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Interior de la catedral de la Asunción y Santa Justina de Piacenza (Italia). El interior desarrolla planta de cruz latina, con tres naves, divididas entre sí por veinticinco enormes pilares cilíndricos. El transepto también está dividido en tres naves. En el cruce hay un tiburio octogonal, decorado con frescos del siglo XVIII.
Algunos de los pilares fueron construidos a cargo de los gremios, las corporaciones de oficios, o de simples ciudadanos. Siete de estas presentan, como firma, relieves con la representación de la actividad de la asociación. También está escrito en latín el nombre del gremio, casi a modo de propietario del pilar: Haec est columna furnariorum. En algunos casos la firma informa del nombre de personas: Hugo pictor, magister Johannes, constructor, este último, de carros.
El interior está decorado con suntuosos frescos, realizados entre los siglos XIV y XVI por Camillo Procaccini y Ludovico Carracci. Los del siglo XVII que embellecen la cúpula son obra de Pier Francesco Mazzucchelli, llamado il Morazzone, y de Giovanni Francesco Barbieri, llamado il Guercino. La nave izquierda del presbiterio alberga un quiosco amadesco con candelabros, una escultura de madera de 1479, un coro de madera de Giangiacomo da Genova (1471) y estatuas de escuela lombarda del siglo XV.
Piacenza (Italia) 11/8/2017
La Galería Nacional de Parma (en italiano, Galleria Nazionale) es una pinacoteca que se encuentra en la Piazza della Pilotta 5 de Parma (Italia).
El museo expone obras de: Beato Angelico, Canaletto, Giambattista Pittoni, Leonardo da Vinci, Tintoretto, Correggio, Sebastiano del Piombo, Guercino, Parmigianino, etc.
La galería está situada en el Palacio de la Pelota que fue construido hacia el año 1583, durante los últimos años del ducado de Octavio Farnesio.
El edificio fue ampliado por voluntad del duque Ranuccio II Farnesio, fueron creados el Teatro, los establos, las habitaciones de los mozos de cuadra, el picadero, el almacén de carruajes, la Sala de la Academia y de las galerías que delimitaron los patios.
Las labores se iniciaron en 1602 sobre un proyecto del arquitecto Simone Moschino; se interrumpieron en el año 1611 dejando la construcción incompleta.
Los sucesores de Ranuccio se ocuparon sobre todo del interior del palacio donde fueron reunidas las colecciones artísticas de la familia.
En 1734, el rey de Nápoles Carlos de Borbón se llevó consigo la colección hasta el establecimiento en Parma de la corte de Felipe de Borbón.
El duque instituyó, en el interior del palacio, la Academia Ducal de Pintura, Escultura y Arquitectura en el año 1757 y, en 1769 la Biblioteca Palatina.
es.wikipedia.org/wiki/Galer%C3%ADa_Nacional_de_Parma
The Galleria nazionale di Parma is an art gallery in Parma, northern Italy.
Painters exhibited in the museum include Beato Angelico, Fra Angelico, Canaletto, Ludovico Carracci (The Funeral of the Virgin Mary), Agostino Carracci (Madonna and Child with Saints), Correggio, Leonardo da Vinci, Sebastiano del Piombo, Guercino (Susannah and the Elders), Parmigianino (Mystic Marriage of Saint Catherine), Tintoretto, and others.
The Parmesan collections were established in Renaissance times by the Farnese family, with Pope Paul III and Cardinal Alessandro Farnese.
In 1734, Charles III of Spain had most of the Farnese Collection moved to Naples. Some were kept thanks to the intervention of Philip, Duke of Parma.
Later, the remaining collection was increased with the addition of Greco-Roman discoveries, donations, and with the restitution of some of the works that had been taken to Naples, as well as, through new acquisitions under Duke Ferdinand (1758).
During the French occupation of Parma (1803–1814), the works were moved to Paris, returning in 1816. Duchess Marie Louise reordered the collections in the Palazzo della Pilotta and built the hall that now bears her name. She also acquired several noble collections in the duchy to avoid their dispersal.
Created for the WPC Week 515
Original photo by: Sammidavisdog
cupid by: Annibale Carracci
texture by JoesSistah...
Antonio Carracci (Venice, 1583? - Rome, April 8, 1618) - Birth of the Virgin
(c. 1610) oil on canvas, 190 x 123 cm. - National Galleries of Ancient Art - Corsini Gallery, Rome
Di origine remota, nel sec. XI la chiesa appartenne ai Benedettini di Nonantola. Dopo avere accolto nel '200 una comunità di monache cluniacensi, nel 1516 la chiesa venne demolita per fare posto ad una nuova fabbrica di mole più imponente, affidata all'arch. Andrea da Formigine, che innalzò il superbo porticato ornandolo con raffinati intagli in macigno oggi molto deteriorati. Alla fine del '500 passò ai Teatini che, nel 1653-88, fecero ricostruire la chiesa su disegno di G. Battista Natali e Agostino Barelli, dotandola di un nuovo campanile e di una nuova cupola e aggiunsero al titolo originario di San Bartolomeo quello del fondatore del loro ordine, San Gaetano Thiene. Nel fastoso e luminoso interno opere di Lodovico Carracci, Guido Reni e dei migliori maestri della scuola bolognese del '600. Nella cappellina a sinistra dell'altare maggiore è sepolta Pudenziana Zagnoni, mistica bolognese spentasi nel fior degli anni nel 1608
The Church, whose origins may be traced back to many centuries ago, initially belonged to the Order of Saint Benedict. After housing a group of nuns in the 13th century, in 1516 the church was demolished to be replaced by a bigger building designed by Andrea da Formigine, who built the portico and enriched it with fine decorations (now damaged). At the end of the 16th century it was given to the Theatines who had the church rebuilt by G. Battista Natali and Agostino Barelli: a new bell tower and a new dome were added to the original building and after that, the monks decided to rename it after the founder of their order, thus giving the church a new title: San Bartolomeo (the original name) and San Gaetano Thiene (their founder). Inside the church, many piantings by Lodovico Carracci, Guido Reni and others may be found. Furthermore, next to the high altar there is little chapel where the Bolognese mystic Prudenziana Zagnoni was buried.
Ludovico Carracci (Bologna, April 21, 1555 - Bologna, November 13, 1619) cousin of the brothers Agostino and Annibale Carracci. - Conversion of Saul (1587-88) - oil on canvas 279 x 171 cm - Galleria Nazionale di Bologna
Fu commissionata a Ludovico da Emilio Zambeccari per la cappella di famiglia in San Francesco e l'artista si impegnò a eseguirla in sei mesi a partire dall'agosto del 1587.
Si tratta di un'opera eccezionale, nella quale Ludovico crea uno spazio che è già compiutamente barocco, donandoci un risultato di straordinaria intensità drammatica.
It was commissioned to Ludovico by Emilio Zambeccari for the family chapel in San Francesco and the artist undertook to execute it in six months starting in August 1587.
It is an exceptional work, in which Ludovico creates a space that is already fully baroque, giving us a result of extraordinary dramatic intensity.
Annibale Carracci (Bologna, November 3, 1560 - Rome, July 15, 1609) - Landscape with hunter (1590-1600) pasted cardboard on board 24x34.5 cm.- National Gallery Bologna
Si tratta di un abbozzo condotto su carta con una pennellata liquida che non definisce i particolari.
La rappresentazione naturalista, ma già avviata verso le forme più controllate del classicismo ancora da venire, suggerisce una datazione intorno al 1590-1600
This is a sketch conducted on paper with a liquid brushstroke that does not define the details.
The naturalistic representation, but already started towards the most controlled forms of classicism yet to come, suggests a date around 1590-1600.
Lucio Massari (Bologna, January 22, 1569 - Bologna, November 3, 1633) - The return of the prodigal son (1614) - oil on canvas 383 x 179 cm - Galleria Nazionale di Bologna
E' tra le opere più suggestive dell'artista che rielabora con rigore e severità la famosa pala, ora dispersa, di Annibale Carracci che si trovava nella Chiesa del Corpus Domini.
Datato 1614, fu eseguito per la famiglia Fava come indica lo stemma.
It is one of the most suggestive works of the artist who reworks with rigor and severity the famous altarpiece, now lost, by Annibale Carracci that was in the Church of Corpus Domini.
Dated 1614, it was executed for the Fava family as indicated by the coat of arms.
Famous for its frescoes, the Carracci's gallery bears the name of the brothers Annibale and Agostino Carracci, originally from Bologna, authors of the work carried out between 1597 and 1608.
Simon Vouet (Paris, January 9, 1590 - Paris, June 30, 1649) - Aeneas and his father fleeing Troy (1635) - oil on canvas 140.34 x 110.01 cm - SDMA San Diego Museum of Art
Fu uno dei maggiori esponenti del caravaggismo prima di ritornare in Francia nel 1627 dove fece evolvere il suo stile e contribuì all'introduzione del barocco italiano in Francia, in particolare quello di Paolo Veronese, del Tiziano e dei Carracci, adattandolo alle grandi decorazioni dell'epoca di Luigi XIII e di Richelieu. Fu nominato primo pittore del re, e lo stesso Luigi XIII gli commissionò ritratti, cartoni per le tappezzerie e pitture per i palazzi del Louvre, del Lussemburgo e per il Castello di Saint-Germain-en-Laye.
Il suo allievo più influente è stato Charles Le Brun, che ha realizzato tutte le decorazioni degli interni a Versailles e ha portato lo stile di Vouet alla corte di Luigi XIV di Francia.
