1.
Mary Magdalene
–
Mary Magdalene, literally translated as Mary the Magdalene or Mary of Magdala, was a Jewish woman who, according to texts included in the New Testament, traveled with Jesus as one of his followers. She is said to have witnessed Jesus crucifixion and resurrection, within the four Gospels she is named at least 12 times, more than most of the apostles. Based on texts of the early Christian era in the third century, the Gospel of Luke says seven demons had gone out of her, and the longer ending of Mark says Jesus had cast seven demons out of her. She is most prominent in the narrative of the crucifixion of Jesus, John 20 and Mark 16,9 specifically name her as the first person to see Jesus after his resurrection. Ideas that go beyond the presentation of Mary Magdalene as a prominent representative of the women who followed Jesus have been put forward over the centuries. Mary Magdalene is considered to be a saint by the Catholic, Eastern Orthodox, Anglican, other Protestant churches honor her as a heroine of the faith. The Eastern Orthodox churches also commemorate her on the Sunday of the Myrrhbearers, during the Middle Ages, Mary Magdalene was regarded in Western Christianity as a repentant prostitute or promiscuous woman, claims not found in any of the four canonical gospels. Mary was a common name in New Testament times, held by a number of women in the canonical Gospels. Mary Magdalene In addition, there were Mary, the mother of James, in the four Gospels, Mary Magdalene is nearly always distinguished from other women named Mary by adding the Magdalene to her name. This has been interpreted to mean the woman from Magdala, a town on the shore of the Sea of Galilee. Luke 8,2 says that she was actually called Magdalene, in Hebrew מגדל Migdal means tower, fortress, in Aramaic, Magdala means tower or elevated, great, magnificent. Talmudic passages speak of a Miriam hamegadela se’ar nasha, Miriam, the plaiter of womens hair, in the Gospel of John, Mary Magdalene is also referred to simply as Mary at least twice. Gnostic writings use Mary, Mary Magdalene, or Magdalene, Mary Magdalenes name is mostly given as Μαρία, but in Matthew 28,1 as Μαριάμ, both of which are regarded as Greek forms of Miriam, the Hebrew name for Moses sister. The name had very popular during Jesus time due to its connections to the ruling Hasmonean and Herodian dynasties. Primary sources about Mary Magdalene come from the four canonical Gospels and these apocryphal sources are dated from the end of the 1st to the early 4th century, all written well after Saint Marys death. The canonical gospels are dated from the half of the 1st century. In addition, the Gregorian figure of the composite Magdalen developed an elaborate literary, Luke 8,2 and Mark 16,9 say Jesus cleansed her of seven demons. Some interpret this as meaning that he healed her from mental or physical illnesses and that she provided for the apostles suggests she was prosperous
Mary Magdalene
–
Domenico Tintoretto, The Penitent Magdalene, c. 1598
Mary Magdalene
–
Mary in fine clothes, from a German group of the
Entombment of Christ
Mary Magdalene
–
The Magdalene washing the feet of Jesus, surrounded by
grisailles of other scenes from the life of the "composite Magdalen",
Frans Francken II, 1637
Mary Magdalene
–
Detail of Mary kissing the feet of the crucified Jesus, Italian, early 14th century
2.
Mannerist
–
Mannerism is a style in European art that emerged in the later years of the Italian High Renaissance around 1520, lasting until about 1580 in Italy, when the Baroque style began to replace it. Northern Mannerism continued into the early 17th century, stylistically, Mannerism encompasses a variety of approaches influenced by, and reacting to, the harmonious ideals associated with artists such as Leonardo da Vinci, Raphael, and early Michelangelo. Where High Renaissance art emphasizes proportion, balance, and ideal beauty, Mannerism exaggerates such qualities, Mannerism is notable for its intellectual sophistication as well as its artificial qualities. Mannerism favors compositional tension and instability rather than the balance and clarity of earlier Renaissance painting, Mannerism in literature and music is notable for its highly florid style and intellectual sophistication. The definition of Mannerism and the phases within it continue to be a subject of debate among art historians, for example, some scholars have applied the label to certain early modern forms of literature and music of the 16th and 17th centuries. The term is used to refer to some late Gothic painters working in northern Europe from about 1500 to 1530. Mannerism also has been applied by analogy to the Silver Age of Latin literature, the word mannerism derives from the Italian maniera, meaning style or manner. Like the English word style, maniera can either indicate a type of style or indicate an absolute that needs no qualification. Vasari was also a Mannerist artist, and he described the period in which he worked as la maniera moderna, james V. Mirollo describes how bella maniera poets attempted to surpass in virtuosity the sonnets of Petrarch. This notion of bella maniera suggests that artists thus inspired looked to copying and bettering their predecessors, in essence, bella maniera utilized the best from a number of source materials, synthesizing it into something new. As a stylistic label, Mannerism is not easily defined, “High Renaissance” connoted a period distinguished by harmony, grandeur and the revival of classical antiquity. The term Mannerist was redefined in 1967 by John Shearman following the exhibition of Mannerist paintings organised by Fritz Grossmann at Manchester City Art Gallery in 1965. The label “Mannerism” was used during the 16th century to comment on social behaviour, however, for later writers, such as the 17th-century Gian Pietro Bellori, la maniera was a derogatory term for the perceived decline of art after Raphael, especially in the 1530s and 1540s. From the late 19th century on, art historians have used the term to describe art that follows Renaissance classicism. By the end of the High Renaissance, young artists experienced a crisis, no more difficulties, technical or otherwise, remained to be solved. The young artists needed to find a new goal, and they sought new approaches, at this point Mannerism started to emerge. The new style developed between 1510 and 1520 either in Florence, or in Rome, or in both cities simultaneously and this period has been described as a natural extension of the art of Andrea del Sarto, Michelangelo, and Raphael. Michelangelo from an early age had developed a style of his own, one of the qualities most admired by his contemporaries was his terribilità, a sense of awe-inspiring grandeur, and subsequent artists attempted to imitate it
Mannerist
–
In
Parmigianino 's
Madonna with the Long Neck (1534-40), Mannerism makes itself known by elongated proportions, highly stylized poses, and lack of clear perspective.
Mannerist
–
Mannerism role-model:
Laocoön and His Sons, an ancient sculpture, rediscovered in 1506; now in the
Vatican. The artists of Mannerism greatly admired this piece of sculpture.
Mannerist
–
Ignudi from Michelangelo's Sistine Chapel ceiling.
Mannerist
–
The Libyan Sibyl from Michelangelo's Sistine Chapel ceiling.
3.
Raphael
–
Raffaello Sanzio da Urbino, known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running a large workshop and, despite his death at 37. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, the best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings and he was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region and his poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Under them, the court continued as a centre for literary culture, growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a humanistic education however, it is unclear how easily he read Latin. His mother Màgia died in 1491 when Raphael was eight, followed on August 1,1494 by his father, Raphael was thus orphaned at eleven, his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master and he had already shown talent, according to Vasari, who says that Raphael had been a great help to his father. A self-portrait drawing from his teenage years shows his precocity and his fathers workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter, and Luca Signorelli, according to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice despite the tears of his mother. The evidence of an apprenticeship comes only from Vasari and another source, an alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters, the Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a master, that is to say fully trained and his first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was named in the commission
Raphael
–
Presumed Portrait of Raphael
Raphael
–
Self-portrait with a friend (1518 circa),
Louvre,
Paris
Raphael
–
Giovanni Santi, Raphael's father; Christ supported by two angels, c.1490
Raphael
–
The
Mond Crucifixion, 1502–3, very much in the style of
Perugino
4.
