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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. -
In Presentia Mei Notarii. Piante E Disegni
FERNANDO BILANCIA Il palazzo della famiglia Aquilani di Roma a piazza di Ara Coeli Il palazzo che fu degli Aquilani, sinora mai studiato benché centralis- simo, sorge a Roma a piazza d’Ara Coeli 61. Gli Aquilani di Roma appartenevano ad una nobile famiglia pisana che ebbe fra i suoi componenti diversi cavalieri dell’ordine di S. Stefano2; alcuni suoi membri si trasferirono nella capitale dello Stato Pontificio nel secolo XVI, ove ricoprirono importanti cariche pubbliche. La testimonianza più antica della presenza a Roma di un componente della famiglia si fa risalire al 1539 ed è fornita dall’iscrizione posta su una lapide incisa nel 1736 nel pavimento della chiesa di S. Maria in Vallicella: in essa, al di sotto dello stemma di famiglia quasi completamente abraso (tav. XXVII), Ludovico Aquilani3 riferisce che nel 1539 il suo antenato Ludo- vico senior, quando era ancora in vita, eresse nella chiesa un monumento funebre a sè ed ai suoi discendenti4. Ma il confronto con tutte le altre noti- zie reperite, riguardanti la vita di Ludovico senior Aquilani (in particolare la data della sua morte avvenuta nel 1594) rende piuttosto improbabile che 1 C. PIETRANGELI (Guide rionali di Roma. Rione X–Campitelli, I, Roma, Palombi editori, 1975, p. 18) si limita a definirlo correttamente “palazzetto del ’700”. 2 Sulla famiglia Aquilani cfr.: T. AMAYDEN, La storia delle famiglie romane, con note ed aggiunte di C.A. Bertini, Roma, Collegio Araldico, s. d. (rist. anast., Roma, Edizioni Romane Colosseum, 1987), I, pp. 70-72; R. MAZZEI, Pisa medicea, Firenze, Leo Olschki editore, 1991. L’Ordine militare dei Cavalieri di S. -
127-San Pietro in Vaticano.Pages
Saint Peter’s Basilica Vatican City The Papal Basilica of Saint Peter (Latin: Basilica Sancti Petri), officially known in Italian as the Basilica Papale di San Pietro in Vaticano and commonly known as Saint Peter's Basilica, is located within the Vatican City. Saint Peter's Basilica has the largest interior of any Christian church in the world, holding 60,000 people. It is the symbolic "Mother church" of the Catholic Church and is regarded as one of the holiest Christian sites. It has been described as "holding a unique position in the Christian world" and as "the greatest of all churches of Christendom". In Catholic tradition, it is the burial site of its namesake Saint Peter, who was one of the twelve apostles of Jesus and, according to tradition, first Bishop of Rome and therefore first in the line of the papal succession. Tradition and some historical evidence hold that Saint Peter's tomb is directly below the altar of the basilica. For this reason, many Popes have been interred at St Peter's since the Early Christian period. There has been a church on this site since the 4th century. Construction of the present basilica, over the old Constantinian basilica, began on April 18, 1506 and was completed on November 18, 1626. Saint Peter's is famous as a place of pilgrimage, for its liturgical functions and for its historical associations. It is associated with the papacy, with the Counter-reformation and with numerous artists, most significantly Michelangelo. As a work of architecture, it is regarded as the greatest building of its age. -
Santa Maria Maggiore St Mary Major
Santa Maria Maggiore St Mary Major Piazza di Santa Maria Maggiore Santa Maria Maggiore is a 5th century papal basilica, located in the rione Monti. and is notable for its extensive Early Christian mosaics. The basilica is built on the summit of the Esquiline hill, which was once a commanding position. (1) (i)! History Ancient times The church is on the ancient Cispius, the main summit of the Esquiline Hill, which in ancient times was not a heavily built-up area. Near the site had been a Roman temple dedicated to a goddess of childbirth, Juno Lucina, much frequented by women in late pregnancy. Archaeological investigations under the basilica between 1966 and 1971 revealed a 1st century building, it seems to have belonged to a villa complex of the Neratii family. (1) (k) Liberian Basilica - Foundation legend - Civil war According to the Liber Pontificalis, this first church (the so-called Basilica Liberiana or "Liberian Basilica") was founded in the August 5, 358 by Pope Liberius. According to the legend that dates from 1288 A.D., the work was financed by a Roman patrician John, and his wife. They were childless, and so had decided to leave their fortune to the Blessed Virgin. She appeared to them in a dream, and to Pope Liberius, and told them to build a church in her honor on a site outlined by a miraculous snowfall, which occurred in August (traditionally in 358). Such a patch of snow was found on the summit of the Esquiline the following morning. The pope traced the outline of the church with his stick in the snow, and so the church was built. -
Nuova Guida Per La Città Di Torino
