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rome, foro italico, mussolini's obelisk. this is part of a series of images of the foro italico, some more of which can be seen here
Francesco Salviati (Francesco de 'Rossi - Florence, 1510 - Rome, 11 November 1563) - Charity (1543-45) - oil on poplar panel 144.1 x 116.1 cm - Alte Pinakothek, Munich.
"Consécration à la Vierge", Lavinia Fontana.
Lavinia Fontana, connue aussi sous le nom de Lavinia Zappi (Bologne, 24 août 1552 - Rome, 11 août 1614) est une peintre italienne maniériste de l'école romaine.
Não te envaideças nem menosprezes os ramos.
Pois, se te gloriares, sabe que não és tu que sustentas a raiz, mas a raiz a ti. (Rom 11:18)
Francesco Salviati (Francesco de 'Rossi - Florence, 1510 - Rome, 11 November 1563) - Charity (1543-45) - oil on poplar panel 144.1 x 116.1 cm - Alte Pinakothek, Munich.
Guardando questa mia vecchia foto mi viene in mente la romanità, quella che ho imparato a conoscere avvicinandomi a questa città e questa gente, un po' involontariamente forse, la mia città di origine infatti, pure non essendo così lontana da qui, è già molto diversa.
Ho sempre visto Roma come la capitale dell'inciviltà del nostro paese, l'ho spesso odiata per questo e penso che lo sia ancora purtroppo, però, molto più lentamente, ho imparato ad amare quella caratteristica che solo la vera gente di Roma ha, la romanità che si identifica per me in quella generosità, anche espressiva e verbale, e in quella capacità di coinvolgere l'interlocutore, spesso sconosciuto e spesso sfruttando l'occasione più banale, con una spontaneità e una sincerità senza paragoni.
Oggi mi viene in mente la romanità della signora Sandra, che in un pomeriggio di questo caldissimo giugno, alla fontanella dei Monti in Via San Vito, è letteralmente comparsa nell'obiettivo della mia macchinetta fotografica urtando la mia bici appoggiata alla transenna laterale.
"Lo sa che da questa fontana esce l'acqua Paola! L'altra è piena di calcare, questa no", e intanto sistema la sua tanica di scorta appena riempita nella borsa AS Roma.
Comincia così il racconto della sua vita, con il suo viso buono che mi fa quasi tenerezza, mi dice davvero di tutto, con opportuna velocità, per non omettere nulla, come se mi conoscesse da una vita.
Amo questi incontri, so che dopotutto è un privilegio, posso gustarmi quella romanità di cui parlavo prima, non oso cercare il pretesto per il congedo, ascolto con interesse le sue vicende.
Alla fine si avvia verso casa, è passata forse più di mezz'ora, che peccato non averle fatto una foto, ma davvero non mi ci ha fatto pensare.
La signora Sandra (che appunto non è la signora della foto) oggi ha 71 anni: it.wikipedia.org/wiki/Sandra_Lombardi
Roma è una città straordinaria, sia nel male che nel bene, ne sono convinto più che mai!
Roma, 11 giugno 2017
PS : l'acqua della fontana dei Monti forse non è la Paola ma il senso rimane lo stesso ☺
The Roman Forum (in Latin Forum Romanum, although the Romans referred to it more often as Forum Magnum or simply Forum) is an archaeological area of Rome enclosed between the Palatine Hill, the Campidoglio, Via dei Fori Imperiali and the Colosseum, made up of the stratification of the remains of those buildings and monuments of heterogeneous epochs that for much of the ancient history of Rome represented the political, juridical, religious and economic center of the city of Rome, as well as the nerve center of the entire Roman civilization.
After a period of decline that began in the Late Antiquity, the Roman Forum was subject to frequent spoliations and changes in use, until it found itself, in the 16th century, almost completely buried and permanently used as a pasture for cattle, from which the nickname of Campo Vaccino.
Thanks to the impressive urban restructuring of post-unification Italy and the fascist period, the area of the Forum was gradually brought to light, studied, and museumized, becoming with the Colosseum and the Palatine one of the most distinguished and visited archaeological sites in the world.
