The Only (Self)Portrait of Quaglio and the Consequences of Its Renovation

Total Page:16

File Type:pdf, Size:1020Kb

The Only (Self)Portrait of Quaglio and the Consequences of Its Renovation Varstvo spomenikov, 44 Mateja Neža Sitar The Only (Self)Portrait of Quaglio and the Consequences of its Renovation Key words: Ljubljana cathedral, Giulio Quaglio, self-portrait, monument preservation service, conser- vation and restoration procedures, Baroque painting technique, removal of impurities, retouching Abstract In the early 18th century, in the heyday of Baroque art in Ljubljana, the dean and patron of the construc- tion of the new Ljubljana cathedral, Janez Anton Dolničar, commissioned the northern Italian painter Giulio Quaglio (1668–1751) to adorn the cathedral of St Nicholas with frescoes. The Lombard Baroque painter, who was born in Laino on Lake Como, was a distinguished mural painter in Friuli and Gorizia, and he created his greatest masterpiece of his virtuoso artistic career in the illusionist murals in the inte- rior and on the exterior of the Ljubljana cathedral (1703–1706). Later, in 1721–1723, he returned with his son and completed the murals in the chapels of the nave. At that time the frescoes in the Ljubljana cathedral represented one of the largest cycles in Slovenia, and moreover, they were the most important commission of the artist. Because of this, he added his self-portrait to the images, which, according to research, is the only such example in his oeuvre in Italy, Austria and Slovenia. In 2002 a team from the Restoration Centre initiated one of its most complex and demanding conserva- tion and restoration projects on approximately 532 square metres of murals on the vault and western wall of the Ljubljana cathedral. The difficulty level of the project is evident from the methodology and organisation of the four-year work process, which in addition to concrete restoration procedures on the murals also entailed ongoing research, analysis, verification, study and documentation from various ex- pert points of view. The explicitly interdisciplinary approach combined many different areas of expertise, as well as Slovenian and international experiences from a broad range of scientific disciplines.1 Alongside the restoration process, the research at the site included the investigation of the murals from the point of view of art history and conservation and in the light of the broader cultural/historical context. For this reason and due to the scarce data and poorly preserved documentation, many different sources (written, photographic, graphic, literary, journalistic, video, oral and other) from public and private collections of documentation, plans and photographs, as well as from libraries and archives, were explored. Our objec- tive was to monitor and carefully search for any type of renovation procedures done to the murals as would be evident from information in the preserved documentation, various sources and literature. We were interested in information about the type of procedures, materials employed, the time of the renova- tion, who commissioned and implemented it, etc. Research on renovation and restoration procedures on the murals – regardless if these entailed only “cleaning” or removal of impurities2 or dirt (washing, rinsing) or other “renovation” and conservation/restoration procedures – can shed light on the problems connected with the present-day condition of the murals; it also helps uncover the causes of certain in- juries and define the consequences of individual procedures on the surface of the murals. Last but not least, the results of the research can contribute to a broader knowledge of the characteristics of the murals and help select the correct, most suitable and most efficient approach to the renovation, protection and Mateja Neža Sitar, Institute for the Protection of Cultural Heritage of Slovenia, Restoration Centre 107 Varstvo spomenikov, 44 preservation of works of art for the future. The most important aspect of the study of a painting tech- nique – in our example, Quaglio’s Baroque technique – is the research and knowledge of the structure of the murals both in terms of the materials employed and their subject matter. Based on this knowledge, it is possible to distinguish the original, first layer from subsequent layers, retouchings and other various changes to the surface of the paint, which influence the art-historical interpretation of the work. In individual periods of the history of the Ljubljana cathedral, various more or less suitable renovations took place for different reasons (changes of artistic taste, injuries caused by earthquakes, air pollution, moisture, differences in temperature, dirt, etc.), which effectively changed the appearance of the build- ing and Quaglio’s murals, as is evident from the article. When speaking about different renovation pro- cedures in the cathedral, we cannot ignore the fact that the Baroque building was constructed because of changes in artistic tastes, to be a new aesthetic ideal for the initiators of its construction. According to Historia (1701), the “bad shape of the old Gothic building” was given as the main reason for its de- molition.3 Only a handful of artefacts have remained of the old medieval church; they were saved from destruction by Janez Gregor Dolničar. This clearly speaks about the low awareness of the significance of preserving cultural heritage at that time, although the general thinking and ideals that were part of the identity and national roots called for a return back to the time of ancient Emona. Nevertheless, we must take into consideration the historical situation at that time and the spirit of the age, which through the “new” and “modern” nevertheless yielded admirable works of art. One of the largest and most daring architectural changes in the structure of the Baroque building and comprehensive mural decoration was the construction of a new, high dome in 1841–1843, which with the exception of three fragments completely destroyed Quaglio’s trompe-l’oeil frescoes in the previous dome. Other murals by this painter from Lombardy were subjected to several renovations, three of which are relatively well and officially documented as major ones and are in general known to experts: the renovation carried out by Matevž Langus in 1846–1853, the renovation by Anton Jebačin in 1905–1906 and the renovation by Peter Železnik in 1944–1947. The fourth, unofficial and so far generally unknown and undocumented, is Železnik’s renovation in 1959–1961.4 The final, fifth renovation, part of which was the aforementioned research, was carried out by the Restoration Centre under the auspices of the Institute for the Protection of Cultural Heritage of Slovenia in 2002–2006. Several other minor, usually more frequent and poorly documented renovation procedures were carried out on more exposed and more accessible parts of the murals, for example on the walls of the presbytery, transept and chapels in the nave and on the exterior, for which more or less skilful “renovators” were commissioned (decorators, painters, restorers, etc.), who implemented these renovations independently or under the auspices of the monument protection service of the 20th and 21st century. The article focuses on the part of the research into the history of the previous renovation procedures on Quaglio’s murals at the Ljubljana cathedral which best presents relevant key monument protection is- sues. These are the protection, salvage, preservation, maintenance and conservation/restoration of those murals that have lost their original appearance and authenticity due to various renovation procedures in the past. One such example is Quaglio’s only self-portrait, which he himself painted, complete with a signature and date, in the scene to the right on the southern wall of the presbytery of the Ljubljana cathedral. Because of the condition of Quaglio’s self-portrait, it has been proven that the murals in the presbytery have undergone more renovation procedures than is officially acknowledged. In 1703 and 1704, Quaglio painted two scenes of the miracles of the cathedral’s patron saint, Nicho- las, on the two side walls of the presbytery5; the motifs are based on the well-known hagiography Flos Sanctorum by Pedro de Ribadeneira.6 At a time when the traditional early Baroque style, according to which the painted scenes were usually placed in stuccowork frames or decorative sections, was waning, Quaglio painted the murals in the presbytery in the same fashion as many of his previous commissions in Lombardy, Friuli, Veneto and Gorizia (with some exceptions).7 Each of the four scenes measures 440 x 310 cm and is placed in a protruding, ornate, gilded stucco- work frame with concavely trimmed corners.8 Due to the poor condition of the murals, which hardly resemble Quaglio’s work, at the moment it would be unwise and difficult to define the Baroque paint- ing technique that Quaglio employed for these scenes. Moreover, the generic usage of the word frescoes is not completely correct, because the technique might not be true or exclusively true fresco. More accurate data could be obtained by scientific investigation of the plasters and colour layers (pigments, 108 Varstvo spomenikov, 44 binding agents) and an examination performed by an experienced restorer.9 According to the research and information in literature to date, it is evident that the Baroque painting technique was very popular because of new features that allowed the artist a more relaxed timing of the painting and facilitated more intense, daring and majestic effects demanded by the client, and because of the new spirit of the age that called for lush Baroque backdrops on the walls and ceilings of secular and church buildings; however, the technique was not as durable as true fresco. If we turn our attention to the results of the renovation of the murals on the vault and western wall of the nave, which was completed in 2006, we find out that detailed inspection and comparison of the top colour layer with other murals created by Quaglio in approximately the same period showed that the colour layer in Ljubljana is much poorer and flaking10 (Figures 1, 1a).
