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Villa Albani Torlonia , Roma (RM) - Lazio
Villa Albani Torlonia , Roma (RM) - Lazio Indirizzo Via Salaria, 92 Roma (RM) - Lazio Telefono 06 683 3703 Sito Web //www.fondazionetorlonia.org/it/villa-albani-torlonia Accessibilità sì - aperto al pubblico Orari Apertura Solo su prenotazione Costo ingresso A pagamento Descrizione Villa Albani Torlonia e la sua celebre collezione, circondate da un paesaggio al contempo libero e formale, è una sublime testimonianza di unità di ragione e natura. L’iscrizione a lettere in bronzo sulla facciata ne racconta la storia: «Alexander Albani vir eminentissimus instruxit et ornavit / Alexander Torlonia vir princeps in melius restituit» (L'eminentissimo Alessandro Albani costruì e adornò / il principe Alessandro Torlonia restaurò ed abbellì). Otto ettari di parco disegnati da “percorsi emozionali”: tra il Casino Nobile e, dalla parte opposta del giardino all’Italiana, l’emiciclo della Kaffeehaus, statue, bassorilievi e fontane incastonate tra i vari edifici della villa che si sviluppa come un vasto complesso architettonico, in una comprensione corale di per la sistemazione del giardino, Giovanni Battista Piranesi (1720-1778) ed ‘il padre’ della storia dell’arte moderna, Johann Joachim Winckelmann (1717-1768), bibliotecario e ambienti, paesaggi e opere d’arte che qui ‘vivono’ come se possano essere eternamente riscoperte. Attento mecenate e abile diplomatico, il cardinale Alessandro Albani (1692-1779) fu tra i maggiori collezionisti di antichità, protagonista di campagne di scavo e promotore, con il “Cenacolo di Villa Albani” il circolo di intellettuali di cui amava circondarsi, del nascente movimento neoclassico. La Villa, tra le più alte espressioni del gusto antiquario, nella Roma meta privilegiata del Grand Tour, fu realizzata tra il 1747 e il 1763, su disegno dell’architetto Carlo Marchionni (1702-1786) un progetto nato dal dialogo con il grande incisore e cartografo Giovanni Battista Nolli (1701-1756) consigliere del cardinale per la collezione. -
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. -
THE LATERAN TREATY 11Th February, 1929
THE LATERAN TREATY 11th February, 1929 1. CONCILIATION TREATY In the name of the Most Holy Trinity. Whereas the Holy See and Ital have recognised the desirability of eliminating every reason for dissension existing between them and arriving at a final settlement of their reciprocal relations which shall be consistent with justice and with the dignity of both High Contracting Parties. And which by permanently assuring-to the Holy See a position de facto and de jure which shall guarantee 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; Whereas it was obligatory, for the purpose of assuring the absolute and visible independence of the Holy See. Likewise to guarantee its indisputable sovereignty in international matters, it has been found necessary to create under special conditions the Vatican City, recognising the full ownership, exclusive and absolute dominion and sovereign jurisdiction of the Holy See over that City; His Holiness the Supreme Pontiff Pius XI and His-Majesty Victor Emmanuel III, King of Italy, have agreed to conclude a Treaty, appointing for that purpose two Plenipotentiaries, being on behalf of His Holiness, His Secretary of State, viz. His Most Reverend Eminence the Lord Cardinal Pietro Gasparri, and on behalf of His Majesty, His Excellency the Cav. Benito Mussolini, Prime Minister and Head of the Government; who, having exchanged their respective full powers, which were found to be in due and proper form, have hereby agreed to the following articles: Article 1 Italy recognizes and reaffirms the principle established in the first Article of the Italian Constitution dated March 4, 1848, according to which the Catholic Apostolic Roman religion is the only State religion. -
The Story of a Chair the Reality of Candlemas
February 2021 lntothe Adult Formation & Enrichment: Deepening our Catholic faith & identity Chair of Peter by Bernini deep Location: St. Peter’s Basilica This ancient chair, however, is much more The Story of a Chair of than an exquisitely-detailed physical object The Reality Candlemas “Upon this rock I will build my Church...” (MT 16:18) “…And the lord whom you seek will come suddenly to his designed by an Italian master. In his General temple; The messenger of the covenant whom you desire - High above the altar, within the apse of St. Audience of February 2006, Pope Benedict see, he is coming! says the LORD of hosts.” (Malachi 3:1) XVI spoke to the spiritual authority that the Peter’s Basilica and beneath the Holy Spirit Amidst the dash to store holiday stained-glass window sits Bernini’s Cathedra chair also represents: decorations or predict the outcome of Petri (Chair of Peter). But what one finds on “On it, we give thanks to God for the mission He Groundhog Day is the often overlooked display is not the original chair. Pictured entrusted to the Apostle Peter and his sacred day that for many marks the official Successors...The See of Rome, after St. Peter’s below is the first design which The Catholic end to the Christmas season: the Feast of travels, came to be recognized as the See of the the Presentation of the Lord, or Encyclopedia describes in this way: Successor of Peter, and its Bishop’s cathedra Candlemas, on February 2nd. The story of (chair) represented the mission entrusted to him “...the oldest portion is a by Christ to tend his entire flock.. -
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. -
Come Join Us!
