1.
Bologna
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Bologna is the largest city of the Emilia-Romagna Region in Northern Italy. It is the seventh most populous city in Italy, located in the heart of an area of about one million. The first settlements back to at least 1000 BC. The city has been a centre, first under the Etruscans. Home to the oldest university in the world, University of Bologna, founded in 1088, Bologna is also an important transportation crossroad for the roads and trains of Northern Italy, where many important mechanical, electronic and nutritional industries have their headquarters. According to the most recent data gathered by the European Regional Economic Growth Index of 2009, Bologna is the first Italian city, Bologna is home to numerous prestigious cultural, economic and political institutions as well as one of the most impressive trade fair districts in Europe. In 2000 it was declared European capital of culture and in 2006, the city of Bologna was selected to participate in the Universal Exposition of Shanghai 2010 together with 45 other cities from around the world. Bologna is also one of the wealthiest cities in Italy, often ranking as one of the top cities in terms of quality of life in the country, after a long decline, Bologna was reborn in the 5th century under Bishop Petronius. According to legend, St. Petronius built the church of S. Stefano. After the fall of Rome, Bologna was a stronghold of the Exarchate of Ravenna in the Po plain. In 728, the city was captured by the Lombard king Liutprand, the Germanic conquerors formed a district called addizione longobarda near the complex of S. Stefano. Charlemagne stayed in this district in 786, traditionally said to be founded in 1088, the University of Bologna is widely considered to be the first university. The university originated as a centre of study of medieval Roman law under major glossators. It numbered Dante, Boccaccio and Petrarca among its students, the medical school is especially famous. In the 12th century, the families engaged in continual internecine fighting. Troops of Pope Julius II besieged Bologna and sacked the artistic treasures of his palace, in 1530, in front of Saint Petronio Church, Charles V was crowned Holy Roman Emperor by Pope Clement VII. Then a plague at the end of the 16th century reduced the population from 72,000 to 59,000, the population later recovered to a stable 60, 000–65,000. However, there was also great progress during this era, in 1564, the Piazza del Nettuno and the Palazzo dei Banchi were built, along with the Archiginnasio, the centre of the University
2.
Emilia-Romagna
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Emilia-Romagna is an administrative Region of Northeast Italy, comprising the historical regions of Emilia and Romagna. It has an area of 22,446 km2, and about 4.4 million inhabitants, Emilia-Romagna is one of the wealthiest and most developed regions in Europe, with the third highest GDP per capita in Italy. Bologna, its capital, has one of Italys highest quality of life indices, the name Emilia-Romagna is a legacy of Ancient Rome. Emilia derives from the via Aemilia, the Roman road connecting Rome to northern Italy, completed in 187 B. C. and named after the consul Marcus Aemilius Lepidus. Romagna derives from Romània, the name of the Eastern Roman Empire applied to Ravenna by the Lombards when the western Empire had ceased to exist, before the Romans took control of present-day Emilia-Romagna, it had been part of the Etruscan world and then that of the Gauls. During the first thousand years of Christianity trade flourished, as did culture and religion, afterwards the University of Bologna—arguably the oldest university in Europe—and its bustling towns kept trade and intellectual life alive. After the referendum of 2006, seven municipalities of Montefeltro were detached from the Province of Pesaro, the municipalities are Casteldelci, Maiolo, Novafeltria, Pennabilli, San Leo, SantAgata Feltria and Talamello. On 20 and 29 May 2012 two powerful earthquakes hit the area and they killed at least 27 people and caused churches and factories to collapse. The 5.8 magnitude quake left 14,000 people homeless, the region of Emilia-Romagna consists of nine provinces and covers an area of 22,446 km2, ranking sixth in Italy. Nearly half of the consists of plains while 27% is hilly. The regions section of the Apennines is marked by areas of flisch, badland erosion, the mountains stretch for more than 300 km from the north to the south-east, with only three peaks above 2,000 m – Monte Cimone, Monte Cusna and Alpe di Succiso. The plain was formed by the retreat of the sea from the Po basin. Almost entirely marshland in ancient times, its history is characterised by the work of its people to reclaim. All the rivers rise locally in the Apennines except for the Po, the northern border of Emilia-Romagna follows the path of the river for 263 km. Emilia Romagna has been a populated area since ancient times. Inhabitants over the centuries have radically altered the landscape, building cities, reclaiming wetlands, all these transformations in past centuries changed the aspect of the region, converting large natural areas to cultivation, up until the 1960s. The trend then changed, and agricultural lands began giving way to residential and industrial areas, the increase of urban-industrial areas continued at very high rates until the end of the 2010s. In the same period, hilly and mountainous areas saw an increase in the registration of semi-natural areas, land use changes can have strong effects on ecological functions
3.
Italy
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Italy, officially the Italian Republic, is a unitary parliamentary republic in Europe. Located in the heart of the Mediterranean Sea, Italy shares open land borders with France, Switzerland, Austria, Slovenia, San Marino, Italy covers an area of 301,338 km2 and has a largely temperate seasonal climate and Mediterranean climate. Due to its shape, it is referred to in Italy as lo Stivale. With 61 million inhabitants, it is the fourth most populous EU member state, the Italic tribe known as the Latins formed the Roman Kingdom, which eventually became a republic that conquered and assimilated other nearby civilisations. The legacy of the Roman Empire is widespread and can be observed in the distribution of civilian law, republican governments, Christianity. The Renaissance began in Italy and spread to the rest of Europe, bringing a renewed interest in humanism, science, exploration, Italian culture flourished at this time, producing famous scholars, artists and polymaths such as Leonardo da Vinci, Galileo, Michelangelo and Machiavelli. The weakened sovereigns soon fell victim to conquest by European powers such as France, Spain and Austria. Despite being one of the victors in World War I, Italy entered a period of economic crisis and social turmoil. The subsequent participation in World War II on the Axis side ended in defeat, economic destruction. Today, Italy has the third largest economy in the Eurozone and it has a very high level of human development and is ranked sixth in the world for life expectancy. The country plays a prominent role in regional and global economic, military, cultural and diplomatic affairs, as a reflection of its cultural wealth, Italy is home to 51 World Heritage Sites, the most in the world, and is the fifth most visited country. The assumptions on the etymology of the name Italia are very numerous, according to one of the more common explanations, the term Italia, from Latin, Italia, was borrowed through Greek from the Oscan Víteliú, meaning land of young cattle. The bull was a symbol of the southern Italic tribes and was often depicted goring the Roman wolf as a defiant symbol of free Italy during the Social War. Greek historian Dionysius of Halicarnassus states this account together with the legend that Italy was named after Italus, mentioned also by Aristotle and Thucydides. The name Italia originally applied only to a part of what is now Southern Italy – according to Antiochus of Syracuse, but by his time Oenotria and Italy had become synonymous, and the name also applied to most of Lucania as well. The Greeks gradually came to apply the name Italia to a larger region, excavations throughout Italy revealed a Neanderthal presence dating back to the Palaeolithic period, some 200,000 years ago, modern Humans arrived about 40,000 years ago. Other ancient Italian peoples of undetermined language families but of possible origins include the Rhaetian people and Cammuni. Also the Phoenicians established colonies on the coasts of Sardinia and Sicily, the Roman legacy has deeply influenced the Western civilisation, shaping most of the modern world
4.
Petronius of Bologna
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Saint Petronius was bishop of Bologna during the fifth century. He is a saint of the city. Born of a noble Roman family, he became a convert to Christianity, as bishop of Bologna, he built the Church of Santo Stefano. The only certain historical information we possess concerning him is derived from a written by Bishop Eucherius of Lyon to Valerianus and from Gennadius De viris illustribus. Eucherius writes that the holy Bishop Petronius was then renowned in Italy for his virtues and his father was probably prœfectus prœtorio, since a Petronius filled this office in Gaul in 402-408. Eucherius seems to suggest that the bishop also held an important secular position. Even in his youth Petronius devoted himself to the practices of asceticism, the buildings belong approximately to the period when Pope Leo I had basilicas erected in Rome and Galla Placidia in Ravenna. Petronius is believed to have written a work on the life of the Egyptian monks, the treatise De ordinatione episcopi, bearing the name of Petronius as author, is by the elder Petronius, who was a man of eloquence and wide acquaintance with the secular sciences. According to Gennadius, Petronius died during the reign of Emperor Theodosius II and Valentinian III, in the twelfth century appeared a legendary life of the saint, whose relics were discovered in 1141. Shortly afterwards a church was erected in his honour at Bologna, the feast of St. Petronius is celebrated on 4 October. In iconography, he is depicted as a holding a model of Bologna in his hand. George Ferguson, Signs and Symbols in Christian Art,139 and this article incorporates text from a publication now in the public domain, Herbermann, Charles, ed. article name needed
5.