Facade
–
A façade is generally one exterior side of a building, usually, but not always, the front. It is a loan word from the French façade, which means frontage or face. In architecture, the façade of a building is often the most important aspect from a design standpoint, from the engineering perspective of a building, the façade is also of great importance due to its impact on energy efficiency. For historical façades, many local zoning regulations or other laws restrict or even forbid their alteration. The word comes from the French foreign loan word façade, which in turn comes from the Italian facciata, from faccia meaning face, the earliest usage recorded by the Oxford English Dictionary is 1656. It was quite common in the Georgian period for existing houses in English towns to be given a fashionable new façade, in modern highrise building, the exterior walls are often suspended from the concrete floor slabs. Examples include curtain walls and precast concrete walls, the façade can at times be required to have a fire-resistance rating, for instance, if two buildings are very close together, to lower the likelihood of fire spreading from one building to another. In general, the systems that are suspended or attached to the precast concrete slabs will be made from aluminium or stainless steel. In recent years more lavish materials such as titanium have sometimes been used, whether rated or not, fire protection is always a design consideration. The melting point of aluminium,660 °C, is reached within minutes of the start of a fire. Firestops for such building joints can be qualified, too, putting fire sprinkler systems on each floor has a profoundly positive effect on the fire safety of buildings with curtain walls. Some building codes also limit the percentage of area in exterior walls. When the exterior wall is not rated, the slab edge becomes a junction where rated slabs are abutting an unrated wall. For rated walls, one may also choose rated windows and fire doors, on a film set and within most themed attractions, many of the buildings are only façades, which are far cheaper than actual buildings, and not subject to building codes. In film sets, they are held up with supports from behind. Within theme parks, they are usually decoration for the interior ride/attraction/restaurant, by Ulrich Knaack, Tillmann Klein, Marcel Bilow and Thomas Auer. ISBN 978-3-7643-7961-2 ISBN 978-3-7643-7962-9 Giving buildings an illusion of grandeur Poole, the article outlines the development of the façade in ecclesiastical architecture from the early Christian period to the Renaissance
Facade
–
Carlo Maderno 's monumental façade of
Saint Peter's basilica in
Vatican City.
Facade
–
The façade of the
Houston Fire Department 's Central Station, c. 1914.
Facade
–
The façade at
Bletchley Park,
United Kingdom is a mix of architectural styles.
Facade
–
Prague.
5.
Michelangelo Merisi da Caravaggio
–
Michelangelo Merisi da Caravaggio was an Italian painter active in Rome, Naples, Malta, and Sicily between 1592 and 1610. His paintings, which combine a realistic observation of the human state, in scarcely a year or so’s sojourn in Naples, he rapidly established himself once more as the most prominent painter, exploiting high-ranking connections. It was not long before these connections gave him an opening to travel on in 1607 to Malta, governed by the Order of Knights Hospitallers, Caravaggio probably hoped that the Knights would provide a channel whereby he could obtain a pardon from the Papacy. Once more his talents made an instant impression, along with the support of noble patrons and his hopes dashed, he contrived to escape and flee once, which before the end of 1608 led to his cancellation from the rolls of the Order. He made for Syracuse in Sicily, where he was received as a guest by a friend from his Roman days, the painter’s face was disfigured and rumours started to circulate of his death. Various commentators have formulated opinions about his state from works supposedly executed at this period. In fact, Caravaggio’s end is shrouded in mystery, mystery that is rendered only denser by conflicting hypotheses, some speak of a natural death from a persistent fever, others of an assassination by emissaries of the Knights of Malta. The loss of the paintings put the deal and his future in doubt, there is evidence that dogged by a serious fever, he was tended by a local religious confraternity near Porto Ercole, then in the Grand Duchy of Tuscany, but succumbed. His death was certified by them as taking place on 18 July 1610, if the story to this point is exact, it is likely he was buried in a paupers’ common grave. As to the place, though this continues to be contested. Famous while he lived, Caravaggio was forgotten almost immediately after his death, despite this, his influence on the new Baroque style that eventually emerged from the ruins of Mannerism was profound. The 20th-century art historian André Berne-Joffroy claimed, What begins in the work of Caravaggio is, quite simply, modern painting. Caravaggio was born in Milan where his father, Fermo, was an administrator and architect-decorator to the Marchese of Caravaggio. His mother, Lucia Aratori, came from a family of the same district. In 1576 the family moved to Caravaggio to escape a plague which ravaged Milan, Caravaggios mother died in 1584, the same year he began his four-year apprenticeship to the Milanese painter Simone Peterzano, described in the contract of apprenticeship as a pupil of Titian. Following his initial training under Simone Peterzano, in 1592 Caravaggio left Milan for Rome, in flight after certain quarrels, in Rome, where there was a demand for paintings to fill the many huge new churches and palazzos being built at the time. It was also a period when the Church was searching for an alternative to Mannerism in religious art that was tasked to counter the threat of Protestantism. Caravaggios innovation was a radical naturalism that combined close observation with a dramatic, even theatrical
Michelangelo Merisi da Caravaggio
–
Chalk portrait of Caravaggio by
Ottavio Leoni, circa 1621.
Michelangelo Merisi da Caravaggio
–
Saint Francis of Assisi in Ecstasy (c.1595)
Michelangelo Merisi da Caravaggio
–
The Musicians, 1595–1596,
Metropolitan Museum of Art,
New York.
Michelangelo Merisi da Caravaggio
–
Basket of Fruit, c. 1595–1596, oil on canvas,
Pinacoteca Ambrosiana,
Milan.
6.
Caravaggio, Lombardy
–
Caravaggio is a town and comune in the province of Bergamo, in Lombardy, Italy,40 kilometres east of Milan. The town received the title of city with a presidential decree on December 22,1954. Caravaggio borders with the municipalities of Bariano, Brignano Gera dAdda, Calvenzano, Capralba, Fornovo San Giovanni, Misano di Gera dAdda, Morengo, Mozzanica, Sergnano and its frazioni are Masano and Vidalengo. The city is best known for the Sanctuary, other sights include, The Gallavresi Palace, now the Town Hall. It dates to the half of the 13th century. Church of San Fermo e Rustico, in Lombard-Gothic style, built in the 13th century over a pre-existing holy edifice, the two aisles were added in 1429. It has a façade in brickwork with a central portal. It is flanked by a 76-metre high bell tower, built in 1500 by governor Giovanni Dandolo, church of Santa Liberata, with frescoes. It has been probably the most important cultural and social spot of the city for decades before being destroyed at the end of the Second World War, in the area it was considered like a little Teatro alla Scala. Giovanni Mangone, 16th century architect and sculptor, michelangelo Merisi o Amerighi da Caravaggio, Italian Baroque painter, who is named after the town. Polidoro da Caravaggio, Renaissance artist Riccardo Montolivo, footballer Caravaggio has a station on the Treviglio–Cremona line. Porto Ercole Valletta Media related to Caravaggio at Wikimedia Commons Caravaggio official website
Caravaggio, Lombardy
–
The Porta Nuova gate to the historical center.
Caravaggio, Lombardy
–
Church of San Fermo e Rustico
7.
Caravaggio, Italy
–
Caravaggio is a town and comune in the province of Bergamo, in Lombardy, Italy,40 kilometres east of Milan. The town received the title of city with a presidential decree on December 22,1954. Caravaggio borders with the municipalities of Bariano, Brignano Gera dAdda, Calvenzano, Capralba, Fornovo San Giovanni, Misano di Gera dAdda, Morengo, Mozzanica, Sergnano and its frazioni are Masano and Vidalengo. The city is best known for the Sanctuary, other sights include, The Gallavresi Palace, now the Town Hall. It dates to the half of the 13th century. Church of San Fermo e Rustico, in Lombard-Gothic style, built in the 13th century over a pre-existing holy edifice, the two aisles were added in 1429. It has a façade in brickwork with a central portal. It is flanked by a 76-metre high bell tower, built in 1500 by governor Giovanni Dandolo, church of Santa Liberata, with frescoes. It has been probably the most important cultural and social spot of the city for decades before being destroyed at the end of the Second World War, in the area it was considered like a little Teatro alla Scala. Giovanni Mangone, 16th century architect and sculptor, michelangelo Merisi o Amerighi da Caravaggio, Italian Baroque painter, who is named after the town. Polidoro da Caravaggio, Renaissance artist Riccardo Montolivo, footballer Caravaggio has a station on the Treviglio–Cremona line. Porto Ercole Valletta Media related to Caravaggio at Wikimedia Commons Caravaggio official website
Caravaggio, Italy
–
The Porta Nuova gate to the historical center.
Caravaggio, Italy
–
Church of San Fermo e Rustico
8.