Recommended publications
  • Orgle Na Kranjskem Do Izteka 17. Stoletja
    Prejeto / received: 24. 12. 2012. Odobreno / accepted: 28. 12. 2012. ORe Gl NA KRANJSKEM Do iZteka 17. STOLETJA K ATARINA TRČEK Izvleček: Orgle predstavljajo pomembno sesta- Abstract: Organ is an important element of vino slovenske kulturne zgodovine, saj so bile Slovenian cultural history; having a characte- s svojim značilnim zvokom močno prisotne v ristic sound it was known and appreciated by all zavesti vseh slojev prebivalstva. Na Kranjskem population strata. In Carniola organs began to so se začele pojavljati v drugi pol. 15. stol. appear in the second half of the fifteenth century. V ohranjenih arhivskih virih so podatki o 34 The archival documents testify to thirty-four lokacijah z orglami do konca 17. stol. (skoraj locations with altogether forty-four organs in izključno le cerkve) in o 44 glasbilih, vendar je Carniola up to the end of the 17th century, yet bilo tako lokacij kot glasbil najbrž več. Največje their number must have been higher. According kranjske orgle z ohranjeno dispozicijo so imele to the preserved data, the largest organ in Car- devet manualnih registrov. niola until the end of the seventeenth century had nine manual stops. Ključne besede: zgodovina glasbe na Sloven- Key words: history of music in Slovenia, history skem, zgodovina orgel, orglarstvo of organ, organ building Raziskovanje glasbene preteklosti se ne more omejevati le na študij kompozicijskih del, pač pa mora vključevati tudi zanimanje za njihovo originalno zvočno podobo. Vedenja o tej si ni mogoče ustvariti brez poznavanja glasbil, s katerimi so bila kompozicijska dela v času svojega nastanka dejansko izvajana. Študij starega instrumentarija omogoča pred- stavo o zvočnosti posameznih zgodovinskih okolij, s tem pa tudi historično verodostojno izvajanje v preteklosti nastalih glasbenih del.
    [Show full text]
  • Annual Report 1995
    19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.
    [Show full text]
  • Ljubljana Tourism
    AKEYTOLJUBLJANA MANUAL FOR TRAVEL TRADE PROFESSIONALS Index Ljubljana 01 LJUBLJANA 02 FACTS 03 THE CITY Why Ljubljana ............................................................. 4 Numbers & figures.............................................. 10 Ljubljana’s history ................................................ 14 Ljubljana Tourism ................................................... 6 Getting to Ljubljana ........................................... 12 Plečnik’s Ljubljana ............................................... 16 Testimonials .................................................................. 8 Top City sights ......................................................... 18 City map ........................................................................... 9 ART & RELAX & 04 CULTURE 05 GREEN 06 ENJOY Art & culture .............................................................. 22 Green Ljubljana ...................................................... 28 Food & drink .............................................................. 36 Recreation & wellness .................................... 32 Shopping ...................................................................... 40 Souvenirs ..................................................................... 44 Entertainment ........................................................ 46 TOURS & 07 EXCURSIONS 08 ACCOMMODATION 09 INFO City tours & excursions ................................ 50 Hotels in Ljubljana .............................................. 58 Useful information ............................................
