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074-Sant'onofrio Al Gianicolo.Pages
(074/05) Sant'Onofrio al Gianicolo Sant'Onofrio al Gianicolo is a 15th century monastic and titular church in Trastevere, on the Janiculum. The dedication is to St Onuphrius, a 4th century Egyptian hermit or Desert Father. He was popular in the Middle Ages, and an iconographic representation of him as a naked man with a long beard preserving his modesty can still be found in churches in Europe. History The monastery is not an ancient foundation. What was here before the 15th century was a holm-oak wood on the northern end of the Janiculum ridge, in which Blessed Nicholas of Forca Palena (1349-1449) founded a small hermitage in 1419. He had been born in a mountain hamlet called Forca near Chieti, and worked as a diocesan priest of Sulmona at Palena before migrating to Rome around the year 1404. There he joined an informal group of penitents who had gathered around one Rinaldo di Piedimonte at the church of San Salvatore in Thermis (now demolished). Nicholas took over as priest in charge of the church and leader of the group, and thus began a new religious congregation which became known as Heremitae Sancti Hieronimi. (The patron was St Jerome.) He founded a community in Naples in 1417, Santa Maria delle Grazie a Caponapoli, and then this hermitage in Rome with the help of Gabriele Cardinal Condulmer, who became Pope Eugene IV in (074/05) 1431. He had made friends with Blessed Peter Gambacorta, a hermit at Montebello near Urbino who (according to the legend) converted a band of robbers and so founded the Fratres Pauperes Sancti Hieronimi in 1380. -
Collecting and Representing Saxon Identity in the Dresden Kunstkammer and Princely Monuments in Freiberg Cathedral
UNIVERSITY OF CALIFORNIA RIVERSIDE International Projects with a Local Emphasis: Collecting and Representing Saxon Identity in the Dresden Kunstkammer and Princely Monuments in Freiberg Cathedral A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History by Daniel A. Powazek June 2020 Thesis Committee: Dr. Kristoffer Neville, Chairperson Dr. Randolph Head Dr. Jeanette Kohl Copyright by Daniel A. Powazek 2020 The Thesis of Daniel A. Powazek is approved: Committee Chairperson University of California, Riverside ABSTRACT OF THE THESIS International Projects with a Local Emphasis: The Collecting and Representation of Saxon Identity in the Dresden Kunstkammer and Princely Monuments in Freiberg Cathedral by Daniel A. Powazek Master of Arts, Graduate Program in Art History University of California, Riverside, June 2020 Dr. Kristoffer Neville, Chairperson When the Albertine Dukes of Saxony gained the Electoral privilege in the second half of the sixteenth century, they ascended to a higher echelon of European princes. Elector August (r. 1553-1586) marked this new status by commissioning a monumental tomb in Freiberg Cathedral in Saxony for his deceased brother, Moritz, who had first won the Electoral privilege for the Albertine line of rulers. The tomb’s magnificence and scale, completed in 1563, immediately set it into relation to the grandest funerary memorials of Europe, the tombs of popes and monarchs, and thus establishing the new Saxon Electors as worthy peers in rank and status to the most powerful rulers of the period. By the end of his reign, Elector August sought to enshrine the succeeding rulers of his line in an even grander project, a dynastic chapel built into Freiberg Cathedral directly in front of the tomb of Moritz. -
In Hans Jakob Fuggers's Service
Chapter 3 In Hans Jakob Fuggers’s Service 3.1 Hans Jakob Fugger Strada’s first contacts with Hans Jakob Fugger, his chief patron for well over a decade, certainly took place before the middle of the 1540s. As suggested earlier, the possibility remains that Strada had already met this gifted scion of the most illustrious German banking dynasty, his exact contemporary, in Italy. Fugger [Fig. 3.1], born at Augsburg on 23 December 1516, was the eldest surviving son of Raymund Fugger and Catharina Thurzo von Bethlenfalva. He had already followed part of the studious curriculum which was de rigueur in his family even before arriving