Lombardy
–
Lombardy is one of the twenty administrative regions of Italy, in the northwest of the country, with an area of 23,844 square kilometres. Milan, Lombardys capital, is the second-largest city and the largest metropolitan area in Italy, the word Lombardy comes from Lombard, which in turn is derived from Late Latin Longobardus, Langobardus, derived from the Proto-Germanic elements *langaz + *bardaz, equivalent to long beard. Some sources derive the second element instead from Proto-Germanic *bardǭ, *barduz, Lombardy referred during the early Middle Ages to the entire territory of Italy ruled by the Lombards, a Germanic tribe who conquered much of the Italian peninsula beginning in the 6th century. During the late Middle Ages, the term shifted meaning and was used to identify the whole of Northern Italy, with a surface of 23,861 km2, Lombardy is the 4th largest region of Italy. It is bordered by Switzerland and by the Italian regions of Trentino-Alto Adige/Südtirol and Veneto, Emilia-Romagna, three distinct natural zones can be fairly easily distinguished in the Lombardy region, mountains, hills and plains – the latter being divided in Alta and Bassa. Inconsistent with the three distinctions above made is the subregion of Oltrepò Pavese, formed by the Apennine foothills beyond the Po River. The mighty Po river marks the border of the region for a length of about 210 km. In its progress it receives the waters of the Ticino River, the other streams which contribute to the great river are, the Olona, the Lambro, the Adda, the Oglio and the Mincio. The numerous lakes of Lombardy, all of glacial origin, lie in the northern highlands, from west to east these are Lake Maggiore, Lake Lugano, Lake Como, Lake Iseo, Lake Idro, then Lake Garda, the largest in Italy. A minor mountainous area, the Oltrepò Pavese, lies south of the Po, in the plains, intensively cultivated for centuries, little of the original environment remains. The most commons trees are elm, alder, sycamore, poplar, willow, in the area of the foothills lakes, however, grow olive trees, cypresses and larches, as well as varieties of subtropical flora such as magnolias, azaleas, acacias. Numerous species of flora in the Prealpine area include some kinds of saxifrage, the Lombard garlic, groundsels bellflowers. The highlands are characterized by the vegetation of the whole range of the Italian Alps. At a lower levels oak woods or broadleafed trees grow, on the slopes beech trees grow at the lowest limits. Shrubs such as rhododendron, dwarf pine and juniper are native to the summital zone, Lombardy has a wide array of climates, due to local variances in elevation, proximity to inland water basins, and large metropolitan areas. In addition, there is a seasonal temperature variation. A peculiarity of the climate is the thick fog that covers the plains between October and February. In the Alpine foothills, characterised by an Oceanic climate, numerous lakes exercise a mitigating influence, in the hills and mountains, the climate is humid continental
Lombardy
–
Mount Adamello
Lombardy
–
Lombardy Lombardia
Lombardy
–
Bridge over the
Ticino river
Lombardy
–
The
Alpine ibex (Capra ibex)
9.
Vasari
–
Vasari was born in Arezzo, Tuscany. Recommended at an age by his cousin Luca Signorelli, he became a pupil of Guglielmo da Marsiglia. He was befriended by Michelangelo whose painting style would influence his own, in 1529, he visited Rome where he studied the works of Raphael and other artists of the Roman High Renaissance. Vasaris own Mannerist paintings were admired in his lifetime than afterwards. In 1547 he completed the hall of the chancery in Palazzo della Cancelleria in Rome with frescoes that received the name Sala dei Cento Giorni and he was consistently employed by members of the Medici family in Florence and Rome, and worked in Naples, Arezzo and other places. He also helped to organize the decoration of the Studiolo, now reassembled in the Palazzo Vecchio, aside from his career as a painter, Vasari was also successful as an architect. In Florence, Vasari also built the long passage, now called Vasari Corridor, the enclosed corridor passes alongside the River Arno on an arcade, crosses the Ponte Vecchio and winds around the exterior of several buildings. He also renovated the medieval churches of Santa Maria Novella and Santa Croce, at both he removed the original rood screen and loft, and remodelled the retro-choirs in the Mannerist taste of his time. In Santa Croce, he was responsible for the painting of The Adoration of the Magi which was commissioned by Pope Pius V in 1566 and it was recently restored, before being put on exhibition in 2011 in Rome and in Naples. Eventually it is planned to return it to the church of Santa Croce in Bosco Marengo, in 1562 Vasari built the octagonal dome on the Basilica of Our Lady of Humility in Pistoia, an important example of high Renaissance architecture. In Rome, Vasari worked with Giacomo Barozzi da Vignola and Bartolomeo Ammanati at Pope Julius IIIs Villa Giulia, the Lives also included a novel treatise on the technical methods employed in the arts. The book was rewritten and enlarged in 1568, with the addition of woodcut portraits of artists. The work has a consistent and notorious bias in favour of Florentines, and tends to attribute to them all the developments in Renaissance art – for example, Venetian art in particular, is systematically ignored in the first edition. Between the first and second editions, Vasari visited Venice and while the edition gave more attention to Venetian art. Vasaris biographies are interspersed with amusing gossip, with a few exceptions, however, Vasaris aesthetic judgement was acute and unbiased. He did not research archives for exact dates, as art historians do, and naturally his biographies are most dependable for the painters of his own generation. Modern criticism – with new materials opened up by research – has corrected many of his traditional dates and attributions. Vasari includes a sketch of his own biography at the end of the Lives, according to the historian Richard Goldthwaite, Vasari was one of the earliest authors to use the term competition in its economic sense
Vasari
–
Vasari's self-portrait
Vasari
–
Giorgio Vasari, Italian humanists, Tuscan Poets: Dante, Petrarch, Guido Cavalcanti, Boccaccio, Cino da Pistoia and Guittone d'Arezzo
Vasari
–
Giorgio Vasari, The Garden of Gethsemane
Vasari
–
The Uffizi Loggia.
10.
Vatican Palace
–
The Apostolic Palace is the official residence of the Pope, which is located in Vatican City. It is also known as the Papal Palace, Palace of the Vatican and Vatican Palace, the Vatican itself refers to the building as the Palace of Sixtus V in honor of Pope Sixtus V. The modern tourist can see these last and other parts of the palace, the Scala Regia can be seen into from one end but not entered. In the fifth century, Pope Symmachus built a palace close to the Old St. Peters Basilica which served an alternative residence to the Lateran Palace. The construction of a fortified palace was sponsored by Pope Eugene III. The Vatican Palace had fallen into disrepair from lack of upkeep, in 1447, Pope Nicholas V razed the ancient fortified palace of Eugene III to erect a new building, the current Apostolic Palace. In the 15th century, the Palace was placed under the authority of a prefect and this position of Apostolic Prefect lasted from the 15th century till the 1800s, when the Papal States fell into economic difficulties. In 1884, when this post was reviewed in light of saving money, the major additions and decorations of the palace are the work of the following popes for 150 years. In the 20th century, Pope Pius XI built an art gallery. Construction of the Papal Palace at the Vatican in Vatican City, covering 162, 000m squared, it contains the Papal Apartments, offices of the Roman Catholic Church and Holy See, chapels, Vatican Library, museums and art galleries. The Apostolic Palace is run by the Prefecture of the Pontifical Household, the palace is more accurately a series of self-contained buildings within the well-recognized outer structure which is arranged around the Courtyard of Sixtus V. It is located northeast of St Peters Basilica and adjacent to the Bastion of Nicholas V, the Apostolic Palace houses both residential and support offices of various functions as well as administrative offices not focused on the life and functions of the Pope himself. Perhaps the best known of the Palace chapels is the Sistine Chapel named in honor of Sixtus IV and it is famous for its decoration that was frescoed throughout by Renaissance artists including Michelangelo, Sandro Botticelli, Pietro Perugino, Pinturicchio, Domenico Ghirlandaio, and others. One of the functions of the chapel is as a venue for the election of each successive Pope in a conclave of the College of Cardinals. In this closed-door election, the cardinals choose a successor to the first pope, St. Peter and this suite of rooms is famous for its frescos by a large team of artists working under Raphael. They were originally intended as a suite of apartments for Pope Julius II and he commissioned Raphael, then a relatively young artist from Urbino, and his studio in 1508 or 1509 to redecorate the existing interiors of the rooms entirely. It was possibly Julius intent to outshine the apartments of his predecessor Pope Alexander VI and they are on the third floor, overlooking the south side of the Belvedere Courtyard. After the death of Julius in 1513, with two rooms frescoed, Pope Leo X continued the program, following Raphaels death in 1520, his assistants Gianfrancesco Penni, Giulio Romano and Raffaellino del Colle finished the project with the frescoes in the Sala di Costantino
Vatican Palace
–
A view of the
Papal Apartments from
Saint Peter's Square
Vatican Palace
–
The Portone di Bronzo at the Vatican Apostolic Palace entrance.
Vatican Palace
–
A model of the palace in the
Vatican Museums. The buildings are arranged around a central courtyard.
Vatican Palace
–
Under the patronage of
Julius II, Michelangelo painted the
chapel ceiling between 1508 and 1512.
11.
