In Presentia Mei Notarii. Piante E Disegni
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Italian Quarterly, XXXVII, 2000, 209-51
BERNINI’S BUST OF THE SAVIOR AND THE PROBLEM OF THE HOMELESS IN SEVENTEENTH-CENTURY ROME Italian Quarterly, XXXVII, 2000, 209-51 BERNINI'S BUST OF THE SAVIOR AND THE PROBLEM OF THE HOMELESS IN SEVENTEENTH-CENTIJRY ROME* In preparing for death Bernini followed a long and glorious tradition in which artists since the Renaissance strove to outdo themselves (and their predecessors) by creating tours de force of their craft as ultimate testaments to their ability and devotion. 1 While he followed his tradition, Bernini reinterpreted it in a flllldamental way, as ifin fulfillment of his famous dictum that in his art he had succeeded in breaking the rules, without ever violating them.2 For although he amassed great wealth and international prestige during a long and almost uniformly successful career, unlike many artists of his means and stature - and notably his great prototype Michelangelo -- ho planned no tomb or other monument for himself. 3 It emerges now more clearly than ever that if Bernini's expiatory creations were selfjusti:ficatory in origin, they were not self-centered in destination; they were directed not inward but outward, in a spirit of what today might be called "social consciousness." • • • Homo sapiens has been defined as the only animal that knows it is going to die. This paradox of a living creature's self-conscious awareness of and preoccupation with its own death was a prominent theme in European cullure from antiquity on. The process of intellectualization of this fatal aspect of human nature culminated toward the end of the middle ages in a coherent and logically conceived system, a veritable theory of dying. -
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The J. Paul Getty Trust 1200 Getty Center Drive, Suite 400 Tel 310 440 7360 Communications Department Los Angeles, California 90049-1681 Fax 310 440 7722 www.getty.edu [email protected] NEWS FROM THE GETTY DATE: September 14, 2007 FOR IMMEDIATE RELEASE GETTY EXHIBITION HIGHLIGHTS THE TRIALS AND TRIBULATIONS OF A YOUNG ARTIST’S JOURNEY AS TOLD BY HIS BROTHER Taddeo and Federico Zuccaro: Artist-Brothers in Federico Zuccaro Renaissance Rome Italian, about 1541 - 1609 Taddeo Rebuffed by Francesco Il Sant'Agnolo, about 1590 Pen and brown ink and brown wash over black chalk The J. Paul Getty Museum At the J. Paul Getty Museum, Getty Center 99.GA.6.5 October 2, 2007 – January 6, 2008 LOS ANGELES—The journey to becoming an artist in Renaissance Rome during the 16th century was fraught with daily hardships and struggles. These tribulations are best exemplified in the tale of Taddeo Zuccaro, a young lad who left his home on the eastern coast of Italy at the tender age of 14 to pursue a career as an artist in the great metropolis of Rome. His tenuous journey of starvation, deprivation, sickness, and ultimately triumph—sensitively recounted by his younger brother, Federico, who would himself become an artist of great significance—will be celebrated in a major international loan exhibition organized by the J. Paul Getty Museum. On view at the Getty Center, October 2, 2007 through January 6, 2008, Taddeo and Federico Zuccaro: Artist-Brothers in Renaissance Rome is the first exhibition devoted to the artist-brothers that focuses on their relationship and brings together some of their greatest drawings. -
JADRANKA NERALIĆ Il Ruolo Delle Istituzioni Illiriche Di Roma Nella
Jadranka neralić Il ruolo delle istituzioni illiriche di Roma nella formazione della nazione croata Situata nel cuore della città di Roma vicino al mausoleo dell’impera- tore Augusto, la monumentale chiesa sistina di San Girolamo è un simbo- lo importante della nazione croata, suo centro liturgico e pastorale, luogo privilegiato di cultura religiosa per i croati residenti a Roma, per quelli in patria e per quelli dispersi nei vari continenti.1 Attorno ad essa sono sorti i suoi istituti – la confraternita che amministrò l’ospizio-ospedale (fondata da Niccolò V con la bolla Piis fdelium votis il 21 aprile 1453), l’unico ca- pitolo nazionale estero a Roma (istituito da Sisto V con la bolla Sapientiam sanctorum del 1 agosto 1589) e il collegio per la formazione