in Bologna: this included travel and study at foreign, rather than German universities.1 Hans Jakob, accompanied on his trip by his preceptor Christoph Hager, first studied in Bourges, where he heard the courses of Andrea Alciati, and then fol- lowed Alciati to Bologna [Fig. 1.12]. Doubtless partly because of the exceptional standing of his family—the gold of Hans Jakob’s great-uncle, Jakob ‘der Reiche’, had obtained the Empire for Charles v—but certainly also because of his per- sonal talents, Fugger met and befriended a host of people of particular political, ecclesiastical or cultural eminence—such as Viglius van Aytta van Zwichem, whom he met in Bourges and again in Bologna—or later would ascend to high civil or ecclesiastical rank. His friends included both Germans, such as the companion of his travels and studies, Georg Sigmund Seld, afterwards Reichs- vizekanzler, his compatriot Otto Truchsess von Waldburg, afterwards Cardinal and Prince-Bishop of Augsburg [Fig. -
Scarica La Brochure
ITA BENVENUTI A VILLA MADRUZZO HOTEL, RISTORANTE, SPA & WELLNESS La famiglia Polonioli e tutto il suo team saranno lieti di accogliervi con calore e professionalità, con l’auspicio che Villa Madruzzo non sia solo il vostro hotel, ma la vostra casa in Trentino. Lasciatevi conquistare dall’atmosfera storica che ci cir- conda, dal verde distensivo delle montagne trentine e dalle nostre attenzioni. PERCHE’ VILLA MADRUZZO? Villa Madruzzo è una dimora da un ambiente ricercato, ma al storica del cinquecento che sorge tempo stesso ospitale e confortevole. sulle colline ad Est di Trento. La Lasciatevi avvolgere dall’accoglienza villa è immersa nel verde di alberi familiare, dal servizio attento, secolari e dei vigneti limitrofi, con cordiale e dall’atmosfera senza tempo una splendida vista panoramica che riserviamo a ciascun cliente: sulla città e sulle montagne Trentine. professionalità e calore sono i nostri Villa Madruzzo è la meta ideale in segni distintivi. cui vivere un’esperienza circondati IL RISTORANTE Un ambiente raffinato, curato nei abbinamenti più adatti dalla nostra dettagli, ed un servizio competente carta vini; e, per concludere, una e accorto fanno da contorno alle buona grappa, distillato d’eccellenza gustose pietanze che i nostri cuochi nella nostra terra. A Villa Madruzzo propongono quotidianamente nel non c’è che l’imbarazzo della scelta. nostro menù. Piatti e ingredienti Pronto ad accogliere gli ospiti della tradizione trentina si alternano dell’hotel, il ristorante è noto e a ricette nazionali, in una proposta frequentato anche da ospiti esterni, che gastronomica varia, capace di ne apprezzano da sempre la cucina, gli accontentare i palati dai più curiosi ambienti e la cortesia del personale. -
Lord, in the Piazza Are Works by Donatello and the Great Michelangelo, Both of Them Men That in the 17
16. Benvenuto Cellini, Head of Medusa (sketch model for a statue of Perseus). Bronze, 13.8 cm high. Florence, c.1545–50. V&A: A.14–1964 lord, in the Piazza are works by Donatello and the great Michelangelo, both of them men that in the 17. After Donatello, Virgin and Child (frame probably painted by glory of their works have beaten the ancients; as for me I have the courage to execute this work to Paolo di Stefano). the size of five cubits, and in so doing make it ever so much better than the model.’115 Painted stucco in a wooden frame, 36.5 20.2 cm. Florence, c.1435–40. Yet for all that, it was only in the sixteenth century that the intellectual and individual qualities of V&A: A.45–1926 an artist came to be of significant concern to the patron, purchaser or owner. Prior to that, it seems that an artist’s mastery of a particularly sought-after technique or their extraordinary skill were defining criteria. Thus, to emphasize the extent to which Cistercian patrons were prepared to honour God, it became something of a topos in twelfth- and thirteenth-century accounts of monastic patronage that artists had been brought ‘from foreign parts’ to work on Church building projects because the particular skills they possessed were unavailable locally.116 Aubert Audoin, cardinal and former bishop of Paris, sent for potters from Valencia to produce lustred tiles for his Avignon palace in the late 1350s, because at that date the technique of producing such a golden glaze was known only in the Islamic world.117 The function of an object also continued to outweigh considerations of the identity of its maker. -
