Section: Santo Spirito Branch - Registers 806
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
ELENCO N. 2 N° Ord
CONSORZIO DI BONIFICA ELEZIONI DEL 12/07/2015 DELLA SARDEGNA CENTRALE NUORO SEGGI ELETTORALI INDIRIZZO NUORO Via Santa Barbara n.30 08100 NUORO (NU) SINISCOLA (N. 2 seggi) Via Sardegna n.51 08029 (SINISCOLA) BUDONI S.P. n.24 08020 (OT) OROSEI (N.2 seggi) Località Poiolos 08028 OROSEI (NU) OTTANA Via Eroi di Palabanda sn 08020 OTTANA(NU) ELENCO N. 2 N° Ord. DENOMINAZIONE RAPPRESENTANTE LEGALE CODICE FISCALE COMUNE CENSUARIO SEGGIO SOGGETTO LEGITTIMATO 1 ADDARI SALVATORE DDRSVT41C12F979K NUORO NUORO 2 ADDIS ANTONIO PALMERIO DDSNNP56C23E647N SINISCOLA SINISCOLA 3 ADDIS CATERINA DDSCRN44A49L231Z TORPE' SINISCOLA 4 ADDIS FRANCESCA MARIA DDSFNC19A57L231W TORPE' SINISCOLA ANTO 5 ADDIS FRANCESCA ROSA DDSFNC26R47E647Z POSADA SINISCOLA 6 ADDIS GIOVANNI DDSGNN36E21L231A TORPE' SINISCOLA 7 ADDIS GIOVANNI BATTISTA DDSGNN40S15L231L TORPE' SINISCOLA 8 ADDIS GIOVANNI BATTISTA DDSGNN39E12L231H TORPE' SINISCOLA 9 ADDIS GIOVANNI MARIA DDSGNN27B15L231C TORPE' SINISCOLA 10 ADDIS GIOVANNINO DDSGNN53H19L231F TORPE' SINISCOLA 11 ADDIS LUCA DDSLCU16T17L231L TORPE' SINISCOLA 12 ADDIS LUCIANO DDSLCN54M27E647P POSADA SINISCOLA 13 ADDIS MARGHERITA DDSMGH33H55L231Q TORPE' SINISCOLA 14 ADDIS MARIO FRANCESCO DDSMFR45B27E647H SINISCOLA SINISCOLA 15 ADDIS OTTAVIO DDSTTV48C11L231O TORPE' SINISCOLA 16 ADDIS PASQUALINA DDSPQL57M68L231G TORPE' SINISCOLA 17 ADDIS PIETRO DDSPTR35B09L231Q TORPE' SINISCOLA 18 ADDIS SALVATORE ANTONIO DDSSVT42E24B246V SAN TEODORO BUDONI 19 ADOLFI LUIGI DLFLGU41H21B068D SINISCOLA SINISCOLA 20 AFFINI IRIDE FFNRDI48S51D157Z SINISCOLA SINISCOLA 21 AGRIFERTAS DI CONTU E C. CONTU GIOVANNI 00779890912 SINISCOLA SINISCOLA (CNTGNN58M21E647W) 22 AGUS ALESSANDRO GSALSN67T07I564D SEDILO OTTANA 23 AGUS ANTONIO MARIA GSANNM29B27I564S SEDILO OTTANA 24 AGUS GIUSEPPE GSAGPP42P23I564N SEDILO OTTANA 25 AGUS GIUSEPPINA GSAGPP21S60I564P SEDILO OTTANA 26 AIELLO IVAN LLAVNI69P17F979I SINISCOLA SINISCOLA Pagina N: 1 CONSORZIO DI BONIFICA ELEZIONI DEL 12/07/2015 DELLA SARDEGNA CENTRALE NUORO SEGGI ELETTORALI INDIRIZZO NUORO Via Santa Barbara n.30 08100 NUORO (NU) SINISCOLA (N. -
The Virtuoso of Compassion Ingrid D
The Virtuoso of Compassion Ingrid D. Rowland MAY 11, 2017 ISSUE The Guardian of Mercy: How an Extraordinary Painting by Caravaggio Changed an Ordinary Life Today by Terence Ward Arcade, 183 pp., $24.99 Valentin de Boulogne: Beyond Caravaggio an exhibition at the Metropolitan Museum of Art, New York City, October 7, 2016–January 22, 2017; and the Musée du Louvre, Paris, February 20–May 22, 2017 Catalog of the exhibition by Annick Lemoine and Keith Christiansen Metropolitan Museum of Art, 276 pp., $65.00 (distributed by Yale University Press) Beyond Caravaggio an exhibition at the National Gallery, London, October 12, 2016–January 15, 2017; the National Gallery of Ireland, Dublin, February 11–May 14, 2017 Catalog of the exhibition by Letizia Treves and others London: National Gallery, 208 pp., $40.00 (distributed by Yale University Press) The Seven Acts of Mercy a play by Anders Lustgarten, produced by the Royal Shakespeare Company, Stratford-upon- Avon, November 24, 2016–February 10, 2017 Caravaggio: The Seven Acts of Mercy, 1607 Pio Monte della Misericordia, Naples Two museums, London’s National Gallery and New York’s Metropolitan Museum of Art, mounted exhibitions in the fall of 2016 