San Giovanni in Laterano
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Once Again About the Style and Iconography of the Wall Paintings in the Former Dominican Church of St
arts Article Greek Painters for the Dominicans or Trecento at the Bosphorus? Once again about the Style and Iconography of the Wall Paintings in the Former Dominican Church of St. Paul in Pera Rafał Quirini-Popławski Department of History of Art, Jagiellonian University, ul. Grodzka 53, 31-001 Kraków, Poland; [email protected] Received: 20 August 2019; Accepted: 27 September 2019; Published: 11 October 2019 Abstract: The recently discovered wall paintings of the Dominican church of St. Paul are perhaps the most fascinating part of the artistic heritage of Pera, the former Genoese colony at the Bosphorus. According to the researchers analyzing the fragments discovered in 1999–2007, they follow Byzantine iconographic tradition and were executed by Greek painters representing Paleologan style close to the decoration of the Chora church. After extensive discoveries in 2012 it was made possible to describe many more fragments of fresco and mosaic decoration and to make a preliminary identification of its iconography, which appeared to be very varied in character. Many features are typical of Latin art, not known in Byzantine tradition, some even have a clearly polemical, anti-Greek character. The analysis of its iconography, on a broad background of the Byzantine paintings in Latin churches, does not answer the question if it existed and what could be the goal of creating such paintings. There is a high probability that we are dealing with choice dictated by aesthetic and pragmatic factors, like the availability of the appropriate workshop. So, the newly discovered frescoes do not fundamentally alter the earlier conclusions that we are dealing with the work of a Greek workshop, perhaps primarily operating in Pera, which had to adapt to the requirements of Latin clients. -
Spolia's Implications in the Early Christian Church
BEYOND REUSE: SPOLIA’S IMPLICATIONS IN THE EARLY CHRISTIAN CHURCH by Larissa Grzesiak M.A., The University of British Columba, 2009 B.A. Hons., McMaster University, 2007 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Art History) THE UNVERSIT Y OF BRITISH COLUMBIA (Vancouver) April 2011 © Larissa Grzesiak, 2011 Abstract When Vasari used the term spoglie to denote marbles taken from pagan monuments for Rome’s Christian churches, he related the Christians to barbarians, but noted their good taste in exotic, foreign marbles.1 Interest in spolia and colourful heterogeneity reflects a new aesthetic interest in variation that emerged in Late Antiquity, but a lack of contemporary sources make it difficult to discuss the motives behind spolia. Some scholars have attributed its use to practicality, stating that it was more expedient and economical, but this study aims to demonstrate that just as Scripture became more powerful through multiple layers of meaning, so too could spolia be understood as having many connotations for the viewer. I will focus on two major areas in which spolia could communicate meaning within the context of the Church: power dynamics, and teachings. I will first explore the clear ecumenical hierarchy and discourses of power that spolia delineated through its careful arrangement within the church, before turning to ideological implications for the Christian viewer. Focusing on the Lateran and St. Peter’s, this study examines the religious messages that can be found within the spoliated columns of early Christian churches. By examining biblical literature and patristic works, I will argue that these vast coloured columns communicated ideas surrounding Christian doctrine. -
Heim Gallery Records, 1965-1991