Tra gli altri studenti di Vouet si ricordano Valentin de Boulogne (figura principale dei francesi "caravaggeschi"), Charles Alphonse du Fresnoy, Pierre Mignard, Eustache Le Sueur, Chaperon Nicolas, Claude Mellan e il fiammingo Abraham Willaerts.
He was one of the major exponents of Caravaggism before returning to France in 1627 where he evolved his style and contributed to the introduction of Italian Baroque into France, in particular that of Paolo Veronese, Titian and the Carraccis, adapting it to the great decorations of the time of Louis XIII and Richelieu. He was appointed first painter of the king, and Louis XIII himself commissioned portraits, cartoons for the tapestries and paintings for the palaces of the Louvre, Luxembourg and the Castle of Saint-Germain-en-Laye.
His most influential pupil was Charles Le Brun, who did all the interior decoration at Versailles and brought Vouet's style to the court of Louis XIV of France.
Vouet's other students included Valentin de Boulogne (a leading figure of the French "Caravaggesque" painters), Charles Alphonse du Fresnoy, Pierre Mignard, Eustache Le Sueur, Chaperon Nicolas, Claude Mellan, and the Flemish Abraham Willaerts.
Ludovico Carracci (Bologna, April 21, 1555 - Bologna, November 13, 1619) - Christ in the Desert, Served by Angels (1608-1610) - oil on canvas 156.4 x 224.8 cm - Gemäldegalerie, Berlin
Il grande paesaggio con Cristo nel deserto, servito da angeli, opera tarda di Ludovico Carracci, databile al 1608-10, è una delle più importanti acquisizioni del dopoguerra della Gemäldegalerie nell'ambito della pittura barocca italiana. È raffigurata una scena descritta nei Vangeli in cui Gesù, dopo essere stato battezzato da Giovanni Battista, è condotto dallo Spirito nel deserto, dove digiuna per 40 giorni e 40 notti. Soffrendo di fame, è indotto in tentazione da Satana, ma gli resiste, ed è avvicinato da angeli che lo assistono e lo nutrono.
Ludovico ha interpretato l'ambientazione biblica della natura selvaggia come un romantico paesaggio notturno di foresta. Dietro la scena principale si estende il loro ricco fogliame un fitto boschetto di alberi, mentre a sinistra e a destra si aprono panorami sul cielo notturno, le cui nuvole appaiono bianche al chiaro di luna. In modo fluido e armonioso, la luce della luna si fonde con la luce soprannaturale che individua l'azione principale in primo piano. Per la molteplicità degli atti preparatori compiuti dagli angeli, questa scena appare animata e vivace, ma insieme solenne, devota e pacifica. La lavanda delle mani ricorda la lavanda rituale dei sacerdoti prima della messa, mentre gli angeli inginocchiati ricordano gli accoliti, e la mensa una mensa d'altare.
The large landscape with Christ in the Desert, Served by Angels, a late work by Ludovico Carracci, datable to 1608-10, is one of the most important post-war acquisitions of the Gemäldegalerie in the field of Italian Baroque painting. It depicts a scene described in the Gospels in which Jesus, after being baptized by John the Baptist, is led by the Spirit into the desert, where he fasts for 40 days and 40 nights. Suffering from hunger, he is led into temptation by Satan, but resists him, and is approached by angels who assist and feed him.
Ludovico interpreted the biblical wilderness setting as a romantic forest nightscape. Behind the main scene stretches their rich foliage a dense grove of trees, while to the left and right are views of the night sky, whose clouds appear white in the moonlight. In a fluid and harmonious way, the moonlight blends with the supernatural light that identifies the main action in the foreground. Because of the multiplicity of preparatory acts performed by the angels, this scene appears animated and lively, yet at the same time solemn, devout and peaceful. The washing of hands recalls the ritual washing of priests before Mass, while the kneeling angels recall acolytes, and the table an altar table.
Ludovico Carracci (Bologna, April 21, 1555 - Bologna, November 13, 1619) - Martyrdom of St. Ursula (1592) - oil on canvas 330 x 218 cm. - National Gallery Bologna.
Datato 1592, il dipinto presenta precise desunzioni da Tintoretto, da Tiziano, da Veronese.
La scena si fa ampia e grandiosa, le forme si intrecciano, i colori si mescolano ribadendo la matrice veneziana dei modelli.
Dated 1592, the painting has precise desunzioni from Tintoretto, Titian, Veronese.
The scene becomes large and grandiose, the forms are intertwined, the colors are mixed confirming the Venetian matrix of models.
The Pantheon is a former Roman temple and since the year 609 a Catholic church (Basilica di Santa Maria ad Martyres or Basilica of St. Mary and the Martyrs), in Rome, Italy, on the site of an earlier temple commissioned by Marcus Agrippa during the reign of Augustus (27 BC – 14 AD). It was rebuilt by the emperor Hadrian and probably dedicated c. 126 AD. Its date of construction is uncertain, because Hadrian chose not to inscribe the new temple but rather to retain the inscription of Agrippa's older temple, which had burned down.
The building is cylindrical with a portico of large granite Corinthian columns (eight in the first rank and two groups of four behind) under a pediment. A rectangular vestibule links the porch to the rotunda, which is under a coffered concrete dome, with a central opening (oculus) to the sky. Almost two thousand years after it was built, the Pantheon's dome is still the world's largest unreinforced concrete dome. The height to the oculus and the diameter of the interior circle are the same, 43 metres.
It is one of the best-preserved of all Ancient Roman buildings, in large part because it has been in continuous use throughout its history and, since the 7th century, the Pantheon has been in use as a church dedicated to "St. Mary and the Martyrs" (Latin: Sancta Maria ad Martyres) but informally known as "Santa Maria Rotonda". The square in front of the Pantheon is called Piazza della Rotonda. The Pantheon is a state property, managed by Italy's Ministry of Cultural Heritage and Activities and Tourism through the Polo Museale del Lazio. In 2013, it was visited by over 6 million people.
The Pantheon's large circular domed cella, with a conventional temple portico front, was unique in Roman architecture. Nevertheless, it became a standard exemplar when classical styles were revived, and has been copied many times by later architects.
In the aftermath of the Battle of Actium (31 BC), Marcus Agrippa started an impressive building program: the Pantheon was a part of the complex created by him on his own property in the Campus Martius in 29–19 BC, which included three buildings aligned from south to north: the Baths of Agrippa, the Basilica of Neptune, and the Pantheon. It seems likely that the Pantheon and the Basilica of Neptune were Agrippa's sacra privata, not aedes publicae (public temples). The former would help explain how the building could have so easily lost its original name and purpose (Ziolkowski contends that it was originally the Temple of Mars in Campo) in such a relatively short period of time.
It had long been thought that the current building was built by Agrippa, with later alterations undertaken, and this was in part because of the Latin inscription on the front of the temple which reads:
The Pantheon dome. The coffered dome has a central oculus as the main source of natural light.
M·AGRIPPA·L·F·COS·TERTIVM·FECIT
or in full, "M[arcus] Agrippa L[ucii] f[ilius] co[n]s[ul] tertium fecit," meaning "Marcus Agrippa, son of Lucius, made [this building] when consul for the third time." However, archaeological excavations have shown that the Pantheon of Agrippa had been completely destroyed except for the façade. Lise Hetland argues that the present construction began in 114, under Trajan, four years after it was destroyed by fire for the second time. She reexamined Herbert Bloch's 1959 paper, which is responsible for the commonly maintained Hadrianic date, and maintains that he should not have excluded all of the Trajanic-era bricks from his brick-stamp study. Her argument is particularly interesting in light of Heilmeyer's argument that, based on stylistic evidence, Apollodorus of Damascus, Trajan's architect, was the obvious architect.
The form of Agrippa's Pantheon is debated. As a result of excavations in the late 19th century, archaeologist Rodolfo Lanciani concluded that Agrippa's Pantheon was oriented so that it faced south, in contrast with the current layout that faces north, and that it had a shortened T-shaped plan with the entrance at the base of the "T". This description was widely accepted until the late 20th century. While more recent archaeological diggings have suggested that Agrippa's building might have had a circular form with a triangular porch, and it might have also faced north, much like the later rebuildings, Ziolkowski complains that their conclusions were based entirely on surmise; according to him, they did not find any new datable material, yet they attributed everything they found to the Agrippan phase, failing to account for the fact that Domitian, known for his enthusiasm for building and known to have restored the Pantheon after 80 AD, might well have been responsible for everything they found. Ziolkowski argues that Lanciani's initial assessment is still supported by all of the finds to date, including theirs; furthermore he expresses skepticism because the building they describe, "a single building composed of a huge pronaos and a circular cella of the same diameter, linked by a relatively narrow and very short passage (much thinner than the current intermediate block), has no known parallels in classical architecture and would go against everything we know of Roman design principles in general and of Augustan architecture in particular."
The only passages referring to the decoration of the Agrippan Pantheon written by an eyewitness are in Pliny the Elder's Natural History. From him we know that "the capitals, too, of the pillars, which were placed by M. Agrippa in the Pantheon, are made of Syracusan bronze", that "the Pantheon of Agrippa has been decorated by Diogenes of Athens, and the Caryatides, by him, which form the columns of that temple, are looked upon as masterpieces of excellence: the same, too, with the statues that are placed upon the roof," and that one of Cleopatra's pearls was cut in half so that each half "might serve as pendants for the ears of Venus, in the Pantheon at Rome".
