Father Francis Jordan ¹
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Sezioni Mostra
SEZIONI MOSTRA L’esposizione è suddivisa in tre sezioni : Prima della Spina La Spina dei Borghi Cavare la “spina” a San Pietro PRIMA DELLA SPINA Tramite sculture, affreschi, disegni, dipinti e cartografie si racconterà come questo territorio passò dall’essere marginale e inospitale ad esercitare una forte attrazione urbanistica su Roma divenendone parte integrante. Escluso dal perimetro delle mura, povero e malsano a causa dei frequenti straripamenti del Tevere, questo territorio iniziò ad esercitare una forte attrazione urbanistica su Roma solo a partire dalla prima età imperiale. A seguito di interventi di bonifica furono realizzate le prime ville suburbane le più famose delle quali appartenevano ad Agrippina e Domizia. Giardini dal ricco arredo scultoreo si alternavano a costruzioni sfruttando scenograficamente la topografia dei luoghi, vicini al fiume e prossimi ai rilievi del colle Vaticano, del Monte Santo Spirito e del Gianicolo. Lungo le due strade principali che attraversavano la zona, la via Triumphalis e la via Cornelia, si addensarono diversi monumenti funerari (tra le memorie più evidenti, oggi, il mausoleo di Adriano, la necropoli vaticana – sotto la Basilica – e quella dell’Autoparco Vaticano e di S. Rosa). Se il termine “ Vaticano ” è oggi immediatamente riconducibile a San Pietro e al cristianesimo, in età imperiale ebbe una valenza fortemente pagana : quest’area ospitò infatti un luogo di culto dedicato alla dea frigia Cibele chiamato, per l’appunto, Vaticanum o Phrygianum Vaticanum frequentato ancora fin quasi alla fine del IV sec. d.C ., in compresenza e forse in contrapposizione alla nuova fede emergente, il cristianesimo. Nel corso dell’alto medioevo, intorno alla Basilica si sviluppò una vera e propria area sacra con monasteri, diaconie, chiese: burgs era il termine con cui i pellegrini germanici definivano l’agglomerato da cui “Borgo”. -
Sant'anselmo in Rome
Pius Engelbert, OSB Sant’Anselmo in Rome Sant’Anselmo in Rome College and University From the Beginnings to the Present Day Pius Engelbert, OSB Translated by Henry O’Shea, OSB LITURGICAL PRESS Collegeville, Minnesota www.litpress.org Cover design by Jodi Hendrickson. Cover images: Top: Sant’Anselmo from the North; image from the Archives of the Archabbey of Beuron. Bottom: Sant’Anselmo from the South; image from the Archives of St. Ottilien. This work was first published as Sant’Anselmo in Rom: Kolleg und Hochschule 1st German edition, Rome, 1988 2nd German edition, Sankt Ottilien, 2012 © 2015 by Order of Saint Benedict, Collegeville, Minnesota. All rights reserved. No part of this book may be reproduced in any form, by print, microfilm, microfiche, mechanical recording, photocopying, translation, or by any other means, known or yet unknown, for any purpose except brief quotations in reviews, without the previous written permission of Liturgical Press, Saint John’s Abbey, PO Box 7500, Collegeville, Minnesota 56321-7500. Printed in the United States of America. 123456789 Library of Congress Cataloging-in-Publication Data Engelbert, Pius. [Geschichte des Benediktinerkollegs St. Anselm in Rom. English] Sant’Anselmo in Rome : College and University : From the Beginnings to the Present Day / Pius Engelbert, OSB ; translated by Henry O’Shea, OSB. pages cm “1st German edition, Rome, 1988. 2nd German edition, Sankt Ottilien, 2012.” Includes bibliographical references. ISBN 978-0-8146-3713-5 — ISBN 978-0-8146-3738-8 (ebook) 1. Pontificio Ateneo S. Anselmo. I. Title. BX920.I8E5413 2015 271'.1045632—dc23 2014038326 Laudemus viros gloriosos et parentes nostros in generatione sua. -
Lives of the Most Eminent Painters Sculptors and Architects