MISSION STATEMENT OUR LADY OF SORROWS IS A CATHOLIC COMMUNITY DEDICATED TO GIVING WITNESS TO JESUS CHRIST BY PROCLAIMING THE GOSPEL, CELEBRATING THE SACRAMENTS AND SERVING OTHERS. February 17, 2019 COME JOIN US! Due to last Tuesday’s inclement weather, This event has been rescheduled for Tuesday, February 19 Doors open at 6:30 p.m., Dreaming begins at 7:00 p.m. REGISTER ONLINE AT DynamicCatholic.com/Dreams SAVE THE DATE — COMING THIS LENT CǘǢǙǣǤ LǕǑǦǕǣ HǟǝǕ HǙǣ BǥǣǙǞǕǣǣ CǘǢǙǣǤ FǑǤǘǕǢ’ǣ Tǟ Dǟ HǙǣ Page 2 Our Lady of Sorrows Church, Farmington W O R S H I P LITURGICAL SERVICES Saturday, February 16, 2019 8:00 a.m. Giovanni Montebelli req. by Graziano Canini The Lord’s Day Saturday Vigil: 4:30 pm 4:30 p.m. George & Therese Kapolnek req. by Jeff & Karen Paterson Sunday: 8:00, 9:30, 11:15 am, Margaret Kraft req. by The Family 1:00 & 5:30 pm Intentions of Fr. Paul Graney req. by Sam & Paulette Lucido Daily Mass Sunday, February 17, 2019 ►(See schedule on this page) 8:00 a.m. Susan Meldrum req. by The Dix Family Sacrament of Reconciliation Tuesday: 6:30 - 7:00 pm 9:30 a.m. Genevieve Wiktor req. by Mark & Judi McInerney M See the complete Saturday: 3:00 - 4:00 pm 11:15 a.m. Intentions of All Parishioners Daily Mass (Confessions may also be arranged by 1:00 p.m. Giovanni Montebelli req. by Graziano Canini Schedule on this page. calling one of the priests for an appointment.) A Ruth Nicholls req. -
Poland and the Holy See. Contribution to the Concordatory Law *
Teka Kom. Praw. – OL PAN, 2014, 44 –63 POLAND AND THE HOLY SEE. CONTRIBUTION TO THE CONCORDATORY LAW * Józef Krukowski The University of S. Wyszy ński in Warsaw Faculty of Canon law Summary. The article contains the explication of the very important questions respecting the normalization of relations between the democratic Poland and the Catholic Church using the international agreement between the Holy See and the supreme authority of Polish State, called „concordat”. This event is consi dered in the historical context of political transformations from the communist totalitarian regime to liberal democracy and at the same time from atheistic state based on the hostile separation to the secular one based on the friendly separation. In complains the following issues: 1) notion and classification of concordats, 2) axiological and formal dimension of its conclusion between the Holy See and Poland (1993 –1998), 3) compliance Concordat’s with the Constitution of Poland, 4) the stabilization function of Concordat, 5) financial clauses. Key words: Holy See, Polish State, concordat, Constitution, Church-State relations The historical events are a good opportunity for the taking this subject into account. The last year (2013) twenty anniversary have passed since the signing of the Concordat between the Holy See and the Republic of Poland and fifteen years since its ratification 1. A few days ago we experienced the canonization by the Pope Francis the two of his predecessors: John XXIII and John Paul II, who contributed to the process of the building justice and peace between the nations in modern world, especially the relations between the Church and State in Poland. -
Una Congiuntura Romana Nella Marca Di Fine Duecento? Il Vescovo Francescano Rambotto Vicomanni E La Cattedrale Di Santa Maria Maggiore a Camerino
PORTICVM. REVISTA D’ESTUDIS MEDIEVALS NÚMERO III. ANY 2012 ISSN: 2014-0932 Una congiuntura romana nella Marca di fine Duecento? Il vescovo francescano Rambotto Vicomanni e la cattedrale di Santa Maria Maggiore a Camerino LUCA PALOZZI Istituto Nazionale di Studi sul Rinascimento, Firenze Abstract: Sullo scorcio del Settecento l’antica cattedrale di Camerino, nelle Marche, era danneggiata in maniera irrimediabile da un terremoto. Le disiecta membra dell’edificio di origine medievale confluivano nella cripta del duomo nuovo (1800-1833), dove si conservano ancora oggi. Tra queste, di grande interesse sono i resti della fabbrica duecentesca, oggetto di questo contributo. Epigrafi, sculture e frammenti architettonici permettono di ripercorrere un tratto decisivo nella vita della cattedrale medievale, e gettano nuova luce sulla committenza artistica del francescano Rambotto Vicomanni, vescovo della diocesi camerte dal 1285 alla morte, poco dopo il 1305. Già cappellano del cardinale romano Giacomo Savelli, poi papa Onorio IV (1285-1287), Rambotto auspicava il rinnovamento dell’ecclesia maior affidandosi a maestranze aggiornate sulle novità gotiche dell’Urbe. Tra gli artefici di cui si avvalse spicca il nome dello scultore marchigiano Armanno da Pioraco, influenzato in maniera decisiva dalle novità sperimentate a Roma da Arnolfo di Cambio. Parole chiave: Scultura; Gotico; Marca d’Ancona; Armanno da Pioraco; Jacopo da Camerino Abstract: Towards the end of the 18th century the ancient cathedral of Camerino, in the Marche, had been irreparably damaged by an earthquake. The medieval building’s disiecta membra merged into the crypt of the new cathedral (1800-1833), where they are still kept today. Among these, the ruins of the 13th century church, focus of this contribution, are of great interest. -