Medieval commune
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Medieval communes in the European Middle Ages had sworn allegiances of mutual defense among the citizens of a town or city. They took many forms, and varied widely in organization and makeup, communes are first recorded in the late 11th and early 12th centuries, thereafter becoming a widespread phenomenon. They had the development in central-northern Italy, where they were real city-states based on partial democracy, while in Germany they became free cities. The English and French word commune appears in Latin records in various forms and they come from Medieval Latin communia, plural form of commune, substantive noun from communis. Ultimately, the Proto-Indo-European root is *mey-, when independence of rule was won through violent uprising and overthrow, the commune was often called conspiratio. In the Low Countries, some new towns were founded upon long-distance trade, the sites for these ab ovo towns, more often than not, were the fortified burghs of counts, bishops or territorial abbots. Such towns were founded in the Rhineland. Other towns were simply market villages, local centers of exchange, the burghers of the tenth and eleventh centuries were ruthlessly harassed, blackmailed, subjected to oppressive taxes and humiliated. This drove the back upon their own resources, and it accounts for the intensely corporate. Because much of medieval Europe lacked central authority to provide protection, thus towns formed communes, a legal basis for turning the cities into self-governing corporations. Every town had its own commune and no two communes were alike, but at their heart, communes were sworn allegiances of mutual defense and it then spread in the early 12th century to France, Germany and Spain and elsewhere. The English state was already very centralized, so the communal movement mainly manifested itself in parishes, craftsmens and merchants guilds and monasteries. According to an English cleric of the late 10th century, society was composed of the three orders, those who fight, those who pray and those who work. In theory this was a balance between spiritual and secular peers, with the third order providing labour for the other two, the urban communes were a break in this order. The Church and King both had mixed reactions to communes, on the one hand, they agreed safety and protection from lawless nobles was in everyones best interest. The communes intention was to keep the peace through the threat of revenge, however, the Church had their own ways to enforce peace, such as the Peace and Truce of God movement, for example. On the other hand, communes disrupted the order of medieval society, furthermore, there was a sense that communes threatened the medieval social order. Only the noble lords were allowed by custom to fight, and ostensibly the merchant townspeople were workers, as such, the nobility and the clergy sometimes accepted communes, but other times did not
6.
Santo Stefano, Bologna
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The basilica of Santo Stefano encompasses a complex of religious edifices in the city of Bologna, Italy. Located on Piazza Santo Stefano, it is known as Sette Chiese. According to tradition Saint Petronius, a bishop of the city during the 5th century, the saint wished to have a building that recalled the Church of the Holy Sepulchre in Jerusalem. Pilates Courtyard recalls the lithostrotos, where Jesus was condemned, it leads to the Church of the Holy Sepulchre, unfortunately the archaeological evidence from Bologna dates primarily to the 11th and 12th centuries, leaving the question about an earlier date still unanswered. History of Medieval Arabic and Western European domes
7.
Jacopo della Quercia
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Jacopo della Quercia was an Italian sculptor of the Italian Renaissance, a contemporary of Brunelleschi, Ghiberti and Donatello. He is considered a precursor of Michelangelo, Jacopo della Quercia takes his name from Quercia Grossa, a place near Siena, where he was born in 1374. He received his training from his father, Piero dAngelo. Jacopo della Quercia, a Sienese, must have seen the works of Nicola Pisano and Arnolfo di Cambio on the pulpit in the cathedral of Siena and his first work may have been at the age of sixteen, an equestrian wooden statue for the funeral of Azzo Ubaldini. He left with his father to Lucca, owing to party strife, in Pisa, della Quercia likely studied the huge collection of Roman sculptures and sarcophagi in the Camposanto. These and later made him a transitional figure in the history of European art. As in the case of Ghiberti, this development probably results from exposure to his contemporary, Della Quercias earliest work appears in the Lucca cathedral, Man of Sorrows and a relief on the tomb of St. Aniello. In 1401 he entered a competition to design the bronze doors for Florences Baptistery, the unsuccessful entrys whereabouts are unknown. In 1403 he sculpted the marble Virgin and Child for the Ferrara cathedral, another work from his period in Ferrara is the statuette of St. Maurelius. Back again in Lucca in 1406, he received the commission from the ruler, Paolo Guinigi. The richly dressed woman rests on top of the sarcophagus, delicately portrayed in a Gothic fashion, with her dog, symbol of conjugate fidelity, but his use of several nude putti at the flanks of the tomb clearly shows the classical influence of the Roman sarcophagi at Camposanto. This is a first, a harbinger of the incipient Renaissance, in 1406 he was asked to build a new fountain in the Piazza del Campo in Siena. It had to replace the original fountain with a statue of the goddess Venus and this pagan statue was blamed for an outbreak of the Black Plague. The statue was destroyed and buried outside the city walls to avert its evil influence and this prestigious commission shows that he was already being recognized as Sienas most prominent sculptor. The rectangular fountain, built in marble, was dedicated to the Virgin. Because he accepted also other commissions at the time, progress was slow. He started in 1414 and the fountain was finished in 1419. He carved the panels in the workshop for sculptors, next to the cathedral and this workshop is now converted into the Cathedral Museum
8.
Gothic architecture
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Gothic architecture is a style of architecture that flourished in Europe during the high and late medieval period. It evolved from Romanesque architecture and was succeeded by Renaissance architecture and its characteristics include the pointed arch, the ribbed vault and the flying buttress. Gothic architecture is most familiar as the architecture of many of the cathedrals, abbeys. It is also the architecture of many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings, for this reason a study of Gothic architecture is largely a study of cathedrals and churches. A series of Gothic revivals began in mid-18th-century England, spread through 19th-century Europe and continued, largely for ecclesiastical and university structures, the term Gothic architecture originated as a pejorative description. Hence, François Rabelais, also of the 16th century, imagines an inscription over the door of his utopian Abbey of Thélème, Here enter no hypocrites, slipping in a slighting reference to Gotz and Ostrogotz. Authorities such as Christopher Wren lent their aid in deprecating the old medieval style, the Company disapproved of several of these new manners, which are defective and which belong for the most part to the Gothic. Gothic architecture is the architecture of the medieval period, characterised by use of the pointed arch. As an architectural style, Gothic developed primarily in ecclesiastical architecture, the greatest number of surviving Gothic buildings are churches. The Gothic style is most particularly associated with the cathedrals of Northern France. At the end of the 12th century, Europe was divided into a multitude of city states, norway came under the influence of England, while the other Scandinavian countries and Poland were influenced by trading contacts with the Hanseatic League. Angevin kings brought the Gothic tradition from France to Southern Italy, throughout Europe at this time there was a rapid growth in trade and an associated growth in towns. Germany and the Lowlands had large flourishing towns that grew in comparative peace, in trade and competition with other, or united for mutual weal. Civic building was of importance to these towns as a sign of wealth. England and France remained largely feudal and produced grand domestic architecture for their kings, dukes and bishops, the Catholic Church prevailed across Europe at this time, influencing not only faith but also wealth and power. Bishops were appointed by the lords and they often ruled as virtual princes over large estates. The early Medieval periods had seen a growth in monasticism, with several different orders being prevalent. Foremost were the Benedictines whose great abbey churches vastly outnumbered any others in France, a part of their influence was that towns developed around them and they became centers of culture, learning and commerce
9.
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
10.
Rome
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Rome is a special comune and the capital of Italy. Rome also serves as the capital of the Lazio region, with 2,873,598 residents in 1,285 km2, it is also the countrys largest and most populated comune and fourth-most populous city in the European Union by population within city limits. It is the center of the Metropolitan City of Rome, which has a population of 4.3 million residents, the city is located in the central-western portion of the Italian Peninsula, within Lazio, along the shores of the Tiber. Romes history spans more than 2,500 years, while Roman mythology dates the founding of Rome at only around 753 BC, the site has been inhabited for much longer, making it one of the oldest continuously occupied sites in Europe. The citys early population originated from a mix of Latins, Etruscans and it was first called The Eternal City by the Roman poet Tibullus in the 1st century BC, and the expression was also taken up by Ovid, Virgil, and Livy. Rome is also called the Caput Mundi, due to that, Rome became first one of the major centres of the Italian Renaissance, and then the birthplace of both the Baroque style and Neoclassicism. Famous artists, painters, sculptors and architects made Rome the centre of their activity, in 1871 Rome became the capital of the Kingdom of Italy, and in 1946 that of the Italian Republic. Rome has the status of a global city, Rome ranked in 2014 as the 14th-most-visited city in the world, 3rd most visited in the European Union, and the most popular tourist attraction in Italy. Its historic centre is listed by UNESCO as a World Heritage Site, monuments and museums such as the Vatican Museums and the Colosseum are among the worlds most visited tourist destinations with both locations receiving millions of tourists a year. Rome hosted the 1960 Summer Olympics and is the seat of United Nations Food, however, it is a possibility that the name Romulus was actually derived from Rome itself. As early as the 4th century, there have been alternate theories proposed on the origin of the name Roma. There is archaeological evidence of occupation of the Rome area from approximately 14,000 years ago. Evidence of stone tools, pottery and stone weapons attest to about 10,000 years of human presence, several excavations support the view that Rome grew from pastoral settlements on the Palatine Hill built above the area of the future Roman Forum. Between the end of the age and the beginning of the Iron age. However, none of them had yet an urban quality, nowadays, there is a wide consensus that the city was gradually born through the aggregation of several villages around the largest one, placed above the Palatine. All these happenings, which according to the excavations took place more or less around the mid of the 8th century BC. Despite recent excavations at the Palatine hill, the view that Rome has been indeed founded with an act of will as the legend suggests in the middle of the 8th century BC remains a fringe hypothesis. Traditional stories handed down by the ancient Romans themselves explain the earliest history of their city in terms of legend and myth
11.