Lives of the Most Eminent Painters Sculptors and Architects Giorgio Vasari Lives of the Most Eminent Painters Sculptors and Architects Table of Contents Lives of the Most Eminent Painters Sculptors and Architects.......................................................................1 Giorgio Vasari..........................................................................................................................................2 LIFE OF FILIPPO LIPPI, CALLED FILIPPINO...................................................................................9 BERNARDINO PINTURICCHIO........................................................................................................13 LIFE OF BERNARDINO PINTURICCHIO.........................................................................................14 FRANCESCO FRANCIA.....................................................................................................................17 LIFE OF FRANCESCO FRANCIA......................................................................................................18 PIETRO PERUGINO............................................................................................................................22 LIFE OF PIETRO PERUGINO.............................................................................................................23 VITTORE SCARPACCIA (CARPACCIO), AND OTHER VENETIAN AND LOMBARD PAINTERS...........................................................................................................................................31 -
The Society's Motherhouse in Rome
The Motherhouse of the Society of the Divine Savior Every religious community has a central house. Some call it their “Motherhouse,” others call it their “General House.” Our Motherhouse is located in Rome, just steps away from St. Peter’s Square. It serves as the home of the Superior General and his Council, and it houses the Founder’s Chapel as well as the archives of the Society. Our presence in that house dates back to our Founder, Father Francis Mary of the Cross Jordan. Our Society began on December 8, 1881, at 96 Piazza Farnese, the house where St. Bridget of Sweden lived in the 14th century. Within a year, Fr. Jordan needed more room for the growing number of candidates. On November 1, 1882, he began renting rooms near St. Peter’s Basilica in the Palazzo Cesi, which then had an address of Borgo Vecchio 165. In 1894, the owner of the palace, Duca Francesco di Paola Negroni Caffarelli, who used only the first floor, decided to sell the building. Jordan seized the opportunity to buy it. The acquisition of the property took place in the autumn of 1894, and the final agreement was signed on the July 20, 1895. In the 1930s, the Italian government created a major boulevard – the Via della Conciliazione – leading from the Tiber River to the open arms of St. Peter’s Square. The Motherhouse, which had been facing a narrow street little bigger than an alley, suddenly found itself with a new address, fronting on one of the most important streets in all of Rome. -
Father Francis Mary of the Cross Jordan SHORT
Father Francis Mary of the Cross Jordan It was Gurtweil, a small place in south western Baden, just a few kilometers from the district town of Waldshut, close to the Swiss border, that became the hometown of Father Francis Mary of the Cross Jordan, founder of the Salvatorians. Father Jordan was born on June 16, 1848, second son to Lawrence and Notburga nee Peter. On the following day he was baptized at the local parish church with the name John Baptist. Being brought up in a poor family, he was not able to put into life his dream of becoming a priest, although he had become aware of his vocation already at the moment of his First Communion, when he was a teenager. After finishing primary school, he worked as a labourer and painter decorator, and travelled in the then Germany. He noticed the difficult spiritual situation of his homeland and of the other European countries. The people would turn out from God and leave faith, and the Church was limited in performing its mission by the state (Kulturkampf). All these experiences made Jordan's faith stronger and stronger, and his conviction of being called to the priesthood clearer and clearer. Having finally decided to follow his vocation and to begin studies of theology, in 1869 he started private lessons by his friends priests in Waldshut, and then he studied at the gymnasium in Constanz. The time of secondary studies required much effort from Jordan, but at the same time, despite his difficulties with sciences, he developed his talent for languages. -