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Il Foro Romano (in latino Forum Romanum, sebbene i Romani si riferissero ad esso più spesso come Forum Magnum o semplicemente Forum) è un'area archeologica di Roma racchiusa tra il Palatino, il Campidoglio, Via dei Fori Imperiali e il Colosseo, costituita dalla stratificazione dei resti di quegli edifici e monumenti di epoche eterogenee che per gran parte della storia antica di Roma rappresentarono il centro politico, giuridico, religioso ed economico della città di Roma, oltre che il centro nevralgico dell'intera civiltà romana.i
Dopo una fase di declino iniziata nell'età tardoantica il Foro Romano è stato soggetto a frequenti spoliazioni e cambi di destinazione d'uso, fino a ritrovarsi, nel XVI secolo, quasi completamente interrato e stabilmente utilizzato come pascolo per i bovini, da cui il nomignolo di Campo Vaccino.
Grazie alle imponenti ristrutturazioni urbanistiche dell'Italia post-unitaria e del periodo fascista, l'area del Foro è stata gradualmente riportata alla luce, studiata, e musealizzata, diventando con il Colosseo e il Palatino uno dei siti archeologici più illustri e visitati al mondo.
1 Year of RealizzARTI Project for people with disability
50 Shots
Rome - Città dell'Altra Economia
Exhibition 11/12//13 Dicembre 2017
Cure live @ Coca Cola live Mtv in Pzza San Giovanni a Roma (11/10/2008)
© 2008 Giulia Razzauti - tutti i diritti riservati
Francesco Salviati (Florence, 1510 - Rome, November 11, 1563) - Stories of Furio Camillo (1543-1545) - Audience Hall, Palazzo Vecchio - Florence
Le pareti sono decorate, nelle scene principali, dalle storie di Furio Camillo, generale romano che di ritorno dall'esilio liberò Roma dagli invasori Galli Boi nel 390 a.C. L'allusione simbolica era evidentemente legata alla ripresa della città di Firenze da parte di Cosimo dopo la morte violenta del suo predecessore Alessandro, e alla sconfitta e cacciata dei dissidenti.
Le scene si dispiegano su un unico registro principale, con la fascia inferiore occupata da festoni e medaglioni a monocromo. Essendo una sala d'angolo del palazzo, un lato lungo e uno breve sono interessanti da un totale di cinque finestre, tra le quali si inseriscono allegorie scene più piccole, mentre sui due lati interni si trovano due scene più grandi, divise dai rispettivi portali, con in mezzo altre allegorie e divinità, tutte legate al tema del Tempo e dell'eternità.
The walls are decorated in the main scenes, the stories of Furio Camillo, Roman general who returned from exile freed Rome from invading Gauls Boi in 390 BC. The symbolic allusion was evidently related to Cosimo's recovery of the city of Florence after the violent death of his predecessor Alessandro, and the defeat and expulsion of the dissidents.
The scenes unfold on a single main register, with the lower band occupied by monochrome festoons and medallions. Being a corner room of the palace, a long and a short side are interesting by a total of five windows, between which are inserted allegories smaller scenes, while on the two inner sides are two larger scenes, divided by their respective portals, with in between other allegories and deities, all related to the theme of Time and Eternity.
1 Year of RealizzARTI Project for people with disability
50 Shots
Rome - Città dell'Altra Economia
Exhibition 11/12//13 Dicembre 2017
Bramante (Donato di Angelo di Pascuccio - Fermignano, 1444 - Rome, 11 April 1514) - Heraclitus (around 1486) - Detached fresco carried on canvas - 102 x 127 cm - Pinacoteca of Brera Milan
I due filosofi greci, l'uno che piange e l'altro che ride, ragionano sulla sorte umana: l'oggetto delle loro riflessioni è un mappamondo che riporta con molta precisione le terre, i mari e i monti conosciuti nel Quattrocento: si riconoscono anche le Alpi e il Mar Mediterraneo.
The two Greek philosophers, one who cries and the other laughs, reason about human fate: the object of their reflections is a globe that brings back with great precision the lands, the seas and the mountains known in the fifteenth century: they are also recognizable the Alps and the Mediterranean Sea.
1 Year of RealizzARTI Project for people with disability
50 Shots
Rome - Città dell'Altra Economia
Exhibition 11/12//13 Dicembre 2017
The Vittoriano or Altare della Patria is a monument of great symbolic value that brings together all the values of Italy Risorgimental and of our Constitution.
This is one of the most emblematic monuments in the history of our country and is the symbol of Italy, Italy, the Risorgimento and the Savoy monarchy.
In the middle, next to the tomb of the Unknown Soldier, placed in 1921 in memory and warning after the First World War, stands the statue of Rome. On the background of a golden mosaic to symbolize the importance of the new capital and its geographical and political centrality; on both sides we find the representation of agriculture and industry, that is, the work on which the economy of the country rests and the patriot love on which the society is founded
The enormous equestrian statue of Victor Emmanuel II dominates.