with the title “Beyond Caravaggio,” proof that the foul-tempered, short-lived Milanese painter (1571–1610) still has us in his thrall. The New York show, “Valentin de Boulogne: Beyond Caravaggio,” concentrated its attention on the French immigrant to Rome who became one of Caravaggio’s most important artistic successors. The National Gallery, for its part, ventured “beyond Caravaggio” with a choice display of Baroque paintings from the National Galleries of London, Dublin, and Edinburgh as well as other collections, many of them taken to be works by Caravaggio when they were first imported from Italy. -
The Symbolism of Blood in Two Masterpieces of the Early Italian Baroque Art
The Symbolism of blood in two masterpieces of the early Italian Baroque art Angelo Lo Conte Throughout history, blood has been associated with countless meanings, encompassing life and death, power and pride, love and hate, fear and sacrifice. In the early Baroque, thanks to the realistic mi of Caravaggio and Artemisia Gentileschi, blood was transformed into a new medium, whose powerful symbolism demolished the conformed traditions of Mannerism, leading art into a new expressive era. Bearer of macabre premonitions, blood is the exclamation mark in two of the most outstanding masterpieces of the early Italian Seicento: Caravaggio's Beheading a/the Baptist (1608)' (fig. 1) and Artemisia Gentileschi's Judith beheading Halo/ernes (1611-12)2 (fig. 2), in which two emblematic events of the Christian tradition are interpreted as a representation of personal memories and fears, generating a powerful spiral of emotions which constantly swirls between fiction and reality. Through this paper I propose that both Caravaggio and Aliemisia adopted blood as a symbolic representation of their own life-stories, understanding it as a vehicle to express intense emotions of fear and revenge. Seen under this perspective, the red fluid results as a powerful and dramatic weapon used to shock the viewer and, at the same time, express an intimate and anguished condition of pain. This so-called Caravaggio, The Beheading of the Baptist, 1608, Co-Cathedral of Saint John, Oratory of Saint John, Valletta, Malta. 2 Artemisia Gentileschi, Judith beheading Halafernes, 1612-13, Museo Nazionale di Capodimonte, Naples. llO Angelo La Conte 'terrible naturalism'3 symbolically demarks the transition from late Mannerism to early Baroque, introducing art to a new era in which emotions and illusion prevail on rigid and controlled representation. -
Pietro Da Cortona in Nineteenth-Century Children's
The Painter and the Scullery Boy: Pietro da Cortona in Nineteenth-Century Children’s Literature* Lindsey Schneider Pietro Berrettini (1597-1669), called Pietro da Cortona, was one of the most influential artists in seventeenth-century Italy and was celebrated as the premier decorative painter of his generation, most notably for his ceiling in the Barberini Palace in Rome (1633-39). His reputation began to suffer soon after his death, however, due in large part to changing standards of taste that no longer tolerated the extravagances of the High Baroque style that he helped to develop and with which he is indelibly linked.1 In 1692 the director of the French Academy in Rome, Matthieu de La Teulière, reported back to Paris that, ‘Pietro da Cortona and his school have spread such great debauchery here, operating under the guise of virtuosity, *<+ giving