Old St. Peter's Basilica
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Old St. Peters Basilica was the building that stood, from the 4th to 16th centuries, on the spot where the new St. Peters Basilica stands today in Vatican City. Construction of the basilica, built over the site of the Circus of Nero. The name old St. Peters Basilica has been used since the construction of the current basilica to distinguish the two buildings, construction began by orders of the Roman Emperor Constantine I between 318 and 322, and took about 30 years to complete. Over the next centuries, the church gradually gained importance. Papal coronations were held at the basilica, and in 800, in 846, Saracens sacked and damaged the basilica. The raiders seem to have known about Romes extraordinary treasures, some holy – and impressive – basilicas, such as St. Peters Basilica, were outside the Aurelian walls, and thus easy targets. They were filled to overflowing with rich liturgical vessels and with jeweled reliquaries housing all of the relics recently amassed, as a result, the raiders pillaged the holy shrine. In response Pope Leo IV built the Leonine wall and rebuilt the parts of St. Peters that had been damaged, in 1099, Urban II convened a council including St Anselm. Among other topics, it repeated the bans on lay investiture, by the 15th century the church was falling into ruin. Discussions on repairing parts of the structure commenced upon the return from Avignon. The whole stretch of wall has been pierced by too many openings, as a result, the continual force of the wind has already displaced the wall more than six feet from the vertical, I have no doubt that eventually some. Slight movement will make it collapse, at first Pope Julius II had every intention of preserving the old building, but his attention soon turned toward tearing it down and building a new structure. Many people of the time were shocked by the proposal, as the building represented papal continuity going back to Peter, the original altar was to be preserved in the new structure that housed it. Constantine went to pains to build the basilica on the site of Saint Peters grave. The Vatican Hill, on the west bank of the Tiber River, was leveled. Notably, since the site was outside the boundaries of the ancient city, the exterior however, unlike earlier pagan temples, was not lavishly decorated. The church was capable of housing from 3,000 to 4,000 worshipers at one time and it consisted of five aisles, a wide central nave and two smaller aisles to each side, which were each divided by 21 marble columns, taken from earlier pagan buildings. It was over 350 feet long, built in the shape of a Latin cross, and had a roof which was timbered on the interior
12.
Pope Pius IV
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Pope Pius IV, born Giovanni Angelo Medici, was Pope from 25 December 1559 to his death in 1565. He is known for presiding over the session of the Council of Trent. Giovanni Angelo Medici was born in Milan on 31 March 1499 as the second of eleven children to Bernardino de Medici and he was not closely related to the Medicis of Florence. Giovanni Medici was the brother of condottiero Gian Giacomo Medici. Medici studied philosophy and medicine in Pavia, after studying at Bologna and acquiring a reputation as a jurist he obtained his doctorate in both canon and civil law on 11 May 1525. Medici went in 1527 to Rome, and as a favourite of Pope Paul III was rapidly promoted to the governorship of several towns, the archbishopric of Ragusa, in April 1549, Pope Paul III made Medici a cardinal. Under Papal authority, he was sent on missions to Germany. On the death of Pope Paul IV, he was elected pope on 25 December 1559, taking the name Pius IV. and installed on 6 January 1560. His first public acts of importance were to grant a pardon to the participants in the riot after the death of his predecessor. One, Cardinal Carlo Carafa, was strangled, and Duke Giovanni Carafa of Paliano, on 18 January 1562 the Council of Trent, which had been suspended by Pope Julius III, was convened by Pius IV for the third and final time. The more marked manifestations of stringency during his pontificate appear to have been prompted rather than spontaneous, his personal character inclining him to moderation, in the same year he published a bull granting the use of the cup to the laity of Austria and Bohemia. A conspiracy against Pius IV, headed by Benedetto Accolti the Younger, katherine Rinne said in her book Waters of Rome that Pius IV also ordered public construction to improve the water supply of Rome. Pius IV died on 9 December 1565 and he was buried in Santa Maria degli Angeli. Cardinals created by Pius IV List of popes from the Medici family House of Medici Bonora, roma 1564, La congiura contro il papa. Freedberg, Sydney J. Pelican History of Art, ed, catholic Hierarchy, Pope Pius IV Cardinals of the Holy Roman Church, Cardinal Medici
13.
Baldassarre Peruzzi
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Baldassare Tommaso Peruzzi was an Italian architect and painter, born in a small town near Siena and died in Rome. He worked for years with Bramante, Raphael, and later Sangallo during the erection of the new St. Peters. He returned to his native Siena after the Sack of Rome where he was employed as architect to the Republic, for the Sienese he built new fortifications for the city and designed a remarkable dam on the Bruna River near Giuncarico. He seems to have moved back to Rome permanently by 1535 and he was a painter of frescoes in the Cappella San Giovanni in the Duomo of Siena. His son Giovanni Sallustio was also an architect, another son, Onorio, learned painting from his father, then became a Dominican priest in the convent of Santa Maria Sopra Minerva in Rome. He then stopped painting until requested by his superiors at San Romano di Lucca to paint the organ doors of the church, almost all art critics ascribe the design of the Villa Chigi in Rome, now known more commonly as the Villa Farnesina, to Peruzzi. In this villa, two wings branch off from a hall with a simple arrangement of pilasters, and a decorative frieze on the exterior of the building. Some of the paintings which adorn the interior rooms are by Peruzzi. One example is the Sala delle Prospettive, in which Peruzzi revived the perspective schemers of Melozzo da Forli and Mantegna, possibly under the influence of both. The walls of the room are painted so that when one stands toward the left, one has the illusion that one is standing in a terrace, lined by pillars. The decoration of the façade, the work of Peruzzi, has almost entirely vanished, Raphael designed the composition of the story of Amor and Psyche as a continuation of the Galatea. On a plate-glass vault Peruzzi painted the firmament, with the signs, the planets. The interior room has a use of illusionistic perspective Peruzzi had produced a mosaic ceiling for the church of Santa Croce in Gerusalemme, Rome. Other paintings ascribed to him are to be found in SantOnofrio, the exterior details display a Mannerist-style. He made significant but unspecified contributions to what would become the Seven Books of Architecture, published in installments after Peruzzis death by his pupil and this article incorporates text from a publication now in the public domain, Herbermann, Charles, ed. article name needed
14.
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
15.
Andrea Palladio
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Andrea Palladio was an Italian architect active in the Republic of Venice. Palladio, influenced by Roman and Greek architecture, primarily by Vitruvius, is considered to be the most influential individual in the history of architecture. All of his buildings are located in what was the Venetian Republic, the city of Vicenza and the Palladian Villas of the Veneto are UNESCO World Heritage Sites. Palladio was born on 30 November 1508 in Padua and was given the name and his father, Pietro, called Della Gondola, was a miller. From early on, Andrea Palladio was introduced into the work of building, in Padua he gained his first experiences as a stonecutter in the sculpture workshop of Bartolomeo Cavazza da Sossano, who is said to have imposed particularly hard working conditions. At the age of sixteen he moved to Vicenza where he would reside for most of his life, here he became an assistant in the Pedemuro studio, a leading workshop of stonecutters and masons. He joined a guild of stonemasons and bricklayers and he was employed as a stonemason to make monuments and decorative sculptures. These sculptures reflected the Mannerist style of the architect Michele Sanmicheli, perhaps the key moment that sparked Palladios career was being employed by the Humanist poet and scholar, Gian Giorgio Trissino, from 1538 to 1539. While Trissino was reconstructing the Villa Cricoli, he took interest in Palladios work, Trissino was heavily influenced by the studies of Vitruvius, who later influenced Palladios own ideals and attitudes toward classical architecture. It was also Trissino who gave him the name by which he became known, Palladio, indeed, the word Palladio means Wise one. The powerful Barbaros introduced Palladio to Venice, where he finally became Proto della Serenissima after Jacopo Sansovino, in addition to the Barbaros, the Corner, Foscari, and Pisani families supported Palladios career. Andrea Palladio began to develop his own architectural style around 1541, the Palladian style, named after him, adhered to classical Roman principles he rediscovered, applied, and explained in his works. Andrea Palladio is known to be one of the most influential architects in Western architecture and his architectural works have been valued for centuries as the quintessence of High Renaissance calm and harmony. He designed many palaces, villas, and churches, but Palladios reputation, initially, the palladian villas are located mainly in the province of Vicenza, while the palazzi are concentrated in the city of Vicenza and the churches in Venice. A number of his works are now protected as part of the World Heritage Site City of Vicenza, other buildings by Palladio are to be found within the Venice and its Lagoon World Heritage Site. Palladios first major public project began when his designs for building the loggias for the town hall and he proposed an addition of two-storey stone buttresses reflecting the Gothic style of the existing hall while using classical proportions. The construction was completed in 1617 after Palladios death, aside from Palladios designs, his publications contributed to Palladianism. During the second half of his life, Palladio published many books, above all, Palladio is most known for his designs of villas and palaces as well as his books
16.