del clero dio- cesano istituito da Leone XIII con la bolla Slavorum gentem del 1901, oggi conosciuto come Pontifcio Collegio Croato di San Girolamo.2 La chiesa e le sue istituzioni erano un centro per i pellegrini e per la consistente comunità a Roma, ma la vera importanza consisteva anche nell’organizza- re moltissime iniziative religiose, sociali e culturali in favore della patria. Inoltre esse davano la possibilità a molti connazionali, prevalentemente ecclesiastici, di trovare impiego come consiglieri per le questioni della Chiesa orientale nei paesi slavi, interpreti o collaboratori delle varie Con- gregazioni della Santa Sede, in particolare di quella de Propaganda Fide. 1. La comunità croata a Roma nel ’400 e gli inizi della loro confraternita A poco più di due anni dal tragico incidente del 19 dicembre 1450, quando erano morti calpestati o affogati nel Tevere centosettantadue 1. -
PERONI, Giuseppe by Anna Chiara Fontana - Italian Biography Dictionary - Volume 82 (2015)
PERONI, Giuseppe by Anna Chiara Fontana - Italian Biography Dictionary - Volume 82 (2015) PERONI, Joseph. - He was born in Parma in the parish of St. Bartholomew on May 6, 1710 by Luigi, physician, and Maria Maddalena Remesini (or Ramesini), originally from Colorno. At the age of fourteen, following the footsteps of his elder brother Giulio (1705-1784), parish priest of the same church of S. Bartolomeo and founder of the conservatory of the Vincenzine di Parma (Janelli, 1877, p. 506), he began his ecclesiastical career , receiving the first tonsure on April 10, 1724 (Paini, 1987, p. 242). His outstanding artistic qualities, since childhood, pushed his father to send him to the school of Pier Ilario Mercanti, known as Spolverini, a famous painter of battles and portraitist, and later to Giovanni Bolla, from whom he learned the technique of 'fresco. On the advice of Spolverini he left his hometown to move to Bologna (1731). In the upper town he attended the Clementine Academy, receiving architectural and perspective outlines from Ferdinando Galli Bibiena (Paini, 1987, p. 242) and following the teachings of the anatomist Ercole Lelli, Felice Torelli and Donato Creti, they competed to train him "(Scarabelli Zunti, late 19th century, c. 235r). In 1733 he won the second-class award for a s Visit. Elizabeth, drawing today lost and of which remains memory in the postcard kept in Parma at the heirs of the painter (Paini, 1987, pp. 242 pp.). The following year he left for Rome; in the papal city he was a pupil of Agostino Masucci, from whom he borrowed the "Marathon" (Scarabelli Zunti, late 19th century, 235rd), and attended the Accademia di Francia and the Accademia di S. -
Final Reports of Papal Diplomats As a Cultural Message: the Case of the Polish-Lithuanian Commonwealth
/ T J R E M D S Dorota Gregorowicz Università degli Studi del Piemonte Orientale ‘Amedeo Avogadro’ FINAL REPORTS OF PAPAL DIPLOMATS AS A CULTURAL MESSAGE: THE CASE OF THE POLISHLITHUANIAN COMMONWEALTH Abstract This paper focuses on the cultural and political importance of papal nuncios’ final reports (relazioni finali) as one of the basic sources of knowledge about the Polish- Lithuanian Commonwealth in the Roman Curia. The final report was a document, in essence a summary, which a diplomat was required to complete at the end of his mission (or immediately after). During the creation of the office of permanent nuncio to the major European courts, the preparation and delivery of the final report often took place orally. Gradually, the relazione evolved into a written version. Throughout the sixteenth century, when knowledge about Poland-Lithuania in Rome was rather poor, the relazioni finali consisted of colourful descriptions of the geography, the history, and the social and political relations of the Polish-Lithuanian Commonwealth. During the seventeenth century, this document became more political in character. It related directly to the activities of the papal diplomats, rituals and ceremonials, and any particular problems regarding the missions, rather than extensive descriptions of relatively banal curiosities. Throughout the seventeenth century in particular, when a permanent papal diplomatic presence had just been established in Poland-Lithuania, the final reports were an important contribution to future missions. Newly-appointed nuncios therefore willingly used the extremely important information contained therein. The practice of writing relazioni finali made it easier for the Holy See to consolidate its diplomatic influence and presence in Central and Eastern Europe in the early modern period. -