everything over to the whims of their imaginations,’2 and made similar statements the following year, in which he charged Cortona, Bernini and Borromini with ruining the fine arts with their excess.3 This view endured over the ensuing centuries and the trope of the Baroque as a diseased and cancerous style – with Cortona as one of its prime vectors of transmission – became commonplace in art-theoretical literature. Nearly a century after La Teulière, Francesco Milizia vilified the same trio of artists, saying that Cortona, along with Borromini and Bernini, ‘represent a diseased taste – one that has infected a great number of artists’.4 In London around the same time, James Barry singled Cortona -
Old Master Paintings Master Old
Wednesday 29 April 2015 Wednesday Knightsbridge, London OLD MASTER PAINTINGS OLD MASTER PAINTINGS | Knightsbridge, London | Wednesday 29 April 2015 22274 OLD MASTER PAINTINGS Wednesday 29 April 2015 at 13.00 Knightsbridge, London BONHAMS BIDS ENQUIRIES PRESS ENQUIRIES Montpelier Street +44 (0) 20 7447 7447 [email protected] [email protected] Knightsbridge +44 (0) 20 7447 7401 fax +44 (0) 20 7468 8307 London SW7 1HH To bid via the internet please visit CUSTOMER SERVICES www.bonhams.com www.bonhams.com SPECIALISTS Monday to Friday 08.30 – 18.00 Andrew McKenzie +44 (0) 20 7447 7447 VIEWING TELEPHONE BIDDING +44 (0) 20 7468 8261 Sunday 26 April Bidding by telephone will only [email protected] Please see back of catalogue 11.00 – 15.00 be accepted on lots with a low for important notice to bidders Monday 27 April estimate in excess of £500. Caroline Oliphant 09.00 – 16.30 +44 (0) 20 7468 8271 ILLUSTRATIONS Tuesday 28 April Please note that bids should be [email protected] Front cover: Lot 84 (detail) 09.00 – 16.30 submitted no later than 4pm on Back cover: Lot 1 Wednesday 29 April the day prior to the sale. New Lisa Greaves 09.00 – 11.00 bidders must also provide proof +44 (0) 20 7468 8325 IMPORTANT INFORMATION of identity when submitting bids. [email protected] The United States Government SALE NUMBER Failure to do this may result in has banned the import of ivory 22274 your bid not being processed. Archie Parker into the USA. Lots containing +44 (0) 20 7468 5877 ivory are indicated by the symbol CATALOGUE LIVE ONLINE BIDDING IS [email protected] Ф printed beside the lot number £18 AVAILABLE FOR THIS SALE in this catalogue. -
Saint Juliana Falconieri
1 June 19 Saint Juliana Falconieri Florentine by birth, Juliana was attracted by the holy lives of the first Friars of the Servite Order. She consecrated her life to God, devoting her time to prayer an works of penance and charity. She is properly considered among those women who, while continuing to live in their own homes, adopted a Servite way of life. She received the habit of the "mantellates". Juliana occupied a singular position among these women, so that the tradition of the Order has considered her the foundress of the Servite sisters. She is noted for her devotion to the Mother of the Lord and her love for the Eucharist. Her body is venerated in the Basilica of the SS. Annunziata in Florence. She was canonized by Pope Clement XII in 1737. From Liturgy OSM This city of ours (Florence) was the birthplace of Juliana, a brilliant example of virginity and a remarkable pride of the women. She was one who became famous for her great sanctity. She did not adorn herself with vain splendor nor was she attracted