F. Pomarici, La Prima Facciata Di Santa Maria Del Fiore
Francesca Pomarici La prima facciata di Santa Maria del Fiore Storia e interpretazione viella Indice Introduzione 7 I. La cattedrale di Arnolfo di Cambio dal XV al XVIII secolo 13 II. La critica ottocentesca e la vera e propria “questione” della facciata di Santa Maria del Fiore 21 III. Il Novecento e oggi 33 IV. Cronache, documenti, riproduzioni figurate e scavi 55 V. Le sculture della fase arnolfiana e una proposta iconografica 67 VI. Il progetto originario 81 Appendice I Descrizione della demolizione della facciata di Santa Maria del Fiore 103 Appendice II Rapporto fatto dal Professore Emilio de Fabris alla Deputazione promotrice per la edificazione della facciata del Duomo 107 Opere citate 115 Indice dei luoghi 127 I. La cattedrale di Arnolfo di Cambio dal XV al XVIII secolo Il giorno 22 gennaio 1586 (stile fiorentino) «si cominciò a disfare, e mandare in terra la ricca, e bella facciata della Chiesa di S. Maria del Fiore per opera, e consiglio di Benedetto di Buonaccorso Uguccioni Quarantotto, e Provveditore dell’Opera di detta Chiesa, il quale avendo fatto finire d’incrostare di marmo le due facciate del fianco destro, e del sinistro di detta chiesa, le quali non erano tirate sino al tetto, e massimamente quel fianco, che riguardava verso tramontana, dove la facciata era fatta poco più che mezza, rivolse l’animo a fare il medesimo ancora della facciata dinanzi. Era la detta facciata con architettura tedesca tirata su, e condotta quasi al mezzo tutta piena di bellissime statue (…). Si diede principio a rovinare spezzando quei marmi tanto bene lavorati, senza alcun riguardo, di modo che non vi fu marmo alcuno, che fosse cavato intero, insino alle colonne istesse furono spezzate in molti pezzi, che fu nel vero un’impietà grandis- sima, primieramente nel rovinare la detta facciata, e secondariamente nello spezzare quei bei marmi, e porfidi con artifizio lavorati, che se pure almeno fossero stati levati interi, sarebbono potuti servire ad ornamento di molti altri luoghi con utilità dell’Opera, che gli avrebbe potuti vendere qualche centinaio di scudi (…). -
Revised Final MASTERS THESIS
UNIVERSITY OF CALIFORNIA RIVERSIDE Carlo Fontana and the Origins of the Architectural Monograph A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History by Juliann Rose Walker June 2016 Thesis Committee: Dr. Kristoffer Neville, Chairperson Dr. Jeanette Kohl Dr. Conrad Rudolph Copyright by Juliann Walker 2016 The Thesis of Juliann Rose Walker is approved: Committee Chairperson University of California, Riverside Acknowledgements I would first like to start by thanking my committee members. Thank you to my advisor, Kristoffer Neville, who has worked with me for almost four years now as both an undergrad and graduate student; this project was possible because of you. To Jeanette Kohl, who was integral in helping me to outline and finish my first chapter, which made the rest of my thesis writing much easier in comparison. Your constructive comments were instrumental to the clarity and depth of my research, so thank you. And thank you to Conrad Rudolph, for your stern, yet fair, critiques of my writing, which were an invaluable reminder that you can never proofread enough. A special thank you to Malcolm Baker, who offered so much of his time and energy to me in my undergraduate career, and for being a valuable and vast resource of knowledge on early modern European artwork as I researched possible thesis topics. And the warmest of thanks to Alesha Jeanette, who has always left her door open for me to come and talk about anything that was on my mind. I would also like to thank Leigh Gleason at the California Museum of Photography, for giving me the opportunity to intern in collections. -
La Rinascita Dell'arte Musiva in Epoca Moderna
La rinascita dell’arte musiva in epoca moderna in Europa. La tradizione del mosaico in Italia, in Spagna e in Inghilterra Ottobrina Voccoli ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tesisenxarxa.net) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tesisenred.net) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos. -
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.