Siena
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Siena is a city in Tuscany, Italy. It is the capital of the province of Siena, the historic centre of Siena has been declared by UNESCO a World Heritage Site. It is one of the nations most visited tourist attractions, with over 163,000 international arrivals in 2008, Siena is famous for its cuisine, art, museums, medieval cityscape and the Palio, a horse race held twice a year. Siena, like other Tuscan hill towns, was first settled in the time of the Etruscans when it was inhabited by a called the Saina. A Roman town called Saena Julia was founded at the site in the time of the Emperor Augustus, the first document mentioning it dates from AD70. Some archaeologists assert that Siena was controlled for a period by a Gaulish tribe called the Senones, according to local legend, Siena was founded by Senius and Aschius, two sons of Remus and thus nephews of Romulus, after whom Rome was named. Supposedly after their fathers murder by Romulus, they fled Rome, taking them the statue of the she-wolf suckling the infants. Additionally they rode white and black horses, giving rise to the Balzana, some claim the name Siena derives from Senius. Other etymologies derive the name from the Etruscan family name Saina, Siena did not prosper under Roman rule. It was not sited near any major roads and lacked opportunities for trade and its insular status meant that Christianity did not penetrate until the 4th century AD, and it was not until the Lombards invaded Siena and the surrounding territory that it knew prosperity. Siena prospered as a trading post, and the constant streams of pilgrims passing to, the oldest aristocratic families in Siena date their line to the Lombards surrender in 774 to Charlemagne. This ultimately resulted in the creation of the Republic of Siena, the Republic existed for over four hundred years, from the late 11th century until the year 1555. During the golden age of Siena before the Black Death in 1348, in the Italian War of 1551–59, the republic was defeated by the rival Duchy of Florence in alliance with the Spanish crown. After 18 months of resistance, Siena surrendered to Spain on 17 April 1555, the new Spanish King Felipe II, owing huge sums to the Medici, ceded it to the Grand Duchy of Tuscany, to which it belonged until the unification of Italy in the 19th century. A Republican government of 700 Sienese families in Montalcino resisted until 1559, the picturesque city remains an important cultural centre, especially for humanist disciplines. The city lies at 322 m above sea level, the Siena Cathedral, begun in the 12th century, is a masterpiece of Italian Romanesque-Gothic architecture. Its main façade was completed in 1380, the original plan called for an ambitiously massive basilica, the largest then in the world, with, as was customary, an east-west nave. However, the scarcity of funds, in due to war and plague, truncated the project
17.
Old Testament
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Its counterpart is the New Testament, the second part of the Christian Bible. The books that comprise the Old Testament canon differ between Christian Churches as well as their order and names. The most common Protestant canon comprises 39 books, the Catholic canon comprises 46 books, the 39 books in common to all the Christian canons corresponds to 24 books of the Tanakh, with some differences of order, and there are some differences in text. The additional number reflects the split of texts in the Christian Bibles into separate books, for example, Kings, Samuel and Chronicles, Ezra–Nehemiah, the books which are part of a Christian Old Testament but which are not part of the Hebrew canon are sometimes described as deuterocanonical. In general, Protestant bibles do not include books in its canon. The Old Testament consists of translations of many books by various authors produced over a period of centuries. The canon formed in stages, first the Pentateuch by around 400 BC, then the Prophets during the Hasmonean dynasty, and finally the remaining books. The Old Testament contains 39 or 46 or more books, divided, very broadly, into the Pentateuch, the books, the wisdom books. For the Orthodox canon, Septuagint titles are provided in parentheses when these differ from those editions, for the Catholic canon, the Douaic titles are provided in parentheses when these differ from those editions. Likewise, the King James Version references some of these books by the spelling when referring to them in the New Testament. The Talmud in Bava Batra 14b gives a different order for the books in Neviim and Ketuvim and this order is also cited in Mishneh Torah Hilchot Sefer Torah 7,15. The order of the books of the Torah is universal through all denominations of Judaism and they are present in a few historic Protestant versions, the German Luther Bible included such books, as did the English 1611 King James Version. Empty table cells indicate that a book is absent from that canon, several of the books in the Eastern Orthodox canon are also found in the appendix to the Latin Vulgate, formerly the official Bible of the Roman Catholic Church. The books of Joshua, Judges, Samuel and Kings follow, there is a broad consensus among scholars that these originated as a single work during the Babylonian exile of the 6th century BC. The two Books of Chronicles cover much the material as the Pentateuch and Deuteronomistic history and probably date from the 4th century BC. Chronicles, and Ezra–Nehemiah, were finished during the 3rd century BC. Catholic and Orthodox Old Testaments contain two to four Books of Maccabees, written in the 2nd and 1st centuries BC and these history books make up around half the total content of the Old Testament. God is consistently depicted as the one who created or put into order the world, the Old Testament stresses the special relationship between God and his chosen people, Israel, but includes instructions for proselytes as well
18.
Relief
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Relief is a sculptural technique where the sculpted elements remain attached to a solid background of the same material. The term relief is from the Latin verb relevo, to raise, to create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. What is actually performed when a relief is cut in from a surface of stone or wood is a lowering of the field. The technique involves considerable chiselling away of the background, which is a time-consuming exercise. In other materials such as metal, clay, plaster stucco, ceramics or papier-mâché the form can be just added to or raised up from the background, and monumental bronze reliefs are made by casting. There are different degrees of relief depending on the degree of projection of the form from the field. There is also sunk relief, which was restricted to Ancient Egypt. However the distinction between high relief and low relief is the clearest and most important, and these two are generally the only used to discuss most work. Hyphens may or may not be used in all these terms, works in the technique are described as in relief, and, especially in monumental sculpture, the work itself is a relief. Reliefs are common throughout the world on the walls of buildings and a variety of settings. Relief is more suitable for depicting complicated subjects with figures and very active poses, such as battles. Most ancient architectural reliefs were painted, which helped to define forms in low relief. Rock reliefs are carved into solid rock in the open air. This type is found in cultures, in particular those of the Ancient Near East and Buddhist countries. A stele is a standing stone, many of these carry reliefs. The distinction between high and low relief is somewhat subjective, and the two are often combined in a single work. In particular, most later high reliefs contain sections in low relief, a low relief or bas-relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. Other versions distort depth much less and it is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required
19.
Renaissance
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The Renaissance was a period in European history, from the 14th to the 17th century, regarded as the cultural bridge between the Middle Ages and modern history. It started as a movement in Italy in the Late Medieval period and later spread to the rest of Europe. This new thinking became manifest in art, architecture, politics, science, Early examples were the development of perspective in oil painting and the recycled knowledge of how to make concrete. Although the invention of movable type sped the dissemination of ideas from the later 15th century. In politics, the Renaissance contributed to the development of the customs and conventions of diplomacy, the Renaissance began in Florence, in the 14th century. Other major centres were northern Italian city-states such as Venice, Genoa, Milan, Bologna, the word Renaissance, literally meaning Rebirth in French, first appeared in English in the 1830s. The word also occurs in Jules Michelets 1855 work, Histoire de France, the word Renaissance has also been extended to other historical and cultural movements, such as the Carolingian Renaissance and the Renaissance of the 12th century. The Renaissance was a movement that profoundly affected European intellectual life in the early modern period. Renaissance scholars employed the humanist method in study, and searched for realism, however, a subtle shift took place in the way that intellectuals approached religion that was reflected in many other areas of cultural life. In addition, many Greek Christian works, including the Greek New Testament, were back from Byzantium to Western Europe. Political philosophers, most famously Niccolò Machiavelli, sought to describe life as it really was. Others see more competition between artists and polymaths such as Brunelleschi, Ghiberti, Donatello, and Masaccio for artistic commissions as sparking the creativity of the Renaissance. Yet it remains much debated why the Renaissance began in Italy, accordingly, several theories have been put forward to explain its origins. During the Renaissance, money and art went hand in hand, Artists depended entirely on patrons while the patrons needed money to foster artistic talent. Wealth was brought to Italy in the 14th, 15th, and 16th centuries by expanding trade into Asia, silver mining in Tyrol increased the flow of money. Luxuries from the Eastern world, brought home during the Crusades, increased the prosperity of Genoa, unlike with Latin texts, which had been preserved and studied in Western Europe since late antiquity, the study of ancient Greek texts was very limited in medieval Western Europe. One of the greatest achievements of Renaissance scholars was to bring this entire class of Greek cultural works back into Western Europe for the first time since late antiquity, Arab logicians had inherited Greek ideas after they had invaded and conquered Egypt and the Levant. Their translations and commentaries on these ideas worked their way through the Arab West into Spain and Sicily and this work of translation from Islamic culture, though largely unplanned and disorganized, constituted one of the greatest transmissions of ideas in history
20.