to passing things or the outward appearance of fame or beauty but rather by the reward of virtue, in which true beauty and the glory of victory reside. That she was a devoted follower of holy sermons is proven by the testimony of what she did. Among other things, she assumed the mourning clothes of the Blessed Mother and obtained thereby an immortal place for herself in heaven, wearing the habit of the Virgin into eternal life. In regard to the ever-to-be-feared divine judgment, consider an amazing example of which we read. -
The Lives of the Saints
Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924098140746 3 1924 098 140 746 In compliance with current copyright law, Cornell University Library produced this replacement volume on paper that meets the ANSI Standard Z39.48-1992 to replace the irreparably deteriorated original. 2004 CORNELL UNIVERSITY LIBRARY »i< ^ THE ILi'Qts of tt)e ^atnts; REV. S. BARING-GOULD SIXTEEN VOLUMES VOLUME THE SECOND ^ ^ THE EEPOSE IN EGYPT, WITH DANCING ANGELS. After Luca Cranaoh. Bj the robbery ot the nest In the tree, the painter Ingeniously points to the MaBsooro of the Innocents as to the oouse of the Flight into Egypt J [Pront.-Tol. II. * ^ THE Hities of tl)e ^mt^ BY THE REV. S. BARING-GOULD, M.A. New Edition in i6 Volumes Revised with Introduction and Additional Lives of English Martyrs, Cornish and Welsh Saints, and a full Index to the Entire Work ILLUSTRATED BY OVER 400 ENGRAVINGS VOLUME THE SECOND LONDON JOHN C. NIMMO NEW YORK: LONGMANS, GREEN, &- CO. MDCCCXCVIII Prinled by BallaNTYiNE, HANSON &- CO. At tlie Ballantyue Press *- ~>h CONTENTS PAGE S. Auxibius .... 339 S. Abraham „ Aventine of Cha- „ Adalbald 41 teaudun ... 86 ,, Adelheid 140 ,, Aventine of Troyes . 84 „ Adeloga 42 „ Avitus . 138 „ yEmilian 212 Agatha . „ 136 B ,, Aldetrudis „ Alexander 433 S. Baldomer Alnoth . „ 448 Baradatus . „ Amandus 182 Barbatus . SS. Ananias and comp. 412 Belina S. Andrew Corsini 105 Benedict of Aniane „ Angilbert 337 Berach „ Ansbert 246 Berlinda „ Anskar . -
Review of the Year 2012–2013
review of the year TH E April 2012 – March 2013 NATIONAL GALLEY TH E NATIONAL GALLEY review of the year April 2012 – March 2013 published by order of the trustees of the national gallery london 2013 Contents Introduction 5 Director’s Foreword 6 Acquisitions 10 Loans 30 Conservation 36 Framing 40 Exhibitions 56 Education 57 Scientific Research 62 Research and Publications 66 Private Support of the Gallery 70 Trustees and Committees of the National Gallery Board 74 Financial Information 74 National Gallery Company Ltd 76 Fur in Renaissance Paintings 78 For a full list of loans, staff publications and external commitments between April 2012 and March 2013, see www.nationalgallery.org.uk/about-us/organisation/ annual-review the national gallery review of the year 2012– 2013 introduction The acquisitions made by the National Gallery Lucian Freud in the last years of his life expressed during this year have been outstanding in quality the hope that his great painting by Corot would and so numerous that this Review, which provides hang here, as a way of thanking Britain for the a record of each one, is of unusual length. Most refuge it provided for his family when it fled from come from the collection of Sir Denis Mahon to Vienna in the 1930s. We are grateful to the Secretary whom tribute was paid in last year’s Review, and of State for ensuring that it is indeed now on display have been on loan for many years and thus have in the National Gallery and also for her support for very long been thought of as part of the National the introduction in 2012 of a new Cultural Gifts Gallery Collection – Sir Denis himself always Scheme, which will encourage lifetime gifts of thought of them in this way. -