La Spina Dei Borghi (1848-1930). Trasformazioni E Restauri Attraverso I Fondi Dell’Archivio Storico Capitolino
La Spina dei Borghi (1848-1930). Trasformazioni e restauri attraverso i fondi dell’Archivio Storico Capitolino The Spina dei Borghi (1848-1930). Transformation and restoration through the files of the Archivio Storico Capitolino Federica Angelucci steinhauser verlag LapisLocus Collana LapisLocus // LapisLocus Series Scientific Committee Andrés Martínez Medina Universidad de Alicante Amadeo Serra Desfilis Universitat de Valencia Joan Domenge Mesquida Universitat de Barcelona Francisco Herrera García Universidad de Sevilla Davide Deriu University of Westminster Gabriel Guarino Ulster University Rafał Eysymontt Instytut Historii Sztuki Uniwersytetu Wrocławskiego Adam Nadolny Wydziału Architektury Politechniki Poznańskiej Walter Rossa Departamento de Arquitetura da Universidade de Coimbra Luisa Trinidade Faculdade de Letras da Universidade de Coimbra Jean Cancellieri Université de Corte Carmel Cassar University of Malta Myron Kapral National Academy of Sciences, Ukraine, Lviv Alessandro Camiz Girne American University, Turkish Republic of Northern Cyprus Marco Cadinu Università degli Studi di Cagliari Elisabetta De Minicis Università degli Studi della Tuscia Alessandro Fonti Università degli Studi di Sassari Adriano Ghisetti Giavarina Università degli Studi “G. d’Annunzio” Chieti - Pescara Antonella Greco Università degli Studi di Roma “La Sapienza” Fabio Mangone Università degli Studi di Napoli “Federico II” Francesca Martorano Università Mediterranea di Reggio Calabria Paolo Micalizzi Università degli Studi Roma Tre Marco Rosario Nobile Università degli Studi di Palermo Pasquale Rossi Università Suor Orsola Benincasa, Napoli Ettore Sessa Università degli Studi di Palermo Carlo Tosco Politecnico di Torino Mauro Volpiano Politecnico di Torino The series LapisLocus considers the edition of scientific monographs on topics of architectural history, history of the city and the landscape: • Critical analysis of historical periods and cultural phases. -
Renovatio Urbis
CORE Metadata, citation and similar papers at core.ac.uk Provided by University of Lincoln Institutional Repository renovatio urbis Architecture, Urbanism and Ceremony in the Rome of Julius II Nicholas Temple 1 Agli amici di Antognano, Roma (Accademia Britannica) e Lincoln 2 Contents Illustration Credits Acknowledgements Introduction Chapter 1 - SIGN-POSTING PETER AND PAUL The Tiber’s Sacred Banks Peripheral Centres “inter duas metas” Papal Rivalries Chigi Chapel Chapter 2 - VIA GIULIA & PAPAL CORPORATISM The Politics of Order The Julian ‘Lapide’ Via Giulia The Legacy of Sixtus IV Quartière dei Banchi Via del Pellegrino, via Papale and via Recta Solenne Possesso and via Triumphalis Papal Corporatism Pons Neronianus and Porta Triumphalis Early Christian Precedents 3 Meta-Romuli and Serlio’s Scena Tragica Crossing Thresholds: Peter and Caesar The Papal ‘Hieroglyph’ and the Festa di Agone Chapter 3 - PALAZZO DEI TRIBUNALI and the Meaning of Justice sedes Iustitiae The Four Tribunals The Capitol and Communal/Cardinal’s Palace St Blaise and Justice Iustitia Cosmica Caesar and Iustitia pax Romana Chapter 4 – CORTILE DEL BELVEDERE, VIA DELLA LUNGARA and vita contemplativa “The Beautiful View” via suburbana/via sanctus Passage and Salvation Chapter 5 - ST. PETER’S BASILICA Orientation and Succession Transformations from Old to New Territorium Triumphale Sixtus IV and the Cappella del Coro Julius II and Caesar’s Ashes Janus and Peter 4 Janus Quadrifrons The Tegurium Chapter 6 - THE STANZA DELLA SEGNATURA A Testimony to a Golden Age Topographical and Geographical Connections in facultatibus Triune Symbolism Conversio St Bonaventure and the Itinerarium Mentis in Deum Justice and Poetry Mapping the Golden Age Conclusion - pons/facio: POPES AND BRIDGES The Julian ‘Project’ Pontifex Maximus Corpus Mysticum Raphael’s Portrait Notes Bibliography Index 5 Illustration Credits The author and publishers gratefully acknowledge the following for permission to reproduce images in the book. -