Ciborium (architecture)
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In ecclesiastical architecture, a ciborium is a canopy or covering supported by columns, freestanding in the sanctuary, that stands over and covers the altar in a basilica or other church. It may also be known by the general term of baldachin. Early ciboria had curtains hanging from rods between the columns, so that the altar could be concealed from the congregation at points in the liturgy, smaller examples may cover other objects in a church. In a very large church, a ciborium is a way of visually highlighting the altar. The altar and ciborium are often set upon a dais to raise it above the floor of the sanctuary, a ciborium is also a covered, chalice-shaped container for Eucharistic hosts. In Italian the word is used for the tabernacle on the altar. The ciborium arose in the context of a range of canopies. Some of these were temporary and portable, including those using poles and textiles, examples can be seen on many coins, the Missorium of Theodosius I, the Chronography of 354, and other Late Antique works. This structure, erected under Constantine the Great, may itself have been important in spreading the idea of ciboria over altars. Ciboria were placed over the shrines of martyrs, which then had built over them. They also served to shelter the altar from dust and the like from high ceilings that could rarely be reached. This is described as a fastigium in the earliest sources, but was probably a ciborium, like most major early examples it was of silver, whose weight is given, presumably meaning that decorated silver plaques were fixed to a wood or stone framework. No early examples in precious metal have survived, but many are recorded in important churches, the ciborium commissioned by Justinian the Great for Hagia Sophia in Constantinople and described by Paulus Silentarius is now lost. The roof had eight panels rising to the globe and cross, an example of this type is in mosaic in the apse of the Saint Sophia Cathedral in Kiev, under a very large standing Virgin. It is placed in the church in order to represent concisely the crucifixion, burial and it similarly corresponds to the ark of the covenant of the Lord in which, it is written, is His Holy of Holies and His holy place. Next to it God commanded that two wrought Cherubim be placed on either side —for KIB is the ark, and OURIN is the effulgence, or the light, of God. The example by the Cosmati in the gallery is similar to another 12th-century Italian ciborium now in the Metropolitan Museum of Art in New York, and that in the Basilica di San Nicola in Bari. By the Romanesque, gabled forms, as at SantAmbrogio, or ones with a top, as at the Euphrasian Basilica or St Marks
21.
Amico Aspertini
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Amico Aspertini, also called Amerigo Aspertini, is an Italian Renaissance painter whose complex, eccentric, and eclectic style anticipates Mannerism. He is considered one of the exponents of the Bolognese School of painting. He was born in Bologna to a family of painters, and studied under such as Lorenzo Costa. He is briefly documented in Rome between 1500–1503, returning to Bologna and painting in a style influenced by Pinturicchio. In Bologna in 1504, he joined Francia and Costa in painting frescoes for the Oratory of Santa Cecilia next to San Giacomo Maggiore, in 1507-09, he painted a fresco cycle in San Frediano in Lucca. Asperini painted in 1508-1509 the splendid frescoes in the Chapel of the Cross in the Basilica di San Frediano in Lucca, Aspertini was also one of two artists chosen to decorate a triumphal arch for the entry into Bologna of Pope Clement VII and Emperor Charles V in 1529. Giorgio Vasari describes Aspertini as having a personality, who, half-insane. He quotes Aspertini as complaining that all other Bolognese colleagues were copying Raphael, Aspertini also painted façade decorations, and altarpieces, many of which are often eccentric and charged in expression. For example, his Bolognese Pieta appears to occur in an other-worldy electric sky, national Gallery of Art, Washington DC, ed. The Age of Correggio and the Carracci, Emilian Painting of the 16th and 17th Centuries, freedberg, Sydney J. Pelican History of Art, ed
22.
Charles V, Holy Roman Emperor
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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
23.
Pope Clement VII
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Pope Clement VII, born Giulio di Giuliano de Medici, was Pope from 19 November 1523 to his death in 1534. The Sack of Rome and English Reformation occurred during his papacy, Giulio de Medici was born in Florence one month after the assassination of his father, Giuliano de Medici, following the Pazzi Conspiracy. Although his parents had not had a marriage, they had been formally betrothed per sponsalia de presenti. Despite this accommodation for an important and powerful family, Giulio was considered illegitimate by his contemporaries and he was the nephew of Lorenzo the Magnificent, who educated him in his youth. Giulios mother, Fioretta Gorini, also died leaving him an orphan, Giulio was enrolled in the Knights Hospitaller and made Grand Prior of Capua. On the death of Archbishop Cosimo de Pazzi, Giulio was named Archbishop of Florence on 9 May 1513, a post he held until his own election as pope on 19 November 1523. On 23 September 1513, he was created a cardinal by Leo X, and on 29 September was appointed Cardinal Deacon of Santa Maria in Domnica, which had been vacated by the election of his cousin the Pope. On 26 June 1517 he was created Cardinal Priest of S. Clemente and he was ordained a priest on 19 December 1517, and consecrated bishop two days later. Cardinal de Medici soon became a figure in Rome. Upon his cousins accession to the papacy, Giulio became his principal minister and confidant, in 1517 he conducted his first diocesan Synod in Florence. On 14 February 1515, Cardinal de Medici was named Archbishop of Narbonne and he ruled the diocese through a Vicar General. He bestowed upon the Cathedral of Saint Just a picture of Saint Lazare and he decided to keep the original, however, and an alternative version was made for Narbonne by Sebastiano del Piombo. At the same time as he was named Archbishop, Cardinal Giulio was granted the Abbey of Cîteaux and he held these offices until he was elected pope. But he is returning to Florence to govern the city and he had the credit of being the main director of papal policy during the whole of Leo Xs pontificate, especially as cardinal protector of England. Between 7 June 1521 and 26 September 1522 he was Apostolic Administrator of the Diocese of Worcester, on that date the Pope appointed Hieronymus Ghinucci, who was expelled from the See in 1535 as a foreigner by the legislation of Henry VIII. At Leo Xs death in 1521, Cardinal Medici was considered papabile in the protracted conclave. Following Adrian VIs death on 14 September 1523, Medici overcame the opposition of the French king, Pope Leo brought to the papal throne a high reputation for political ability and possessed in fact all the accomplishments of a wily diplomat. However, he was considered by his contemporaries as worldly and indifferent to the dangers of the Protestant Reformation by the people of the papacy
24.
Alfonso Torreggiani
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Alfonso Torreggiani was an Italian architect of the Rococo period, principally associated with Bologna. Torreggiani was named prince of the Accademia Clementina, and had the patronage of Cardinale Pompeo Aldrovandi, for the former he completed a Chapel in the Basilica of San Petronio. Among his main collaborators in Bologna were the painter Vittorio Bigari, in addition, the Jesuits of Mantua entrusted to Torreggiani the project of the Palazzo degli Studi. Also in Mantua, from 1756, he planned the new Palazzo Cavriani which was built after the collapse of the residence of the ancient Mantuan family. He also designed the Jesuit College in Rimini, now the City Museum, Website of the Direzione Regionale per i Beni Culturali e Paesagistici della Emilia-Romagna, Alfonso Torreggiani architetto. Edifici civili a Bologna Website of the Direzione Regionale per i Beni Culturali e Paesagistici della Emilia-Romagna, edifici religiosi a Bologna Foratti, A.1935, Alfonso Torreggiani, in Bologna n. 5, XIII, Bologna 1935 Matteucci, A. M,1969, Carlo Francesco Dotti e larchitettura bolognese del Settecento. 1988, Alfonso Torreggiani architetto dei Gesuiti, in G. P,1988, Larchitettura del Settecento, in Storia dellArte Italiana
25.
Gaetano Gandolfi
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Gaetano Gandolfi was an Italian painter of the late Baroque and early Neoclassic period, active in Bologna. Gaetano was born in San Matteo della Decima, near Bologna, Ubaldo Gandolfi was his brother, Mauro Gandolfi was his son, and Democrito Gandolfi was his grandson. Gaetano became a student at the Accademia Clementina in Bologna, where he was taught by Felice Torelli, in the academy, he was the recipient of several prizes for both figure drawing and sculpture. Later, in an autobiography, Gaetano claimed Felice Torelli as his master, other sources mention Ercole Graziani the Younger and Ercole Lelli. He traveled to England, and became influenced by Tiepolo. Biagi Maino, Donatella, Gaetano Gandolfi / Donatella Biagi Maino, Torino, cazort, Mimi, Bella Pittura, The Art of the Gandolfi, Ottawa, National Gallery of Canada,1993. Cazort, Mimi, The Art of Embellishment, Drawings and Paintings by Gaetano and Mauro Gandolfi for a Festive Carriage, in Record of The Art Museum, Princeton University, Volume 52, Number 2,1993. Rosasco, Betsy, Drawings by the Gandolfi Family and Their Followers in The Art Museum, A Checklist, in Record of The Art Museum, Princeton University, Volume 52, Number 2,1993. Vicenza, Neri Pozza, I Gandolfi, Ubaldo, Gaetano, Mauro, disegni e dipinti, europe in the age of enlightenment and revolution, a catalog from The Metropolitan Museum of Art Libraries, which contains material on Gandolfi Gaetano Gandolfi in ArtCyclopedia
26.