The Wars of the Roses
Unit 2: Roman Church and the Rise of the Papal State © Jason Asbell, 2019 Unit 2: Roman Church and the Rise of the Papal State © Jason Asbell, 2019 © Jason Asbell, 2019 © Jason Asbell, 2019 © Jason Asbell, 2019 SW India evangelized 1st Cent. AD Manicheanism was a Gnostic belief that was semi-Christian, but believed in a dualistic cosmology in which Good and Evil were equally powerful – this belief system lasted a long time…eventually almost all Manichean believers assimilated into either more mainstream versions of Christianity, Buddhism, or Islam © Jason Asbell, 2019 Unit 2: Roman Church and the Rise of the Papal State © Jason Asbell, 2019 St. Miltiades: First African Pope. First pope after the end of the persecution of Christians through the Edict of Milan (313 AD). Presided over the Lateran council of 313. St. Sylvester I: 1st Council of Nicaea (325). Built St. John Lateran, Santa Croce in Gerusalemme and Old St. Peter's Basilica. Stated recipient of Donation of Constantine (later shown to be a forgery) Papal Reigns: St. Miltiades to St. Gregory I "the Great" MILTIADES INNOCENT I FELIX III (II?) JOHN II (2 JULY 311 – 10 JAN 314) (21 DEC 401 – 12 MARCH 417) (13 MARCH 483 – 1 MARCH 492) (2 JAN 533 – 8 MAY 535) MARK BONIFACE I ANASTASIUS II VIGILIUS (336) (28 DEC 418 – 4 SEP 422) (24 NOV 496 – 19 NOV 498) (29 MARCH 537 – 7 JUNE 555) LIBERIUS SIXTUS III HORMISDAS JOHN III (17 MAY 352 – 24 SEP 366) (31 JULY 432 – 18 AUG 440) (20 JULY 514 – 6 AUG 523) (17 JULY 561 – 13 JULY 574) SIRICIUS HILARIUS FELIX IV PELAGIUS II (17 DEC 384 – 26 NOV -
Lasallian Calendar
October 16, 2016 Pope Francis declares Saint Brother SOLOMON LE CLERCQ LLAASSAALLLLIIAANN CCAALLEENNDDAARR 22001177 General Postulation F.S.C.- Via Aurelia 476 – 00165 Roma JANUARY 2017 1 Sunday - S. Mary, Mother of God - World Day of Peace 2 Monday Sts. Basil the Great and Gregory Nazianzen, bishops , doctors 3 Tuesday The Most Holy Name of Jesus 4 Wednesday Bl. Second Pollo, priest. ex-pupil in Vercelli (Italy) 5 Thursday St. Telesphorus, pope 6 Friday - The Epiphany of the Lord Missionary Childhood Day – 1st Friday of the month 7 Saturday St. Raymond of Peñafort 8 Sunday - The Baptism of Jesus Christ St. Laurence Giustiniani 9 Monday St. Julian 10 Tuesday St. Aldus 11 Wednesday St. Hyginus, pope 12 Thursday St. Modestus 1996: Br. Alpert Motsch declared Venerable 13 Friday St. Hilary of Poitiers, bishop, doctor 14 Saturday St. Felix of Nola 15 Sunday II in Ordinary Time Day of Migrants and Refugees - St. Maurus, abbot 16 Monday St. Marcellus I, pope and martyr 17 Tuesday St. Anthony abbot 18 Wednesday St. Prisca 19 Thursday Sts. Marius and family, martyrs 20 Friday Sts. Fabian, pope and Sebastian, martyrs 21 Saturday St. Agnes, virgin and martyr 22 Sunday III in Ordinary Time St. Vincent Pallotti 23 Monday St. Emerentiana 24 Tuesday St. Francis de Sales, bishop and doctor 25 Wednesday - Vocation Day Conversion of St. Paul 26. Thursday – Sts. Timothy and Titus 1725: Benedict XIII approves the Institute by the Bull “In Apostolicae Dignitatis Solio 1937: Transfer to Rome of the relics of St. JB. de La Salle 27 Friday St. Angela Merici, virgin 28 Saturday St. -
