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The Spanish Church of the Saints Ildephonsus and Thomas of Villanova in Rome1
RIHA Journal 0241 | 30 March 2020 National Religiosity and Visual Propaganda: the Spanish Church of the Saints Ildephonsus and Thomas of Villanova in Rome1 Pablo González Tornel Abstract The construction of the church of Sts Ildephonsus and Thomas of Villanova on the Via Sistina in Rome began in 1667. Headquarters of the Spanish Discalced Augustinians in Rome, the church was directly inspired by Francesco Borromini's Chapel of the Three Magi (Cappella dei Re Magi), and its artistic iconography featured a comprehensive program of Spanish political propaganda. The church was decorated as a monument to the Immaculate Conception, the favoured devotional cult of the Spanish monarchy, and its Marian content was reinforced by the paintings of the Virgins of Copacabana and Guadalupe, patrons of Peru and Mexico respectively. The entire ensemble, including the dedication of the church to the Spanish saints Ildephonsus and Thomas of Villanova, transformed the temple into a celebration of the Iberian monarchy. [1] The main headquarters of the Spanish Discalced Augustinians in Italy is located in the Via Sistina in Rome, on the slope of the Pincian hill. The complex includes a church dedicated to the Spanish Saints Ildephonsus and Thomas of Villanova, constructed between 1656 and 1672 with a design very similar to Francesco Borromini’s Chapel of the Three Magi at the college of Propaganda Fide (Fig. 1). 1 This text corresponds to the paper given at the Annual Meeting of the Renaissance Society of America in Berlin, March 26-28, 2015, and summarizes the article published in Spanish in Pablo González Tornel, "La iglesia de los Santos Ildefonso y Tomás de Villanueva en Roma: un monumento barroco a la pietas hispanica", in: Archivo Español de Arte 88 (2015), no. -
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. -
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. -
January 2006 ********** February 2006 ********** March 2006
January 2006 Sunday, 1st January 2006 - 11.00 am Via della Conciliazione - St. Peter's Square - Rome NEW YEAR'S DAY PARADE With the participation of: University of Nebraska Marching Band Rioni di Cori Flag Throwers Banda del Comune di Recanati Banda della Aeronautica Militare Friday, 6th January 2006 - 9.00 pm Church S. Ignazio, Piazza S. Ignazio - Rome Benedictine College Choir USA Program: sacred choir music Sunday, 22nd January 2006 – 5.00 pm Church S. Cipriano, Via di Torrevecchia 169 - Rome St. Cyprian Liturgical Choir - USA Iubilate Deo - Italy Program: sacred choir music ********** February 2006 Tuesday, 21st February 2006 - 9.00 pm Church S. Rufino, P. zza S. Rufino, Assisi Abbotts Bromley School Chapel Choir United Kingdom Program: Schubert, Elgar, Kodaly ********** March 2006 Sunday, 12th March 2006 - 9.00 pm Church S. Ignazio, Piazza S. Ignazio - Rome Curé of Ars Church Choir USA 1 Program: sacred choir music Tuesday, 14th March 2006 - 9.00 pm Church S. Ignazio, Piazza S. Ignazio - Rome Holy Trinity Church Choir USA Program: sacred choir music Sunday, 19th March 2006 - 9.00 pm Church S. Ignazio, Piazza S. Ignazio - Rome Cathedral of St. James’s Choir USA Program: sacred choir music Saturday, 25th March 2006 - 9.00 pm Auditorium Parco della Musica - Petrassi Hall Viale Pietro De Coubertin - Rome Sant'Ignazio di Loyola an Eighteenth Century chamber music piece by Domenico Zipoli S.J., Martin Schmid S.J., Anonymous Ensemble Abendmusik Interpreters: Randall Wong, Robin Blaze, Patricia Vaccari, Nicola Pascoli, Marco Andriolo, Mira Andriolo Conductor: John Finney Reservation required - Tel. nr. 0039 329 2395598 Sunday, 26th March 2006 - 5.00 pm Church Sant'Andrea al Quirinale - Via del Quirinale - Rome Sant'Ignazio di Loyola an Eighteenth Century chamber music piece by Domenico Zipoli S.J., Martin Schmid S.J., Anonymous Ensemble Abendmusik Interpreters: Randall Wong, Robin Blaze, Patricia Vaccari, Nicola Pascoli, Marco Andriolo, Mira Andriolo Conductor: John Finney Reservation required - Tel. -
Rome of the Pilgrims and Pilgrimage to Rome