I Codici in Scrittura Latina Di Alessandro Farnese (1520-1589) a Caprarola E Al Palazzo Della Cancelleria Nel 1589
This is an electronic reprint of the original article. This reprint may differ from the original in pagination and typographic detail. Author(s): Merisalo, Outi Title: I codici in scrittura latina di Alessandro Farnese (1520-1589) a Caprarola e al Palazzo della Cancelleria nel 1589 Year: 2016 Version: Please cite the original version: Merisalo, O. (2016). I codici in scrittura latina di Alessandro Farnese (1520-1589) a Caprarola e al Palazzo della Cancelleria nel 1589. Progressus, III(1). http://www.rivistaprogressus.it/wp-content/uploads/outi-merisalo-codici-scrittura- latina-alessandro-farnese-1520-1589-caprarola-al-palazzo-della-cancelleria-nel- 1589.pdf All material supplied via JYX is protected by copyright and other intellectual property rights, and duplication or sale of all or part of any of the repository collections is not permitted, except that material may be duplicated by you for your research use or educational purposes in electronic or print form. You must obtain permission for any other use. Electronic or print copies may not be offered, whether for sale or otherwise to anyone who is not an authorised user. I codici in scrittura latina di Alessandro Farnese (1520-1589) a Caprarola e al Palazzo della Cancelleria nel 1589 OUTI MERISALO Anno III, n. 1, luglio 2016 ISSN 2284-0869 ANNO III - N. 1 PROGRESSUS Abstract This article analyses the contents of the manuscripts in Latin script found at the Villa Farnese of Caprarola and the Palazzo della Cancelleria of Rome at the death of Cardinal Alessandro Farnese (1520-1589). They were inventoried by Claudio Tobalducci, librari - an to the Cardinal; the inventories were edited by Francois Fossier. -
Biblioteca Professionale
BIBLIOTECA PROFESSIONALE Incunaboli dologica, p. XXXI). Ulteriori ne alla coerenza dell’og- ne e alla circolazione del li- e cinquecentine indicazioni, di carattere non getto potrebbe ingenerarsi bro in area trentina tra il del Fondo trentino più tecnico ma storico-cul- alla lettura del catalogo cu- primo insediamento della della Biblioteca turale, sono rintracciabili mulativo, e ciò è ricono- attività tipografica nel 1475 comunale di Trento. nella Prefazione di Pasquale sciuto molto onestamente e l’ultimo scorcio del XVI Catalogo Chistè e Fabrizio Leonardelli dai prefatori (ibidem). Ma secolo. Non che sia scarna a cura di Elena Ravelli riguardo ai “requisiti di per- habent sua fata bibliothe- la bibliografia su singoli e Mauro Hausbergher tinenza/attinenza trentina cae, e sono le varie, e perfi- aspetti del tema. Ad esem- Trento, Provincia autonoma delle opere e delle pubbli- no contraddittorie, modalità pio bene esplorati, grazie a di Trento – Servizio beni cazioni e quindi i criteri di di accumulazione di nuclei convegni e mostre, sono librari e archivistici inclusione delle pubblica- librari, con l’emersione di stati i profili individuali, le 2000, p. IX-401 zioni nelle sezioni trentine nuovi orientamenti di ac- politiche culturali e le rac- della biblioteca” (p. X). Ri- quisizione e casuali con- colte librarie dei principi chiamandosi alla distinzione fluenze patrimoniali, che vescovi: Il principe vescovo In una tendenza, peraltro tra opera (intesa come rea- fondano e costituiscono la Johannes Hinderbach (1465- largamente diffusa, -
The Council and the “Papal Prince”: Trent Seen by the Italian Reformers*