Alessandro Tiarini
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Alessandro Tiarini was an Italian Baroque painter of the Bolognese School. His mother died when he was a child, and he was raised by an aunt and he was the godson of painter Lavinia Fontana and initially apprenticed in Bologna under her father Prospero Fontana, and subsequently with Bartolomeo Cesi. He was not inducted into the Carracci Academy, in Florence, he mainly worked under Domenico Passignano, but also Bernardino Poccetti and Jacopo da Empoli. He was lured back to Bologna and Reggio Emilia, by Ludovico Carracci and his Grieving over a dead Jesus is in the Pinacoteca Nazionale of Bologna. He painted a series of frescoes for the Brami Chapel in the sanctuary, as well as other works, in 1628, where he painted the Story of Gerusalemme Liberata for the Farnese Palazzo del Giardino in Parma. He also painted the Raising of the Cross for the Oratorio della Buona Morte in Reggio, other works in Bologna include a Martyrdom of St. Barbara for the San Petronio Basilica, a Nativity for Santissimo Salvatore, and a Flight to Egypt for San Vitale. His closest pupils were Francesco Carbone and Luca Barbieri, francis P. Smyth and John P. ONeill. National Gallery of Art, Washington DC, ed, the Age of Correggio and the Carracci, Emilian Painting of the 16th and 17th Centuries. Vite de Pittori ed Artifici Bolognesi, tipografia Governativa alla Volpe ed Nobili, Bologna. 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
27.
Jacopo di Paolo
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Jacopo di Paolo was an Italian painter and miniaturist active in Bologna in the fourteenth and fifteenth centuries. Jacopo di Paolo at the beginning of his career was active at Mezzaratta Church and these pieces were probably based on ideas of Jacopo Avanzi and have a clear influence of the new-giottism and late Gothic of Giovanni da Modena. The activity of Jacopo was very versatile, as he was engaged at various levels within the fervent political and cultural life of the city. He worked in several prestigious decorative undertakings of the city, sometimes in collaboration with sculptors, such as in the “yard” of San Petronio, launched in 1390. For this he provided the drawings for the sculptures of the base of the façade, the project for the windows, documenti del secolo XV, a cura di F. Filippini, Roma,1968. Scritti di Francesco Arcangeli, a cura di A. Conti, per una storia della miniatura a Bologna tra Tre e Quattrocento. Appunti e considerazioni, in Il tramonto del Medioevo a Bologna, Il cantiere di S. Petronio, cura di R. DAmico e R. Grandi, Bologna,1987. Il polittico Bolognini, a cura di R. DAmico e R. Grandi, vitale da Bologna e la sua bottega nella chiesa di S. Apollonia a Mezzaratta, a cura di S. Skerl e Del Conte, Bologna 1993. Le corporazioni medioevali nelle miniature bolognesi, a cura di M. Medica, Giovanni Battista di J. di P. in Due santi e una musa…, a cura di M. Medica, Bologna,2001. Biografia su treccani. it Museo civico Medievale of Bologna National Art Gallery of Bologna Basilica di San Petronio Musei Civici di Arte Antica Collezioni Comunali Darte Museo Civico Davia Bargellini
28.
San Petronio Basilica
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The Basilica of San Petronio is the main church of Bologna, Emilia Romagna, northern Italy. It is the tenth-largest church in the world by volume,132 metres long and 66 metres wide, with its volume of 258,000 m³, it is the largest church built of bricks of the world. The basilica is dedicated to the saint of the city, Saint Petronius. It has been the seat of the relics of Bolognas patron saint only since 2000, following a council decree of 1388, the first stone of construction was laid June 7,1390, when the town council entrusted Antonio di Vincenzo with raising a Gothic cathedral. Works lasted for centuries, after the completion of the first version of the facade. The series were completed only in 1479, according to tradition, Pope Pius IV halted such a majestic project. The facing of the facade remains unfinished, many architects were commissioned to propose solutions for it. The heroic nudes of Adam and other figures in the rectangular panels were an inspiration to artists of the Renaissance. The 65-metre-tall campanile was built at the end of the 1400s, the interior houses a Madonna with Saints by Lorenzo Costa the Younger and a Pietà by Amico Aspertini. Also the colours of the walls and the glass windows are noteworthy. The choir was made in the 15th century by Agostino de Marchi, Jacopo Barozzi da Vignola was chief architect of the fabbrica, his is the design of the ciborium over the altar. The vaulting and decoration of the nave is by Girolamo Rainaldi. The twenty-two chapels are the following, I, Chapel of St. Abbondio, formerly of the Dieci di Balia - restored in neo-Gothic style in 1865. In this chapel, in the year 1530, Emperor Charles V was crowned by Pope Clement VII, Chapel of St. Petronio, once of the Cospi and Aldrovandi families, designed by Alfonso Torreggiani, designed to contain the relic of the head of San Petronio. On the pillar, two clocks, one of the first made in Italy with the correction of the pendulum. Chapel of the Magi, once of Bolognini family, its marble Gothic balustrade designed by Antonio di Vincenzo, Chapel of St. Sebastian, once of Vaselli family. Chapel of St. Vincent Ferrer, formerly of the Griffoni, Chapel of St. James, formerly of the Rossi and Baciocchi families, the Madonna Enthroned on the altar was painted by Lorenzo Costa, to the same author attributed the designs of the stain glass. Funeral monument containing the remains of Prince Felix Baciocchi and his wife Elisa Bonaparte, Chapel of St. Rocco, formerly of the Ranuzzi family, it contains a ‘’San Rocco’’ by Parmigianino
29.
Dante Alighieri
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Durante degli Alighieri, simply called Dante, was a major Italian poet of the Late Middle Ages. In the late Middle Ages, the majority of poetry was written in Latin. In De vulgari eloquentia, however, Dante defended use of the vernacular in literature, as a result, Dante played an instrumental role in establishing the national language of Italy. In addition, the first use of the interlocking three-line rhyme scheme, Dante has been called the Father of the Italian language and one of the greatest poets of world literature. In Italy, Dante is often referred to as il Sommo Poeta and il Poeta, he, Petrarch, Dante was born in Florence, Republic of Florence, present-day Italy. The exact date of his birth is unknown, although it is believed to be around 1265. This can be deduced from autobiographic allusions in the Divine Comedy, in 1265, the sun was in Gemini between approximately May 11 and June 11. Dante claimed that his family descended from the ancient Romans, but the earliest relative he could mention by name was Cacciaguida degli Elisei, born no earlier than about 1100. Dantes father, Alaghiero or Alighiero di Bellincione, was a White Guelph who suffered no reprisals after the Ghibellines won the Battle of Montaperti in the middle of the 13th century. Dantes family had loyalties to the Guelphs, an alliance that supported the Papacy and which was involved in complex opposition to the Ghibellines. The poets mother was Bella, likely a member of the Abati family and she died when Dante was not yet ten years old, and Alighiero soon married again, to Lapa di Chiarissimo Cialuffi. When Dante was 12, he was promised in marriage to Gemma di Manetto Donati, daughter of Manetto Donati, contracting marriages at this early age was quite common and involved a formal ceremony, including contracts signed before a notary. But by this time Dante had fallen in love with another, Beatrice Portinari, years after his marriage to Gemma he claims to have met Beatrice again, he wrote several sonnets to Beatrice but never mentioned Gemma in any of his poems. The exact date of his marriage is not known, the certain information is that, before his exile in 1301. Dante fought with the Guelph cavalry at the Battle of Campaldino and this victory brought about a reformation of the Florentine constitution. To take any part in life, one had to enroll in one of the citys many commercial or artisan guilds, so Dante entered the Physicians. In the following years, his name is recorded as speaking or voting in the various councils of the republic. A substantial portion of minutes from meetings in the years 1298–1300 was lost, however
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Giacomo Lercaro
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Giacomo Lercaro was an Italian Cardinal of the Roman Catholic Church who served as Archbishop of Ravenna from 1947 to 1952, and Archbishop of Bologna from 1952 to 1968. Lercaro was elevated to the cardinalate in 1953 by Pope Pius XII. Giacomo Lercaro was born in Quinto al Mare, Genoa and he came from a family of seamen, and two of his brothers, Amedeo and Attilio, also entered religion. From 1902 to 1914, Lercaro attended the seminary in Genoa. He was ordained a priest on July 25,1914 by Archbishop Ildefonso Pisani, when Italy entered World War I, Lercaro was forced to change posts and become a military chaplain until the war ended in 1917. In 1918, he became Prefect of the Seminary of Genoa, where his brother Amedeo was rector and he also served as substitute professor of theology and professor of Sacred Scripture and Patrology. In 1927 he became a teacher of religion in secondary school and he received his episcopal consecration on March 19,1947 from Archbishop Giuseppe Siri, with Archbishop Angleo Rossini and Bishop Francesco Canessa serving as co-consecrators. In the consistory of January 12,1953, Lercaro was created Cardinal-Priest of Santa Maria in Traspontina by Pius XII. During his early years as a cardinal, Lercaro established his first contacts with Angelo Roncalli, Lercaro died from a cardiac crisis in Bologna, ten days short of his 85th birthday. He was buried in the cathedral of that city. At one point during World War II Lercaro was forced to operate under the alias of Father Lorenzo Gusmini, Cardinal Lercaro was also the first to popularise the theory of a Church of the poor that developed further in Latin America during the 1970s. During his tenure as archbishop of Bologna, where the most popular party was the Italian Communist Party. Cardinals of the Holy Roman Church biography Catholic-Hierarchy profile TIME Magazine - Who Fired the Cardinal, TIME Magazine - The Cardinals Comeback
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Lorenzo Costa