http://oac.cdlib.org/findaid/ark:/13030/kt5779r8sb No online items Finding aid for the Heim Gallery records, 1965-1991 Finding aid prepared by Isabella Zuralski. Finding aid for the Heim Gallery 910004 1 records, 1965-1991 Descriptive Summary Title: Heim Gallery records Date (inclusive): 1965-1991 Number: 910004 Creator/Collector: Heim Gallery Physical Description: 120.0 linear feet(271 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: London gallery directed by Andrew Ciechanowieck. Records include extensive correspondence with museums, galleries, collectors, and other colleagues in Europe and the United States. Photographs document paintings, drawings, sculptures, and decorative art sold and exhibited by, and offered to the gallery. Stock and financial records trace acquisitions and sales. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note Heim Gallery London began in June 1966 with François Heim (from Galerie Heim, Paris, begun 1954) and Andrew S. Ciechanowiecki as partners. Ciechanowiecki served as director in London while Heim remained in France. The emphasis of the gallery was Old Master paintings, especially French of the 15th - 18th century, Italian paintings of all periods, and sculpture (marble, terracotta and bronze) from the Renaissance to the 19th century. The gallery was known for its scholarly exhibitions and catalogs. Between 1966 and 1989 the gallery presented exhibitions two to three times a year. The gallery did business with museums and individual clients in Europe and the United States. -
Falda's Map As a Work Of
The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: https://www.tandfonline.com/loi/rcab20 Falda’s Map as a Work of Art Sarah McPhee To cite this article: Sarah McPhee (2019) Falda’s Map as a Work of Art, The Art Bulletin, 101:2, 7-28, DOI: 10.1080/00043079.2019.1527632 To link to this article: https://doi.org/10.1080/00043079.2019.1527632 Published online: 20 May 2019. Submit your article to this journal Article views: 79 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Falda’s Map as a Work of Art sarah mcphee In The Anatomy of Melancholy, first published in the 1620s, the Oxford don Robert Burton remarks on the pleasure of maps: Methinks it would please any man to look upon a geographical map, . to behold, as it were, all the remote provinces, towns, cities of the world, and never to go forth of the limits of his study, to measure by the scale and compass their extent, distance, examine their site. .1 In the seventeenth century large and elaborate ornamental maps adorned the walls of country houses, princely galleries, and scholars’ studies. Burton’s words invoke the gallery of maps Pope Alexander VII assembled in Castel Gandolfo outside Rome in 1665 and animate Sutton Nicholls’s ink-and-wash drawing of Samuel Pepys’s library in London in 1693 (Fig. 1).2 There, in a room lined with bookcases and portraits, a map stands out, mounted on canvas and sus- pended from two cords; it is Giovanni Battista Falda’s view of Rome, published in 1676. -
Antonio MONTAUTI by Sandro Bellesi - Biographical Dictionary of Italians - Volume 76 (2012)
Antonio MONTAUTI by Sandro Bellesi - Biographical Dictionary of Italians - Volume 76 (2012) Son of Hannibal and Chiara Danesi, was born November 14, 1683 in the parish of St. Felix in Piazza in Florence (Visonà, 1996). Educated in the study of plastic arts in his hometown under the guidance of Giuseppe Piamontini, the young Montauti, according to current practice among his contemporary artists, was first addressed, as Francesco Maria Niccolò Gabburri remembers, to the study of ancient statuary and of Michelangelo's works, to the knowledge of which he joined, as can be deduced from the examination of his first activity, distinctive interests for the new orientations of local late Baroque art, updated for some time, to the most fashionable stylistic trends of Roman sculpture. At 1706, the time of enrollment at the Academy of Design (Zangheri, 2000), had to start an independent activity, marked at first, as well as works of which there is no more news - as a Bacchanal in bronze (Dati, 1734) and a garden statue for the Medici villa of Lappeggi (Palagi, 1876) - above all by the execution of medals (Vannel - Toderi, 2006). Signed and dated 1707 is the medal of Giovanni Maria Baldigiani , which was followed shortly after those dedicated, between 1708 and 1713, to Vincenzo da Filicaia , to Frederick IV of Denmark , to Francesco Maria de 'Medici , to Orazio Ricasoli Rucellai , to Lorenzo Magalotti , to Violante Beatrice of Baviera and to the Sienese poet Aretafila Savini Rossi , for whom Montauti also sculpted a medallion in marble, which appeared in 2009 on the Florentine antique market. -