Extraordinary Jubilee of Mercy 2015-2016
EEXXTTRRAAOORRDDIINNAARRYY JJUUBBIILLEEEE ooff MMEERRCCYY The Extraordinary Jubilee of Mercy 2015-2016 Pope Francis, who is moved by the human, social and cultural issues of our times, wished to give the City of Rome and the Universal Church a special and extraordinary Holy Year of Grace, Mercy and Peace. The “Misericordiae VulTus” Bull of indicTion The Apostolic Exhortation Evangelii Gaudium, which continues to be the programmatic outline for the pontificate of Pope Francis, offers a meaningful expression of the very essence of the Extraordinary Jubilee which was announced on 11 April 2015: “The Church has an endless desire to show mercy, the fruit of its own experience of the power of the Father’s infinite mercy” (EG 24). It is with this desire in mind that we should re-read the Bull of Indiction of the Jubilee, Misericordiae Vultus, in which Pope Fran- cis details the aims of the Holy Year. As we know, the two dates already marked out are 8 December 2015, the Solemnity of the Immaculate Conception, the day of the opening of the Holy Door of St. Peter’s Basilica, and 20 November 2016, the Solemnity of Our Lord Jesus Christ, King of the Universe, which will conclude the Holy Year. Between these two dates a calendar of celebrations will see many different events take place. The Pope wants this Jubilee to be experienced in Rome as well as in local Churches; this brings partic- ular attention to the life of the individual Churches and their needs, so that initiatives are not just additions to the calendar but rather complementary. -
3 Architects, Antiquarians, and the Rise of the Image in Renaissance Guidebooks to Ancient Rome
Anna Bortolozzi 3 Architects, Antiquarians, and the Rise of the Image in Renaissance Guidebooks to Ancient Rome Rome fut tout le monde, & tout le monde est Rome1 Drawing in the past, drawing in the present: Two attitudes towards the study of Roman antiquity In the early 1530s, the Sienese architect Baldassare Peruzzi drew a section along the principal axis of the Pantheon on a sheet now preserved in the municipal library in Ferrara (Fig. 3.1).2 In the sixteenth century, the Pantheon was generally considered the most notable example of ancient architecture in Rome, and the drawing is among the finest of Peruzzi’s surviving architectural drawings after the antique. The section is shown in orthogonal projection, complemented by detailed mea- surements in Florentine braccia, subdivided into minuti, and by a number of expla- natory notes on the construction elements and building materials. By choosing this particular drawing convention, Peruzzi avoided the use of foreshortening and per- spective, allowing measurements to be taken from the drawing. Though no scale is indicated, the representation of the building and its main elements are perfectly to scale. Peruzzi’s analytical representation of the Pantheon served as the model for several later authors – Serlio’s illustrations of the section of the portico (Fig. 3.2)3 and the roof girders (Fig. 3.3) in his Il Terzo Libro (1540) were very probably derived from the Ferrara drawing.4 In an article from 1966, Howard Burns analysed Peruzzi’s drawing in detail, and suggested that the architect and antiquarian Pirro Ligorio took the sheet to Ferrara in 1569. -
ROME : ART and HISTORY OPENAIR 2020-2021, 2Nd Semester Meeting 1 – 13.03.2021 the Eternal City