The Augustan Pantheon was destroyed along with other buildings in a huge fire in the year 80 AD. Domitian rebuilt the Pantheon, which was burnt again in 110 AD.
The degree to which the decorative scheme should be credited to Hadrian's architects is uncertain. Finished by Hadrian but not claimed as one of his works, it used the text of the original inscription on the new façade (a common practice in Hadrian's rebuilding projects all over Rome; the only building on which Hadrian put his own name was the Temple to the Deified Trajan). How the building was actually used is not known. The Historia Augusta says that Hadrian dedicated the Pantheon (among other buildings) in the name of the original builder, but the current inscription could not be a copy of the original; it provides no information as to who Agrippa's foundation was dedicated to, and, in Ziolkowski's opinion, it was highly unlikely that in 25 BC Agrippa would have presented himself as "consul tertium." On coins, the same words, "M. Agrippa L.f cos. tertium", were the ones used to refer to him after his death; consul tertium serving as "a sort of posthumous cognomen ex virtute, a remembrance of the fact that, of all the men of his generation apart from Augustus himself, he was the only one to hold the consulship thrice." Whatever the cause of the alteration of the inscription might have been, the new inscription reflects the fact that there was a change in the building's purpose.
Cassius Dio, a Graeco-Roman senator, consul and author of a comprehensive History of Rome, writing approximately 75 years after the Pantheon's reconstruction, mistakenly attributed the domed building to Agrippa rather than Hadrian. Dio appears to be the only near-contemporaneous writer to mention the Pantheon. Even by the year 200, there was uncertainty about the origin of the building and its purpose:
Agrippa finished the construction of the building called the Pantheon. It has this name, perhaps because it received among the images which decorated it the statues of many gods, including Mars and Venus; but my own opinion of the name is that, because of its vaulted roof, it resembles the heavens.
— Cassius Dio History of Rome 53.27.2
In 202, the building was repaired by the joint emperors Septimius Severus and his son Caracalla (fully Marcus Aurelius Antoninus), for which there is another, smaller inscription on the architrave of the façade, under the aforementioned larger text. This now-barely legible inscription reads:
IMP · CAES · L · SEPTIMIVS · SEVERVS · PIVS · PERTINAX · ARABICVS · ADIABENICVS · PARTHICVS · MAXIMVS · PONTIF · MAX · TRIB · POTEST · X · IMP · XI · COS · III · P · P · PROCOS ET
IMP · CAES · M · AVRELIVS · ANTONINVS · PIVS · FELIX · AVG · TRIB · POTEST · V · COS · PROCOS · PANTHEVM · VETVSTATE · CORRVPTVM · CVM · OMNI · CVLTV · RESTITVERVNT
In English, this means:
Emp[eror] Caes[ar] L[ucius] Septimius Severus Pius Pertinax, victorious in Arabia, victor of Adiabene, the greatest victor in Parthia, Pontif[ex] Max[imus], 10 times tribune, 11 times proclaimed emperor, three times consul, P[ater] P[atriae], proconsul, and
Emp[eror] Caes[ar] M[arcus] Aurelius Antoninus Pius Felix Aug[ustus], five times tribune, consul, proconsul, have carefully restored the Pantheon ruined by age.
In 609, the Byzantine emperor Phocas gave the building to Pope Boniface IV, who converted it into a Christian church and consecrated it to St. Mary and the Martyrs on 13 May 609: "Another Pope, Boniface, asked the same to order that in the old temple called the Pantheon, after the pagan filth was removed, a church should be made, to the holy virgin Mary and all the martyrs, so that the commemoration of the saints would take place henceforth where not gods but demons were formerly worshipped." Twenty-eight cartloads of holy relics of martyrs were said to have been removed from the catacombs and placed in a porphyry basin beneath the high altar. On its consecration, Boniface placed an icon of the Mother of God as 'Panagia Hodegetria' (All Holy Directress) within the new sanctuary.
The building's consecration as a church saved it from the abandonment, destruction, and the worst of the spoliation that befell the majority of ancient Rome's buildings during the early medieval period. However, Paul the Deacon records the spoliation of the building by the Emperor Constans II, who visited Rome in July 663:
Remaining at Rome twelve days he pulled down everything that in ancient times had been made of metal for the ornament of the city, to such an extent that he even stripped off the roof of the church [of the blessed Mary], which at one time was called the Pantheon, and had been founded in honour of all the gods and was now by the consent of the former rulers the place of all the martyrs; and he took away from there the bronze tiles and sent them with all the other ornaments to Constantinople.
Much fine external marble has been removed over the centuries – for example, capitals from some of the pilasters are in the British Museum. Two columns were swallowed up in the medieval buildings that abutted the Pantheon on the east and were lost. In the early 17th century, Urban VIII Barberini tore away the bronze ceiling of the portico, and replaced the medieval campanile with the famous twin towers (often wrongly attributed to Bernini) called "the ass's ears", which were not removed until the late 19th century. The only other loss has been the external sculptures, which adorned the pediment above Agrippa's inscription. The marble interior has largely survived, although with extensive restoration.
Since the Renaissance the Pantheon has been the site of several important burials. Among those buried there are the painters Raphael and Annibale Carracci, the composer Arcangelo Corelli, and the architect Baldassare Peruzzi. In the 15th century, the Pantheon was adorned with paintings: the best-known is the Annunciation by Melozzo da Forlì. Filippo Brunelleschi, among other architects, looked to the Pantheon as inspiration for their works.
Pope Urban VIII (1623 to 1644) ordered the bronze ceiling of the Pantheon's portico melted down. Most of the bronze was used to make bombards for the fortification of Castel Sant'Angelo, with the remaining amount used by the Apostolic Camera for various other works. It is also said that the bronze was used by Bernini in creating his famous baldachin above the high altar of St. Peter's Basilica, but, according to at least one expert, the Pope's accounts state that about 90% of the bronze was used for the cannon, and that the bronze for the baldachin came from Venice. Concerning this, an anonymous contemporary Roman satirist quipped in a pasquinade (a publicly posted poem) that quod non fecerunt barbari fecerunt Barberini ("What the barbarians did not do the Barberinis.
In 1747, the broad frieze below the dome with its false windows was "restored," but bore little resemblance to the original. In the early decades of the 20th century, a piece of the original, as could be reconstructed from Renaissance drawings and paintings, was recreated in one of the panels.
Two kings of Italy are buried in the Pantheon: Vittorio Emanuele II and Umberto I, as well as Umberto's Queen, Margherita. It was supposed to be the final resting place for the Monarchs of Italy of House of Savoy, but the Monarchy was abolished in 1946 and the republican authorities have refused to grant burial to the former kings who died in exile (Victor Emmanuel III and Umberto II). The Organization of the National Institute for the Honour Guard of the Royal Tombs of the Pantheon, which mounts guards of honour at the royal tombs of the Pantheon, was originally chartered by the House of Savoy and subsequently operating with authorization of the Italian Republic, mounts as guards of honour in front of the royal tombs.
The Pantheon is in use as a Catholic church, and as such, visitors are asked to keep an appropriate level of deference. Masses are celebrated there on Sundays and holy days of obligation. Weddings are also held there from time to time.
Guido Reni (Bologna, November 4, 1575 - Bologna, August 18, 1642) - Atalanta e Hyppomenes (1620-25) oil on canvas 192×264 cm - Museo e Real Bosco di Capodimonte
Guido Reni, pittore italiano, fra i maggiori del Seicento, nasce a Bologna il 14 Novembre del 1575. Suo padre, affermato maestro di cappella a S. Petronio, il Duomo di Bologna, avrebbe voluto che il figlio seguisse le sue orme, ma questi, ancora giovanissimo, espresse una naturale predisposizione al disegno.
Accolto come apprendista nello studio del pittore fiammingo manierista Calvaert, Reni, attorno ai vent’anni aderì all’Accademia degli Incamminati, che i Carracci avevano aperto dal 1582.
Dopo un periodo di lunghe esercitazioni riproducendo tra l’altro opere di Annibale Carracci, Guido Reni si distacca dall'influsso manierista e dal gruppo di artisti che ruotavano intorno ai Carracci.
Nel 1602, il giovane pittore, che già lavora a commesse proprie, si reca a Roma per studiare nuove tecniche pittoriche, la lezione caravaggesca e completare la propria preparazione artistica.
Il pittore nel tentativo, comune al Caravaggio, di superare la finzione e l'artificiosità Barocca , aderendo alla realtà e rendendola più credibile, controlla e disciplina la composizione attraverso rapporti e regole di derivazione classicista.
Guido Reni, Italian painter, among the greatest of the seventeenth century, was born in Bologna on November 14, 1575. His father, established chapel master in S. Petronio, the Cathedral of Bologna, would have wanted his son to follow in his footsteps, but he, still very young, expressed a natural predisposition to drawing.
Accepted as an apprentice in the studio of the Flemish Mannerist painter Calvaert, Reni, around the age of twenty years joined the Academy of the Incamminati, that the Carracci had opened since 1582.
After a period of long practice reproducing, among other things, works by Annibale Carracci, Guido Reni broke away from the Mannerist influence and from the group of artists who revolved around the Carracci.
In 1602, the young painter, who was already working on his own commissions, went to Rome to study new painting techniques, the lesson of Caravaggio and to complete his own artistic preparation.
The painter in an attempt, common to Caravaggio, to overcome the fiction and artifice Baroque, adhering to reality and making it more credible, controls and disciplines the composition through relationships and rules of derivation classicist.