Valmontone Conference on Mattia Preti
Baroque Routes - 2014 / 15 5 Valmontone Conference on Mattia Preti A scholarly conference focused on the Cavaliere Calabrese, the artist Mattia Preti, was held on Monday 3 November 2014 at Palazzo Pamphilj in Valmontone, around 30 kilometres from Rome. Participants examined the status of research into this artist following the celebrations of the 400th centenary of his birth (1613-2013). The event was titled ‘Sotto la volta dell’aria. Mattia Preti: Approfondimenti e ricerche.’ This conference was organised by the International Institute for Baroque Studies at the University of Malta in association with the Soprintendenza PSAE del Lazio and the Comune di Valmontone. For this purpose an on-site scientific committee composed of Sante Guido, Dora Catalano of the Superintendence extensive decoration of eighteenth-century of the region, Monica Di Gregorio, director palaces throughout Europe. Allegorical figures of the museum of Palazzo Doria Pamphilj, representing the natural elements, such as Day, and Giuseppe Mantella, a leading restorer of Night, Dawn, as well as Love, Fortune and many Mattia’s Preti’s works, was set up. The ‘Volta others, adorn this vault. It is important to note dell’aria’ indicated in the title of the conference that it was during his stay at Valmontone, that refers to a fresco on the ceiling of the grand Preti planned his entire project for the decoration hall of the palace where the event took place, of the Co-cathedral in Valletta. When he arrived and which was painted in the spring of 1661 in Malta in the summer of 1661 and proposed to for Prince Camillo Pamphilj in the piano paint the story of St John the Baptist, his designs nobile of his palace. -
“Allo Illustre, E Molto Magnifico M. Alessandro De' Medici (...)”, Firenze
GIORGIO VASARI : “Allo Illustre, e Molto Magnifico M. Alessandro De’ Medici (...)”, Firenze, 6 February 1568, fol. [2] r, in: VITA DEL GRAN MICHELAGNOLO BUONARROTI. Scritta da M. Giorgio Vasari, Scrttore & Architetto Aretino . Con le sue Magnifiche Essequie stategli fatte in Fiorenza. DALL ’ ACHADEMIA DEL DISEGNO (Florenz 1568). herausgegeben und kommentiert von CHARLES DAVIS FONTES 20 [19. Oktober 2008] Zitierfähige URL: http://archiv.ub.uni-heidelberg.de/artdok/volltexte/2008/639 QUELLEN UND DOKUMENTE ZU MICHELANGELO BUONARROTI – E -TEXTE , NR. 2 SOURCES AND DOCUMENTS FOR MICHELANGELO BUONARROTI – E -TEXTS , NO. 2 GIORGIO VASARI , “Allo Illustre, e Molto Magnifico M. Alessandro De’ Medici (...)”, Firenze, 6 February 1568 (Dedication), fol. [2] r, in: V I T A D E L GRAN MICHELAGNOLO BUONARROTI. Scritta da M. Giorgio Vasari, Pittore & Architetto Aretino . Con le sue Magnifiche Essequie stategli fatte in Fiorenza. DALL ’ ACHADEMIA DEL DISEGNO . Con Licenza, & Privilegio . I N F I O R E N Z A Nella Stamperia de’ Giunti 1568. FONTES 20 1 CONTENTS 3 THE TEXT 5 INTRODUCTION: VASARI , IL GRAN MICHELAGNOLO , AND ALESSANDRO DI OTTAVIANO DE ’ MEDICI 11 BIBLIOGRAPHY 12 THREE COMMENTARIES 14 OTTAVIANO DE ’ MEDICI 15 ALESSANDRO DI OTTAVIANO DE ’ MEDICI (L EONE XI) 16 “MICHELANGELO-BIBLIOGRAPHIE” 18 THE TEXT: English version 2 THE TEXT VITA DEL GRAN MICHELAGNOLO BUONARROTI. Scritta da M. Giorgio Vasari, Pittore & Architetto Aretino . Con le sue Magnifiche Essequie stategli fatte in Fiorenza. DALL ’ ACHADEMIA DEL DISEGNO . Con Licenza, & Privilegio . IN FIORENZA Nella Stamperia de’ Giunti 1568. fol. [2] r GIORGIO VASARI , “Allo Illustre, e Molto Magnifico M. Alessandro De’ Medici (...)”, Firenze, 6 February 1568 (Dedication), fol. -
