Giuseppe Fiocco
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Eserciti Papali in Ungheria. La Presa Di Strigonia
ESERCITI PAPALI IN UNGHERIA LA PRESA DI STRIGONIA Nel corso del Medioevo l’Ungheria aveva adempito ripetutamente e con onore alla sua missione storica : difendere la civiltà cristiana del l’Occidente e diffonderla verso Oriente ; meritandosi, con le proprie forze, l’ambito epiteto di «baluardo dell’Occidente». Ma l’Occidente si rese conto preciso dell’importanza di tale missione soltanto Quando si vide minacciato direttamente dall’espansione turca nei suoi interessi più vitali. Sul principio del CinQuecento, logorata dalle lotte intestine, che ne ave vano intaccato le vitali energie, la Nazione ungherese cede all’aggressione della Mezzaluna e soccombe sui campi di Mohàcs (1526). L’Ungheria perde due terzi del suo territorio : non è più capace di resistere da sola, e tanto meno di arginare la pressione orientale che si fa sempre più tenace e petulante. E precisamente allora che si matura nelle Corti europee l’idea di una coalizione contro il Turco ; l’idea trova terreno particolar mente propizio, e altrimenti non avrebbe potuto essere, nella Corte romana, la Quale se ne fa la banditrice più tenace ed animosa. Ben più difficile appare invece conciliare i vari interessi delle Potenze laiche e ricondurli ad un comune denominatore : gli sforzi della diplomazia papale risultano vani. Se si riesce ad ottenere risultati positivi e successi militari contro il Turco, ciò si deve Quasi sempre all’intervento diretto dei Papi i Quali danno alle imprese non solo il loro appoggio materiale ma partecipano direttamente alle campagne con i loro eserciti mercenari. L’avvenimento più importante delle campagne combattute contro il Turco negli ultimi anni del CinQuecento è l’espugnazione della fortezza e della città di Strigonia (in ungherese Esztergom), che è dovuta essenzial mente all’intervento ed all’appoggio di un Papa, Clemente V ili. -
Mosaico 2008.Pub
Spring/Summer 2008 Dante Alighieri Society, Michigan Chapter Message from the President La Divina Commedia: the musical Gentilissimi soci ed amici, vorrei esprimere la It all started with Roberto Benigni and his love for Dante's poetry. In the mia soddisfazione per le iniziative che si stanno performances of the world-renowned comedian, the old words acquire a svolgendo all’interno della nostra società. new life, the difficulties of the ancient text are smoothed and connected Riconosco che il ruolo di presidente è with our reality, and everybody is hooked and moved almost to tears. estremamente importante, ma vi assicuro che Benigni’s analysis of Dante's verses is the work of a dedicated scholar, nulla sarebbe possibile senza la costante but his recitation brings out their sublimity, shows their modernity and creates a welcome curiosity around Dante's poetry. Still, we live in a collaborazione dei componenti del direttivo, i visual era, and Benigni's work is still difficult to understand for the quali stanno ottenendo ottimi risultati. Il nostro younger generation. scopo e interesse primario è sempre lo stesso: The new Opera show, La Divina Commedia, has been studied with the promuovere e divulgare la lingua e la cultura aim to involve the new generation. It is primarily a musical event, whose italiane. Ci rendiamo conto che per raggiungere composer is Marco Frisina, Master Director of “Cappella Musicale La- questo obiettivo non serve solo la nostra volontà teranense” (the chorus of the Diocese of Rome), and it is designed as a di divulgare e promuovere, ma occorre multi media show with music, dance, and special effects supervised by soprattutto che ci sia la volontà dei soci a the Oscar winner Carlo Rambaldi. -
4184 F Palladio.Pdf