Loggia
–
A loggia is an architectural feature which is a covered exterior gallery or corridor usually on an upper level, or sometimes ground level. The outer wall is open to the elements, usually supported by a series of columns or arches, Loggias can be located either on the front or side of a building and are not meant for entrance but as an out-of-door sitting room. From the early Middle Ages, nearly every Italian comune had an arched loggia in its main square which served as a symbol of communal justice and government. The main difference between a loggia and a portico is the role within the layout of the building. The portico allows entrance to the inside from the exterior and can be found on vernacular, the loggia is accessed only from inside and intended as a place for leisure. Thus, it is mainly on noble residences and public buildings. A classic use of both is that represented in the Mosaics of Basilica of Sant Apollinare Nuovo of the Royal Palace, a double loggia occurs when a loggia is located on an upper floor level above a loggia on the floor beneath. In Italian architecture, a loggia often takes the form of a small, often ornate, summer house built on the roof of a residence to enjoy cooling winds and they were especially popular in the 17th century and are prominent in Rome and Bologna, Italy. Grinnell College in Grinnell, Iowa, contains three sets of dorms connected by loggias. In the town center of Chester in the United Kingdom, a number of timber-framed buildings dating from the Tudor to Victorian periods have first-floor loggias called the Chester Rows, in Russia, a loggia can be a recessed balcony on a residential apartment building. A loggia was added to the Sydney Opera House in 2006, at the archeological site of Hagia Triada on the Greek island of Crete, several loggias constructed around 1400 BC have been located and whose column bases still remain. Peristyle Portico Veranda Curl, James Stevens, a Dictionary of Architecture and Landscape Architecture. The dictionary definition of loggia at Wiktionary Media related to Loggias at Wikimedia Commons
Loggia
–
The
Renaissance three-storey
arcade loggia of the
City Hall in
Poznań served representative and communication purposes.
Loggia
–
Villa Godi by
Palladio. The portico is the focal point in the center with loggias used at each side of the structure as a corridor.
Loggia
–
International Gothic Loggia of the
Buonconsiglio Castle Trento Italy.
Loggia
–
The loggia of the Edificio La Inmobiliaria in Buenos Aires, Argentina.
12.
Raphael Rooms
–
The four Raphael Rooms form a suite of reception rooms in the palace, the public part of the papal apartments in the Palace of the Vatican. They are famous for their frescoes, painted by Raphael and his workshop, together with Michelangelos ceiling frescoes in the Sistine Chapel, they are the grand fresco sequences that mark the High Renaissance in Rome. The Stanze, as they are called, were originally intended as a suite of apartments for Pope Julius II. He commissioned Raphael, then a young artist from Urbino. It was possibly Julius intent to outshine the apartments of his predecessor Pope Alexander VI and they are on the third floor, overlooking the south side of the Belvedere Courtyard. After the death of Julius in 1513, with two rooms frescoed, Pope Leo X continued the program, following Raphaels death in 1520, his assistants Gianfrancesco Penni, Giulio Romano and Raffaellino del Colle finished the project with the frescoes in the Sala di Costantino. The scheme of the works is as follows, The largest of the rooms is the Sala di Costantino. Its paintings were not begun until Pope Julius and, indeed Raphael himself, had died, the room is dedicated to the victory of Christianity over paganism. Its frescoes represent this struggle from the life of the Roman Emperor Constantine, because they are not by the master himself, the frescos are less famous than works in the neighboring rooms. Continuing a long tradition of flattery, Raphaels assistants gave the features of the current pontiff, Clement VII, the fresco of The Vision of the Cross depicts the legendary story of a great cross appearing to Constantine as he marched to confront his rival Maxentius. The vision in the sky is painted with the words in Greek Εν τούτω νίκα written next to it, the Battle of Milvian Bridge shows the battle that took place on October 28,312, following Constantines vision. The next room, going from East to West, is the Stanza di Eliodoro, painted between 1511 and 1514, it takes its name from one of the paintings. The theme of this private chamber – probably an audience room – was the protection granted by Christ to the Church. The four paintings are, The Expulsion of Heliodorus from the Temple, The Mass at Bolsena, The Meeting of Pope Leo I and Attila, Raphaels style changed here from the Stanza della Segnatura. Instead of the images of the Popes library, he had dramatic narratives to portray. The composition is more dramatic than Raphaels earlier frescoes in the Stanza della Segnatura. Although the focal point is the figure of the priest at prayer, Heliodorus. At the left Julius II, carried by the Swiss Guard in a chair and his inclusion here refers to his battles to prevent secular leaders from usurping papal territories
Raphael Rooms
–
Adam and Eve, ceiling fresco from the Stanza della Segnatura.
Raphael Rooms
–
Room of the Segnatura: 1.
The School of Athens, 2.
Cardinal and Theological Virtues, 3.
Disputation of the Holy Sacrament, 4.
The Parnassus and 5. Ceiling.
Raphael Rooms
Raphael Rooms
13.
Sgraffito
–
The Italian past participle sgraffiato is also used, especially of pottery. Sgraffito and sgraffiti come from the Italian word graffiare, ultimately from the Greek γράφειν, related terms include graffito and graffiti. Sgraffito on walls has been used in Europe since classical times, it was popularized in Italy in the 15th and 16th centuries, in combination with ornamental decoration these techniques formed an alternative to the prevailing painting of walls. Of late there has been a growing interest in this old technique. The technical procedure is simple, and the procedures are similar to the painting of frescoes. Most of their work has now weathered away, during the 16th century, the technique was brought to Germany by the master builders of the Renaissance and taken up with enthusiasm. As a simple art, old examples of sgraffito can be found in the wide surroundings of Wetterau. In Germany, the technique is most predominant in Bavaria, the use of sgraffito was common in the creation of housing façades for the purposes of advertising. The technique was used in Thuringia, the Engadin, Austria and Transylvania. In Catalonia, sgraffito was implemented in the early 20th century by the Noucentista neo-classical architects, another use of sgraffito is seen in its simplified painting technique. One coat of paint is left to dry on a canvas or sheet of paper, another coat of a different color is painted on top of the first layer. The artist then uses a knife or oil stick to scratch out a design. This can also be achieved by using oil pastels for the first layer, sometimes a first coat of paint is not needed, and the wet coat scraped back reveals the canvas. This cannot be achieved by using the oil pastel method and this technique is often used in art classes to teach the sgraffito technique to novice art students. The English artist Heywood Sumner has been identified as this eras pioneer of the technique, for example his work at the 1892 St Marys Church, Sunbury, Surrey. Sumners work is sgraffito per se, scratched plaster, but the term has come to encompass a variety of techniques for producing exterior graphic decoration, St. Benets Chaplaincy at Queen Mary, University of London
Sgraffito
–
Palazzo Massimo Istoriato: a fading palace facade in
Rome by
Polidoro da Caravaggio and
Maturino da Firenze, 1523.
Sgraffito
–
Facade of a house in
Kraków
Sgraffito
–
Sgraffito decoration of ceramics, in the brown slip on the rim
Sgraffito
–
Palazzo Nasi,
Florence
14.
Sack of Rome (1527)
–
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
Sack of Rome (1527)
–
The sack of Rome in 1527, by
Johannes Lingelbach, 17th century (private collection).
Sack of Rome (1527)
–
Sack of Rome. 6 May 1527. By
Martin van Heemskerck (1527).
Sack of Rome (1527)
–
Sack of Rome, by Francisco Javier Amérigo Aparicio, 1884
15.