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Lorenzo Costa was an Italian painter of the Renaissance. He was born at Ferrara, but moved to Bologna by his early twenties, however, many artists worked in both cities, and thus some consider him a product of the School of Ferrara. It is possible that he trained with Cosimo Tura, in 1483 he painted the famous Bentivoglio Altarpiece and other frescoes on the walls of the Bentivoglio chapel in San Giacomo Maggiore. He was a friend of Francesco Francia, who was much influenced by him. In 1509 he moved to Mantua to become the painter of Marquis Francesco Gonzaga. For the latters studiolo in the Ducal Palace, he painted the Allegory of Isabella dEstes Coronation and he died at Mantua in 1535. His sons Ippolito and Girolamo were also painters, as was Girolamos son, contemporaries who worked with or under him include Cosimo Tura, Dosso Dossi, Ludovico Mazzolino, Lorenzo Leonbruno, and Niccolò Pisano. Attribution This article incorporates text from a now in the public domain, Chisholm, Hugh, ed. Costa
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Elisa Bonaparte
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A younger sister of Napoleon Bonaparte, she had elder brothers Joseph and Lucien, and younger siblings Louis, Pauline, Caroline and Jerome. As Princess of Lucca and Piombino, then Grand Duchess of Tuscany and their relations were sometimes strained due to her sharp tongue. Highly interested in the arts, particularly the theatre, she encouraged them in the territories over which she ruled, Élisa was born in Ajaccio, Corsica. She was christened Maria-Anna, but later adopted the nickname Élisa. In June 1784, a bursary allowed her to attend the Maison royale de Saint-Louis at Saint-Cyr, following the French Revolution, the Legislative Assembly decreed the Maisons closure on 16 August 1792 as it shut down institutions associated with the aristocracy. Élisa left on 1 September with Napoleon to return to Ajaccio, around 1795, the Bonaparte family relocated to Marseille. There Élisa got to know Felice Pasquale Baciocchi, a Corsican nobleman and formerly a captain in the Royal Corse, he had been dismissed from his rank with the outbreak of the French Revolution. Élisa married Levoy in a ceremony in Marseille on 1 August 1797, followed by a religious ceremony in Mombello. He had moved there with his family in June 1797, concerned about Baciocchis reputation as a poor captain, Napoleon had some initial reservations about his sisters choice of spouse. Their religious ceremony was held on the day as her sister Paulines marriage to general Victor-Emmanuel Leclerc. In July, Baciocchi was promoted to Chef de bataillon, with the command of the citadel at Ajaccio, in 1799, the extended Bonaparte family moved to Paris. Élisa set up home at 125 rue de Miromesnil, in the Quartier du Roule, on 14 May 1800, on the death of Luciens first wife, Christine Boyer, Élisa took Luciens two daughters under her protection. She placed Charlotte, the eldest, in Madame Campans boarding school for women at Saint-Germain-en-Laye. At the start of November 1800, Lucien was reassigned from his job as Minister of the Interior to Madrid as French ambassador to the court of the King of Spain and he took Élisas husband, Félix Baciocchi, as his secretary. Élisa remained in Paris, but maintained a correspondence with her brother. Felice Baciocchi was promoted to général de brigade and later made a senator and her separation from her husband in 1805 was seen favorably by Napoleon. Felice and Élisa took the titles Prince and Princess of Piombino, Napoleon had contemptously called Lucca the dwarf republic, due to its small size in terms of territory, but despite this it was a bulwark of political, religious, and commercial independence. Most of the power over Lucca and Piombino was exercised by Élisa, with Félix taking only a minor role, very active and concerned with administering the area, Élisa was surrounded at Lucca by ministers who largely remained in place right to the end of her reign
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Parmigianino
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Girolamo Francesco Maria Mazzola was an Italian Mannerist painter and printmaker active in Florence, Rome, Bologna, and his native city of Parma. He produced outstanding drawings, and was one of the first Italian painters to experiment with printmaking himself and this in conjunction with their lack of large main subjects has resulted in their being less well known than other works by similar artists. He painted a number of important portraits, leading a trend in Italy towards the three-quarters or full-length figure, Parmigianino was the eighth child of Filippo Mazzola and one Donatella Abbati. His father died of the two years after Parmigianinos birth, and the children were raised by their uncles, Michele and Pier Ilario. In 1515, his uncle received a commission from Nicolò Zangrandi for the decoration of a chapel in San Giovanni Evangelista, by the age of eighteen, he had already completed the Bardi Altarpiece. In 1521, Parmigianino was sent to Viadana to escape the wars between the French, Imperial, and papal armies. In Viadana, he painted two panels in tempera, depicting Saint Francis for the church of the Frati de Zoccoli, and he also worked in San Giovanni and met Correggio, who was at work on the fresco decorations of the cupola. In 1524, he traveled to Rome with five paintings, including the Circumcision of Jesus and his Self-portrait in a Convex Mirror, seeking patronage of the Medici pope. Vasari records that in Rome, Parmigianino was celebrated as a Raphael reborn, within a year, the Sack of Rome caused Parmigianino, and many other artists, to flee. He resided in Bologna for nearly three years, at around 1528, he painted the Madonna and Child with Saints, then later in 1528, he painted Madonna con la Rosa and Madonna with Saint Zachariah. By 1530 Parmigianino had returned to Parma, in 1531, Parmigianino received a commission for two altarpieces, depicting Saint Joseph and Saint John the Baptist, from the unfinished church of Santa Maria della Steccata. The brotherhood overseeing the church advanced him salary and promised him the supplies and materials, however, by 1535, in December, he nominated Don Nicola Cassola, a Parman cleric at the Roman Curia, to act as his legal representative. Parmigianino authorized him to collect the 50 gold scudi from Bonifazio Gozzadini for the Madonna with St. John the Baptist, in 1534, it was decided that the Madonna dal collo lungo would hang in the chapel of the family of Elena Baiardi. Parmigianino had probably expected to succeed Correggio in the favour of the church, however, in April 1538, the administrative offices commissioned initially Giorgio Gandini del Grano, then Girolamo Bedoli, to decorate the apse and choir of the Parma Cathedral. It is believed that at time, he became a devotee of alchemy. Vasari hypothesizes that this was due to his fascination with magic, scholars now agree that Parmigianinos scientific interests may have been due to his obsession with trying to find a new medium for his etchings. As a result of his researches, he completed little work in the church. He was imprisoned for two months for breach of contract after the Confraternita decided unanimously to ban him from continuing in their church and he was replaced between 1539 and 1540 by Giulio Romano, who also promptly withdrew from the contract
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Donato Creti
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Donato Creti was an Italian painter of the Rococo period, active mostly in Bologna. Born in Cremona, he moved to Bologna, where he was a pupil of Lorenzo Pasinelli and he is described by Wittkower as the Bolognese Marco Benefial, in that his style was less decorative and edged into a more formal neoclassical style. It is a grand style, that crystallizes into a manneristic neoclassicism, with crisp. Among his followers were Aureliano Milani, Francesco Monti, and Ercole Graziani the Younger, two other pupils were Domenico Maria Fratta and Giuseppe Peroni. One memorable conceit in Cretis output is a series of canvases depicting celestial bodies, disproportionately sized and illuminated. With the support of Clement XI, the first public observatory in Italy was opened in Bologna a short time later. The eight small canvases display the sun, moon, a comet, and his Jupiter depicts the Great Red Spot and at least two moons. Cleopatra at Blanton Museum, Austin, Texas Alexander Threatened by his Father at the National Gallery of Art, Washington, catholic Encyclopedia article Gallery including images of the astronomical canvases
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Marcantonio Franceschini
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Marcantonio Franceschini was an Italian painter of the Baroque period, active mostly in his native Bologna. He was the father and teacher of Giacomo Franceschini and he was a pupil of Carlo Cignani, with whom he worked on the frescoes in the Palazzo del Giardino in Parma. He worked closely for years with his brother-in-law, Luigi Quaini. Franceschini had a career painting canvases on religious and mythological subjects for patrons throughout Europe. Franceschini decorated some ceilings in the Palazzo Ranuzzi and the Palazzo Marescotti Brazzetti in Bologna and he helped paint in the tribune at church of San Bartolomeo Porta Ravegnana. Franceschini frescoed the ceiling of the Sala dOnore in the Ducal Palace of Modena and he painted the altarpiece in the Cathedral of Finale Ligure and the canvas of San Carlo in the church of the same name in Modena. His massive program of historical and mythological scenes in the Sala del Maggior Consiglio of the Palazzo Ducale of Genoa were destroyed by a fire in 1777 and these had been completed with the help of Tommaso Aldrovandini, Quaini, and Antonio Meloni. In addition, his decorations of the pendentives and lunettes of the Piacenza Cathedral were removed in the late 19th century and he decorated the church of Corpus Domini in Bologna. He painted 26 canvases of the Seductions and Loves of the Diana and he also served as a buyer for the art-patron Prince. In Genoa, he painted for the palaces Spinola and the Palazzo Pallavicini of Genoa. The latter had five large canvases of the history of Diana, canvases depicting The Four Seasons are now found in the Pinacoteca di Bologna. There are two canvases of the Story of Rachel in the Pinacoteca B. P. E. R and he painted the cartoons used to make the mosaic decoration of the Cappella del Coro in St. Peters Basilica. Knighted by Pope Clement XI, he was founding a member and his paintings have an academic and idealist strain, even for a member of the Bolognese School of Painting. The sparse figures are arranged and often porcelain in features. He worked with a colleague, Donato Creti. His style is classified as Barochetto, a mixture of baroque and rococo. Wittkower describes him as the Bolognese Maratta, numerous painters worked and trained in his prolific studio. Francis P. Smyth and John P. ONeill, the Age of Correggio and the Carracci, Emilian Painting of the 16th and 17th Centuries