O 1508-1580 Andrea Palladio 1508-1580 ANDREA PALLADIO 1508-1580 ANDREA PALLADIO 1508-1580 First published in 2010 by The Embassy of Italy. Designed by: David Hayes. Typeface: Optima. Photographer: Pino Guidolotti. Photographer Lucan House: Dave Cullen. © The Embassy of Italy 2011. All rights reserved. No part of this book may be copied, reproduced, stored in a retrieval system, broadcast or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without prior permission of the copyright owners and the publishers. Lucan House, Co. Dublin Palladianism and Ireland NDREA PALLADIO GAVE HIS NAME to a style of architecture, Palladianism, whose most obvious Afeatures – simple lines, satisfying symmetry and mathematical proportions – were derived from the architecture of antiquity and particularly that of Rome. From the seventeenth century onwards Palladianism spread across Europe, with later examples to be found as far afield as America, India and Australia. Irish Palladianism has long been recognised as a distinctive version of the style. Editions of Palladio’s Quattro Libri dell’Architettura were second in popularity only to editions of Vitruvius amongst the Irish architects and dilettanti of the eighteenth century but, fittingly, it was another Italian, Alessandro Galilei, who may be said to have introduced the style to Ireland at Castletown, Co. Kildare (under construction from 1722). Thus began a rich tradition of Palladianism in Irish country house architecture, with notable examples at Bellamont Forest, Co. Cavan (c.1730), Russborough, Co. Wicklow (1742), and Lucan House, Co. Dublin (1773), now the Residence of the Ambassador of Italy. Ireland can also boast, in the facade of the Provost’s House, Trinity College Dublin, the only surviving example of a building erected to a design by Palladio outside his native Italy. -
San Giovanni in Laterano
(003/29) San Giovanni in Laterano St. John at the Lateran Piazza di San Giovanni Laterano (003/29) The official name is Archbasilica of the Most Holy Saviour and Sts. John the Baptist and the Evangelist at the Lateran, Cathedral of Rome, Mother and Head of all churches (003/29) History: On the façade, an inscription proclaims that this is SACROSANCTA LATERANENSIS ECCLESIA OMNIUM URBIS ET ORBIS ECCLESIARUM MATER ET CAPUT, "The Most Holy Lateran Church, Mother and Mistress of all churches of the city and the World". It is the first cathedral of Rome, where Emperor Constantine allowed the Pope to set up the episcopal chair after 312. The first mention in ancient sources is from 313, when a consistory of bishops was held in domum Faustae in Laterano. This refers to Fausta, Constantine's second wife, who was a convert. It is the first church not only in Rome but in the Christian world. The Popes lived in the Lateran palace until Clement V (1305-1314) transferred the papal seat to Avignon. After the return of the Pope to Rome in 1377, the Vatican palace was chosen as the papal residence. In this area, once stood a palace belonged to the Laterani family. Their house stood near the Basilica, probably towards the current Via Amba Aradam, and covered the entire land area that also includes the current basilica area. According to the "Annals" of Tacitus in 65 A.D. the palace and land was confiscated by the Emperor Nero, as Plautius Lateran, appointed consul for the year 65, conspired against the emperor himself in the conspiracy called the "Pisoni". -
The «Gran Scuola» of Guglielmo Della Porta, the Rise of the «Aurifex Inventor», and the Education of Stefano Maderno*
The «Gran Scuola» of Guglielmo della Porta, the Rise of the «Aurifex Inventor», and the Education of Stefano Maderno* C. D. Dickerson III One of the great mysteries surrounding the sculpture at that time in Rome. So consummate sculptor Stefano Maderno (1575-1636) is how is the design and execution of the Santa Cecilia he managed to summon the talent to sculpt his that one assumes that Maderno produced many celebrated statue of Santa Cecilia (FIG. 1) in the other masterpieces during his long career. But the church of S. Cecilia in Trastevere, Rome. This truth is that he never came close to that alluring work, completed in 1600, thus when Maderno was Saint again. His imagination seems to have dried about twenty-five-years-old, seems to come out of up, which invites the original question: how had practically nowhere in his career. Before this he, by the age of twenty-five, developed sufficient commission, he was presumably like so many talent to design and execute the Santa Cecilia? young sculptors in Rome, content to move from One part of the answer unquestionably involves one odd marble carving job to the next in hopes the peculiar circumstances of the commission, a that a real commission might one day be subject recently explored by Tobias Kämpf.4 As forthcoming. Certainly, by the late 1590s, Maderno Kämpf makes clear, Maderno was working for had secured two or three minor commissions.1 But a patron, Cardinal Paolo Camillo Sfondrati nothing adequately prepares us for the extra- (1560-1618), who had very strong views about ordinary results that he achieved at S. -