Palazzo Farnese or Farnese Palace is one of the most important High Renaissance palaces in Rome. Owned by the Italian Republic, it was given to the French government in 1936 for a period of 99 years, and currently serves as the French embassy in Italy.
First designed in 1517 for the Farnese family, the building expanded in size and conception when Alessandro Farnese became Pope Paul III in 1534, to designs by Antonio da Sangallo the Younger. Its building history involved some of the most prominent Italian architects of the 16th century, including Michelangelo, Jacopo Barozzi da Vignola and Giacomo della Porta.
At the end of the 16th century, the important fresco cycle of The Loves of the Gods in the Farnese Gallery was carried out by the Bolognese painter Annibale Carracci, marking the beginning of two divergent trends in painting during the 17th century, the Roman High Baroque and Classicism. The famous Farnese sculpture collection, now in the National Archeological Museum of Naples, as well as other Farnese collections, now mostly in Capodimonte Museum in Naples, were accommodated in the palace.
"The most imposing Italian palace of the 16th century", according to Sir Banister Fletcher, this palazzo was designed by Antonio da Sangallo the Younger, one of Bramante's assistants in the design of St. Peter's and an important Renaissance architect in his own right. Construction began in 1515 after one or two years of preparation, and was commissioned by Alessandro Farnese, who had been appointed as a cardinal in 1493 at age 25 and was living a princely lifestyle. Work was interrupted by the Sack of Rome in 1527.
When, in January 1534 Alessandro became Pope Paul III, the size of the palace was increased significantly and he employed Michelangelo who completed the redesigned third story with its deep cornice and revised the courtyard as well. The post-1534 developments were not only a reflection of Alessandro's change in status but employed architecture to express the power of the Farnese family, much as at their Villa Farnese at Caprarola. The massive palace block and its facade dominate the Piazza Farnese.
Architectural features of the main facade include the alternating triangular and segmental pediments that cap the windows of the piano nobile, the central rusticated portal and Michelangelo's projecting cornice which throws a deep shadow on the top of the facade. Michelangelo revised the central window in 1541, adding an architrave to give a central focus to the facade, above which is the largest papal stemma, or coat-of-arms with papal tiara, Rome had ever seen. When Paul appeared on the balcony, the entire facade became a setting for his person. The courtyard, initially open arcades, is ringed by an academic exercise in ascending orders (Doric, Ionic and Corinthian). The piano nobile entablature was given a frieze with garlands, added by Michelangelo.
On the garden side of the palace, which faced the River Tiber, Michelangelo proposed the innovatory design of a bridge which, if completed, would have linked the palace with the gardens of the Vigna Farnese, Alessandro's holding on the opposite bank, that later became incorporated into the adjacent villa belonging to the Chigi family, which the Farnese purchased in 1584 and renamed the Villa Farnesina. While the practicalities of achieving this bridge remain dubious, the idea was a bold and expansive one.
During the 16th century, two large granite basins from the Baths of Caracalla were adapted as fountains in the Piazza Farnese, the "urban" face of the palace.
The palazzo was further modified for the papal nephew Ranuccio Farnese by Jacopo Barozzi da Vignola. It was completed for the second Cardinal Alessandro Farnese by Giacomo della Porta's porticoed facade towards the Tiber which was finished in 1589.
Following the death of Cardinal Odoardo Farnese in 1626, the palazzo stood virtually uninhabited for twenty years. At the conclusion of the War of Castro with the papacy, Duke Odoardo was able to regain his family properties, which had been sequestered. The resulting inventory is the oldest surviving complete inventory of Palazzo Farnese.
After Odoardo's death, Pope Alexander VII allowed Queen Christina of Sweden to lodge in the palace for several months, but she "proved a tenant from hell". After her departure for Paris, the papal authorities discovered that her unruly servants not only had stolen the silver, tapestries, and paintings, but also had "smashed up doors for firewood" and removed sections of copper roofing.
Simon Vouet (Paris, January 9, 1590 - Paris, June 30, 1649) - Penitent Magdalene (1623-27) - National Gallery of Ancient Art of Palazzo Barberini, Rome
Attribuita in passato a Cristoforo Roncalli detto il Pomarancio, la santa Maria Maddalena conservata alla Galleria Nazionale d'Arte Antica di Roma è stata successivamente attribuita a Simon Vouet dal celebre storico dell'arte statunitense John Spike: l'attribuzione, in seguito, non è più stata messa in discussione pur senza che ci siano prove che attestino il nome del pittore francese, proposto per via di confronti stilistici con sue opere certe.
La Maddalena, nuda ma coperta dalla vita in giù da una specie di tunica rossastra, è raffigurata in penitenza, sotto una rupe, con il teschio simbolo della vanità e il libro simbolo di studio. Alle sue spalle, un rigoglioso e suggestivo paesaggio naturale, con il mare sullo sfondo, solcato da una barca a vela. Lo sguardo è rivolto verso l'alto quasi a voler cercare un rapporto diretto con Dio. La pelle è bianca e delicatissima, i lineamenti dolci ma naturali mettono il dipinto in rapporto con l'arte caravaggesca di cui Simon Vouet fu uno degli interpreti più interessanti e più sensuali. Sensualità che si evince non solo dallo sguardo languido di questa Maddalena, ma anche dalla posa della ragazza, che copre il seno con un braccio ma lascia intravedere una gamba. Tuttavia, Vouet dimostra di aprirsi anche alla pittura classicista, introdotta da Annibale Carracci, che in quegli anni si stava diffondendo a Roma grazie ai pittori bolognesi. E non a caso, ci sono molte somiglianze tra questa Maddalena e quella, successiva di qualche anno, realizzata da Guido Reni e conservata presso lo stesso museo.
Gli studiosi, per questo dipinto, propongono una datazione attorno al 1623-1627, ovvero il periodo in cui Simon Vouet fu a Roma, a stretto contatto con i Barberini, e seppe diventare uno degli artisti più in vista della città, tanto che nel 1624 diventò anche Principe dell'Accademia di San Luca.
Attributed in the past to Cristoforo Roncalli, known as Pomarancio, the Saint Mary Magdalene preserved in the National Gallery of Ancient Art in Rome was later attributed to Simon Vouet by the famous American art historian John Spike: the attribution has not been questioned since then, even though there is no evidence to prove the name of the French painter, proposed because of stylistic comparisons with his certain works.
Magdalene, naked but covered from the waist down by a kind of reddish tunic, is depicted in penitence, under a cliff, with the skull symbol of vanity and the book symbol of study. Behind her is a lush and evocative natural landscape, with the sea in the background, furrowed by a sailboat. The gaze is turned upwards almost as if to seek a direct relationship with God. The skin is white and delicate, the sweet but natural features put the painting in relation to the art of Caravaggio, of which Simon Vouet was one of the most interesting and sensual interpreters. Sensuality that is evident not only from the languid gaze of this Magdalene, but also from the pose of the girl, who covers her breast with an arm but allows a glimpse of a leg. However, Vouet shows that he was also open to classicist painting, introduced by Annibale Carracci, which in those years was spreading in Rome thanks to the Bolognese painters. It is not by chance that there are many similarities between this Magdalene and the one, a few years later, painted by Guido Reni and conserved in the same museum.
Scholars, for this painting, propose a date around 1623-1627, the period in which Simon Vouet was in Rome, in close contact with the Barberini family, and was able to become one of the most prominent artists in the city, so much so that in 1624 he also became Prince of the Academy of San Luca.
Santa Brigida is a convent church dedicated to St Bridget of Sweden and the Swedish national church in Rome. It was also known as Santa Brigida a Campo de' Fiori since it was built on what was then part of Campo de' Fiori but is now the urbanistically distinct Piazza Farnese.
A first building rose during the pontificate of Boniface IX (1389–1404) but was later abandoned. In 1513, Peder Månsson, later (1524) Bishop of Västerås in Sweden, erected a new church. It was officially granted to the Bishop of Uppsala by Pope Paul III (1534–1549).
It was restored in the early 18th century by Pope Clement XI (1700–1721).
In 1828, Pope Leo XII gave the convent and church to the Canons of Santa Maria in Trastevere. They did not have the means to restore it, and gave it to the Congregation of Holy Cross, a French congregation, in 1855. They restored the church and the rooms of St Bridget in 1857-1858.
The next owner was a Polish branch of the Carmelite Order, to whom the convent and church was given in 1889. They held it until 1930, when it was returned to the Bridgittine Order.
The paintings in the church were restored before the Bridgittine jubilee of 1991.
The façade was constructed in 1705 and adorned with statues of St Brigid and her daughter St Catherine by Andrea Fucigna. Minor changes, such as the shapes of the windows, were made in the 19th century.
The design of the neo-romanesque bell-tower, added in 1894, is attributed to the architect Raffaele Ingami who carried out much consolidation work for the convent at the time.
There are two marble holy water fonts. On the right-hand one may be seen the lily of the Farnese family, placed here when Cardinal Odoardo Farnese was the protector of the convent, 1601-1626. The one on the left side has the arms of the Carmelite Order. Another protector was Cardinal Virginio Orsini whose coat of arms can be seen on a marble bowl in the sacristy.
In the early 18th century the church was embellished with six paintings Scenes from the Life of St Bridget by Biagio Puccini, executed between 1702 and 1705. Circa 1709-1711, Puccini also painted the large ceiling fresco. In its centre is The Glory of St Bridget which is clearly influenced by the large marble relief of The Glory of St Catherine of Siena by Melchiorre Cafà from the 1660s.