The Council and the “Papal Prince”: Trent Seen by the Italian Reformers* Diego Pirillo Introduction In November 1550, having left Italy the previous year to embrace the Reformation, the former bishop of Capodistria Pier Paolo Vergerio published a pamphlet against Julius III, who, under pressure from Charles V, intended to reopen the Council in Trent.1 The pamphlet, one of several launched by Vergerio against the council, was dedicated to Edward VI. The English king had recently welcomed the two prominent Italian reformers Peter Martyr Vermigli and Bernardino Ochino, who had arrived in England at the invitation of the Archbishop of Canterbury Thomas Cranmer, himself determined to summon a general Protestant council in opposition to the one that had just begun in Trent.2 From his Swiss exile, Vergerio attentively followed not only his fellow reformers abroad but also those still in Italy. By opting for the vernacular over Latin, he intended to reach a wide audience of Italian readers who remained undecided on whether to break off from the Roman Church and leave Italy or to stay and compromise with Catholic orthodoxy. A skillful pamphleteer, Vergerio knew very well that the purpose of “adversarial propaganda” was to create stereotypes and that, by contrasting a positive set of ideas with its negative antithesis, he could target the “uncommitted,” situated between the two extremes.3 Thus, Vergerio outlined a sharp opposition between the supporters of the Reformation on one side and the Roman Antichrist on the other, aware that any third alternative would have undermined the efficacy of his communicative strategy. -
The Santissima Annunziata of Florence, Medici Portraits, and the Counter Reformation in Italy
THE SANTISSIMA ANNUNZIATA OF FLORENCE, MEDICI PORTRAITS, AND THE COUNTER REFORMATION IN ITALY by Bernice Ida Maria Iarocci A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Bernice Iarocci 2015 THE SANTISSIMA ANNUNZIATA OF FLORENCE, MEDICI PORTRAITS, AND THE COUNTER REFORMATION IN ITALY Bernice Ida Maria Iarocci Doctor of Philosophy Department of Art University of Toronto 2015 A defining feature of the Counter-Reformation period is the new impetus given to the material expression of devotion to sacred images and relics. There are nonetheless few scholarly studies that look deeply into the shrines of venerated images, as they were renovated or decorated anew during this period. This dissertation investigates an image cult that experienced a particularly rich elaboration during the Counter-Reformation – that of the miracle-working fresco called the Nunziata, located in the Servite church of the Santissima Annunziata in Florence. By the end of the fifteenth century, the Nunziata had become the primary sacred image in the city of Florence and one of the most venerated Marian cults in Italy. My investigation spans around 1580 to 1650, and includes texts related to the sacred fresco, copies made after it, votives, and other additions made within and around its shrine. I address various components of the cult that carry meanings of civic importance; nonetheless, one of its crucial characteristics is that it partook of general agendas belonging to the Counter- Reformation movement. That is, it would be myopic to remain within a strictly local scope when considering this period. -
Il Palazzo Storico Della Magnifica Comunità
IL PALAZZO STORICO DELLA MAGNIFICA COMUNITÀ La Magnifica Comunità di Fiemme, istituzione antichissima nata nell’altomedioevo per garantire agli abitanti della valle una certa autonomia dal principe vescovo di Trento, è oggi ancora attiva. Perse le prerogative politiche nel primo Ottocento continua ad occuparsi della gestione del territorio fiemmese e delle sue risorse in particolare del patrimonio silvo-pastorale. A questa attività unisce l’importante impegno sociale e culturale che trova massima espressione nella struttura e nelle attività promosse dal Palazzo storico della Magnifica Comunità di Fiemme, custode della sua storia millenaria. LA STORIA Dopo la conquista romana, nel 16 a.C., il territorio fiemmese entra a far parte dell’Impero Romano sino al VI secolo d.C. Diviene quindi teatro di alterne vicende che coinvolgono Alamanni, Goti, Franchi e Longobardi1. Con la conquista carolingia del Regno Longobardo, nel 774, inizia per Fiemme un periodo di pace; lo scarso interesse politico riguardo al controllo del territorio esclude l’affermarsi di forti poteri signorili locali2. Si costituisce invece una primitiva istituzione comunitaria basata sulla gestione condivisa del territorio e delle sue risorse: è l’origine dell’attuale Magnifica Comunità di Fiemme. La nascita del principato vescovile di Trento, in seguito al privilegio concesso dall’imperatore Corrado II il Salico, avviene nel 10273. La valle di Fiemme rientra nei territori amministrati dal principe vescovo e come tale è soggetta a obblighi fiscali. Il suo popolo abituato ad un’autonomia plurisecolare non accetta la subordinazione. Tale situazione si risolve, dopo vari conflitti, quando il principe vescovo di Trento Gebardo (1106-1118) riconosce una parte delle libertà di Fiemme firmando i patti ghebardini. -