The Ascension of the Lord 16 May 2021 (Pdf 1.3MB)
The AscensionLoremLorem ipsum ipsumLorem of the ipsum Lord 15th & 16th May 2021 God Is An Thoughts of Fr Francis Jordan Artist O Lord, help me, show me the way! Without you, I can do nothing. I hope all things from You. In you, O Lord, I have hoped, I will not be confounded for ever. You are proof that God is an artist. He took you, and he took your sin. He made you clean, washed white with blood. You became a canvas for Him to paint images of grace and glory upon. You became a blank page for Him to write sonnets of peace and of love, and He named you worthy. You became a stone slab which God is now chipping away at, A warm welcome to Pope Francis’ creating in you a new heart all especially our Prayer Intentions parishioners and visitors For May and shaping you who are celebrating the Eucharist with us at Pittwater Parish - Sacred into who you were always The Service NSW QR codes are meant to be: Heart Church Mona Vale and now available at the entrance Maria Regina Church, of both of our churches, for you His child. Avalon. to use to check in. If you do not On Saturday 22 May, we The World of Finance have a smartphone or you're welcome the children in not carrying it with you, please provide your contact details via Kindy,Yr 1 and Yr2 Maria Let us pray that those in charge Regina School, Avalon to our If you have used this bulletin, of nance will work with the sign-in sheets provided. -
087-Santa Maria in Traspontina
(087/4) Santa Maria del Carmelo in Traspontina ! Santa Maria in Traspontina is a 16th century Carmelite church on the Via della Conciliazione, near Vatican City. The dedication is to the Blessed Virgin Mary, under her title of Our Lady of Carmel. The Chapel of St Knud is the national shrine of Denmark. [1] The appellation refers to the Ponte Sant'Angelo, the bridge across the Tiber at Castel Sant'Angelo. This, the former Pons Aelius, was the only bridge spanning the entire Tiber which survived the collapse of the Roman Empire (the Tiber Island crossing, with two bridges, also survived). Hence the name traspontina, or "across the bridge", in the Middle Ages was not equivocal. [1] History The first church, which had the same dedication, was first mentioned under Pope Hadrian I (772–795), but probably existed earlier. It was not in the same spot, but closer to Castel Sant'Angelo. The Liber Pontificalis mentions it under Pope Pascal II in 1118, when it is said to be defunct. Later in the same century, it was again used, as a priest of the church is mentioned in a bull from Pope Urban III dated 1186 or 1187. In the Catelogue of Turin, c. 1320, the church is mentioned as a Papal Chapel with five clerics. [1] [b] The church has long been served by Calced Carmelites. They were first installed in the old church in 1484 by Pope Innocent VIII, who noted that the church was again dilapidated and hoped that the Carmelites would re-vitalise it. Also he expected them to make the church the pastoral centre of the Borgo, which did (087/4) actually happen. -
Communis Patria Constructing National Identity Through Papal Interventions*
RIHA Journal 0242 | 30 March 2020 San Girolamo degli Schiavoni (also: degli Illirici/ dei Croati) in Roma communis patria Constructing National Identity Through Papal Interventions* Jasenka Gudelj Abstract This essay examines the positioning of the Schiavoni, i.e. Illyrians/ Croats, within Roma communis patria in the fifteenth and sixteenth centuries through papal commissions of architecture and painting related to the church of San Girolamo degli Schiavoni. It assesses the gestures made by Nicholas V and Sixtus V towards this particular ethnic group against the background of papal foreign policy and the Papacy’s approach to the urban problems of Rome, and explores the promotion of the cults of national saints. The disentanglement of the group’s dynamics and its interplay with the Curia not only sheds light on the minute mechanisms of artistic and architectural patronage as they relate to 'national' churches, but also redefines the approach to identity issues often understood as exclusively powered by 'national' forces. Contents