There are three recently discovered memorial plaques in the church. They are not in their original positions. Two of them, one by the entrance to the Chapel of St Richard and one by the sacristy door, must have been in Bridget's room, and the third was probably placed on the façade until the new church was built in the 16th century.
Near the entrance are two doors. One leads to the Chapel of St Richard, the other to the new sacristy (1894). The chapel was built in 1894 on Neo-Gothic style by Raffaele Ingami. It is dedicated to an English Bridgettine monk, Richard Reynolds, who was martyred in London in 1535. He is considered the most important martyr of the order. The chapel was originally dedicated to Our Lady of Sorrows, and an inscription from this period has been preserved on the altar. On the walls are eight paintings of scenes from the life of the Blessed Virgin, made by Eugenio Cisterna.
On the right-hand side is the cenotaph of Nils Karlsson Bielke (died 1765) by Tommaso Righi. He was a descendant of one of St Bridget's brothers. After converting to Catholicism he lived in exile in Rome, and was made a senator. His place of burial is unknown.
Also on the right-hand side is the Altar of Our Lady. The painting by Virginio Monti, depicting Mary and the Holy Child in a classical landscape scene, was made in the 19th century. It is a copy of a lost original by Annibale Carracci.
Opposite this altar is the Altar of St Catherine of Sweden. It was redecorated in 1894. The painting, made in that year, is by Eugenio Cisterna, a pupil of Virginio Monti. It originally depicted St Bridget and St Teresa of Avila, but when the church was given to the Bridgettine Sisters in 1930, the figure of St Teresa was altered to represent St Catherine.
Chapel of St Catherine
In the crypt is the Chapel of St Catherine, which was dedicated in 1972. It has 70 seats, and is used by the Church of Sweden. Lutheran services are held on Sundays and Thursdays.
The church is part of the convent of the Bridgettine Sisters. The convent building was owned by Francesca Papazurri, who became a close friend of St Bridget during the Holy Year of 1350. It was at that time known as the Palatium Magnum, The Grand Palace. Bridget lived there for 19 years, and her rooms have been preserved. After Bridget's death, the house was donated to the order's mother house in Vadstena, and it was used as a hospice for Swedish pilgrims and clergy visiting Rome.
In the 16th century, the Reformation brought radical changes. The convent became a refuge for Swedish Catholics who chose exile rather than conversion. Among those who lived here in this period was Johannes Magnus (1488–1544), the last Catholic Archbishop of Sweden. Olaus Magnus arrived in 1549, and set up a printing press in the house. He published the revelations of St Bridget from this press in 1557. As the mother house in Vadstena was suppressed, a cardinal was made protector of the convent. During her exile from 1673 until her death in 1689, Queen Christina of Sweden was its protectress.
The building was restored by Pope Clement XI (1700–1721). Since then, only minor changes have been made to the exterior.
It is possible to visit the rooms of St Bridget and her daughter St Catherine, first abbess of the Bridgettine Sisters. The rooms contain relics of the two saints, and are decorated with paintings from the lives of the saints. Jewish artist Édouard Brandon is responsible for the artworks in the room of St Bridget. Chapels of St Bridget and St Catherine have been installed in their respective rooms.
The Pantheon is a building of ancient Rome located in Pigna district, built as a temple to all the gods past, present and future. It was founded in 27 BC by Marco Vipsanio Agrippa, son of Augustus. It was rebuilt by Emperor Hadrian between 120 and 124 A.D., after the fires of 80 and 110 A.D. They had damaged the previous building of the Augustan age.
Looking at the Pantheon the first thing that strikes the sgtardo and the inscription on the pediment that concluded the renovation, Adriano wanted to restore: M. AGRIPPA LF COS TERTIUM FECIT "(Marcus Agrippa, son of Lucius, Consul for the third time, built)
The current is, however, a copy of the late nineteenth century, the site of the inscription that was robbed in one of the many raids.
The building consists of a circular structure combined with a portico in Corinthian columns (eight front and two groups of four in the second and third row) supporting a pediment. The large circular cell, said roundabout, is surrounded by thick masonry walls and eight large pylons on which is divided the weight of the characteristic hemispherical dome in concrete. The dome houses at its apex a circular aperture called oculus, (which measures 8.70 meters in diameter) that allows the interior lighting. The calculated at oculus building height is equal to the diameter of the round, a feature that reflects the classical criteria of balanced and harmonious architecture. Almost two millennia after its construction, the intradossata dome of the Pantheon is still one of the largest domes in the world, and specifically the largest built in non-reinforced concrete.
At the beginning of the seventh century, the Pantheon was converted into a Christian basilica (with the Edict of Constantinople) called Santa Maria della Rotonda Santa Maria or the Martyrs, which allowed him to survive almost intact to pillage made to the buildings of classical Rome .
In the Pantheon, as in all churches, burials were made, it conserves Even today, among others, the graves of the painters Raffaello Sanzio and Annibale Carracci, the architect Baldassarre Peruzzi, the composer Arcangelo Corelli, and those of the first two kings of 'Italy, Vittorio Emanuele II and his son Umberto I and Queen Margherita di Savoia.
Il Pantheon è un edificio della Roma antica situato nel rione Pigna , costruito come tempio dedicato a tutte le divinità passate, presenti e future. Fu fondato nel 27 a.C. da Marco Vipsanio Agrippa, genero di Augusto. Fu fatto ricostruire dall'imperatore Adriano tra il 120 e il 124 d.C., dopo che gli incendi dell'80 e del 110 d.C. avevano danneggiato la costruzione precedente di età augustea.
Guardando il Pantheon la prima cosa che colpisce lo sgtardo e l’iscrizione sul frontone che, concluso il rifacimento, Adriano volle ripristinare: M. AGRIPPA L F COS TERTIUM FECIT" (Marco Agrippa, figlio di Lucio, Console per la terza volta, edificò)
L’'attuale è tuttavia una copia di fine Ottocento, al posto dell'antica scritta che fu depredata in una delle tante razzie.
L'edificio è composto da una struttura circolare unita a un portico in colonne corinzie (otto frontali e due gruppi di quattro in seconda e terza fila) che sorreggono un frontone. La grande cella circolare, detta rotonda, è cinta da spesse pareti in muratura e da otto grandi piloni su cui è ripartito il peso della caratteristica cupola semisferica in calcestruzzo. La cupola ospita al suo apice un'apertura circolare detta oculo, ( il cui diametro misura 8,70 metri) che permette l'illuminazione dell'ambiente interno. L'altezza dell'edificio calcolata all'oculo è pari al diametro della rotonda, caratteristica che rispecchia i criteri classici di architettura equilibrata e armoniosa. A quasi due millenni dalla sua costruzione, la cupola intradossata del Pantheon è ancora oggi una delle cupole più grandi di tutto il mondo, e nello specifico la più grande costruita in calcestruzzo non armato.
All'inizio del VII secolo il Pantheon è stato convertito in basilica cristiana (con l'editto di Costantinopoli) chiamata Santa Maria della Rotonda o Santa Maria ad Martyres, il che gli ha consentito di sopravvivere quasi integro alle spoliazioni apportate agli edifici della Roma classica.
Nel Pantheon, come in tutte le chiese, furono realizzate sepolture, Ancor oggi vi si conservano, fra le altre, le tombe dei pittori Raffaello Sanzio ed Annibale Carracci, dell'architetto Baldassarre Peruzzi , del musicista Arcangelo Corelli e quelle dei due primi re d'Italia, Vittorio Emanuele II e suo figlio Umberto I. e della regina Margherita di Savoia.
Antonio Carracci (Venice, 1583? - Rome, April 8, 1618) - Saint Praxedes (1606-1609) - oil on canvas 128 × 96.5 cm - National Gallery of Bologna
Figlio di Agostino Carracci e di Isabella, una cortigiana veneziana, Antonio seguì lo zio Annibale a Roma dove dovette assistere giovanissimo ad importanti imprese, quali la decorazione della Galleria Farnese. La sua attività, svoltasi prevalentemente a Roma dove morì nel 1618 all’età di soli 26 anni, subì l’influenza di Guido Reni e del Domenichino.
La Santa Prassede, acquistata dal MiBACT per la Pinacoteca di Bologna nel 2016, è una delle rare testimonianze della produzione della sua brevissima carriera, esempio del propagarsi nell’Urbe del gusto della scuola bolognese.
Son of Agostino Carracci and Isabella, a Venetian courtesan, Antonio followed his uncle Annibale in Rome where he had to assist very young to important enterprises, such as the decoration of the Galleria Farnese. His activity, carried out mainly in Rome where he died in 1618 at the age of only 26 years, was influenced by Guido Reni and Domenichino.
The Santa Prassede, purchased by MiBACT for the Pinacoteca di Bologna in 2016, is one of the rare testimonies of the production of his very short career, an example of the spread in Urbe of the taste of the Bolognese school.
The hall, called Theater with Amphitheater characteristic form, was designed in 1637 for the anatomical lessons by the Bolognese architect Antonio Paolucci called the Levant, a Carracci scholar.
Lorenzo Garbieri (Bologna, 1580 - Bologna, April 5, 1654) - The sorceress Circe (1615-1620) - oil on canvas 66 × 52 cm - National Gallery of Bologna
Esponente del barocco, fu allievo di Ludovico Carracci, tanto che talvolta venne chiamato il nipote dei Carracci. Subì anche l'influenza artistica del Caravaggio e di Lionello Spada dai quali trasse l'ispirazione delle scene notturne di alcune sue opere. Col tempo i dipinti di Garbieri si riempirono di più luce avvicinandosi allo stile del Correggio, di Giovanni Lanfranco e di Sisto Badalocchio. Tra gli allievi ebbe il figlio Carlo che comunque non ebbe lo stesso suo successo.