Fondazione Memofonte onlus Studio per l’elaborazione informatica delle fonti storico-artistiche ___________________________________________________________________________________________ NUOVA GUIDA PER LA CITTÀ DI TORINO OPERA DI ONORATO DEROSSI – Scarsa è la mia vena; e pure Tutto quel che potrò dal picciol fonte Del mio ingegno stillar, tutto fia sacro Alla mia patria. RIVIERA volg. di PROPERZIO IV. I. 93. TORINO 1781 Con licenza de’ Superiori, e privilegio di S.S.R.M. ______________________________________________________________________________________________ www.memofonte.it Fondazione Memofonte onlus Studio per l’elaborazione informatica delle fonti storico-artistiche ___________________________________________________________________________________________ [p. 3] DESCRIZIONE DI TORINO∗ TORINO , Augusta Taurinorum, città arcivescovile, capo di provincia, e capitale del Piemonte, residenza del Sovrano. È fortificata, ha Cittadella, ed Arsenale. Da quattro porte s’entra nella città. Chiamasi Porta Susina quella, che è a ponente, Porta Palazzo quella da settentrione, Porta di Po a levante, Porta Nuova a mezzodì. Stà in faccia a questa Porta il Palazzo del Re, fabbricato al fine di due piazze, che sono frammezzate dal Padiglione: l’una si dice Piazza Reale; l’altra si chiama Piazza Castello. Vi si viene per una lunga contrada simmetrica, e dritta, la quale attraversa la bellissima Piazza di San Carlo. Due altre simmetriche, spaziose, e dritte contrade conducono alla Corte, l’una è la contrada di Po, la quale si trova all’entrar della Porta di levante: è tutta porticata, e mette alla piazza, [p. 4] che si dice dietro il Castello . In questa piazza sono gli Archivj di Corte, le Segreterie di Stato, gli Uffizj economici, la Posta delle lettere, il magnifico Teatro Regio. L’altra più lunga è la Contrada Reale, o sia Dora Grossa. -
The History of Painting in Italy, Vol. IV
The History Of Painting In Italy, Vol. IV By Luigi Antonio Lanzi HISTORY OF PAINTING IN UPPER ITALY. BOOK II. THE SCHOOLS OF LOMBARDY. After a consideration of the principles and progress of painting in Lombardy, I came to the conclusion that its history ought to be treated and arranged in a manner altogether different from the rest of the schools. Indeed those of Florence, of Rome, of Venice, and of Bologna, may be almost considered in the light of so many dramas, in which there occurs an interchange of acts and scenes, for such are the epochs of each school; and there is also a change of actors, for such are the masters of each new period; but the unity of place, which is no other than the capital city, is invariably preserved; while the principal actors, and as it were protagonists of the story, always continue in action, at least in the way of example. Every capital, it is true, is in possession of its own state, and in that ought to be comprehended the various other cities, and the revolutions in each; but these are in general so nearly connected with those of the metropolis as to be easily reducible to the same leading law, either because the state artists have acquired the art in the principal city, or because they have taught it there, as may easily be gathered from the history of the Venetian School; while the few who wander out of the usual routine, cannot be said to infringe greatly upon the unity of the school and the succession of its histories. -
Queen Christina of Sweden's Development of a Classical
The Pennsylvania State University The Graduate School College of Arts and Architecture REGINA CHRISTINA, ANTIQUARIO: QUEEN CHRISTINA OF SWEDEN’S DEVELOPMENT OF A CLASSICAL PERSONA THROUGH ALLEGORY AND ANTIQUARIAN COLLECTING A Dissertation in Art History by Theresa A. Kutasz Christensen © 2018 Theresa A. Kutasz Christensen Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2018 This dissertation of Theresa A. Kutasz Christensen was reviewed and approved* by the following: Robin L. Thomas Associate Professor of Art History Dissertation Adviser Chair of Committee Andrew Schulz Professor of Art History Associate Dean of Research, College of Arts and Architecture Elizabeth Smith Professor of Art History Sherry Roush Professor of Italian Elizabeth Mansfield Professor of Art History Head of the Department of Art History *Signatures are on file in the Graduate School. Abstract By examining how Queen Christina of Sweden collected, what she collected, and where she displayed objects, we can better understand her motives for amassing what became the Early Modern period’s largest collection of antiquities owned by a woman. This dissertation argues that personal and political reasons motivated her to develop what could be considered a borderless, genderless, classical persona, that is represented in her display of antique objects. When her collecting habits are assessed alongside her sponsorship of classical scholarship, it becomes clear that Christina’s development of antiquities collections was inextricably tied to the large body of allegorical imagery associated with the queen. I claim that she sought a hybrid historical identity as both Swedish and European, and that the necessity to maintain political authority in both political contexts gave shape to the queen’s self-fashioning through the antique. -