    [Show full text]
  • RES.7 the Presentation of Wall Paintings
    THE PRESENTATION OF WALL PAINTINGS Views, Concepts, and Approaches Ljubljana, 2020 Original title in Slovenian: Zavod za varstvo kulturne dediščine Slovenije Restavratorski center PREZENTACIJA STENSKIH POSLIKAV – pogledi, koncepti, pristopi Monografska objava prispevkov, nastalih leta 2018 iz referatov z dveh simpozijev: Retuša in problematika prezentiranja stenskih poslikav, Škofja Loka, 27. 10. 2016 in Estetska prezentacija stenskih slik – problemi in rešitve, Narodna galerija, Ljubljana, 3. 10. 2017. RES.7 publikacije ZVKDS Restavratorskega centra Institute for the Protection of Cultural Heritage of Slovenia Restoration Centre THE PRESENTATION OF WALL PAINTINGS – Views, Concepts, and Approaches Monograph of papers from 2018 based on talks given at the symposia: Retouching and the Issues of Wall Painting Presentation, Škofja Loka, 27 Oct 2016, and The Aesthetic Presentation of Wall Paintings – Problems and Solutions, National Gallery, Ljubljana, 3 Oct 2017. RES.7 The publications of the IPCHS Restoration Centre Issued and published by: Institute for the Protection of Cultural Heritage of Slovenia, on its behalf: Jernej Hudolin Prologue: Mateja Neža Sitar Authors: Janez Balažic, Marta Bensa, Ivan Bogovčič, Vlasta Čobal Sedmak, Alberto Felici, Andrej Jazbec, Anita Kavčič Klančar, Martina Lesar Kikelj, Simona Menoni Muršič, Ajda Mladenovič, Minka Osojnik, Robert Peskar, Ursula Schädler-Saub, Mateja Neža Sitar, Ivan Srša, Klavdij Zalar, Gorazd Živkovič Photo credits: see Image Sources Editor: Mateja Neža Sitar Members of the editorial board: Vlasta Čobal Sedmak, Anita Kavčič Klančar, Martina Lesar Kikelj, Simona Menoni Muršič, Ajda Mladenovič, Mateja Neža Sitar Content revision: Ajda Mladenovič, Mateja Neža Sitar Peer review: Matej Klemenčič, Neva Pološki Sources and bibliography: Mateja Neža Sitar, Tanja Dolinar Foreign authors submitted their papers in English and Slovenian authors in Slovene.
    [Show full text]
  • A Handful of Images Is As Good As an Armful of Arguments
    John Murphy Critical Approaches to Art History Fall 05 Pozzo’s Perspective: Visual Hagiography in the Church of St. Ignatius, Rome The Order of the Society Jesus was among the foremost creators and commissioners of Counter-Reformation Baroque art. Founded in 1534 by St. Ignatius of Loyola, the Jesuits came to be regarded as one of the most potent forces of the Counter-Reformation, due at least in part to the order’s high visibility through their worldwide network of building projects. Part of art history’s continuing fascination with the Jesuits involves the controversial search for a “Jesuit Style” of art, an approach to image production that is immediately identifiable as Jesuitical. Though a thorough discussion of the Jesuit style is outside the limits of this paper, the Jesuit worldview (including the Jesuit perception of the role of art) is central to interpreting how artists were employed in constructing Jesuit self-identity. Nowhere is this process of identity-construction more apparent than in The Church of St. Ignatius in Rome, built to celebrate both Ignatius and the active ministry of his order throughout the globe. Andrea Pozzo’s monumental ceiling fresco, The Worldwide Mission of the Society of Jesus (fig. 1), painted in the central nave of the church, exhibits a typical Baroque-era complexity. The fresco is visually opulent, filled with swirling figures, illusionist architecture, and an intricate, allegory-based iconography. The image is certainly hagiographical—Ignatius is shown ascending to heaven on a cloud, surrounded by celestial figures and beckoned by the figure Christ himself—but is it an example of coercive Jesuit propaganda or of a sincere religiosity derived from Pozzo’s close personal 2 association with the Jesuit order? Pozzo’s fresco proves that the two motives are not mutually exclusive.
    [Show full text]
  • Visualization of Photogrammetric Documentation for Architecture of Cultural Heritage
    Kosmatin Fras, Mojca VISUALIZATION OF PHOTOGRAMMETRIC DOCUMENTATION FOR ARCHITECTURE OF CULTURAL HERITAGE Mojca KOSMATIN FRAS, Miran JANEŽIC Institute of Geodesy, Cartography and Photogrammetry, Ljubljana, Slovenia [email protected] [email protected] Working Group VI/3 KEY WORDS: architectural photogrammetry, documentation, cultural heritage, vizualization ABSTRACT Architectural photogrammetry provides methods and techniques for producing technical documentation of architecture of cultural heritage. Mostly used visualization of the results are still vector maps of facades, ground maps and cross sections although advances in computer technology and CAD tools enable more attractive and useful representation. Photogrammetric Department of the Institute of Geodesy, Cartography and Photogrammetry in Ljubljana, has been intensively implementing new apporaches for producing metrical documentation of monuments and is the only institution in Slovenia that has been active in both developmental and practical work in the field for the last few years. Development and researches has been focused on optimization of field measurements and development of effective technological line. Emphasis has been given on production of 3D models of building and vizualization of the models. Some in-house developed software has been produced. On the basis of thorough practical experience and knowledge a modern concept of photogrammetric close range survey is presented in the paper. The authors find out that clear procedures and good specifications are needed, knowledge transfer from photogrammetrists to consumers is appreciated, full use of 3D data is advisable. Samples of some projects are presented. 1 INTRODUCTION The aim of architectural photogrammetry is to produce metric documentation of architecture (buildings or it’s parts), which usually belongs to the national cultural heritage.