Treaty Between the Holy See and Italy
TREATY BETWEEN THE HOLY SEE AND ITALY IN THE NAME OF THE MOST HOLY TRINITY Whereas: The Holy See and Italy have recognized the desirability of eliminating every existing reason for dissension between them by arriving at a definitive settlement of their reciprocal relations, one which is consistent with justice and with the dignity of the two Parties and which, by assuring to the Holy See in a permanent manner a position in fact and in law which guarantees it absolute independence for the fulfilment of its exalted mission in the world, permits the Holy See to consider as finally and irrevocably settled the “Roman Question”, which arose in 1870 by the annexation of Rome to the Kingdom of Italy under the Dynasty of the House of Savoy; Since, in order to assure the absolute and visible independence of the Holy See, it is required that it be guaranteed an indisputable sovereignty even in the international realm, it has been found necessary to create under special conditions Vatican City, recognizing the full ownership and the exclusive and absolute power and sovereign jurisdiction of the Holy See over the same; His Holiness the Supreme Pontiff Pius XI and His Majesty Victor Emanuel III King of Italy have agreed to conclude a Treaty, appointing for that purpose two Plenipotentiaries, namely, on behalf of His Holiness, His Eminence Cardinal Pietro Gasparri, his Secretary of State, and on behalf of His Majesty, His Excellency Sir Benito Mussolini, Prime Minister and Head of Government; which persons, having exchanged their respective full powers, which were found to be in due and proper form, have agreed upon the following articles: Art. -
The Lives of the Saints
Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924098140746 3 1924 098 140 746 In compliance with current copyright law, Cornell University Library produced this replacement volume on paper that meets the ANSI Standard Z39.48-1992 to replace the irreparably deteriorated original. 2004 CORNELL UNIVERSITY LIBRARY »i< ^ THE ILi'Qts of tt)e ^atnts; REV. S. BARING-GOULD SIXTEEN VOLUMES VOLUME THE SECOND ^ ^ THE EEPOSE IN EGYPT, WITH DANCING ANGELS. After Luca Cranaoh. Bj the robbery ot the nest In the tree, the painter Ingeniously points to the MaBsooro of the Innocents as to the oouse of the Flight into Egypt J [Pront.-Tol. II. * ^ THE Hities of tl)e ^mt^ BY THE REV. S. BARING-GOULD, M.A. New Edition in i6 Volumes Revised with Introduction and Additional Lives of English Martyrs, Cornish and Welsh Saints, and a full Index to the Entire Work ILLUSTRATED BY OVER 400 ENGRAVINGS VOLUME THE SECOND LONDON JOHN C. NIMMO NEW YORK: LONGMANS, GREEN, &- CO. MDCCCXCVIII Prinled by BallaNTYiNE, HANSON &- CO. At tlie Ballantyue Press *- ~>h CONTENTS PAGE S. Auxibius .... 339 S. Abraham „ Aventine of Cha- „ Adalbald 41 teaudun ... 86 ,, Adelheid 140 ,, Aventine of Troyes . 84 „ Adeloga 42 „ Avitus . 138 „ yEmilian 212 Agatha . „ 136 B ,, Aldetrudis „ Alexander 433 S. Baldomer Alnoth . „ 448 Baradatus . „ Amandus 182 Barbatus . SS. Ananias and comp. 412 Belina S. Andrew Corsini 105 Benedict of Aniane „ Angilbert 337 Berach „ Ansbert 246 Berlinda „ Anskar . -
The Apostolic Succession of the Right Rev. James Michael St. George
The Apostolic Succession of The Right Rev. James Michael St. George © Copyright 2014-2015, The International Old Catholic Churches, Inc. 1 Table of Contents Certificates ....................................................................................................................................................4 ......................................................................................................................................................................5 Photos ...........................................................................................................................................................6 Lines of