Andrea Sacchi 1639-1661: Il Patronato Dei Barberini, L’Ambiente Erudito, Le Opere Della Tarda Attività
FACOLTÀ DI LETTERE E FILOSOFIA DIPARTIMENTO DI STORIA DELL’ARTE E DELLO SPETTACOLO Dottorato di Ricerca in Storia dell’Arte – XXXI Ciclo Andrea Sacchi 1639-1661: il patronato dei Barberini, l’ambiente erudito, le opere della tarda attività Tutor: Dottoranda: Novella Barbolani di Montauto Alessandra Cosmi Co-Tutor: Matricola: Michela di Macco 1698476 Anno Accademico 2017/2018 2 Indice Introduzione p. 4 1 CAPITOLO Fortuna critica e ragioni della ricerca p. 8 2 CAPITOLO Andrea Sacchi e l’entourage barberiniano p. 42 2.1 I primi contatti con la famiglia papale: incertezze e ipotesi p. 42 2.2 Il mecenatismo del cardinale Antonio p. 51 2.3 La corte di Urbano VIII: committenti e opere p. 59 3 CAPITOLO La cultura antiquaria di Andrea Sacchi p. 65 3.1 Lo studio dall’antico: Lelio Biscia e François Duquesnoy p. 65 3.2 La cerchia erudita di Francesco Barberini e il ‘Museo Barberiniano’ p. 69 4 CAPITOLO Il programma culturale della famiglia Barberini: l’esaltazione di Raffaello p. 73 4.1 Il cardinale Francesco e la nascita dell’arazzeria p. 73 4.2 Le copie da Raffaello ordinate dalla famiglia Barberini p. 87 5 CAPITOLO Le opere della tarda attività e i rapporti con la bottega p. 94 5.1 La decorazione del Battistero Lateranense 1639-1649 p. 97 5.2 Andrea Sacchi e la Marca p. 106 3 5.3 Rieti: il caso dell’Angelo custode p. 109 5.4 I dipinti per l’area umbra p. 112 5.5 La Visione di S. Filippo Neri a La Valletta p. -
2006 Conference Abstracts
Midwest Art History Society 33rd Annual Conference Dallas, Texas 2006 ABSTRACTS Thursday, March 23 Italian Renaissance Art: Devotion and Patronage Chair: Carolyn C. Wilson, Independent Scholar, Houston, TX William R. Levin, Centre College "The Florentine Misericordia and Its Canopy of Holiness" The loggia, an open -sided and vaulted arcade at street level, is the most notable architectural element gracing the faÁade of many of the wealthiest charitable foundations constructed in Central and Northern Italy during the Late Middle Ages and Renaissance. This is true of the prominently situated headquarters of the Misericordia Confraternity in Florence, a building complex that included a small hospice for parentless children. The Misericordia loggia is apparently unique in two ways. First, rather than serving as a place of abandonment, it was from there that members of the Misericordia Company consigned their young wards to persons willing to take them in. Second, the Misericordia loggia is in effect a simple arched canopy consisting of a single bay only, nt a series of contiguous bays. Like other loggias of charity, this one served additional practical and promotional purposes, embodying relationships with other societal institutions as well. But the abbreviated Misericordia loggia is understood fully only by recourse to representations in art wherein appear certain kinds of canopied or domed structures reflecting actual constructions, all with ancient pedigrees, that formerly would have been widely familiar to people throughout Italy. Canopies and domes were used to cover tombs, altars, and thrones, each entailing the concept of holiness. Acts of philanthropy were also illustrated as occurring before or within arched canopies, and insofar as benevolent actions carry biblical sanctions, such depictions, too, connote sanctity. -
CYCLOPEDIA of BIBLICAL, THEOLOGICAL and ECCLESIASTICAL LITERATURE Pensieri, Batista - Pestle by James Strong & John Mcclintock
THE AGES DIGITAL LIBRARY REFERENCE CYCLOPEDIA of BIBLICAL, THEOLOGICAL and ECCLESIASTICAL LITERATURE Pensieri, Batista - Pestle by James Strong & John McClintock To the Students of the Words, Works and Ways of God: Welcome to the AGES Digital Library. We trust your experience with this and other volumes in the Library fulfills our motto and vision which is our commitment to you: MAKING THE WORDS OF THE WISE AVAILABLE TO ALL — INEXPENSIVELY. AGES Software Rio, WI USA Version 1.0 © 2000 2 Pensieri, Batista, an Italian engraver who flourished in the latter part of the 16th century, was a native of Parma, and is usually called Baptista Parmensis, from his signature. Zani calls his name Battista Pensieri da Parmna, and says that he was a designer, engraver, and a seller of books and prints, and gives four inscriptions from his prints (see Spooner). Pensieri resided chiefly at Rome, where he engraved several plates for various masters, and others from his own designs, executed in a style resembling that of Cornelius Cort. Among these are the following: The Virgin and Infant appearing to St. John (after Baroccio, Baptista Parmensis fec. 1588): — The Baptism of Christ (Baptista Parmensis): — The Chastity of St. Joseph (1593): — The Crucifixions (in two sheets, Baptista Parmensis fornis. 1584). Pensio i.e. the enjoyment or use of a part of the fruits of a benefice without service, was formerly a very common occurrence in the Church of Rome, and is even now occasionally enjoyed in the Church of England. SEE SINECURE. At present in the Romish Church the pensio is accorded only to priests de emeritu.