58 CHAPTER 2 Rome of the pilgrims and pilgrimage to Rome 2.1 Introduction As noted, the sacred topography of early Christian Rome focused on different sites: the official Constantinian foundations and the more private intra-mural churches, the tituli, often developed and enlarged under the patronage of wealthy Roman families or popes. A third, essential category is that of the extra- mural places of worship, almost always associated with catacombs or sites of martyrdom. It is these that will be examined here, with a particular attention paid to the documented interaction with Anglo-Saxon pilgrims, providing insight to their visual experience of Rome. The phenomenon of pilgrims and pilgrimage to Rome was caused and constantly influenced by the attitude of the early-Christian faithful and the Church hierarchies towards the cult of saints and martyrs. Rome became the focal point of this tendency for a number of reasons, not least of which was the actual presence of so many shrines of the Apostles and martyrs of the early Church. Also important was the architectural manipulation of these tombs, sepulchres and relics by the early popes: obviously and in the first place this was a direct consequence of the increasing number of pilgrims interested in visiting the sites, but it seems also to have been an act of intentional propaganda to focus attention on certain shrines, at least from the time of Pope Damasus (366-84).1 The topographic and architectonic centre of the mass of early Christian Rome kept shifting and moving, shaped by the needs of visitors and ‒ at the same time ‒ directing these same needs towards specific monuments; the monuments themselves were often built or renovated following a programme rich in liturgical and political sub-text. -
Period of Recognition Part 1 Constantine's Basilicas
The Period of Recognition AD 313—476 Surely one of the most important events in history must be the so called Edict of Milan (313), a concordat really, between Constantine in the 2 Western half of the Empire and his co-emperor in the East, Licinius, that recognized all existing religions in the Roman Empire at the time, most especially Christianity, and extended to all of them the freedom of open, public practice. Equally important, subsequently, was Constantine’s pri- vate, yet imperial, patronage of the Christian church. Also, sixty years later, in 390, the emperor Theodosius would declare Christianity the offi- cial religion of the Roman Empire and followers of the ancient pagan rites, criminals. The pagans were soon subjected to the same repression as Christians had been, save violent widespread persecution. The perse- cuted had become the persecutors . Within another hundred years (in 476) the political Empire in the West would collapse and the Christian church would become the sole unifying cultural force among a collection of bar- barian kingdoms. Christianity would go on to dominate the society of Western Europe for the next thousand years. Thus the three sources from which modern Europe sprang were tapped: Greece, Rome, and Christian- ity. Constantine’s Christianity Constantine attributed his defeat of rival Maxentius for the emperorship of the Roman Empire in the 63 The Battle at the Milvian West to the God of the Chris- Bridge tians. He had had a dream or <www.heritage-history.com/www/ heritage.php?R_m... > vision in which his mother’s Christian God told him that he would be victorious if he marched his army under the Christian symbol of the chi rho , the monogram for the name of Jesus Christ. -
The Bishop, the Coach & the Mayor
Saint Mary's College of California Saint Mary's Digital Commons Scholarship, Research, Creative Activities, and Interdisciplinary Works Community Engagement Spring 2014 The Bishop, The Coach & The Mayor: Three Characters in College History L. Raphael Patton FSC Saint Mary's College of California, [email protected] Follow this and additional works at: https://digitalcommons.stmarys-ca.edu/collaborative-works Repository Citation Patton, L. Raphael FSC. The Bishop, The Coach & The Mayor: Three Characters in College History (2014). [article]. https://digitalcommons.stmarys-ca.edu/collaborative-works/49 This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License. This Article is brought to you for free and open access by the Scholarship, Research, Creative Activities, and Community Engagement at Saint Mary's Digital Commons. It has been accepted for inclusion in Interdisciplinary Works by an authorized administrator of Saint Mary's Digital Commons. For more information, please contact [email protected]. 