Succession........................................................................................................................................7 Succession from the Chaldean Catholic Church .......................................................................................7 Succession from the Syrian-Orthodox Patriarchate of Antioch..............................................................10 The Coptic Orthodox Succession ............................................................................................................16 Succession from the Russian Orthodox Church......................................................................................20 Succession from the Melkite-Greek Patriarchate of Antioch and all East..............................................27 Duarte Costa Succession – Roman Catholic Succession .........................................................................34 -
Lasallian Calendar
October 16, 2016 Pope Francis declares Saint Brother SOLOMON LE CLERCQ LLAASSAALLLLIIAANN CCAALLEENNDDAARR 22001177 General Postulation F.S.C.- Via Aurelia 476 – 00165 Roma JANUARY 2017 1 Sunday - S. Mary, Mother of God - World Day of Peace 2 Monday Sts. Basil the Great and Gregory Nazianzen, bishops , doctors 3 Tuesday The Most Holy Name of Jesus 4 Wednesday Bl. Second Pollo, priest. ex-pupil in Vercelli (Italy) 5 Thursday St. Telesphorus, pope 6 Friday - The Epiphany of the Lord Missionary Childhood Day – 1st Friday of the month 7 Saturday St. Raymond of Peñafort 8 Sunday - The Baptism of Jesus Christ St. Laurence Giustiniani 9 Monday St. Julian 10 Tuesday St. Aldus 11 Wednesday St. Hyginus, pope 12 Thursday St. Modestus 1996: Br. Alpert Motsch declared Venerable 13 Friday St. Hilary of Poitiers, bishop, doctor 14 Saturday St. Felix of Nola 15 Sunday II in Ordinary Time Day of Migrants and Refugees - St. Maurus, abbot 16 Monday St. Marcellus I, pope and martyr 17 Tuesday St. Anthony abbot 18 Wednesday St. Prisca 19 Thursday Sts. Marius and family, martyrs 20 Friday Sts. Fabian, pope and Sebastian, martyrs 21 Saturday St. Agnes, virgin and martyr 22 Sunday III in Ordinary Time St. Vincent Pallotti 23 Monday St. Emerentiana 24 Tuesday St. Francis de Sales, bishop and doctor 25 Wednesday - Vocation Day Conversion of St. Paul 26. Thursday – Sts. Timothy and Titus 1725: Benedict XIII approves the Institute by the Bull “In Apostolicae Dignitatis Solio 1937: Transfer to Rome of the relics of St. JB. de La Salle 27 Friday St. Angela Merici, virgin 28 Saturday St. -
064-Sant'andrea Delle Fratte
(064/36) Sant'Andrea delle Fratte Sant'Andrea delle Fratte is a minor basilica, as well as an early 17th century parish, titular and convent church in the rione Colonna, just to the south of the Piazza di Spagna, dedicated to St Andrew the Apostle. History The first church here was built in the 1192, called infra hortes (later translated into "delle Fratte" or "shrubs") for it was located in a countryside area. The first time that the name Fratte is used is in the 15th century. It means literally "woods" or "overgrown vegetation", and seems to commemorate an overgrown area which might have been an abandoned piece of land, some shrubby garden or the facing slope of the Pincian hill when it was still wild. (1) (11) The church was probably rebuilt (or newly built on this site) in the 15th century, when there is a hint in the records that an Augustinian nunnery was established here. Then it was for some time the national church of Scotland as an independent kingdom (St Andrew is Scotland's patron). After the Scottish Reformation in 1560 the Scots completely lost interest in it, and for a while it was taken over by a pious confraternity dedicated to the Blessed Sacrament. However it was given to the Order of Minim of St. Francis of Paola Friars in 1585, and they still serve the parish which was simultaneously created. (1) (11) In 1604 the construction of the new church was begun, under the design of Gaspare Guerra. The project halted in 1612 due to lack of funds.