The construction of the statue was entrusted to Enrico Chiaradia as early as April 1889, the day of the closing of the competition for the construction of the Vittoriano
The statue, which was then completed by Emilio Gallori, since its creator had died in 1901], was fused with bronze from some cannons of the Royal Army, and then mounted on the marble base where the allegorical personifications of the fourteen cities were carved "nobles" of Italy, between 1907 and 1910. The "noble" cities depicted are the capitals of the pre-unification Italian monarchies and of the maritime republics, whose birth dates back to a period prior to the Savoy monarchy: for this reason they came reputed the "noble mothers" of the Risorgimento Italy.
Regarding the huge bronze equestrian statue, made in 1910 by Enrico Chiaradia, there is a curiosity that seems incredible: when it was finished it housed inside the horse's belly a dinner for twenty people ..
This mammoth composition is in fact 10 meters long and 12 high, more than enough space to set up a table.
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Il Vittoriano o Altare della Patria è un monumento di grandissima valenza simbolica che riunisce in sé tutti i valori dell’Italia risorgimentale e della nostra Costituzione.
Questo è uno dei monumenti più emblematici della storia del nostro Paese ed è il simbolo dell’Italia D’Italia, del Risorgimento e della monarchia sabauda.
Al centro, accanto alla tomba del Milite Ignoto, posta nel 1921 a monito e memoria dopo la Prima Guerra Mondiale, troneggia la statua di Roma. Sullo sfondo di un mosaico dorato a simboleggiare l’importanza della nuova capitale e la sua centralità geografica e politica; sui due lati troviamo la rappresentazione dell’agricoltura e dell’industria, cioè il lavoro su cui poggia l’economia del Paese e l’amor patrio su cui si fonda la società
Sovrasta il tutto l’enorme statua equestre di Vittorio Emanuele II.
La costruzione della statua, fu affidata a Enrico Chiaradia già nell'aprile 1889, nel giorno stesso della chiusura del concorso per la costruzione del Vittoriano
La statua, che fu poi completata da Emilio Gallori, visto che il suo ideatore era morto nel 1901], venne fusa con il bronzo proveniente da alcuni cannoni del Regio Esercito, e poi montata sul basamento marmoreo dove furono scolpite le personificazioni allegoriche delle quattordici città "nobili" d'Italia, tra il 1907 e il 1910. Le città "nobili" raffigurate sono le capitali delle antiche monarchie italiane preunitarie e delle repubbliche marinare, la cui nascita è ascrivibile a un periodo precedente alla monarchia sabauda: per tale motivo vennero reputate le "madri nobili" dell'Italia risorgimentale.
Riguardo l’enorme statua equestre in bronzo, fatta nel 1910 da Enrico Chiaradia, c’è una curiosità che sembra incredibile: quando fu terminata ospitò all’interno della pancia del cavallo una cena per venti persone..
Questa mastodontica composizione è infatti lunga 10 metri e alta 12, spazio più che sufficiente per allestirvi una tavolata.
Francesco Salviati (Francesco de' Rossi - Florence, 1510 - Rome, 11 November 1563) - Three Parcae (1550) oil on wood 83×61.8 cm. - Palatine Gallery - Pitti Palace, Florence
Le Parche (o in greco Moire) erano la personificazione del destino ineluttabile. Il loro compito era tessere il filo del fato di ogni uomo, svolgerlo ed infine reciderlo segnandone la morte.
Cloto, la più giovane, filava lo stame della vita.
Lachesi girava il fuso: stabiliva quanto filo spettasse a ogni uomo e decideva le sorti della vita che stava filando, usando lo stame bianco misto ai fili d'oro per indicare i giorni felici e lo stame nero misto ai fili d'oro per indicare i giorni di sventura.
Atropo ("inflessibile"), la più vecchia, che, con lucide cesoie, lo recideva, inesorabile.
La lunghezza dei fili prodotti può variare, esattamente come quella della vita degli uomini. A fili cortissimi corrisponderà una vita assai breve, come quella di un neonato, e viceversa. Si pensava ad esempio che Sofocle, uno dei più longevi autori greci (90 anni), avesse avuto in sorte un filo assai lungo.