1 The Bishop, The Coach & The Mayor Three characters in College history Saint Mary’s College 2 3 The Bishop: Alemany and his college Preface 5 Introduction 7 1 California 9 2 Spain 17 3 Church 21 4 San Francisco 27 5 The Vicar General 33 6 Italy 41 7 Later Years 45 8 The end 49 Appendices 55 Saint Mary’s College 4 5 Preface The history of the Church in California, the history of Saint Mary’s College and the story of the Dominicans on the West Coast have each been written and rewritten, supported by impressive scholarship. Archives, newspaper morgues and libraries have been mined for material. -
Welcome to the World of Visions Educational Travel. Outstanding
Tour: Roman Pilgrimage: A Culture & Faith Tour Destination: Rome & Pompeii, Italy Availability: Year-round Roman Pilgrimage - Sample Itinerary A Culture & Faith Tour Day Morning Afternoon Evening Time Elevator: 1 Travel to Rome by flight, transfer to Hotel; check-in and relax Dinner at Hotel History of Rome 2 Breakfast Ancient Rome Guided Tour: Coliseum, Roman Forum & Palatine Hill Gladiator School* Dinner at Hotel 3 Breakfast Guided Tour: Vatican Museums, Sistine Chapel, St. Peter's Basilica & Castel Sant'Angelo Pizza Cooking Class* 4 Breakfast Guided Walking Tour of Naples & Naples Underground Guided Tour of Pompeii Dinner at Hotel Attend Mass at Local Saint John Lateran Basilica & The The Roman Ghost & Mystery 5 Breakfast Dinner at Hotel Roman Chapel Basilica of Saint Mary Major Catacombs Tour* 6 Breakfast Guided Tour: Ostia Antica Guided Walking Tour: Baroque Rome Dinner at Hotel 7 Breakfast Transfer to airport; fly home * Indicates activities that may be added on at extra cost, per your request Welcome to the world of Visions Educational Travel. Outstanding destinations filled with history, humanities, and a world outside of the classroom brought to you as only Visions can! As with all sample itineraries, please be aware that this is an “example” of a schedule and that the activities included may be variable dependent upon dates, weather, special requests and other factors. Itineraries will be confirmed prior to travel. Rome…. Modern and old, past and present go side by side; all the time. You can decide to follow the typical paths or you can be lucky enough to go off the usual tracks. -
031-San Crisogono
(031/19) San Crisogono San Crisogono is a 12th century parish, titular and conventual church, and a minor basilica in rione Trastevere. The dedication is to the martyr St Chrysogonus. The complex includes remains of a 4th century church edifice. [1] The Church of San Crisogono, alongside the Churches of Santa Cecilia and of Santa Maria in Trestevere, is one of the most important religious centers in the district extending to the other side of the River Tiber. [g] History Titulus Its origins date back to the fourth century and are probably closely related to the Roman domus in which San Crisogono was taken prisoner before his martyrdom, which occurred in 303 during the persecution of Diocletian. The first documentary reference to the church is as one of the tituli, with its priest in the list of signatories to the acts of the Roman synod in 499. The tituli were the original parish churches of the city, and this one has remained a parish church from then to the present day. The church was then known as the Titulus Chrysogoni. This has traditionally been taken to refer to an obscure martyr called St Chrysogonus, who is thought to have been martyred at the start of the 4th century. However, the Roman church might have been founded by a different benefactor called Chrysogonus, with the link to the saint being made later when his relics were enshrined here (perhaps at the start of the 5th century). The saint became popular enough in Rome for his name to be inserted into the Roman Canon of the Mass, where it remains. -
Frank I + II Bilder