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Luigi Quaini
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Luigi Quaini was an Italian painter of the Baroque period. He first learned the art of perspective painting from his father, Francesco Quaini. After some training with his father, he became a pupil of Guercino, there he met a fellow pupil, Marcantonio Franceschini. He became the brother-in-law of the latter, and collaborated with him in works at Bologna, Modena, Piacenza, Genoa, Franceschini supplied the figures and Quaini, the landscapes and architecture. In Rome, he helped some of the designs for mosaics in the dome of St. Peters Basilica. 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. The History of Painting in Italy, from period of the revival of the arts to the eighteenth century, henry G. Bohn, York Street, Covent Garden, Digitized by Googlebooks from Oxford University copy on Jun 31,2007. 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
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Carlo Cignani
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Carlo Cignani was an Italian painter. His innovative style referred to as his new manner introduced a reflective, intimate mood of painting and presaged the later pictures of Guido Reni and Guercino and this gentle manner marked a break with the more energetic style of earlier Bolognese classicism of the Bolognese School of painting. He was born to a family of noble ancestry, but limited resources and his fathers first name was Pompeo, and his mother, Maddalena Quaini. In Bologna, he studied first under Battista Cairo and later under Francesco Albani, to whom he remained closely allied and his first noted commission was a St Paul exorcising demon for the church of the Gesu in Bologna. He was also influenced by the genius of Correggio and by the masterworks by Melozzo da Forlì. These frescoes occupied Cignani for some twenty years, in 1681 Cignani returned to Bologna from Parma. He opened an accademia del nudo for painting from models and had as one of his pupils Giuseppe Maria Crespi and he had some of the defects of his masters, his elaborate finish and his audacious artificiality in the use of color and in composition mark Albanis influence. Despite that, he imparted to his work more of a character than his mentors. As a man Cignani was eminently amiable, unassuming and generous and he accepted no honors offered him by the duke of Parma, but lived and died an artist. In 1686 he moved to Forlì, where he died, when the Accademia Clementina for Bolognese artists was founded in 1706, Cignani was posthumously elected Principe in absencia for life. His son Felice Cignani and nephew Paolo Cignani were also painters and his most noted pupils were Marcantonio Franceschini and Federico Bencovich. and Sante Vandi. Media related to Carlo Cignani at Wikimedia Commons This article incorporates text from a now in the public domain, Chisholm, Hugh, ed. Cignani. Spike, John T. Centro Di, ed. Giuseppe Maria Crespi, fort Worth, Kimball Museum of Art. Vita del Gran Pittore Cavalier Carlo Cignani, Bologna, Nella Stamperia di L. dalla Volpe
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Jacopo Sansovino
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Jacopo dAntonio Sansovino was an Italian sculptor and architect, known best for his works around the Piazza San Marco in Venice. Andrea Palladio, in the Preface to his Quattro Libri was of the opinion that Sansovinos Biblioteca Marciana was the best building erected since Antiquity, giorgio Vasari uniquely printed his Vita of Sansovino separately. He was born in Florence and apprenticed with Andrea Sansovino whose name he subsequently adopted, in Rome he attracted the notice of Bramante and Raphael and made a wax model of the Deposition of Christ for Perugino to use. He returned to Florence in 1511 where he received commissions for sculptures of St. James for the Duomo. In the period of 1510-17 he shared a studio with the painter Andrea del Sarto, like all sixteenth-century Italian architects, Sansovino devoted considerable energy to elaborate but temporary structures related to courtly ritual. The triumphant entry of Pope Leo X into Florence in 1515 was a highpoint of this genre and he subsequently returned to Rome where he stayed for nine years, leaving for Venice in the year of the Sack of Rome. In 1529, Sansovino became chief architect and superintendent of properties to the Procurators of San Marco, the appointment came with a salary of 80 ducats and an apartment near the clocktower in San Marco. Within a year his salary was raised to 180 ducats per year, among palaces and buildings are the Scuola Grande della Misericordia, Ca de Dio, Palazzo Dolfin Manin, Palazzo Corner, Palazzo Moro, and the Fabbriche Nuove di Rialto. His masterpiece is the Library of Saint Marks, the Biblioteca Marciana, one of Venices most richly decorated Renaissance structures, construction spanned fifty years and cost over 30,000 ducats. In it he made the architectural language of classicism, traditionally associated with severity and restraint. This paved the way for the architecture of Andrea Palladio. He died in Venice and his sepulchre is in the Baptistery of St and his most important follower in the medium of sculpture was Alessandro Vittoria, another disciple was the architect and sculptor Danese Cataneo. Jacopo Sansovinos works Renaissance Classicism Boucher, Bruce, monograph and catalogue raisonné of the sculpture. Jacopo Sansovino Architecture and Patronage in Renaissance Venice
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Michele di Matteo da Bologna
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Michele di Matteo, also sometimes used with further qualifications of da Bologna or Lambertini was an Italian painter of the late Gothic period in Bologna. In 1410, he labored with Francesco Lola in painting processional standards for the reception of the Antipope Alexander V. He painted frescoes and designed windows for the Basilica San Petronio, in 1447, he painted in the church of San Giovanni at Siena the twelve articles of the Apostles Creed. He also painted a Pietà between Saints John, Mark, Roch, and Anthony Abbot and a Virgin and Child, the Gallerie dellAccademia of Venice has an altar-piece of the Virgin and Child with Saints and scenes from the life of St Helena. In 1428, he worked in Bologna with Giovanni da Modena, a polyptych depicting the Virgin Mary and St John the Evangelist and other Saints by Michele is present at the Museum of Art of the University of Missouri, Columbia. It was painted for the church of SantElena, Venice and he is also attributed a painted crucifix at the Pinacoteca Nazionale of Bologna. It is not clear how this relates to the painting Bryan talks about at the Accademia. The early 20th century art historians Crowe and Cavalcaselle generally dismiss the power of Michele, describing his works in the galleries of Bologna and Venice as ugly, injured, some assert he differs from Michele di Matteo da Bergamo. Walter Armstrong and 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
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Baroque music
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Baroque music is a style of Western art music composed from approximately 1600 to 1750. This era followed the Renaissance music era, and was followed in turn by the Classical era, Baroque music forms a major portion of the classical music canon, being widely studied, performed, and listened to. The Baroque period saw the creation of tonality, an approach to writing music in which a song or piece is written in a particular key, during the Baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts. A characteristic Baroque form was the dance suite, while the pieces in a dance suite were inspired by actual dance music, dance suites were designed for listening, not for accompanying dancers. During the period, composers and performers used more elaborate ornamentation, made changes in musical notation. Many musical terms and concepts from this era, such as toccata, fugue, dense, complex polyphonic music, in which multiple independent melody lines were performed simultaneously, was an important part of many Baroque choral and instrumental works. The word baroque comes from the Portuguese word barroco, meaning misshapen pearl, the term Baroque is generally used by music historians to describe a broad range of styles from a wide geographic region, mostly in Europe, composed over a period of approximately 150 years. The systematic application by historians of the baroque to music of this period is a relatively recent development. In 1919, Curt Sachs became the first to apply the five characteristics of Heinrich Wölfflins theory of the Baroque systematically to music, all of these efforts resulted in appreciable disagreement about time boundaries of the period, especially concerning when it began. In English the term acquired currency only in the 1940s, in the writings of Bukofzer, nevertheless, the term has become widely used and accepted for this broad range of music. It may be helpful to distinguish the Baroque from both the preceding and following periods of musical history, the Baroque period is divided into three major phases, early, middle, and late. Although they overlap in time, they are dated from 1580 to 1630, from 1630 to 1680. In reference to music, they based their ideals on a perception of Classical musical drama that valued discourse, the early realizations of these ideas, including Jacopo Peris Dafne and LEuridice, marked the beginning of opera, which were a catalyst for Baroque music. Concerning music theory, the widespread use of figured bass represents the developing importance of harmony as the linear underpinnings of polyphony. Harmony is the end result of counterpoint, and figured bass is a representation of those harmonies commonly employed in musical performance. With figured bass, numbers, accidentals or symbols were placed above the bassline that was read by keyboard instrument players such as players or pipe organists. The numbers, accidentals or symbols indicated to the player what intervals she should play above each bass note. The keyboard player would improvise a chord voicing for each bass note and this led to the idea that certain sequences of chords, rather than just notes, could provide a sense of closure at the end of a piece—one of the fundamental ideas that became known as tonality
