarch. Stockholm Palace is located on Stadsholmen, in Gamla stan in the capital, the offices of the King, the other members of the Swedish Royal Family, and the offices of the Royal Court of Sweden are located here. The palace is used for representative purposes by the King whilst performing his duties as the head of state. This royal residence has been in the location by Norrström in the northern part of the Gamla stan in Stockholm since the middle of the 13th century when the Tre Kronor Castle was built. In modern times the name relates to the building called Kungliga Slottet, the palace was designed by Nicodemus Tessin the Younger and erected on the same place as the medieval Tre Kronor Castle which was destroyed in a fire on 7 May 1697. Due to the costly Great Northern War which started in 1700, construction of the palace was halted in 1709, when Tessin the Younger died in 1728, the palace was completed by Carl Hårleman who also designed a large part of its Rococo interior. The palace was not ready to use until 1754, when King Adolf Frederick and Queen Louisa Ulrika moved in, as of 2009 the interior of the palace consists of 1,430 rooms of which 660 have windows. The palace contains apartments for the Royal families, representation and festivities such as the State Apartments, the Guest Apartments, the National Library of Sweden was housed in the northeast wing, the Biblioteksflygeln, until 1878. As of 2014 it houses the Bernadotte Library, the Slottsarkivet is housed in the Chancery Wing. In the palace are the offices of the Royal Court of Sweden, the Royal Guards has guarded the palace and the Royal Family since 1523. A comprehensive renovation of the began in 2011, to repair weather damaged parts made from sandstone. The repairs are estimated to cost approx,500 million crowns during a period of 22 years. The first building on site was a fortress with a core tower built in the 13th century by Birger Jarl to defend Lake Mälaren. The fortress grew to a castle, eventually named Tre Kronor for the towers spire top decorated with three crowns. At the beginning of the 17th century, King Gustavus Adolphus made plans for a new royal palace, contemporaneous copperplates from 1654 shows de la Vallée’s idea of a more visible castle on a raised plateau with a connecting bridge over the Norrström. Queen Christina remodelled and embellished the castle extensively, but no new castle was built during her reign. In 1661, he presented the first draft for a conversion of the row which his son, Nicodemus Tessin the Younger, would later rework. A map of the Stadsholmen from the 1650s, illustrates de la Vallées suggestion for the conversion of the old castle, the project also brought about an adjustment of the Slottsbacken, making it partially enclosed by buildings