Introduction The pope and the Schiavoni in the fifteenth century: Nicholas V Parentucelli Papal intervention II: Sixtus V Peretti Introduction [1] The church of Saint Jerome of the Illyrians in Rome (San Girolamo degli Schiavoni/ degli Illirici), now known as San Girolamo dei Croati, was an important monument for fashioning the cultural identity of an immigrant community that during the Early Modern period had no single center or political entity on the map of Europe with which to identify (Fig. 1). * This study has been fully supported by the Croatian Science Foundation under project n. 2305 – "Visualizing Nationhood: the Schiavoni/Illyrian Confraternities and Colleges in Italy and the Artistic Exchange with South East Europe (15th–18th c.)". -
This Morning, When Our Carriage Crossed the Sant’Angelo Bridge, We Caught Sight of St
Visiting Rome in 1827, French writer Stendhal noted, “This morning, when our carriage crossed the Sant’Angelo bridge, we caught sight of St. Peter’s at the end of a narrow street. We followed this straight road and finally arrived at Piazza Rusticucci.”1 (Fig. 1) A contem- porary visitor cannot recreate Stendhal’s sudden revelation as he encountered the gigantic basilica. Because of the destructive urban renovations carried out by Benito Mussolini’s Fascist regime, which displaced most of the area’s lower-income residents, the façade of St. Peter’s is no longer obscured but can now be seen in full view from many vantage points in the surrounding area of Rome. The ceremonial Via della Conciliazione, begun in 1936 and concluded in 1950, has replaced the lively streets and alleyways through which Stendhal traveled. For centuries, however, the relationship between St. Peter’s Basilica, its square, and the adjoining neighborhood was an unresolved matter.2 When, in 1667, Gian Lorenzo Bernini presented his project for the piazza, a third wing of the colonnade was expected to close off the view and operate as an antechamber for the basilica, separating the space of devotion from 1 Stendhal, “Promenades dans Rome” (1829), in Voyages en Italie (Paris: Gallimard, 1973), 677. Unless otherwise indicated, all translations are mine. 2 Armando Schiavo, “Via della Conciliazione,” Strenna dei romanisti 15 (1990), 409–508; and Richard A. Etlin, “St. Peter’s in the Modern Era: The Paradoxical Colossus,” in St. Peter’s in the Vatican, ed. William Tronzo (New York: Cambridge University Press, 2005), 270–304. -
Bernini's Design to Complete Piazza Di San Pietro
BERNINI'S DESIGN TO COMPLETE PIAZZA DI SAN PIETRO Z. SZENTKIR.'\'LYI Institute of History and Theory of Architecture, Technical University, H-1521 Budapest Received April 25, 1985 Presented by Prof. Dr. J. Bonta Summary Accomplishment of the square complex faced by San Pietro was interrupted by the death of Pope Alexander VI in 1667. No authentic data have subsisted on how Bernini proposed to complete it. Generally, the sketch made for Bonacina's etching is relied on in literature in assuming that the square of two parts would be confined by a triumphal arch-like construction to the east, between arms of the colonnades. But the composition system of the square hints to a third square part before Piazza Obliqua, protracted like a street, planned by Bernini. This study written two decades ago (comprising references of that time) tries to reconstruct the third square part, missing Piazza Rusticucci, analyzing the process of action made on the onlooker walking along the complete set of squares. Mid-17th century, Rome had been an important center of architecture. Its style pervaded regions beyond Italy, almost all Europe, and set out, or at least in±luenced development of the local, regional variety of Baroque in several countries, such as castles by Le Vau and interiors by Lebrun in France, works by Italian masters immigrated in the 17th century to southern German areas and to Bohemia, by the Tessin family in Sweden, palaces by Fischer von Erlach and Hildebrandt in Austria. In Rome, the very eenter, quite a number of great creations indicate the rapid ups1Ving; works of the generation after l\Iaderno, Bernini, Borromini and Cortona.