3 Architects, Antiquarians, and the Rise of the Image in Renaissance Guidebooks to Ancient Rome
Anna Bortolozzi 3 Architects, Antiquarians, and the Rise of the Image in Renaissance Guidebooks to Ancient Rome Rome fut tout le monde, & tout le monde est Rome1 Drawing in the past, drawing in the present: Two attitudes towards the study of Roman antiquity In the early 1530s, the Sienese architect Baldassare Peruzzi drew a section along the principal axis of the Pantheon on a sheet now preserved in the municipal library in Ferrara (Fig. 3.1).2 In the sixteenth century, the Pantheon was generally considered the most notable example of ancient architecture in Rome, and the drawing is among the finest of Peruzzi’s surviving architectural drawings after the antique. The section is shown in orthogonal projection, complemented by detailed mea- surements in Florentine braccia, subdivided into minuti, and by a number of expla- natory notes on the construction elements and building materials. By choosing this particular drawing convention, Peruzzi avoided the use of foreshortening and per- spective, allowing measurements to be taken from the drawing. Though no scale is indicated, the representation of the building and its main elements are perfectly to scale. Peruzzi’s analytical representation of the Pantheon served as the model for several later authors – Serlio’s illustrations of the section of the portico (Fig. 3.2)3 and the roof girders (Fig. 3.3) in his Il Terzo Libro (1540) were very probably derived from the Ferrara drawing.4 In an article from 1966, Howard Burns analysed Peruzzi’s drawing in detail, and suggested that the architect and antiquarian Pirro Ligorio took the sheet to Ferrara in 1569. -
Immagini Mariane a Roma : Storia, Arte, Tradizioni / Mauro Stramacci
Ceri*? Premessa pag. 5 CAPITOLO PRIMO - Duemila anni di culto maricino a Roma dcdle catacombe ai nostri giorni » 7 CAPITOLO SECONDO - Antiche immagini nelle chiese dedicate alla Madonna » 21 Santa Maria Maggiore » 23 Santa Maria Antiqua » 31 Santa Maria degli Angeli e dei Martiri » 35 Santa Maria dell'Anima » 38 Santa Maria in Aquiro » 42 Santa Maria in Aracoeli » 45 Santa Maria in Campitelli » 49 Santa Maria in Campo Marzio » 51 Santa Maria della Consolazione » 54 Santa Maria in Cosmedin » 58 Santa Maria in Domnica » 61 Santa Maria delle Grazie alle Fornaci » 63 Santa Maria Immacolata » 65 Santa Maria di Loreto » 69 Santa Maria ad Martyres » 71 Santa Maria Sopra Minerva » 74 Santa Maria dei Miracoli » 76 Santa Maria in Monserrato » 78 Santa Maria in Montesanto » 80 Santa Maria in Monticeli» » 82 Santa Maria Nova » 85 Santa Maria dell'Orazione e Morte » 87 ìNDici- GÌ;NFRALK " ' < ' pag. 89 » 91 ' ' ' * » 93 » 95 1 1 4 j i » 96 ',.' . ia » 99 > < » 100 < ' J - )Iori » 102 IÌ 1 • > ' 1 ' /' 1 * ina » 103 1 \ 1 ,. <^' re » 106 ' ., f j 11 , <•> ; » 108 • 1 ' 1 ',.'!',> M(a » 110 ' Ì.I ) ' . , r V. 1 ,, 113 •» 1 'Vi >i < 1 , Zia t ' » Il6 ". > l "' '( '\V f (' ia » 119 11 ', ' •lì, 1 '( ! JilM » 122 ^ - .'\ . <> rj' i/Ui, » 125 |*'. » -d '.i' ), . (1 >!'. K'O Cuore » 127 CAPITOLO TY.R'/.O - Antiche immagini in chiese non dedicate alla Ma dolina » 12 g Santa Maria della Salute (ai Santi Cosina e Damiano) » 131 Santa Maria dell'Acquasantino (in San Rocco) » 132 Santa Maria della Colonna (nella Basilica di San Pietro) » 133 Santa Maria della