Unica oggi nota tra le numerose versioni del soggetto che l’artista dipinse, la tavola reca sul vaso che regge la maga una scritta, in greco e latino, che recita “Lorenzo Garbieri popolarmente [detto] il Nipote faceva”, allusione al soprannome dato al pittore dai Carracci e dovuto alle numerose raccomandazioni che uno zio del giovane seguace indirizzava loro. Da rilevare il modo spiritoso e malizioso con cui Garbieri tratta il tema, che restituisce efficacemente il carattere subdolo e malvagio del personaggio omerico.
Exponent of the Baroque, was a pupil of Ludovico Carracci, so that sometimes was called the grandson of Carracci. He also suffered the artistic influence of Caravaggio and Lionello Spada from whom he drew the inspiration for the nocturnal scenes of some of his works. Over time the paintings of Garbieri were filled with more light approaching the style of Correggio, Giovanni Lanfranco and Sisto Badalocchio. Among his students he had his son Carlo who, however, did not have the same success.
The only known today among the many versions of the subject that the artist painted, the table bears on the vase that holds the sorceress an inscription, in Greek and Latin, which reads "Lorenzo Garbieri popularly [said] the Grandson did", an allusion to the nickname given to the painter by Carracci and due to the many recommendations that an uncle of the young follower addressed to them. To be noted the witty and malicious way in which Garbieri treats the theme, which effectively returns the devious and evil character of the Homeric character.
Annibale Carracci (Bologna, November 3, 1560 - Rome, July 15, 1609) - Susanna and the elders (1604) - oil on panel 86.1 x 56.8 cm. Galleria Doria Pamphilj, Rome
L’opera finì presto a Bologna, per poi ritornare col matrimonio fra Violante Facchinetti e Giovan Battista Pamphilj nel 1671. Per il suo carattere edificante ed il lieto fine che lo caratterizza, l’episodio della casta Susanna divenne un tema iconografico ricorrente nel XVII secolo e l’alta qualità del dipinto di Carracci, eseguito sopra una superficie liscia, e l’iconografia raffinata suggestionarono i contemporanei, che ne replicarono lo schema.
The work ended early in Bologna, only to return with the marriage between Violante Facchinetti and Giovan Battista Pamphilj in 1671. For its edifying character and the happy ending that characterizes it, the episode of the Susanna caste became a recurring iconographic theme in the seventeenth century and the high quality of Carracci's painting, executed on a smooth surface, and the refined iconography inspired the contemporaries, who replicated the pattern.
Giovanni Battista Salvi da Sassoferrato (August 25, 1609 – August 8, 1685), also known as Giovanni Battista Salvi, was an Italian Baroque painter, known for his archaizing commitment to Raphael's style. He is often referred to only by the town of his birthplace (Sassoferrato), as was customary in his time, and for example seen with da Vinci and Caravaggio.
The details of Giovanni Battista Salvi's biography are very sparse. He was born in the small town of Sassoferrato in the Marche region of central Italy, half-way between Rome and Florence, east of Apennines.
Sassoferrato was apprenticed under his father, the painter Tarquinio Salvi; fragments of Tarquinio's work are still visible in the church of Saint Francis in Sassoferrato. The rest of Giovanni's training is undocumented but it is thought that he worked under the Bolognese Domenichino, a main apprentice of Annibale Carracci (c. 1580). Two other Carracci trainees Francesco Albani and Guido Reni also influenced Sassoferrato. In Francis Russell's view, Reni was as much Sassoferrato's mentor as Domenichino was his master. His paintings also show the influence of Albrecht Dürer, Guercino, and above all Raphael. He appears to also have been influenced by Pierre Mignard, whom he may have met in Rome in the 1630s.
Few public commissions by Sassoferrato exist, and, like Carlo Dolci he seems to have concentrated on producing multiple copies of various styles of devotional image for private patrons, a demand fuelled by the Counter-Reformation of the Catholic Church. Apart from his many smaller works, his paintings include some at the Benedictine convent of San Pietro in Perugia (1630) and the imposing altarpiece in Santa Sabina, Rome, portraying La Madonna del Rosario (1643). In 1683 Cardinal Chigi presented Sassoferrato's self-portrait to Cosimo III de' Medici.
Sassoferrato died in 1685. His will is dated June 29 of the same year.
Sassoferrato's work was held in high regard through to the mid-19th century. His paintings were sometimes believed to be contemporary with the School of Raphael. However, by the late 19th century, reaction against sweet devotional art work was reinforced in England by the critical commentary of John Ruskin.
The late 20th century saw a revival of interest in Italian Baroque archaizing painting with Guido Reni leading the way in generating a surge of auction interest also in Sassoferrato.
There are over three hundred works by Sassoferrato in public collections in 2006 throughout the world including almost all of his extant drawings in the British Royal Collection at Windsor Castle.
Sassoferrato was also active as a copyist and reproduced paintings by other masters. His copying style was highly free and individualistic and he rather modified the original compositions or their dimensions than slavishly copy.
Alessandro Tiarini (Bologna, March 20, 1577 - Bologna, February 8, 1668) - Lamentation over the dead Christ (1617) - oil on canvas 323 x 213 cm - National Gallery of Bologna.
L'inventario post mortem dei suoi beni registra la sua morte a 94 anni. Il suo anno di nascita sarebbe dunque il 1574, mentre la data del 1577 farebbe riferimento al battesimo.
La sua formazione si svolse presso Prospero Fontana, influenzato successivamente dall'opera di Bartolomeo Cesi, nel 1599 fu a Firenze, dove realizzò gli affreschi con Storie di san Marco, per l'omonimo convento, con colori freddi e chiari.
Tornato a Bologna si avvicinò alla scuola dei Carracci, accogliendone le nuove istanze naturalistiche, avvicinandosi specialmente all'opera di Ludovico Carracci.
Eseguita nel 1617 per la chiesa di Sant'Antonio allora ricostruita, appartiene alla fase di maggiore felicità inventiva dell'artista alla quale spettano anche gli affreschi nella chiesa di San Michele in Bosco (1614) e la celebre tela della cappella di San Domenico.
The post mortem inventory of his assets records his death at 94 years. His year of birth would therefore be 1574, while the date of 1577 would refer to the baptism.
His training took place at Prospero Fontana, later influenced by the work of Bartolomeo Cesi, in 1599 he was in Florence, where he painted the frescoes with Stories of St. Mark, for the homonymous convent, with cold and light colors.
Back in Bologna he approached the school of Carracci, accepting the new naturalistic instances, especially approaching the work of Ludovico Carracci.
Executed in 1617 for the church of Sant'Antonio then rebuilt, it belongs to the phase of greater inventive happiness of the artist to which also the frescos in the church of San Michele in Bosco (1614) and the famous canvas in the chapel of San Domenico are due.
Annibale Carracci (Bologna, 3 November 1560 - Rome, 15 July 1609) - Landscape with the Flight into Egypt (1604 -1613) - oil on canvas 122 x 230 cm - Doria Pamphilj Gallery, Rome
Di fondamentale importanza nello sviluppo della sua carriera furono i rapporti con il cugino Ludovico e il fratello Agostino – entrambi dotatissimi pittori – con i quali, agli esordi, tenne bottega comune e con cui collaborò, a più riprese, anche in seguito.
In antitesi con gli esiti ormai sterili del tardomanierismo, propose il recupero della grande tradizione della pittura italiana del Cinquecento, riuscendo in un'originale sintesi delle molteplici scuole del Rinascimento maturo: Raffaello, Michelangelo, Correggio, Tiziano e il Veronese sono tutti autori che ebbero notevole influsso sull'opera del Carracci. La riproposizione e, al tempo stesso, la modernizzazione di questa grande tradizione, unitamente al ritorno dell'imitazione del vero, sono i fondamenti della sua arte. Con Caravaggio e Rubens, pose le basi per la nascita della pittura barocca, di cui fu uno dei padri nobili.
Of fundamental importance in the development of his career were his relationships with his cousin Ludovico and his brother Agostino - both highly gifted painters - with whom, at the beginning, he had a common workshop and with whom he collaborated on several occasions later on.
In contrast to the now sterile results of late Mannerism, he proposed the recovery of the great tradition of 16th-century Italian painting, succeeding in an original synthesis of the many schools of the mature Renaissance: Raphael, Michelangelo, Correggio, Titian and Veronese are all artists who had considerable influence on Carracci's work. The re-proposition and, at the same time, the modernisation of this great tradition, together with the return of the imitation of truth, are the foundations of his art. With Caravaggio and Rubens, he laid the foundations for the birth of Baroque painting, of which he was one of the noble fathers.
Denijs Calvaert or Calvart, known in Italy as Dionisio Fiammingo (Antwerp, c. 1540 - Bologna, 16 April 1619) - Saint Cecilia (c. 1580) - National Gallery of Parma
Dopo aver studiato con Christiaen van Queecborn pittura di paesaggio ad Anversa, dove è documentato col nome di Caluwaert, si stabilì a Bologna, perfezionandosi nel nudo con Prospero Fontana tanto da abbandonare la sua maniera fiamminga per quella italiana. A Roma, verso il 1560, collaborò con Lorenzo Sabbatini nelle decorazioni vaticane e studiò l'opera di Raffaello.