Charles V, Holy Roman Emperor
–
Charles V was ruler of both the Spanish Empire from 1516 and the Holy Roman Empire from 1519, as well as of the Habsburg Netherlands from 1506. He voluntarily stepped down from these and other positions by a series of abdications between 1554 and 1556, through inheritance, he brought together under his rule extensive territories in western, central, and southern Europe, and the Spanish colonies in the Americas and Asia. As a result, his domains spanned nearly four square kilometers and were the first to be described as the empire on which the sun never sets. Charles was the heir of three of Europes leading dynasties, the Houses of Valois-Burgundy, Habsburg, and Trastámara and he inherited the Burgundian Netherlands and the Franche-Comté as heir of the House of Valois-Burgundy. From his own dynasty, the Habsburgs, he inherited Austria and he was also elected to succeed his Habsburg grandfather, Maximilian I, as Holy Roman Emperor, a title held by the Habsburgs since 1440. Charles was the first king to rule Castile and Aragon simultaneously in his own right, the personal union, under Charles, of the Holy Roman Empire with the Spanish Empire resulted in the closest Europe would come to a universal monarchy since the death of Louis the Pious. France recovered and the wars continued for the remainder of Charless reign, enormously expensive, they led to the development of the first modern professional army in Europe, the Tercios. The struggle with the Ottoman Empire was fought in Hungary and the Mediterranean, after seizing most of eastern and central Hungary in 1526, the Ottomans’ advance was halted at their failed Siege of Vienna in 1529. A lengthy war of attrition, conducted on his behalf by his younger brother Ferdinand, in the Mediterranean, although there were some successes, Charles was unable to prevent the Ottomans’ increasing naval dominance and the piratical activity of the Barbary Corsairs. Charles opposed the Reformation and in Germany he was in conflict with the Protestant Princes of the Schmalkaldic League who were motivated by religious and political opposition to him. Once the rebellions were quelled the essential Castilian and Burgundian territories remained mostly loyal to Charles throughout his rule, Charles’s Spanish dominions were the chief source of his power and wealth, and they became increasingly important as his reign progressed. In the Americas, Charles sanctioned the conquest by Castillian conquistadors of the Aztec, Castillian control was extended across much of South and Central America. The resulting vast expansion of territory and the flows of South American silver to Castile had profound long term effects on Spain. Charles was only 56 when he abdicated, but after 34 years of rule he was physically exhausted and sought the peace of a monastery. Upon Charles’s abdications, the Holy Roman Empire was inherited by his younger brother Ferdinand, the Spanish Empire, including the possessions in the Netherlands and Italy, was inherited by Charles’s son Philip II. The two empires would remain allies until the 18th century, Charles was born in 1500 as the eldest son of Philip the Handsome and Joanna of Castile in the Flemish city of Ghent, which was part of the Habsburg Netherlands. The culture and courtly life of the Burgundian Low Countries were an important influence in his early life and he was tutored by William de Croÿ, and also by Adrian of Utrecht. He also gained a decent command of German, though he never spoke it as well as French, a witticism sometimes attributed to Charles is, I speak Spanish to God, Italian to women, French to men and German to my horse
Charles V, Holy Roman Emperor
–
Charrles V by
Titian, 1548.
Alte Pinakothek, Munich, Germany
Charles V, Holy Roman Emperor
–
Signature
Charles V, Holy Roman Emperor
–
Copper coin "korte" with portrait of Charles V, struck in Antwerp, 1548
Charles V, Holy Roman Emperor
–
A young Charles V, by
Bernard van Orley,
Louvre Museum, Paris, France
16.
Charles III, Duke of Bourbon
–
He was also the Constable of France from 1515 to 1521. Also known as the Constable of Bourbon, he was the last of the feudal lords to oppose the King of France himself. He commanded the Imperial troops of Holy Roman Emperor Charles V in what known as the Sack of Rome in 1527. Charles was born at Montpensier, the son of Gilbert. Clara was a daughter of Federico I Gonzaga, Marquess of Mantua, Gilbert died in 1496, and his elder son Louis II, Count of Montpensier died unwed in 1501, leaving Charles the heir to the familys titles and extensive lands in Auvergne. On 10 May 1505, Charles married his second cousin, Suzanne. It was a match, intended to settle the question of succession to the Bourbon estates, which had arisen because Suzannes father. Charles was the scion of the next-senior Bourbon line, and thus the heir male of the House of Bourbon, with the marriage, Charless position as Duke of Bourbon became undisputed. However, Francis was uneasy with the proud and wealthy duke, the death of his wife in 1521 provoked the final breach between Charles and Francis I. Suzanne had left all her estates to Charles, but the Kings mother, Louise of Savoy, claimed them as the heir in proximity in blood, due to their previous entailments. She proposed to settle the question by marrying Charles, he refused the proposal because Louise was over forty-five years of age, on behalf of his mother, Francis confiscated a portion of the Bourbon estates before the lawsuit had even been opened. Seeing no hope of prevailing, Charles made an agreement to betray his King. The Emperor, the Constable, and King Henry VIII of England devised a plan to partition France. This however came to nothing because the plot was discovered, Charles was stripped of his offices and he fled into Italy in 1523. In 1524, he drove the French under Bonnivet from Lombardy, the Emperor gave Duke Charles command of a mixed Spanish-German army sent to chastise Pope Clement VII. He neglected to supply this army with money or food, though Clement arranged a truce with the Emperor, the army continued its advance, reaching Rome in May 1527. By Suzanne, Charles was the father of twins and of Francis of Bourbon, however, the county of Montpensier and dauphinate of Auvergne were later returned to his sister Louise
Charles III, Duke of Bourbon
–
An engraving of Charles, Duke of Bourbon
Charles III, Duke of Bourbon
–
A 19th-century portrait of Charles III, Duke of Bourbon, by
Bernard Gaillot
Charles III, Duke of Bourbon
–
A supposed portrait of the Connetable de Bourbon, by
Jean Clouet
17.
Naples
–
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
Naples
–
Naples Napoli
Naples
–
Ancient map of the Bay of Naples area from Vatican Museum
Naples
–
A scene featuring the
siren Parthenope, the mythological founder of Naples.
Naples
–
The
Gothic Battle of Mons Lactarius on
Vesuvius, painted by
Alexander Zick.
18.
Messina
–
Messina is the capital of the Italian Metropolitan City of Messina. It is located near the northeast corner of Sicily, at the Strait of Messina, opposite Villa San Giovanni on the mainland, according to Eurostat the FUA of the metropolitan area of Messina has, in 2014,277,584 inhabitants. The citys main resources are its seaports, cruise tourism, commerce, the city has been a Roman Catholic Archdiocese and Archimandrite seat since 1548 and is home to a locally important international fair. The city has the University of Messina, founded in 1548 by Ignatius of Loyola, Messina has a light rail system, Tranvia di Messina, that was opened on 3 April 2003. This line is 7.7 kilometres and links the central railway station with the city centre. The city is home to a significant Greek-speaking minority, rooted in its history, founded by Greek colonists in the 8th century BC, Messina was originally called Zancle, from the Greek ζάγκλον meaning scythe because of the shape of its natural harbour. A comune of its Metropolitan City, located at the entrance of the Strait of Messina, is to this day called Scaletta Zanclea. In the early 5th century BC, Anaxilas of Rhegium renamed it Messene in honour of the Greek city Messene, the city was sacked in 397 BC by the Carthaginians and then reconquered by Dionysius I of Syracuse. In 288 BC the Mamertines seized the city by treachery, killing all the men, the city became a base from which they ravaged the countryside, leading to a conflict with the expanding regional empire of Syracuse. Hiero II, tyrant of Syracuse, defeated the Mamertines near Mylae on the Longanus River, carthage assisted the Mamertines because of a long-standing conflict with Syracuse over dominance in Sicily. When Hiero attacked a second time in 264 BC, the Mamertines petitioned the Roman Republic for an alliance, although initially reluctant to assist lest it encourage other mercenary groups to mutiny, Rome was unwilling to see Carthaginian power spread further over Sicily and encroach on Italy. Rome therefore entered into an alliance with the Mamertines, in 264 BC, Roman troops were deployed to Sicily, the first time a Roman army acted outside the Italian Peninsula. At the end of the First Punic War it was a city allied with Rome. In Roman times Messina, then known as Messana, had an important pharos, Messana was the base of Sextus Pompeius, during his war against Octavian. In 1548 St. Ignatius founded there the first Jesuit college in the world, the Christian ships that won the Battle of Lepanto left from Messina, the Spanish author Miguel de Cervantes, who took part in the battle, recovered for some time in the Grand Hospital. The city reached the peak of its splendour in the early 17th century, under Spanish domination, in 1674 the city rebelled against the foreign garrison. A massive fortress was built by the occupants and Messina decayed steadily, in 1743,48,000 died of plague in the city. In 1783, an earthquake devastated much of the city, and it took decades to rebuild, in 1847 it was one of the first cities in Italy where Risorgimento riots broke out
Messina
–
Frederick II age coins.
Messina
–
An image of the
1908 Messina earthquake aftermath.
Messina
–
Unexecuted
Beaux-Arts plan for the reconstruction of the port, 1909.
19.