    [Show full text]
  • 1 Catholic Transtemporality Through the Lens of Andrea Pozzo and The
    1 Catholic Transtemporality through the Lens of Andrea Pozzo and the Jesuit Catholic Baroque A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Emily C. Thomason August 2020 © 2020 Emily C. Thomason. All Rights Reserved. 2 This thesis titled Catholic Transtemporality through the Lens of Andrea Pozzo and the Jesuit Catholic Baroque by EMILY C. THOMASON has been approved for the School of Art + Design and the College of Fine Arts by Samuel Dodd Lecturer, School of Art + Design Matthew R. Shaftel Dean, College of Fine Arts 3 Abstract THOMASON, EMILY C, M.A., August 2020, Art History Catholic Transtemporality through the Lens of Andrea Pozzo and the Jesuit Catholic Baroque Director of Thesis: Samuel Dodd Andrea Pozzo was a lay brother for the Order of the Society of Jesus in the late seventeenth and early eighteenth centuries who utilized his work in painting, architecture, and writing to attempt to create an ideal expression of sacred art for the Counter- Reformation Catholic Church. The focus of this study is on Pozzo’s illusionary paintings in Chiesa di Sant’Ignazio di Loyola in Rome as they coincide with his codification of quadratura and di sotto in su, as described through perspectival etchings and commentary in Perspectiva Pictorum et Architectorum. This thesis seeks to understand the work of Pozzo in context with his Jesuit background, examining his work under the lens of Saint Ignatius of Loyola’s Spiritual Exercises, as well as the cultural, political, and religious climates of Rome during the Counter-Reformation era.
    [Show full text]
  • A Geological Tour of Ljubljana 3
    Natural stone in cultural monuments A geological tour of Ljubljana 3 4 2 5 1 16 6 15 8 7 17 9 14 10 11 13 12 SBy pozornim being observant opazovanjem while strollinglahko nathe sprehodu streets of po Ljubljana, ljubljanskih one can ulicahrecognize spoznate many številnetypes of vrste rocks kamninand fossils. in fosilov. 11 PrešernovPrešernov trgTrg Square 22 PalačaDeželna Deželne banka Slobankevenije Building 33 BambergovaBamberg House hiša 44 Nebotičnik (Skyscraper) 55 StavbaParliament Parlamenta Building 66 TrgTrg republikeRepublike Square 77 CankarjevCankarjev domDom 88 HribarjevoHribarjevo nabrežjNabrežjee Quay 99 UniverzaUniversity v ofLjubljani Ljubljana 10 10 NarodnaNational inand univerzitetna University Library knjižnica (NUK) 11 11 Križanke 12 12 RimskiRoman zid Wall na inMirju Mirje 13 13 LevstikovLevstikov trgTrg Square 14 14 LjubljanskiLjubljana Castle grad 15 15 LjubljanskaLjubljana Ca stolnicathedral inand Semenišče Seminary Palace 16 16 PlečnikovePlečnik’s Marke tržnict eHalls 17 17 Mestni trgTrg Square TheVodnik guide po to 21 thetipih 21 slovenskih Slovenian inand 8 tipih 8 foreign tujih rockkamnin, types, 11 skupinah as well as fosilov 11 fossil in 2groups tektonskih and 2 tectonicstrukturah structures v mestnem in jedruLjubljana’s Ljubljane. city centre. Prešernov Trg 1 Square Prešeren Monument A monument to France Prešeren, Slovenia’s greatest poet, 1905. The monument is made of three types of stone. The low base is made of Podpeč limestone (→ 4, 10, 13, 17). The large, dark, cuboid-shaped pedestals are made of Jablanica gabbro from the Neretva River Valley; it used to be one of the most sought-after stones types, but the quarry is now closed. The light- coloured upper part is made of Permian Baveno granite, quarried in Carinthia or northern Italy.