Tornato a Bologna nel 1574, vi aprì una scuola che vantò allievi prestigiosi come Guido Reni, Francesco Albani e il Domenichino. Benché rivaleggiasse con l'Accademia dei Carracci, era talmente rispettato che alla sua morte Ludovico Carracci curò l'allestimento dei suoi funerali nella chiesa dei Serviti e accolse nell'Accademia tutti i suoi allievi.
After studying landscape painting with Christiaen van Queecborn in Antwerp, where he is documented under the name of Caluwaert, he settled in Bologna, perfecting his nude painting with Prospero Fontana to the extent that he abandoned his Flemish manner for the Italian one. In Rome, around 1560, he collaborated with Lorenzo Sabbatini on Vatican decorations and studied Raphael's work.
Returning to Bologna in 1574, he opened a school there that boasted such prestigious pupils as Guido Reni, Francesco Albani and Domenichino. Although he rivalled the Carracci Academy, he was so respected that on his death Ludovico Carracci arranged for his funeral to be held in the Serviti church and welcomed all his pupils into the Academy.
The story depicted in this exquisite painting is from the apocryphal gospels.Mola gives the subject a charming informality-the Christ child nearly nude climbs into Mary's lap,and an angel waters a donkey at the pool on the left.Although born near Como,Mola spent most of his life in Rome.In his work the classical tradition established by Annibale Carracci is tempered by Titian's poetic feeling for landscape.
Francesco Albani (Bologna, August 17, 1578 - Bologna, October 4, 1660) - Four Elements - water (1625-28.) - oil on canvas - Galleria Sabauda, Turin
Albani realizzò l serie dei quattro elementi fra il 1628 e il 1628 su commissione del Cardinale Maurizio di Savoia. Egli desunse i temi iconografici dalle immagini di Filostrato, in linea con il gusto classicista e l'erudizione letteraria della borghesia romana del tempo. I quattro tondi, per quanto memori dell'insegnamento di Annibale Carracci, si caratterizzano per il lirismo e la preziosità pittorica tipica dell'artista e per questo furono lodati dai biografi del XVIII scolo. La serie giunse a Torino nel 1633, suscitando notevole interesse presso i contemporanei che le dedicarono composizioni letterarie e interpretazioni a sfondo simbolico e politico. Inizialmente venne collocata a Villa della Regina, poi al castello del Valentino, nel 1692 spostata nelle raccolte di Vittorio Amedeo II, confluendo infine alla Sabauda per via dinastica.
Albani created the Four Elements series between 1628 and 1628 on commission from Cardinal Maurizio of Savoy. He drew the iconographic themes from the images of Philostratus, in line with the classicist taste and literary erudition of the Roman bourgeoisie of the time. The four tondi, although mindful of the teachings of Annibale Carracci, are characterized by the lyricism and the preciousness of painting typical of the artist and for this reason they were praised by the biographers of the eighteenth century. The series arrived in Turin in 1633, arousing considerable interest among contemporaries who dedicated literary compositions and interpretations to symbolic and political background. Initially it was placed at the Villa della Regina, then at the Valentino castle, in 1692 moved to the collections of Vittorio Amedeo II, finally flowing to the Sabauda by dynastic way.
Ludovico Carracci (Bologna, April 21, 1555 - Bologna, November 13, 1619) - Martyrdom of St. Ursula (1592) - oil on canvas 330 x 218 cm. - National Gallery Bologna.
Datato 1592, il dipinto presenta precise desunzioni da Tintoretto, da Tiziano, da Veronese.
La scena si fa ampia e grandiosa, le forme si intrecciano, i colori si mescolano ribadendo la matrice veneziana dei modelli.
Dated 1592, the painting has precise desunzioni from Tintoretto, Titian, Veronese.
The scene becomes large and grandiose, the forms are intertwined, the colors are mixed confirming the Venetian matrix of models.
Ludovico Carracci (1555-1619) Annunciation (1619) - Presbytery - Central Chapel - St. Peter's Cathedral - Bologna
Denijs Calvaert or Calvart, known in Italy as Dionisio Fiammingo (Antwerp, c. 1540 - Bologna, 16 April 1619) - Saint Cecilia (c. 1580) - National Gallery of Parma
Dopo aver studiato con Christiaen van Queecborn pittura di paesaggio ad Anversa, dove è documentato col nome di Caluwaert, si stabilì a Bologna, perfezionandosi nel nudo con Prospero Fontana tanto da abbandonare la sua maniera fiamminga per quella italiana. A Roma, verso il 1560, collaborò con Lorenzo Sabbatini nelle decorazioni vaticane e studiò l'opera di Raffaello.
Tornato a Bologna nel 1574, vi aprì una scuola che vantò allievi prestigiosi come Guido Reni, Francesco Albani e il Domenichino. Benché rivaleggiasse con l'Accademia dei Carracci, era talmente rispettato che alla sua morte Ludovico Carracci curò l'allestimento dei suoi funerali nella chiesa dei Serviti e accolse nell'Accademia tutti i suoi allievi.
After studying landscape painting with Christiaen van Queecborn in Antwerp, where he is documented under the name of Caluwaert, he settled in Bologna, perfecting his nude painting with Prospero Fontana to the extent that he abandoned his Flemish manner for the Italian one. In Rome, around 1560, he collaborated with Lorenzo Sabbatini on Vatican decorations and studied Raphael's work.
Returning to Bologna in 1574, he opened a school there that boasted such prestigious pupils as Guido Reni, Francesco Albani and Domenichino. Although he rivalled the Carracci Academy, he was so respected that on his death Ludovico Carracci arranged for his funeral to be held in the Serviti church and welcomed all his pupils into the Academy.
Giovanni Andrea Donducci, called the Mastelletta (Bologna, February 14, 1575 - 1655),- Jesus Christ served by angels (1615-17) - oil on panel 31.5 x 43 cm. - National Gallery, Bologna
In questo piccolo dipinto Mastelletta riprende la composizione già realizzata da Ludovico Carracci nella grande tela oggi a Berlino, e ne rielabora le dimensioni delle figure, ma soprattutto dando ampio spazio alla visione dall'alto un paesaggio quasi fiabesco.
Ascrivibile alla piena maturità dell'artista, è stato datato negli anni 1615-1617.
In this small painting Mastelletta takes up the composition already made by Ludovico Carracci in the large canvas now in Berlin, and reworks the size of the figures, but above all giving ample space to the view from above an almost fairy-tale landscape.
Attributable to the full maturity of the artist, has been dated in the years 1615-1617.
Guido Reni (Bologna, November 4, 1575 - Bologna, August 18, 1642) - Portrait of his mother (1615-1620),- Oil on canvas 65 x 55 cm- National Gallery, Bologna
Fu uno dei più grandi pittori del ‘600, figlio del musicista Daniele. Seguì inizialmente le orme paterne, ma lasciò gli studi musicali preferendo la pittura di cui imparò i primi rudimenti nella bottega del fiammingo Denijs Calvaert, con cui studiavano anche Albani e Domenichino. Fu tra i primi a entrare nell’Accademia dei Carracci, già nel 1582, quando era ancora la semplice Accademia del Naturale. Nel 1598 è già un pittore affermato: in quell’anno realizzò l’Incoronazione della Vergine e santi per la chiesa di San Bernardo (Bologna, Pinacoteca Nazionale) e vinse la gara per gli affreschi allegorici in onore della venuta di Clemente VIII sulla facciata del Palazzo del Reggimento, l’odierno palazzo comunale, già perduti nell’800.
Nel 1601 giunse a Roma, dove imparò a coniugare il classicismo emiliano con le nuove idee caravaggesche, dipingendo diversi capolavori: il Martirio di santa Cecilia (Basilica di Santa Cecilia in Trastevere), la Crocifissione di san Pietro per l’Abbazia delle Tre Fontane (Pinacoteca Vaticana), il Martirio di sant’Andrea e Eterno in gloria (San Gregorio al Celio), la decorazione della Sala delle Nozze Aldobrandine e della Sala delle Dame del Palazzo Apostolico Vaticano, quella per la Cappella Paolina in Santa Maria Maggiore. Dal 1610 continuò ad alternare soggiorni a Bologna, Roma e Napoli, dipingendo opere di grande importanza per la storia dell’arte come la Strage degli innocenti e il Sansone (Bologna, Pinacoteca Nazionale); l’affresco dell’Aurora per il Casino Rospigliosi Pallavicini, al tempo di proprietà di Scipione Borghese (Roma); l’Atalanta e Ippomene (Napoli, Museo di Capodimonte).
was one of the greatest painters of the '600, son of the musician Daniele. Initially followed in his father's footsteps, but left the musical studies preferring the painting of which he learned the first rudiments in the workshop of the Flemish Denijs Calvaert, with whom they studied Albani and Domenichino. He was among the first to enter the Academy of Carracci, already in 1582, when it was still the simple Academy of Natural. In 1598 he was already an established painter: in that year he painted the Coronation of the Virgin and Saints for the church of San Bernardo (Bologna, Pinacoteca Nazionale) and won the competition for the allegorical frescoes in honor of the coming of Clement VIII on the facade of the Palazzo del Reggimento, today's City Hall, already lost in 800.