The Inventory of the Estate of Camillo Mariani Author(S): Claude Douglas Dickerson III Source: the Burlington Magazine, Vol
The Inventory of the Estate of Camillo Mariani Author(s): Claude Douglas Dickerson III Source: The Burlington Magazine, Vol. 147, No. 1233, Sculpture (Dec., 2005), pp. 821-824 Published by: Burlington Magazine Publications Ltd. Stable URL: http://www.jstor.org/stable/20074234 Accessed: 01-02-2018 18:17 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/20074234?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Burlington Magazine Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Burlington Magazine This content downloaded from 199.16.64.3 on Thu, 01 Feb 2018 18:17:42 UTC All use subject to http://about.jstor.org/terms TWO HOLY-WATER STOUPS BY GIOVAN FRANCESCO SUSINI THE INVENTORY OF THE ESTATE OF CAMILLO MARIANI as the Pucci and the Accolti, and courtiers including Cesare Tinghi his presence within the court hierarchy, next to the chapel of the and Francesco Paolsanti, who chose the church for their funerary Annunciata. This was where the Grand Duke would retire to monuments. -
Visible Spirit
Visible Spirit The Art of Gianlorenzo Bernini Vol. I Irving Lavin The Pindar Press London 2007 Published by The Pindar Press 40 Narcissus Road London NW6 1TH · UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 978-1-899828-39-5 (hb) ISBN 978-1-904597-54-4 (pb) Printed by Estudios Gráficos ZURE 48950 Erandio Spain This book is printed on acid-free paper Contents Foreword i I Review of Rudolf Wittkower, Gian Lorenzo Bernini. The Sculptor of the Roman Baroque 1 II Bernini and the Theater 15 III Bozzetti and Modelli. Notes on sculptural Procedure from the Early Renaissance through Bernini 33 IV Bernini and the Crossing of Saint Peter’s 62 V Five New Youthful Sculptures by Gianlorenzo Bernini and a revised Chronology of his Early Works 186 VI Bernini’s Death 287 VII Afterthoughts on “Bernini’s Death” 354 VIII Letter to the Editor on a review by Howard Hibbard of Bernini and the Crossing of St. Peter’s 371 IX Calculated Spontaneity. Bernini and the Terracotta Sketch 376 X On the Pedestal of Bernini’s Bust of the Savior 393 XI High and Low before their Time: Bernini and the Art of Social Satire 397 XII Bernini’s Memorial Plaque for Carlo Barberini 469 XIII Bernini’s Baldachin: Considering a Reconsideration 480 XIV Bernini’s Bust of Cardinal Montalto 496 XV Bernini’s Cosmic Eagle 509 XVI Bernini’s Image of the Sun King 524 Lavin IV. Revised:CHAPTER 2.qxd 13/8/07 07:25 Page 2 IV Bernini and the Crossing of Saint Peter’s Introduction N THE present essay ‘the crossing of Saint Peter’s’ refers to the grandiose Iplan by which, during the reign of Pope Urban VIII (1623–1644) under Bernini’s direction, a visually and conceptually unified focus was created at the tomb of the Prince of the Apostles (Fig. -
Das Italienische Sakramentstabernakel Im 16
Das italienische Sakramentstabernakel im 16. Jahrhundert Tempietto-Architekturen en miniature zur Aufbewahrung der Eucharistie Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Rheinischen Friedrich-Wilhelms-Universität zu Bonn vorgelegt von Claire Guinomet aus Bochum Bonn 2013 Gedruckt mit der Genehmigung der Philosophischen Fakultät der Rheinischen Friedrich-Wilhelms-Universität Bonn Zusammensetzung der Prüfungskommission: Prof. Dr. Harald Wolter-von dem Knesebeck (Vorsitzender) Prof. Dr. Georg Satzinger (Betreuer und Erstgutachter) Prof. Dr. Hans-Joachim Raupp (Zweitgutachter) HD Dr. Katharina Corsepius (weiteres