    [Show full text]
  • Tudia Istorica Lovenica
    S tudia 2-3 S tudia Historica Historica lovenica lovenica S letnik 9 (2009), {t. S DUŠAN NEĆAK: Svet v prvi svetovni vojni PETRA SVOLJŠAK: Vélika vojna in Slovenci TOMAŽ KLADNIK: Vojaštvo in Maribor v času 1. svetovne vojne in tik po njej PETRA SVOLJŠAK: Kronologija vojne pri Gorici 1915–1917 MIRO HRIBERNIK: Vojaštvo v Celju v letih prve svetovne vojne 1914– 1918 BLAŽ TORKAR: Vojaško življenje v Trstu med prvo svetovno vojno BOŽO REPE: Svetozar Boroević: slavljen in zavržen BRANKO MARUŠIČ: Gorica med prvo svetovno vojno TAMARA GRIESSER PEČAR: Politično življenje v Celovcu 1914– 1918 s posebnim poudarkom na delovanju Slovencev BOJAN HIMMELREICH: Vsakdanje življenje v Celju v času prve svetovne vojne FRANCE M. DOLINAR: Versko življenje v Ljubljani v času prve svetovne vojne RENATO PODBERSIČ ml.: Versko življenje v Gorici med prvo svetovno vojno BOGDAN KOLAR: Celje v času prve svetovne vojne kot se kaže v cerkvenem arhivskem gradivu JOŽE MLINARIČ: Jernej pl. Grudenegg iz Škofje Loke, opat cisterc Presvete Trojice v Dunajskem Novem mestu (1557–1559) in v Reinu (1559–1577) MATEJA MATJAŠIČ FRIŠ: Dr. Franc Kovačič – ustanovitelj in sodelavec Fotografija na naslovnici / revije Voditelj v bogoslovnih vedah Photography on the cover: MATJAŽ AMBROŽIČ: Dr. Franc Kovačič – zvonoslovec lovenica ANDREJ RAHTEN: Poseg Franca Kovačiča v razprave med slovenskimi S Johann Frisch (Ivan Friš), monarhisti in republikanci padel na soški fronti (Zasebni arhiv družine Pivec) GREGOR JENUŠ: Štajersko vprašanje in vloga dr. Franca Kovačiča na Johann Frisch (Ivan Friš), pariški mirovni konferenci killed on the Isonzo Front (Personal archives of the family Pivec) ^asopis za humanisti~ne in dru`boslovne {tudije Humanities and Social Studies Review istorica H 2009 tudia S 2-3 SHS Ovitek MONTAZA st 02_03_09.indd 1 12/14/09 9:04:34 AM S tudia Historica S lovenica Studia Historica Slovenica ^asopis za humanisti~ne in dru`boslovne {tudije Humanities and Social Studies Review letnik 9 (2009), {t.
    [Show full text]
  • 113-Sant'andrea Al Quirinale
    (113/12) Sant'Andrea al Quirinale Sant'Andrea al Quirinale is the 17th century former convent church, now titular, of the Jesuit novitiate, and is located at Via del Quirinale 29 in the rione Monti. The dedication is to St Andrew the Apostle. [1] History The first church on the site, Sant'Andrea in Monte Cavallo, was a parish church. The then abandoned church and land was donated to the General of the Jesuits, St Francis Borgia, by Giovanni Andrea Croce, Bishop of Tivoli, in the 16th century, and became the church of the Society's novitiate. [1] [a] It was in 1567 that the young Polish nobleman Stanislas Kostka walked to Rome from Vienna, taking up residence at the new novitiate, only to die there i8 months later. [a] The present church on the Quirinal was begun in 1658 with funds provided by Cardinal Camillo Pamphilj. The body of the present church was built in 1658–1661. Bernini designed it, but he left the actual work of construction to a brilliant committee of architects and artists among whom were Maa de' Rossi and Antonio Raggi. The interior was decorated over the long period between 166o and 1672. The whole building was finally finished and consecrated in 1678. [1] [a] (113/12) The church is considered one of the finest examples of Roman Baroque with its superb balance and harmony in the choice of materials and the flow of light. It is said that Bernini did not charge a fee for designing this church, and his only payment was a daily donation of bread from the novitiate's oven.