In 1601 he arrived in Rome, where he learned to combine the classicism of Emilia with the new ideas of Caravaggio, painting several masterpieces: the Martyrdom of St. Cecilia (Basilica of Santa Cecilia in Trastevere), the Crucifixion of St. Peter for the Abbey of the Three Fountains (Pinacoteca Vaticana), the Martyrdom of St. Andrew and Eternal in Glory (San Gregorio al Celio), the decoration of the Hall of the Wedding Aldobrandine and the Hall of the Ladies of the Vatican Apostolic Palace, that for the Pauline Chapel in Santa Maria Maggiore. From 1610 he continued to alternate stays in Bologna, Rome and Naples, painting works of great importance for the history of art as the Massacre of the Innocents and Samson (Bologna, Pinacoteca Nazionale); the fresco of Aurora for the Casino Rospigliosi Pallavicini, at the time owned by Scipione Borghese (Rome); the Atalanta and Ippomene (Naples, Museo di Capodimonte).
Annibale and Agostino Carracci - copy after Correggio Group of Angels (end of XVI century) - National Gallery of Parma
Ludovico Carracci (1555-1619)
Saint Anthony the Abbot Preaching to the Hermits, 1615
Oil on canvas
cm 320 x 210
This painting’s almost excessive emotional charge, clearly visible in the peasant faces and gnarled feet of the figures in the foreground, together with the ruins, stark against the blue sky, the palm tree framing the composition, the strong chiaroscuro and the exceptionally free bruswork, all combine to make it emblematic of Ludovico’s painting, which was on the verge of being supplanted by Guido Reni’s scholarly classicism even in Bologna.
Basilica of San Domenico.
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The Basilica of San Domenico is home of the Dominican order.
The church consists of a central nave, two lateral aisles, several side chapels, a transept, a choir and an apse.
The interior was completely renewed in Baroque style with refined elegance and well-balanced proportions by the architect Carlo Francesco Dotti (1678–1759).
The Basilica of San Domenico (Basilica di San Domenico) is one of the richest churches in Bologna in art history and was erected by the Dominican Friars as a place to store the remains of San Domenico di Guzman, founder of the order and who arrived in Bologna around 1200. Inside there are priceless works of art by authors such as Guercino, Filippino Lippi and Ludovico Carracci.
Annibale and Agostino Carracci copy after Correggio Coronation of the Virgin (c. 1586) - National Museum of Capodimonte
Antiche fonti testimoniano della realizzazione di queste copie su tela da parte di Annibale Carracci (secondo alcune versioni coadiuvato da suo fratello Agostino). In particolare Giovanni Pietro Bellori racconta che: «De gli studij fatti da Annibale in Parma, veggonsi alcune copie in Roma nel palazzo Farnese, e particolarmente l'Incoronatione della Vergine con le mani al petto, e Christo in atto di coronarla sopra due gran tele, le quali figure furono dipinte dal Coreggio nella vecchia tribuna di San Giouanni, che dopo fu rouinata e rifatta con la copia di Cesare Aretusi» (Vite de' pittori, scultori e architetti moderni, 1672).
Ancient sources testify to the realization of these copies on canvas by Annibale Carracci (according to some versions assisted by his brother Agostino). In particular, Giovanni Pietro Bellori recounts that: " Of the studies made by Annibale in Parma, some copies can be seen in Rome in the Farnese palace, and particularly the Coronation of the Virgin with her hands on her chest, and Christo in the act of crowning her on two large canvases, which figures were painted by Coreggio in the old tribune of San Giouanni, which was later ruined and remade with the copy of Cesare Aretusi" (Lives of modern painters, sculptors and architects, 1672).
Ludovico Carracci (Bologna, April 21, 1555 - Bologna, November 13, 1619) - St. Peter Toma crucified (1613) - oil on canvas 153 x 117,5 - Galleria Nazionale di Bologna.
Fu eseguito per la chiesa di San Martino Maggiore, insieme ad un pendant raffigurante S. Angelo che assiste all'incontro tra S. Francesco e S. Domenico, attualmente non esposto. Particolarmente interessante il San Pietro Toma crocifisso, opera che si caratterizza per la straordinaria invenzione della figura del santo legata in primo piano, con l'abito fluttuante nel vento e che si staglia contro un cielo solcato da vibranti nuvole sovrastante il profilo inconfondibile della "turrita" Bologna.
It was executed for the church of San Martino Maggiore, together with a pendant depicting St. Angelo who attends the meeting between S. Francesco and S. Domenico, currently not exposed. Particularly interesting is the San Pietro Toma crucifix, a work that is characterized by the extraordinary invention of the figure of the saint tied up in the foreground, with the dress floating in the wind and that stands out against a sky furrowed by vibrant clouds overhanging the unmistakable profile of the "turreted" Bologna.
Ludovico Carracci (Bologna, April 21, 1555 - Bologna, November 13, 1619) - Portrait of a woman - National Gallery of Ancient Art of Palazzo Barberini
Studiò con Prospero Fontana, e probabilmente con Camillo Procaccini, tra il 1570 e il 1580; nel 1578 fu accettato nella compagnia dei pittori a Bologna.
Nel 1582, con i cugini Annibale e Agostino, istituirono una scuola che aveva il preciso compito di formare culturalmente e pittoricamente nuovi artisti, chiamandola prima Accademia dei Desiderosi e successivamente di Accademia degli Incamminati (1590).
E proprio i Carracci contribuirono in maniera determinante all'uscita dalla crisi del Manierismo, alla formazione della cultura figurativa Barocca, a nuove soluzioni pittoriche basate sul recupero della tradizione classica e rinascimentale ma rinnovata seguendo la pratica e i precetti dello studio del vero e del disegno.
He studied with Prospero Fontana, and probably with Camillo Procaccini, between 1570 and 1580; in 1578 he was accepted in the company of painters in Bologna.
In 1582, with his cousins Annibale and Agostino, they established a school that had the precise task of forming culturally and pictorially new artists, calling it first Accademia dei Desiderosi and then Accademia degli Incamminati (1590).
The Carracci contributed in a decisive way to the exit from the crisis of Mannerism, to the formation of the Baroque figurative culture, to new pictorial solutions based on the recovery of the classical and Renaissance tradition but renewed following the practice and the precepts of the study of the truth and the drawing.
Annibale and Agostino Carracci copy after Correggio Coronation of the Virgin (c. 1586) - National Museum of Capodimonte
Antiche fonti testimoniano della realizzazione di queste copie su tela da parte di Annibale Carracci (secondo alcune versioni coadiuvato da suo fratello Agostino). In particolare Giovanni Pietro Bellori racconta che: «De gli studij fatti da Annibale in Parma, veggonsi alcune copie in Roma nel palazzo Farnese, e particolarmente l'Incoronatione della Vergine con le mani al petto, e Christo in atto di coronarla sopra due gran tele, le quali figure furono dipinte dal Coreggio nella vecchia tribuna di San Giouanni, che dopo fu rouinata e rifatta con la copia di Cesare Aretusi» (Vite de' pittori, scultori e architetti moderni, 1672).
Ancient sources testify to the realization of these copies on canvas by Annibale Carracci (according to some versions assisted by his brother Agostino). In particular, Giovanni Pietro Bellori recounts that: " Of the studies made by Annibale in Parma, some copies can be seen in Rome in the Farnese palace, and particularly the Coronation of the Virgin with her hands on her chest, and Christo in the act of crowning her on two large canvases, which figures were painted by Coreggio in the old tribune of San Giouanni, which was later ruined and remade with the copy of Cesare Aretusi" (Lives of modern painters, sculptors and architects, 1672).
Annibale and Agostino Carracci - copy after Correggio Group of Angels (end of XVI century) - National Gallery of Parma
Denijs Calvaert or Calvart, known in Italy as Dionisio Fiammingo (Antwerp, c. 1540 - Bologna, 16 April 1619) - Lamentation over the Dead Christ (1595-1609) - National Gallery of Parma
Dopo aver studiato con Christiaen van Queecborn pittura di paesaggio ad Anversa, dove è documentato col nome di Caluwaert, si stabilì a Bologna, perfezionandosi nel nudo con Prospero Fontana tanto da abbandonare la sua maniera fiamminga per quella italiana. A Roma, verso il 1560, collaborò con Lorenzo Sabbatini nelle decorazioni vaticane e studiò l'opera di Raffaello.
Tornato a Bologna nel 1574, vi aprì una scuola che vantò allievi prestigiosi come Guido Reni, Francesco Albani e il Domenichino. Benché rivaleggiasse con l'Accademia dei Carracci, era talmente rispettato che alla sua morte Ludovico Carracci curò l'allestimento dei suoi funerali nella chiesa dei Serviti e accolse nell'Accademia tutti i suoi allievi.
After studying landscape painting with Christiaen van Queecborn in Antwerp, where he is documented under the name of Caluwaert, he settled in Bologna, perfecting his nude painting with Prospero Fontana to the extent that he abandoned his Flemish manner for the Italian one. In Rome, around 1560, he collaborated with Lorenzo Sabbatini on Vatican decorations and studied Raphael's work.
Returning to Bologna in 1574, he opened a school there that boasted such prestigious pupils as Guido Reni, Francesco Albani and Domenichino. Although he rivalled the Carracci Academy, he was so respected that on his death Ludovico Carracci arranged for his funeral to be held in the Serviti church and welcomed all his pupils into the Academy.
National Trust. Kedleston Hall. Derbyshire. Drawing Room
The Drawing Room, showing the painting 'Orlando delivering Olympia from the Sea-monster' attributed to Lodovico Carracci, over the fireplace. This room was planned by the architect James Paine before he was superseded by Robert Adam. It was one of the first rooms to be completed in the recent restoration project. You can see the Waterford crystal chandelier and the Exeter carpet.
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No Group Banners, thanks.
A curiously obscure detail of Ludovico Carracci's, The Vision of Saint Francis in the Art Institute of Chicago.