University of Rome Tor Vergata School of Global Governance Prof. Anna Vyazemtseva ROME : ART AND HISTORY OPENAIR 2020-2021, 2nd semester Meeting 1 – 13.03.2021 The Eternal City 10 am – 5 pm :, The Palatine (Domus Augustana, Horti Farnesiani), Roman and Imperial Forums, The Colosseum, Vittoriano Complex, Musei Capitolini. 1 - 2pm:Lunch Meeting 2 – 20.03.2021 Introduction to the Renaissance 10 am – 5 pm: St. Peter’s Basilica, Vatican Museums (Sistine Chapel by Michelangelo, Stanze by Raphael). 1 - 2pm: Lunch Meeting 3 – 27.03.2021 Architecture and Power: Palaces of Rome 10 am – 5 pm: Villa Farnesina, Via Giulia, Palazzo Farnese, Palazzo Spada-Capodiferro, Palazzo della Cancelleria, Palazzo Mattei, Palazzo Venezia 1 - 2pm: Lunch Meeting 4 – 10.04.2021 Society, Politics and Art in Rome in XV-XVIII cc. 10 am – 5 pm: Santa Maria del Popolo, Piazza di Spagna, Barberini Palace and Gallery, Fon tana di Trevi, San Carlino alle Quattro Fontane, Sant’Andrea al Quirinale, Palazzo del Quirinale 1 - 2pm:Lunch Meeting 5 – 14.04.2021 The Re-use of the Past 10 am – 5 pm: Pantheon, Piazza di Pietra, Piazza Navona, Baths of Diocletian, National Archeological Museum Palazzo Massimo alle Terme. 1 - 2pm: Lunch Meeting 6 – 08.03.2021 Contemporary Architecture in Rome 10 am – 5pm: EUR district, MAXXI – Museum of Arts of XXI c. (Zaha Hadid Architects), Ara Pacis Museum. 1 – 2 pm: Lunch Proposals and Requirements The course consists of 6 open air lectures on artistic heritage of Rome. The direct contact with sites, buildings and works of art provides not only a better comprehension of their historical and artistic importance but also helps to understand the role of heritage in contemporary society. -
The Irish Catholic Episcopal Corps, 1657 – 1829: a Prosopographical Analysis
THE IRISH CATHOLIC EPISCOPAL CORPS, 1657 – 1829: A PROSOPOGRAPHICAL ANALYSIS VOLUME 1 OF 2 BY ERIC A. DERR THESIS FOR THE DEGREE OF PHD DEPARTMENT OF HISTORY NATIONAL UNIVERISTY OF IRELAND MAYNOOTH SUPERVISOR OF RESEARCH: DR. THOMAS O’CONNOR NOVEMBER 2013 Abstract This study explores, reconstructs and evaluates the social, political, educational and economic worlds of the Irish Catholic episcopal corps appointed between 1657 and 1829 by creating a prosopographical profile of this episcopal cohort. The central aim of this study is to reconstruct the profile of this episcopate to serve as a context to evaluate the ‘achievements’ of the four episcopal generations that emerged: 1657-1684; 1685- 1766; 1767-1800 and 1801-1829. The first generation of Irish bishops were largely influenced by the complex political and religious situation of Ireland following the Cromwellian wars and Interregnum. This episcopal cohort sought greater engagement with the restored Stuart Court while at the same time solidified their links with continental agencies. With the accession of James II (1685), a new generation of bishops emerged characterised by their loyalty to the Stuart Court and, following his exile and the enactment of new penal legislation, their ability to endure political and economic marginalisation. Through the creation of a prosopographical database, this study has nuanced and reconstructed the historical profile of the Jacobite episcopal corps and has shown that the Irish episcopate under the penal regime was not only relatively well-organised but was well-engaged in reforming the Irish church, albeit with limited resources. By the mid-eighteenth century, the post-Jacobite generation (1767-1800) emerged and were characterised by their re-organisation of the Irish Church, most notably the establishment of a domestic seminary system and the setting up and manning of a national parochial system. -
The Roman Theocracy and the Republic, 1846-1849
^ney //n-ivm'iU^ ,-^ ^ c/6..y/io>^^ ^y^' wen^ 7/fm rr.jt/i/ </ l(f////</•/mi THE ROMAN THEOCRACY AND THE REPUBLIC .S«a_ The Roman Theocracy and The Republic 1846-1849 BY R. M. JOHNSTON Hontion MACMILLAN AND CO., Limited NEW YORK : THE MACMILLAN COMPANY I9CI jill rights reserved j1(?7^^ HE:NRY morse STePHCNS- — —— CONTENTS CHAPTER I Some Antecedents of the Roman Theocracy PAGE The Papacy and the Roman Empire— Continuity of traditions—Struggle be- tween North and South—Rise of Italian nationalism—Strength and weakness of the Popes—Character of the Italians — Conditions in the States of the Church—Secret Societies—The Memorandum of 183 1 Papal justice—Finance—Administration—The rule of the Theocracy Death of Gregory XVI I CHAPTER n The Election of Pius IX The Amnesty The Conclave summoned—Nationalist influences —The Primato and Ultimi Cast—The Bishop of Imola—His personality and opinions—The Papal election—Lambruschini and Micara—Proclamation of Pius IX—His first acts —The Amnesty—Popular enthusiasm— Metternich's foreboding . 