Crucifixion
–
It is principally known from classical antiquity, but remains in occasional use in some countries. The crucifixion of Jesus is a narrative in Christianity. Ancient Greek has two verbs for crucify, ana-stauro, from stauros, stake, and apo-tumpanizo crucify on a plank, in earlier pre-Roman Greek texts anastauro usually means impale. New Testament Greek uses four verbs, three of them based upon stauros, usually translated cross, prospegnumi, to fix or fasten to, impale, crucify occurs only once at the Acts of the Apostles 2,23. The English term cross derives from the Latin word crux, the Latin term crux classically referred to a tree or any construction of wood used to hang criminals as a form of execution. The term later came to specifically to a cross. The English term crucifix derives from the Latin crucifixus or cruci fixus, past participle passive of crucifigere or cruci figere, Crucifixion was often performed in order to terrorize and dissuade its witnesses from perpetrating particularly heinous crimes. Victims were left on display after death as warnings to others who might attempt dissent, Crucifixion was usually intended to provide a death that was particularly slow, painful, gruesome, humiliating, and public, using whatever means were most expedient for that goal. Crucifixion methods varied considerably with location and time period, in some cases, the condemned was forced to carry the crossbeam to the place of execution. A whole cross would weigh well over 135 kg, but the crossbeam would not be quite as burdensome, weighing around 45 kg. Upright posts would presumably be fixed permanently in place. Objects used in the crucifixion of criminals, such as nails, were sought as amulets with perceived medicinal qualities, while a crucifixion was an execution, it was also a humiliation, by making the condemned as vulnerable as possible. Although artists have depicted the figure on a cross with a loin cloth or a covering of the genitals. Writings by Seneca the Younger state some victims suffered a stick forced upwards through their groin, despite its frequent use by the Romans, the horrors of crucifixion did not escape mention by some of their eminent orators. Frequently, the legs of the executed were broken or shattered with an iron club, an act called crurifragium. This act hastened the death of the person but was meant to deter those who observed the crucifixion from committing offenses. The gibbet on which crucifixion was carried out could be of many shapes, at times the gibbet was only one vertical stake, called in Latin crux simplex. This was the simplest available construction for torturing and killing the condemned, frequently, however, there was a cross-piece attached either at the top to give the shape of a T or just below the top, as in the form most familiar in Christian symbolism
Crucifixion
–
Protester tied to a cross in Washington D.C, photography by Oliver F. Atkins (1970)
Crucifixion
Crucifixion
–
Crucifixion of Jesus by
Marco Palmezzano (Uffizi,
Florence), painting c. 1490
Crucifixion
–
Prisoner kneeling on chains, thumbs supporting arms, photographic print on
stereo card,
Mukden, China (c 1906).
20.
Museo di Capodimonte
–
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
Museo di Capodimonte
–
Palace of Capodimonte
Museo di Capodimonte
–
Toulouse Altarpiece by
Simone Martini. c. 1317
Museo di Capodimonte
–
Crucifixion by
Masaccio. c. 1426
Museo di Capodimonte
–
Portrait of Francesco Gonzaga by
Andrea Mantegna. c. 1461
21.
National Gallery, London
–
The National Gallery is an art museum in Trafalgar Square in the City of Westminster, in Central London. Founded in 1824, it houses a collection of over 2,300 paintings dating from the century to 1900. The Gallery is a charity, and a non-departmental public body of the Department for Culture, Media. Its collection belongs to the public of the United Kingdom and entry to the collection is free of charge. It is among the most visited art museums in the world, after the Musée du Louvre, the British Museum, unlike comparable museums in continental Europe, the National Gallery was not formed by nationalising an existing royal or princely art collection. It came into being when the British government bought 38 paintings from the heirs of John Julius Angerstein, after that initial purchase the Gallery was shaped mainly by its early directors, notably Sir Charles Lock Eastlake, and by private donations, which comprise two-thirds of the collection. It used to be claimed that this was one of the few national galleries that had all its works on permanent exhibition, the present building, the third to house the National Gallery, was designed by William Wilkins from 1832 to 1838. Only the façade onto Trafalgar Square remains essentially unchanged from this time, wilkinss building was often criticised for the perceived weaknesses of its design and for its lack of space, the latter problem led to the establishment of the Tate Gallery for British art in 1897. The Sainsbury Wing, an extension to the west by Robert Venturi, the current Director of the National Gallery is Gabriele Finaldi. The late 18th century saw the nationalisation of royal or princely art collections across mainland Europe, great Britain, however, did not emulate the continental model, and the British Royal Collection remains in the sovereigns possession today. In 1777 the British government had the opportunity to buy an art collection of international stature, the MP John Wilkes argued for the government to buy this invaluable treasure and suggested that it be housed in a noble gallery. The twenty-five paintings from that now in the Gallery, including NG1, have arrived by a variety of routes. This offer was declined and Bourgeois bequeathed the collection to his old school, Dulwich College, the collection opened in Britains first purpose-built public gallery, the Dulwich Picture Gallery, in 1814. The British Institution, founded in 1805 by a group of aristocratic connoisseurs, the members lent works to exhibitions that changed annually, while an art school was held in the summer months. However, as the paintings that were lent were often mediocre, some resented the Institution. One of the Institutions founding members, Sir George Beaumont, Bt, in 1823 another major art collection came on the market, which had been assembled by the recently deceased John Julius Angerstein. Angerstein was a Russian-born émigré banker based in London, his collection numbered 38 paintings, including works by Raphael, on 1 July 1823 George Agar Ellis, a Whig politician, proposed to the House of Commons that it purchase the collection. The appeal was given added impetus by Beaumonts offer, which came with two conditions, that the government buy Angersteins collection, and that a building was to be found
National Gallery, London
National Gallery, London
–
Location within Central London
National Gallery, London
–
The Raising of Lazarus by
Sebastiano del Piombo, from the collection of
John Julius Angerstein. This became the founding collection of the National Gallery in 1824. The painting has the
accession number NG1, making it officially the first painting to enter the Gallery.
National Gallery, London
–
100
Pall Mall, the home of the National Gallery from 1824 to 1834.
22.
Pietro Santi Bartoli
–
Pietro Santi Bartoli was an Italian engraver, draughtsman and painter. He engraved many Roman monuments, publishing in Admiranda Romanorum Antiquitatum, about 1660, he excavated the Domus Aurea, of which he published drawings. As a draughtsman, Bartoli reproduced the Codice Virgiliano in 55 plates, for Massimo, he also did drawings of ancient Roman paintings and mosaics. Later, he lived in Paris, where he was introduced at the court of Louis XIV, in 1699, with the engraver Domenico de Rossi, he produced Romanae Magnitudinis Monumenta, a later edition of the 1637 Antiquae Urbis Splendor by Giacomo Lauro. Bartoli adapted 138 of Lauros original plates and engraved 16 new ones, among his works are, Admiranda Romanarum Antiquitatum ac veteris Sculptura vestigia,81 plates. Veteres arcus Augustorum triumphis insignes,52 plates, colonna di Marco Aurelio,78 plates. Colonna Traiana Eretta Dal Senato, E Popolo Romano Allimperatore Traiano with Alfonso Ciacconi,128 plates, Pitture Antiche Di Roma, E Del Sepolcro De Nasoni,123 plates. Le Pitture antiche delle grotto di Roma, assisted by F. Bartoli,94 plates,1680 &1706, veterum lucernae sepulcrales, collectae ex cavernis et specubus subterraneis, with Alexander Duke and Giovanni Pietro Bellori 1691 &1704,119 plates. Scenes from the life of St. Peter, after Lanfranco, subjects from Raphaels Bible,42 plates. Grottesques, after Raphael, inscribed Parerya atque ornamenta in Vaticano,43 plates, antiquissimi Virgiliani Codicis fragmenta et picturae, ex Biblioteca Vaticano, Birth of the Virgin, after Albani. Virgin and Child in the Clouds, after Ludovico Carracci, coriolanus and his Family and San Carlo Borromeo led by an Angel, after Annibale Carracci. Daniel in the Lions Den, after Pietro da Cortona, adoration of the Magi, after Raphael, in three sheets. Jupiter nursed by Amalthea, Jupiter hurling thunderbolts at Giants, Hylas carried off by Nymphs, Sophonisba before Masinissa, Continence of Scipio, St. Bernard enchaining the Devil, Theatre erected in St. Peters for a Canonization, do. The sepulchral Monument of Pope Urban VIII, walter Armstrong & Robert Edmund Graves, ed. Dictionary of Painters and Engravers, Biographical and Critical, york St. #4, Covent Garden, London, Original from Fogg Library, Digitized May 18,2007, George Bell and Sons. Alfredo Petrucci, «BARTOLI, Pietro Santi », in, Dizionario Biografico degli Italiani, Vol.6, Roma, Istituto della Enciclopedia Italiana,1964. Mirco Modolo, Dal clivus Scauri al vicus Capitis Africae, gli affreschi della vigna Guglielmina a Roma nei disegni dei Bartoli, in Bollettino dArte,8, Ottobre-dicembre 2010, pp. 1–20
Pietro Santi Bartoli
–
Pietro Santi Bartoli, engraving Nero Circus, 1699.