Rara è la rappresentazione delle Parche, tanto più in piedi e in una composizione stretta, che le vede una a fianco dell'altra. Lo sfondo è scuro, I loro attributi sono chiaramente specificati: Cloto ha la conocchia, Lachesi il filo che simboleggia la vita dell'uomo, e Atropo è in atto di tagliarlo.
Tutte e tre hanno lo stesso volto di vecchia, di gusto stregonesco, ruotato in posizioni diverse: frontale, di profilo e di tre quarti.
The Fates (or Moire in Greek) were the personification of inevitable destiny. Their task was to weave the thread of every man's fate, to carry it out and finally to cut it out, marking his death.
Cloto, the youngest, spun the stamen of life.
Lachesi spun the spindle: he established how much thread was due to each man and decided the fate of the life he was spinning, using the white stamen mixed with golden threads to indicate the happy days and the black stamen mixed with golden threads to indicate the days of misfortune.
Atropus ("inflexible"), the oldest, who, with shiny shears, cut him, inexorable.
The length of the threads produced can vary, just like that of men's lives. Very short threads will correspond to a very short life, like that of a newborn baby, and vice versa. It was thought, for example, that Sophocles, one of the most long-lived Greek authors (90 years old), had a very long thread.
Rare is the representation of the Fates, all the more standing and in a narrow composition, which sees them one next to the other. The background is dark, their attributes are clearly specified: Cloto has the distaff, Lachesi the thread that symbolizes the life of man, and Atropo is in the act of cutting it.
All three have the same old woman's face, of witch-like taste, rotated in different positions: frontal, in profile and three-quarters.
Bramante (Donato di Angelo di Pascuccio - Fermignano, 1444 - Rome, 11 April 1514) - Democritus (around 1486) - Detached fresco carried on canvas - 102 x 127 cm - Pinacoteca of Brera Milan
I due filosofi greci, l'uno che piange e l'altro che ride, ragionano sulla sorte umana: l'oggetto delle loro riflessioni è un mappamondo che riporta con molta precisione le terre, i mari e i monti conosciuti nel Quattrocento: si riconoscono anche le Alpi e il Mar Mediterraneo.
The two Greek philosophers, one who cries and the other laughs, reason about human fate: the object of their reflections is a globe that brings back with great precision the lands, the seas and the mountains known in the fifteenth century: they are also recognizable the Alps and the Mediterranean Sea.
Adam Elsheimer (Frankfurt am Main, September 16, 1578 - Rome, December 11, 1610) - domestic altar with six scenes from the life of Mary (1597-98) - Gemäldegalerie, Berlin
E' stato un artista tedesco che lavorava a Roma e morì a soli trentadue anni, ma fu molto influente all'inizio del XVII secolo nel campo della pittura barocca. I suoi relativamente pochi dipinti erano di piccola scala, quasi tutti dipinti su lastre di rame, del tipo spesso noto come dipinti di gabinetto. Includono una varietà di effetti di luce e un trattamento innovativo del paesaggio. Ha avuto un'influenza su molti altri artisti, tra cui Rembrandt e Peter Paul Rubens.
Was a German artist who worked in Rome and died when he was only thirty-two years old, but he was very influential at the beginning of the seventeenth century in the field of Baroque painting. His relatively few paintings were small in scale, almost all painted on copper plates, of the type often known as cabinet paintings. They included a variety of lighting effects and an innovative treatment of landscape. He was an influence on many other artists, including Rembrandt and Peter Paul Rubens.
Bramante (Donato di Angelo di Pascuccio - Fermignano, 1444 - Rome, 11 April 1514) - Heraclitus and Democritus (around 1486) - Detached fresco carried on canvas - 102 x 127 cm - Pinacoteca of Brera Milan
I due filosofi greci, l'uno che piange e l'altro che ride, ragionano sulla sorte umana: l'oggetto delle loro riflessioni è un mappamondo che riporta con molta precisione le terre, i mari e i monti conosciuti nel Quattrocento: si riconoscono anche le Alpi e il Mar Mediterraneo.
The two Greek philosophers, one who cries and the other laughs, reason about human fate: the object of their reflections is a globe that brings back with great precision the lands, the seas and the mountains known in the fifteenth century: they are also recognizable the Alps and the Mediterranean Sea.
Francesco Salviati (Florence, 1510 - Rome, November 11, 1563) - Stories of Furio Camillo (1543-1545) - Audience Hall, Palazzo Vecchio - Florence
Le pareti sono decorate, nelle scene principali, dalle storie di Furio Camillo, generale romano che di ritorno dall'esilio liberò Roma dagli invasori Galli Boi nel 390 a.C. L'allusione simbolica era evidentemente legata alla ripresa della città di Firenze da parte di Cosimo dopo la morte violenta del suo predecessore Alessandro, e alla sconfitta e cacciata dei dissidenti.