29 CHAPTER HI Italian Sentiment and Parties Unrest of the Peninsula—Kingdom of Sardinia—The Austrian provinces and regime—The writers — Double current of nationalist sentiment— Mazzini and the Gio-vane Italia—Rise and fall of his popularity— Gioberti— His correspondence with Mazzini—The Primato—A remarkable prophecy Balbo—D' Azeglio—His interview with Charles Albert —Antagonism of democrats and Albertists . -41 511196 — ri THE ROMAN THEOCRACY CHAPTER IV Early Months of the Pontificate—The Congress of Genoa PAGE Popularity of Pius —Difficulty of his position—The Gregorian party opposes him— Gizzi State Secretary—First attempts at reform—Sanfedist agitation — Failure of crops Scientific Congresses Nationalist — — enthusiasm . -
The Building of Palazzo Pamphilj
The building of Palazzo Pamphilj Author: Stephanie Leone Persistent link: http://hdl.handle.net/2345/bc-ir:107932 This work is posted on eScholarship@BC, Boston College University Libraries. Published in Palazzo Pamphilj: Embassy of Brazil in Rome, pp. 15-67, 2016 These materials are made available for use in research, teaching and private study, pursuant to U.S. Copyright Law. The user must assume full responsibility for any use of the materials, including but not limited to, infringement of copyright and publicat PALAZZO PAMPHILJ Embassy of Brazil in Rome UMBERTO ALLEMANDI The Building of Palazzo Pamphiij STEPHANIE LEONE he Palazzo Pamphilj overlooks the Piazza Navona, one of the largest and most celebrated public spaces in T Rome that is situated at the heart of the historical centre (fig. I). The monumental palace stretches for eighty ,five metres along the Western flank of the piazza from the Southern corner coward the Northern end. The exceptionally long fapde is organised into a symmetrical sequence of bays with a projecting central section and is buttressed, at the North end, by a distinct fapde with a large serliana win, dow (an arch with crabeaced sides). The exterior boasts a profusion of ornament that enlivens the surface and punctuates the horizontality of the building. Through sheer scale and abundance of form, the Palazzo Pamphilj bespeaks grandeur and authority. Architecture serves the rhetorical functions of communication and persuasion. In the early modem period (ca. 1500-1800), palaces in particular became synonymous with the statm of their owners. Today, the Palazzo Pamphilj houses the Embassy of Brazil in Rome, but until the government ofBrazil purchased the palace in 1960, it had belonged to the Pamphilj family. -
L'antica Porta Appia Delle Mura Costruite Nella Seconda Metà Del III
Prima di arrivare a Porta S. Sebastiano – l’antica Porta Appia delle è ora ridotta al nucleo di calcestruzzo, sul quale è stata costruita una Cento metri oltre il bivio con la via Appia Pignatelli (sistemata alla trionfale. Sulle gradinate potevano trovare posto oltre 10.000 spet- Torlonia (n. civico 240), la via corre finalmente libera e fiancheggia- Sempre sul lato destro seguono i ruderi ben conservati nella parte mura costruite nella seconda metà del III sec. d.C. dall’imperatore casetta. Presso il bivio con la via Ardeatina è la piccola chiesa del fine del secolo XVII da Papa Innocenzo XII), al numero civico 119a, tatori. Al di là del Circo sorgeva la Villa (12), che era direttamente ta da pini e cipressi con numerosi resti di tombe ora più facilmente posteriore di un sepolcro a tempietto (31), rettangolare, con alto Aureliano – esisteva (ed esiste tuttora coi nomi di via delle Terme di Quo Vadis (5) o Santa Maria in palmis rifacimento seicentesco di una è l’ingresso delle Catacombe Ebraiche di Vigna Randanini (9). collegata al palco imperiale del Circo. Sotto di essa e da quella inglo- accessibili. Oltre il cancello dell’ex Forte Appio, si susseguono, sulla podio e scalinata; la Tomba, ricostruita, dei Rabiri (32), del I seco- Caracalla e via di Porta S. Sebastiano) il tratto iniziale della strada, cappella eretta nel IX secolo sul luogo dove, secondo la tradizione, Dopo il successivo bivio con la via delle Sette Chiese s’apre uno spiaz- bata, si trova una precedente villa del II secolo, sorta a sua volta destra, l’epigrafe di un Gneo Bebio Tampilo e l’iscrizione della fami- lo d.C., con la copia del rilievo originale raffigurante i busti con le lungo quasi un miglio, che, partendo dalla Porta Capena delle mura S.