23.
Cherubino Alberti
–
Cherubino Alberti, also called Borghegiano, was an Italian engraver and painter. He is most often remembered for the Roman frescoes completed with his brother Giovanni Alberti during the papacy of Clement VIII and he was most prolific as an engraver of copper plates. Alberti was born in 1553 in Borgo San Sepolcro, Tuscany and he was the second son of Alberto Alberti, a carver and sculptor, and his brothers Alessandro Alberti and Giovanni Alberti were artists as well. Alberti studied in Rome under Cornelius Cort and worked as an engraver and his early influences included Raphael and contemporary Mannerist art. Between 1571 and 1575 he made engravings after works of Federico, over the next ten years his engravings included works after Raphael, Michelangelo, Polidoro da Caravaggio, Andrea del Sarto, Rosso Fiorentino, Marco Pino, Pellegrino Tibaldi, and Cristofano Gherardi. He also produced based on ancient statues. Later in life Alberti decorated palaces and churches with paintings in fresco and his most famous work was the fresco decoration of Sala Clementina in the Vatican, which he completed with his brother Giovanni. He painted for the church of Santa Maria in Via Lata and he may have been first a pupil of Cornelis Cort, and afterwards by studying the works of Agostino Carracci and Francesco Villamena. At his death in Rome Alberti was Director of the Academy of Saint Luke, over 180 engravings are attributed to Alberti, including, Portrait of Pope Gregory XIII. St. Susannah resting against a pedestal, with a sword St. Jerome, meditating on the Crucifix The Crucifixion, after Michelangelo St. The Death of the Children of Niobe, in five sheets Rape of the Sabines, after another frieze from Polidoro da Caravaggio The Triumph of Camillus, the Presentation at the Temple, The Resurrection, and the The Holy Family after Raphael. A piece of architecture, after the same, in two prints, the Baptism of our Saviour, by St. John and The Miracle of St. Philip Benizzo after Andrea del Sarto. Tobit and the Angel, after Pellegrino Tibaldi Christ praying in the Garden, the Adoration of the Shepherds, The Holy Family, The Scourging of Christ, Conversion of St. Paul, and Assumption of the Virgin, after Taddeo Zuccari. Assumption and The Coronation of the Virgin, after Federico Zuccari, Dictionary of Painters and Engravers, Biographical and Critical. York St. #4, Covent Garden, London, Original from Fogg Library, Digitized May 18,2007, George Bell, Painters and their Works, A Dictionary of Great Artists who are Not Now Alive. Notices of Engravers and their Works, London, Longman, Rees, Orme, Brown & Green. Firenze, Grafica European Center of Fine Arts
Cherubino Alberti
–
Portrait of Cherubini Alberti by Carlo Lasinio (1759-1838)
Cherubino Alberti
–
Giove bacia Ganimede by Cherubino Alberti, after a work by
Polidoro di Caravaggio.
24.
Deodato Guinaccia
–
Deodato Guinaccia or Diodato was an Italian painter of the Renaissance period, active mainly in Messina, Sicily. Born in Naples, he moved to Messina as a young boy, in Messina, he became the pupil of the painter Polidoro da Caravaggio, who had moved there after the 1528 Sack of Rome. Guinaccia painted the Trinity for the church of the Confraternita de Pellegrini in Messina and he painted a Transfiguration for the church of San Salvatore de Greci. Among the pupils of Guinaccia in Messina were Cesare di Napoli, Francesco and Giovanni Simone Comande, ralph Nicholson Wornum, ed. Biographical catalogue of the principal Italian painters. Woodfall & Kinder, Angel Court, Skinner Street, London, Digitized by Googlebooks from Oxford University copy on Jun 27,2006
Deodato Guinaccia
–
Deodato Guinaccia, The Martyrdom of St. Lucy, Church of Santa Lucia alla Badia,
Syracuse, Sicily
25.
Graffito (drawing technique)
–
The Italian past participle sgraffiato is also used, especially of pottery. Sgraffito and sgraffiti come from the Italian word graffiare, ultimately from the Greek γράφειν, related terms include graffito and graffiti. Sgraffito on walls has been used in Europe since classical times, it was popularized in Italy in the 15th and 16th centuries, in combination with ornamental decoration these techniques formed an alternative to the prevailing painting of walls. Of late there has been a growing interest in this old technique. The technical procedure is simple, and the procedures are similar to the painting of frescoes. Most of their work has now weathered away, during the 16th century, the technique was brought to Germany by the master builders of the Renaissance and taken up with enthusiasm. As a simple art, old examples of sgraffito can be found in the wide surroundings of Wetterau. In Germany, the technique is most predominant in Bavaria, the use of sgraffito was common in the creation of housing façades for the purposes of advertising. The technique was used in Thuringia, the Engadin, Austria and Transylvania. In Catalonia, sgraffito was implemented in the early 20th century by the Noucentista neo-classical architects, another use of sgraffito is seen in its simplified painting technique. One coat of paint is left to dry on a canvas or sheet of paper, another coat of a different color is painted on top of the first layer. The artist then uses a knife or oil stick to scratch out a design. This can also be achieved by using oil pastels for the first layer, sometimes a first coat of paint is not needed, and the wet coat scraped back reveals the canvas. This cannot be achieved by using the oil pastel method and this technique is often used in art classes to teach the sgraffito technique to novice art students. The English artist Heywood Sumner has been identified as this eras pioneer of the technique, for example his work at the 1892 St Marys Church, Sunbury, Surrey. Sumners work is sgraffito per se, scratched plaster, but the term has come to encompass a variety of techniques for producing exterior graphic decoration, St. Benets Chaplaincy at Queen Mary, University of London
Graffito (drawing technique)
–
Palazzo Massimo Istoriato: a fading palace facade in
Rome by
Polidoro da Caravaggio and
Maturino da Firenze, 1523.
Graffito (drawing technique)
–
Facade of a house in
Kraków
Graffito (drawing technique)
–
Sgraffito decoration of ceramics, in the brown slip on the rim
Graffito (drawing technique)
–
Palazzo Nasi,
Florence
26.
Grisaille
–
Grisaille is a term for a painting executed entirely in shades of grey or of another neutral greyish colour. It is particularly used in decorative schemes in imitation of sculpture. Many grisailles in fact include a slightly wider range, like the Andrea del Sarto fresco illustrated. Paintings executed in brown are referred to as brunaille, and paintings executed in green are called verdaille, a grisaille may be executed for its own sake, as underpainting for an oil painting, or as a model for an engraver to work from. Rubens and his school sometimes use monochrome techniques in sketching compositions for engravers, originally these were the sides on display for most of the time, as the doors were normally kept closed except on feast days or at the request of tourists. However today these images are invisible in museums when the tryptych is displayed open. In these cases imitation of sculpture was intended, sculpture was still more expensive than a painting even by a top master. The ceiling frescoes of the Sistine Chapel have portions of the design in grisaille, Grisaille, while less widespread in the 20th Century, continues as an artistic technique. Pablo Picassos painting Guernica is one contemporary example, hugo Bastidas is a contemporary American painter known for black and white paintings that imitate the effect of grisaille and often resemble black and white photographs. Bastidas’ paintings frequently reference architecture, water, vegetation and art history, and reflect his concern about the condition, globalization. After returning to New York from a Fulbright Fellowship in his native Ecuador in the early 1990s, Bastidas began using a color palette of black. His medium- and large-scale paintings allude to black-and-white photography, and feature contrasting zones of high, by making thousands of marks with a size No.1 hogs bristle brush on linen primed with rabbit-skin glue, Bastidas achieves a high level of image definition. He also works in photography, which informs his subject matter without rendering a photo-realistic effect. With the 20th centurys emphasis on painting, the grisaille technique lost favour with artists of the period. This historic method is still incorporated into the curriculum of some private ateliers, the term is also applied to monochrome painting in other media such as enamels, where an effect similar to a relief in silver may be intended. It is common in stained glass, where the need for sections in different colours was thereby greatly reduced, portions of a window may be done in grisaille — using, for example, silver stain or vitreous paint — while other sections are done in coloured glass. Sepia tone References A Watercolour Demonstration Using Grisaille Notes Jan Gossarts Saint Jerome Penitent using grisaille Jean-Auguste-Dominique Ingres and workshop, Odalisque in Grisaille
Grisaille
–
Christ and the Woman Taken in Adultery,
Pieter Bruegel the Elder, 1565, 24 cm × 34 cm (9.4 in × 13.4 in)
Grisaille
–
Battesimo della gente, one of
Andrea del Sarto 's gray and brown grisaille
frescoes in the Chiostro dello Scalzo,
Florence (1511-26).