prüfungsberechtigtes Mitglied) Tag der mündlichen Prüfung: 13. Oktober 2010 VORWORT Die vorliegende Arbeit wurde im Sommersemester 2010 von der Philosophischen Fakultät der Rheinischen Friedrich-Wilhelms-Universität Bonn als Dissertation angenommen und berücksichtigt den Stand der Forschung bis Mai 2010. Mein herzlichster Dank gilt meinem Doktorvater Prof. Dr. Georg Satzinger, der das Entstehen dieser Arbeit mit wertvollen Anregungen und großem Interesse bestens begleitet hat. Prof. Dr. Hans-Joachim Raupp danke ich für die Übernahme des Zweitgutachtens. Ganz besonderen Dank möchte ich den Direktorinnen der Bibliotheca Hertziana – Max- Planck-Institut für Kunstgeschichte in Rom, Prof. Dr. Elisabeth Kieven und Prof. Dr. Sybille Ebert-Schifferer aussprechen, die meine Dissertation durch ein Doktorandenstipendium des Instituts förderten. Ebenso danke ich der ehemaligen Leiterin der Fotothek der Bibliotheca Hertziana, Dr. Christina Riebesell, und dem aktuellen Leiter Dr. Johannes Röll, der meine Untersuchung u. a. durch privates Bildmaterial unterstützt hat. Auch bin ich jenen kirchlichen und musealen Institutionen sehr verbunden, die mich bei meinen Recherchen mit viel Freundlichkeit und Hilfsbereitschaft begleitet haben, sowie den Fachkollegen, deren Anregungen sehr bereichernd waren. Auch möchte ich an dieser Stelle meiner Freundin Dr. -
Scultura a Padova: 1540-1620 Circa Monumenti E Ritratti
Università degli Studi di Trento Dipartimento di Lettere e Filosofia Scuola di Dottorato in Studi Umanistici Tesi di Dottorato Scultura a Padova: 1540-1620 circa Monumenti e ritratti Volume 2. Bibliografia generale e tavole Tutor: ch.mo prof. Andrea Bacchi Dottorando: Luca Siracusano XXVI ciclo (2010-2013) Abbreviazioni AAU: Archivio antico dell'Università degli Studi di Padova ACP: Archivio Capitolare della Curia Vescovile di Padova AdA: Archivio storico della Veneranda Arca di Sant'Antonio di Padova ASPd: Archivio di Stato di Padova ASVe: Archivio di Stato di Venezia ASTo: Archivio di Stato di Torino BCBVi: Biblioteca Civica Bertoliniana di Vicenza BMCVe: Biblioteca del Museo Civico Correr di Venezia BMVe: Biblioteca Nazionale Marciana di Venezia BSP: Biblioteca del Seminario Vescovile di Padova BCP: Biblioteca Civica di Padova Bibliografia generale Fonti inedite ABRIANO: F. ABRIANO, Annali di Padova dal 1568 al 1600, ms., 1600, BCP, BP 149, I, cc. 12r-38r BARBARO: M. BARBARO, Arbori de' patritii veneti, ms., ASVE, Miscellanea codici, serie I, storia veneta, bb. 17-23 BARBO: G. B. BARBO, Queste sono casade nove le quali sono al tempo mio, ch'è dell'anno 1585, ms., 1585, BCP, BP 707/II DA CORTE: Z. A. DA CORTE, Diario, ms., 1509-1529, BCP, BP 3159 DAL LEGNAME: D. DAL LEGNAME, Inscriptiones et epigrammata omnia qua visuntur Patavii in celeberrimo divi Augustini templo collecta..., ms., XVI secolo, BCP, BP 1102 DE' ROSSI: N. DE' ROSSI, Cronica di Padova dal 1562 al 1621, ms., 1621, BCP, BP 3 147 EDWARDS: P. EDWARDS, Elenco degli Oggetti di Belle Arti scelti a disposizione di S[ua] A[ltezza] I[mperiale] Eugenio Napoleone..., ms., 1808, BCP, BP 1238/XVI GENNARI: G. -
071-Santa Maria Sopra Minerva
(071/40) Santa Maria sopra Minerva Our Lady above Minerva Piazza della Minerva Santa Maria sopra Minerva is a 13th century minor basilica, a titular and former conventual church on the Piazza della Minerva in the rione Pigna. The dedication is to the Blessed Virgin Mary. This is the only mediaeval Gothic church within the ancient walls of Rome. [1] (071/40) History: Already in the 8th century there was an ancient chapel dedicated to the Virgin Mary, which Pope Zacharias in 750 had granted to Byzantine nuns who fled from the East, which since that time, was added to the name of Minervum. [2] The addition was due to the fact that the chapel stood near the Temple of Minerva Chalcidice built by Gnaeus Pompey in 50 B.C. In fact the entire area currently occupied by the basilica of Santa Maria sopra Minerva and the adjoining former convent, there were three ancient temples Rome: Minervium, originally erected in honor of Minerva, Domitian’s Iseum dedicated to Isis, and the Serapeum dedicated to Serapis. In 1665 