Bartolomeo Maranta's 'Discourse' on Titian's Annunciation in Naples: Introduction1
Bartolomeo Maranta’s ‘Discourse’ on Titian’s Annunciation in Naples: introduction1 Luba Freedman Figure 1 Titian, The Annunciation, c. 1562. Oil on canvas, 280 x 193.5 cm. Naples: Museo Nazionale di Capodimonte (on temporary loan). Scala/Ministero per i Beni e le Attività culturali/Art Resource. Overview The ‘Discourse’ on Titian’s Annunciation is the first known text of considerable length whose subject is a painting by a then-living artist.2 The only manuscript of 1 The author must acknowledge with gratitude the several scholars who contributed to this project: Barbara De Marco, Christiane J. Hessler, Peter Humfrey, Francesco S. Minervini, Angela M. Nuovo, Pietro D. Omodeo, Ulrich Pfisterer, Gavriel Shapiro, Graziella Travaglini, Raymond B. Waddington, Kathleen M. Ward and Richard Woodfield. 2 Angelo Borzelli, Bartolommeo Maranta. Difensore del Tiziano, Naples: Gennaro, 1902; Giuseppe Solimene, Un umanista venosino (Bartolomeo Maranta) giudica Tiziano, Naples: Società aspetti letterari, 1952; and Paola Barocchi, ed., Scritti d’arte del Cinquecento, Milan- Naples: Einaudi, 1971, 3 vols, 1:863-900. For the translation click here. Journal of Art Historiography Number 13 December 2015 Luba Freedman Bartolomeo Maranta’s ‘Discourse’ on Titian’s Annunciation in Naples: introduction this text is held in the Biblioteca Nazionale of Naples. The translated title is: ‘A Discourse of Bartolomeo Maranta to the most ill. Sig. Ferrante Carrafa, Marquis of Santo Lucido, on the subject of painting. In which the picture, made by Titian for the chapel of Sig. Cosmo Pinelli, is defended against some opposing comments made by some persons’.3 Maranta wrote the discourse to argue against groundless opinions about Titian’s Annunciation he overheard in the Pinelli chapel. -
"Belonging of Right to Our English Nation" the Oratory of Domine Quo Vadis, Reginald Pole, and the English Hospice in Rome
RIHA Journal 0238 | 30 March 2020 "Belonging of right to our English nation" The Oratory of Domine Quo Vadis, Reginald Pole, and the English Hospice in Rome Andrea Bacciolo Abstract Located in Rome, at the Appian Way, the oratory of Domine Quo Vadis is a circular domed building that has heretofore been dated to Julius III's pontificate (1550–1555) and associated with Cardinal Reginald Pole's patronage. In addition to confirming the role of Reginald Pole, new documentary evidence proves both an earlier date of construction and the involvement in the works of the English Hospice as financial contributor. Considering the cultural and political climate, the Anglo-Roman relations, and the institutional background, this article deals with the oratory as a materialization of the emerging identity of English Catholics in Rome. Contents The Oratory of Domine Quo Vadis New lights on the building The site as a crucial stage in the route of Charles V's triumphal entry in 1536 Reginald Pole, Henry VIII, and the English in Rome A materialization of the emerging identity of English Catholics The Oratory of Domine Quo Vadis [1] Standing outside the Aurelian Walls, the oratory of Domine Quo Vadis is a small, circular domed building situated in the carefully preserved environment of the Appian Way Regional Park a few kilometres from the city centre of Rome.1 Located next to the church of Santa Maria in Palmis, it faces 1 The present essay is based on a paper entitled "Il sacello del Domine Quo Vadis. Un’architettura a pianta circolare, la comunità inglese e il culto petrino nel primo Cinquecento", delivered at the conference "Grand Tour del Terzo Millennio" at the Università di Roma Tor Vergata in 2014.