Grisaille
–
Hans Memling wing, with
donor portrait in colour below grisaille Madonna imitating sculpture.
Grisaille
–
Grisaille stained glass (15th century)
27.
Borgo (rione of Rome)
–
Borgo, is the 14th historic district of Rome, Italy. It lies on the west bank of the Tiber, within Municipio I and its coat of arms shows a lion, lying in front of three mounts and a star. These - together with a lion rampant - are also part of the coat of arms of Pope Sixtus V who annexed Borgo as fourteenth rione to the city of Rome. The Borgo is bordered by Vatican City to the west, the Tiber to the east, Prati to the north, the quartiere Aurelio to the southwest and Trastevere to the south. The territory of the quarter includes a part, which is made of the alluvial sands of Tiber, and a hilly zone. In administrative terms, the Borgo, following the city decree n.11 issued on 11 March 2013, before then, he was part of the XVII Municipio, together with the rione of Prati and the quartieri Trionfale and Della Vittoria. The main roads run east-west and are not named Vie, although heavily transformed during the first half of the 20th century, the Borgo maintains its historical importance as a forecourt to Saint Peters Basilica and the Vatican Palace. The territory of the Borgo during the Roman age was part of the fourteenth Regio, Transtiberim, and was named Ager Vaticanus, after the auguries, since it lay outside the Pomerium, and was plagued by malaria, this territory was used as a burial place. Some tombs reached notable proportions, among them, the so-called Terebinthus Neronis, which was a round tomb surmounted by a narrow tower, while the Meta Romuli, was demolished only in 1499. At the foot of the Vatican Hill, two roads started, the Via Cornelia, which joined the Via Aurelia near Tarquinii, and the Via Triumphalis, which met the Via Cassia a few kilometers north. The latter was so named because, beginning with Titus, the Roman Emperors used it to enter the city when celebrating their Triumphs, Emperor Gaius built on the Vatican a circus, which was then enlarged by Nero. The obelisk standing today in St. Peters Square was erected along its raised median, the circus was connected to the city through an archway. Nero also substituted the timber bridge of the Via Triumphalis with a stone bridge, Emperor Hadrian built near the Tiber his huge Mausoleum, which he connected to the left bank of the river with another Bridge, the Pons Ælius. But what changed forever the destiny of the zone was the martyrdom of St. Peter at the foot of the Vatican hill in 67, the saint was buried nearby, and this turned the Vatican into a place of pilgrimage. Above the tomb of the saint, Pope Anacletus built an oratory and this church, known today as Old Saint Peters, soon became one of the centers of Christianity. During the early Middle Ages the bridge of Nero fell into ruins, while the Mausoleum of Hadrian was converted into a stronghold, despite the wars and invasions that plagued Rome during those centuries, the flood of pilgrims to the tomb of the apostle never stopped. Pilgrims of the same nationality gathered together in associations named Scholae, whose task was to host, the most famous were those of the Franks, Saxons, Frisians and Lombards. Each Schola had its own hospice and church, one of the first – the Schola Saxonum - was built during the 8th century by Ina or Ine, king of the West Saxons
Borgo (rione of Rome)
–
Hadrian's Mausoleum still makes up the core of
Castel Sant'Angelo. The
tuff blocks visible in the lower part of the cylinder are Roman.
Borgo (rione of Rome)
–
Coat of arms of the rione
Borgo (rione of Rome)
–
The
Passetto, called in
Roman dialect er Corridore ("the Corridor"), seen from Borgo S. Angelo: Via dei Corridori (the ancient Borgo dell'Elefante, so named after
Hanno the elephant), and Saint Peter's dome are in the background.
Borgo (rione of Rome)
–
A contemporary
miniature portraying pilgrims reaching Rome during the Jubilee of 1300. They are approaching the Leonine City from N (Prati di Castello). The hills in the background are (from right to left) Monte Mario, Vatican and Gianicolo.
28.
Parione
–
Parione is the VI rione of Rome. It is located in Municipio I and its logo is a rampant griffon, a Greek mythological creature with the head of an eagle and the body of a lion. It was chosen as a symbol of pride and nobility, during Antiquity, it belonged to the IX Augustan region called Circo Flaminio. In this area Domitianus built his stadium and an Odeon, for musical, under Sixtus IV the rione lost its chaotic look, typical of the Middle Ages, for a cleaner and tidier one, typical of the Renaissance. Recovering buildings, enlarging streets, building the new bridge ponte Sisto connecting Trastevere and Parione, thanks to this renewal, urbanization increased between the 1400 and 1500. In the same period, several artists were asked to renew the front of the greatest buildings, in 1500 most of the commercial activity slowly moved from Campo de Fiori to Piazza Navona, that was the favorite place since it was wider. From 1574 to 1674, the appearance of Piazza Navona changed vastly, thanks to the work of Bernini, Borromini, if one palace was jutting, its front was moved backwards to preserve it
Parione
–
Sign of the rione
Parione
–
Logo of the rione
29.
Santa Maria della Pace
–
Santa Maria della Pace is a church in Rome, central Italy, not far from Piazza Navona. The building lies in rione Ponte, the current building was built on the foundations of the pre-existing church of SantAndrea de Aquarizariis in 1482, commissioned by Pope Sixtus IV. The church was rededicated to the Virgin Mary to remember a miraculous bleeding of a Madonna image there in 1480, the author of the original design is not known, though Baccio Pontelli has been proposed. The church presses forward almost to fill its tiny piazza, several houses had to be demolished by Pietro da Cortona to create even this miniature trapezoidal space. The monumental effect of the plasticity of forms, spatial layering, the inscription around the porch architrave is taken from Psalm 72, SUSCIPIANT MONTES PACEM POPULO ET COLLES IUSTITIAM. This reference to the mountains of the coat of arms of the Chigi family, oak leaf motifs, another Chigi family emblem, can also be found on the facade. On the upper facade, Cortona had the curved travertine panels cut to make grained matching patterns, through the tall central window, the circular window of the Quattrocento church facade is visible. The Church of Santa Maria della Pace was designated as a titulus for a Cardinal-Priest on 13 April 1587 by Pope Sixtus V. The holders of the title were, The interior, which can be reached from the original door, has a short nave with cruciform vaulting. Cortona articulated the interior of the dome with octagonal coffering and a series of radiating from the lantern. This is an example of combining these two forms of dome decoration and was employed by Gianlorenzo Bernini in his later churches at Ariccia. Carlo Maderno designed the altar to enframe the venerable icon of the Madonna. Raphael began to fresco the Four Sibyls receiving angelic instruction above the arch of the Chigi Chapel, commissioned by Agostino Chigi, the Deposition over the altar is by Cosimo Fancelli. The first chapel on the left has noteworthy Renaissance frescoes by Baldassarre Peruzzi, the second chapel has marble taken from the ruins of the Temple of Jupiter Capitolinus. The tribune has paintings by Carlo Maratta, Peruzzi, Orazio Gentileschi, Francesco Albani, a main feature of the church and monastery complex is the Bramante cloister. Built in 1500-1504 for Cardinal Oliviero Carafa, it was the first work of Donato Bramante in the city, mariano Armellini, Le chiese di Roma dalle loro origini sino al secolo XIX, pp. 433-434. Nunzia Di Girolamo, Santa Maria della Pace, saggio monografico, Pietro da Cortona urbanistic plan of Santa Maria della Pace Roman Catholic Marian churches
Santa Maria della Pace
–
Santa Maria della Pace façade
Santa Maria della Pace
–
Capella Chigi, Christ supported by Angels, bronze by
Cosimo Fancelli, flanked by Saint Catherine (Fancelli) and Saint Bernardino (
Ercole Ferrata)
Santa Maria della Pace
–
Four Sibyls receiving divine instructions by Raphael, 1514
Santa Maria della Pace
–
Dome