    [Show full text]
  • The Cambridge Encyclopedia of the Jesuits Edited by Thomas Worcester, SJ Frontmatter More Information I
    Cambridge University Press 978-0-521-76905-1 — The Cambridge Encyclopedia of the Jesuits Edited by Thomas Worcester, SJ Frontmatter More Information i The Cambridge Encyclopedia of the Jesuits Founded in 1540 by Ignatius of Loyola, the Society of Jesus (Jesuits) has been praised as a saintly godsend and condemned as the work of Satan. With some 600 entries written by 110 authors – those inside and outside the Order – this ency- clopedia opens up the complexities of Jesuit history and explores the current life and work of this Catholic religious order and its global vocation. Approximately 230 entries are biographies, focusing on key people in Jesuit history, while the majority of the entries focus on Jesuit ideals, concepts, terminology, places, insti- tutions, and events. With some seventy illustrations highlighting the centrality of visual images in Jesuit life, this encyclopedia is a comprehensive volume provid- ing accessible and authoritative coverage of the Jesuits’ life and work across the continents during the last i ve centuries. Thomas Worcester, SJ, is President of Regis College, Toronto. Until autumn 2017, he was Professor of History for more than twenty years at the College of the Holy Cross in Worcester, Massachusetts. He holds a Ph.D. in history from Cambridge University and is a specialist in the religion and culture of early modern France and Italy. Worcester is the editor of The Cambridge Companion to the Jesuits and is co- editor of four books, including The Papacy since 1500: From Italian Prince to Universal Pastor (co- edited with James Corkery). He has also published articles in journals such as Seventeenth- Century French Studies , Sixteenth Century Journal , and French Colonial History.
    [Show full text]
  • ".+-T Or the Occasion Plan of the Roman College the Fifth Centenary and of the Church of St
    I I I 0 I .".+-t or the occasion Plan of the Roman College the Fifth Centenary and of the Church of St. lgnatius of in the year 1650. of St. Ignatius of Loyola, founder of the Sociep of Jesus and creator ''¡ t¡ - ,]] i' the Collegio Romano, i; ! of '1,ìrr lrllÌìill il lt1,llilii1 iili . .,r.'t ':' liliillr:: the first free school ljll ...r tl I't';,,;rt , rr i fi:," ,'' j ii_-l tl .. 'l¡ in the world, lì i, l 1,, "religion and the arts" lil 1....,.:: rl dedicated to 'Li -t ll i: youth nation. i,ì ¡ .. rì l, for all oÍ every l.-i tì ir.-.i tl For the 450th anniversary L--ì jÌ f -.-'- \:l .rÌ ¡l of the approval t¡ L ì.1,_. i.:-; r'- .i, i ';} of the Formula of the Institute ¡ il ii: Society of Jesus i: I ,L.il of the ' 'tl :: ;ì by Pope Paul Lil. ¡, I :.,. l'' For the Fourth Centenary :.. .....:: of the death I of St. Aloysius Gonzaga. Father G. Libianchi, Rector, il Fr. G. Peri, Z. Carlucci, t., and Br. L. Gutierrez, with the assistance of B. Kuppler, T. Lucas, Mario and Gabriella Della Rosa ii;, f. :'.'...-, .: and the Missionaries "Verbum Dei" :,:.-.-i r'. ...1 t-- l) have reedited this booklet t:..=.: j with devotion and great love i1 ;) 2 for the sainted Founder, Ignatius. Grafica 1. Main Entrance. Gian Carlo Olcuire 2. Nave. 3. Chapel of St. Christopher. Foto 4. Chapel of St. Joseph (or the Sacripante Vasari - Roma Chapel). 5. Chapel of St.
    [Show full text]