an Egyptian obelisk was found, buried in the garden of the Dominican cloister adjacent to the church. Several other small obelisks were found at different times near the church, known as the Obelisci Isei Campensis, which were probably brought to Rome during the first century and grouped in pairs, with others, at the entrances of the temple of Isis. [2] [a] In 1275 the site was given to the Dominican Friars and their Vicar General Fra Aldobrandino Cavalcanti, bishop of Orvieto. The Dominicans began building the present gothic church in 1280, modeling it on their restored church in Florence, the church of Santa Maria Novella in Florence, following plans seemingly drawn up by two talented Dominican friars, Fra Sisto Fiorentino and Fra Ristoro da Campi, during the pontificate of Nicholas III Orsini. -
The City of Vicenza and the Palladian Villas in the Veneto
This publication was created in partnership with the following With its 26 Palladian works, 23 monuments in the historical city centre and 3 An editorial project organisations: suburban villas, Vicenza was quite rightfully added to the World Heritage List in of the Unesco Office 1994. On account of their impressive architectural effect and certain relationships established between each work and nearby buildings and structures, the Palladian Municipality of Vicenza Direzione Regionale Beni Culturali e Paesaggio monuments transformed Vicenza, conferring upon the city and its urban setting a Soprintendenze per i beni artistici, storici ed etnografici unique quality of its own. del Veneto In 1996, UNESCO recognised a further 21 villas designed by Andrea Palladio Soprintendenze per i beni architettonici e per il paesaggio del Veneto situated in the Veneto region. One can imagine a subtle ‘dialogue’ existing between THE CITY OF VICENZA AND THE PALLADIAN VILLAS IN THE VENETO VILLAS THE CITY OF VICENZA AND PALLADIAN Regione del Veneto these monuments and the landscape of the Veneto; such distinctive and ‘emerging’ forms of interaction lie behind the recent decision to consider these 16th-century achievements as having an outstanding and universal value. Palladio’s work gradually became a point of reference for architects throughout the world. The villas of the Veneto constitute an asset bearing witness to a culture and civilisation – and not only in the artistic or architectural sense – which quite rightly should be protected, preserved and valorised. -
The Business of Sculpture in Venice 1525–1625
The Business of Sculpture in Venice 1525–1625 Volume I: Text Emma Jane Jones Department of History of Art Pembroke ColleGe This dissertation is submitted for the deGree of Doctor of Philosophy University of CambridGe September 2016 CONTENTS VOLUME 1: page Acknowledgements i-ii List of Abbreviations iii-iv Introduction 1-17 I. Patrons: Sculptural Genres, Motivations, Locations 18-51 II. Sculptors: Contracts, Fees, Quality 52-84 III. Materials: Sourcing, Supply, Significance 85-127 IV. Workshops, Authorship, Networks, Problem-solving 128-160 Conclusion 161-163 Bibliography 164-209 VOLUME 2: Illustrations Introduction 1-23 Chapter I 24-130 Chapter II 131-179 Chapter III 180-223 Chapter IV 224-269 VOLUME 3: Appendix I. Notes on Documentary Transcriptions; Currency and Units of Weight and Measurement 1-2 II. Catalogue of Select Commissions 3-217 III. Tables: 1: Contract drawings and models 218-223 2: Sculptors’ fees 224-233 3: Copper prices 234-235 4: Tin prices 236 5: Bronze prices 237-238 IV. List of Illustrations and Photo Credits 239-260 ACKNOWLEDGEMENTS This research has been made possible thanks to the generous doctoral scholarship provided by the Arts and Humanities Research Council (AHRC) of Great Britain. My most sincere thanks go to the Faculty of Architecture and History of Art for putting me forward for this scholarship and to the University of Cambridge for endorsing it. Research undertaken in Venice for this thesis was made possible through the generous and much-appreciated financial support of the AHRC Travel Fund, the Gladys Krieble Delmas Foundation, and the Kettle’s Yard Art History Travel Fund, University of Cambridge.