1 Verzeichnis der Abbildunen in Josef Frank, Band I und II Vinzenz Pallotti. Von Leo Samberger. Namenszug des Seligen ................................. I, 0 Sankt Peter und die Engelsburg. Nuova Raccolta di principali Vedute di Roma. Roma 1842 (abgekürzt: Nuov. Racc.) .................................................................. I, 16 Das Kapitol. Nuov. Racc. ............................................................................................ I, 16 Elternhaus Pallottis. Zeichnung von Ludwig Barth ...................................................... I, 17 Peter Paul Pallotti, der Vater des Seligen. Gemälde in San Salvatore in Onda. Foto Pino, Roma................................................................................................... I, 32 Kardinal Alois Pallotti, Sohn eines Vetters des Seligen .............................................. I, 33 Haus der Pallotti in San Giorgio. Foto Josef Frank SAC ............................................. I, 33 Papst Pius Vl. Denkmal an der Confessio Petri in der Peterskirche von A. Canova. Foto Alinari ........................................................................................................... I, 48 Papst Pius VII. Grabdenkmal in der Peterskirche von Thorwaldsen. Foto Alinari ....... I, 49 Der päpstliche Kanzleipalast. Foto Anderson ............................................................. I, 64 San Pantaleo. Foto Marconi, Genua ........................................................................... I, 64 San Pantaleo. Inneres der Kirche. Foto Marconi, -
View / Open Whitford Kelly Anne Ma2011fa.Pdf
PRESENT IN THE PERFORMANCE: STEFANO MADERNO’S SANTA CECILIA AND THE FRAME OF THE JUBILEE OF 1600 by KELLY ANNE WHITFORD A THESIS Presented to the Department of Art History and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts December 2011 THESIS APPROVAL PAGE Student: Kelly Anne Whitford Title: Present in the Performance: Stefano Maderno’s Santa Cecilia and the Frame of the Jubilee of 1600 This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of Art History by: Dr. James Harper Chairperson Dr. Nicola Camerlenghi Member Dr. Jessica Maier Member and Kimberly Andrews Espy Vice President for Research & Innovation/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2011 ii © 2011 Kelly Anne Whitford iii THESIS ABSTRACT Kelly Anne Whitford Master of Arts Department of Art History December 2011 Title: Present in the Performance: Stefano Maderno’s Santa Cecilia and the Frame of the Jubilee of 1600 In 1599, in commemoration of the remarkable discovery of the incorrupt remains of the early Christian martyr St. Cecilia, Cardinal Paolo Emilio Sfondrato commissioned Stefano Maderno to create a memorial sculpture which dramatically departed from earlier and contemporary monuments. While previous scholars have considered the influence of the historical setting on the conception of Maderno’s Santa Cecilia, none have studied how this historical moment affected the beholder of the work. In 1600, the Church’s Holy Year of Jubilee drew hundreds of thousands of pilgrims to Rome to take part in Church rites and rituals. -
Santi Bonifacio E Alessio
(137) Santi Bonifacio e Alessio The Basilica dei Santi Bonifacio e(d) Alessio all'Aventino is a church on the western point of the Aventine Hill in Rome next to the Tiber, dedicated to Saint Boniface of Tarsus and Saint Alexius. History: The foundation of the church is not documented, and the legends attached to its origin are not reliable. However, scholarly consensus posits a date in the 4th century, built by a rich lady by the name of Aglae in honour of St Boniface. The church was built neat the ruins of the pagan Temple of Jove and the ruim of this were discovered in1935. The present church has a double dedication.. There are two stories, one for each of the saints, which hint at a common origin. (137) Alexis was allegedly the son of a Roman senator, Euphemian, who as a teenager was forced to marry agaimt his will and on the night of his nuptials he left home and led the life of a pilgrim in the East. He returned to Rome after seventeen years to live unrecognized by his parents in a toolshed under a wooden exterior staircase at the family home on the Aventine near or under the present church. He died before they did, and they found a paper revealing his identity on the body. The plot has been attached to the names of other early saints, and the story seems to derive ultimately from Edessa (now Urfa in Turkey). He is listed in the revised Roman martyrology, which makes it clear that the story is traditional not historical.