Le scene si dispiegano su un unico registro principale, con la fascia inferiore occupata da festoni e medaglioni a monocromo. Essendo una sala d'angolo del palazzo, un lato lungo e uno breve sono interessanti da un totale di cinque finestre, tra le quali si inseriscono allegorie scene più piccole, mentre sui due lati interni si trovano due scene più grandi, divise dai rispettivi portali, con in mezzo altre allegorie e divinità, tutte legate al tema del Tempo e dell'eternità.
The walls are decorated in the main scenes, the stories of Furio Camillo, Roman general who returned from exile freed Rome from invading Gauls Boi in 390 BC. The symbolic allusion was evidently related to Cosimo's recovery of the city of Florence after the violent death of his predecessor Alessandro, and the defeat and expulsion of the dissidents.
The scenes unfold on a single main register, with the lower band occupied by monochrome festoons and medallions. Being a corner room of the palace, a long and a short side are interesting by a total of five windows, between which are inserted allegories smaller scenes, while on the two inner sides are two larger scenes, divided by their respective portals, with in between other allegories and deities, all related to the theme of Time and Eternity.
Francesco de' Rossi, known as Il Salviati, and often referred to simply as Francesco Salviati (Florence, 1510 - Rome, November 11, 1563) - Madonna and Child with little St. John (c. 1543-1548) oil canvas 103 x 80 cm - Galleria dell'Accademia, Florence
Il Salviati, allievo di Andrea del Sarto, sviluppò una lunga ed intensa carriera tra Firenze, Roma e la Francia, dove lavorò al cantiere del manierismo internazionale alla reggia di Fontainebleau.
Il presente dipinto è strettamente legato alla “Carità“, esposto qui in Accademia. Entrambi vennero dipinti dal Salviati rifacendosi alla stessa composizione manierista dai vivaci e cangianti colori, restituiti grazie ad un recente restauro del 2003.
Salviati, a pupil of Andrea del Sarto, developed a long and intense career between Florence, Rome and France, where he worked at the site of international Mannerism at the palace of Fontainebleau.
The present painting is closely related to "Charity," also shown here in the Accademia. Both were painted by Salviati referring to the same Mannerist composition with vivid and iridescent colors, restored thanks to a recent restoration in 2003.
Francesco Salviati (Florence, 1510 - Rome, November 11, 1563) - Stories of Furio Camillo (1543-1545) - Audience Hall, Palazzo Vecchio - Florence
Le pareti sono decorate, nelle scene principali, dalle storie di Furio Camillo, generale romano che di ritorno dall'esilio liberò Roma dagli invasori Galli Boi nel 390 a.C. L'allusione simbolica era evidentemente legata alla ripresa della città di Firenze da parte di Cosimo dopo la morte violenta del suo predecessore Alessandro, e alla sconfitta e cacciata dei dissidenti.
Le scene si dispiegano su un unico registro principale, con la fascia inferiore occupata da festoni e medaglioni a monocromo. Essendo una sala d'angolo del palazzo, un lato lungo e uno breve sono interessati da un totale di cinque finestre, tra le quali si inseriscono allegorie scene più piccole, mentre sui due lati interni si trovano due scene più grandi, divise dai rispettivi portali, con in mezzo altre allegorie e divinità, tutte legate al tema del Tempo e dell'eternità.
The walls are decorated in the main scenes, the stories of Furio Camillo, Roman general who returned from exile freed Rome from invading Gauls Boi in 390 BC. The symbolic allusion was evidently related to Cosimo's recovery of the city of Florence after the violent death of his predecessor Alessandro, and the defeat and expulsion of the dissidents.
The scenes unfold on a single main register, with the lower band occupied by monochrome festoons and medallions. Being a corner room of the palace, a long and a short side are interested by a total of five windows, between which are inserted allegories smaller scenes, while on the two inner sides are two larger scenes, divided by their respective portals, with in between other allegories and deities, all related to the theme of Time and Eternity.
Bramante (Donato di Angelo di Pascuccio - Fermignano, 1444 - Rome, 11 April 1514) - Man with halberd (around 1486) - Detached fresco carried on canvas - cm 95 x 115 - Pinacoteca of Brera Milan
Gli affreschi strappati costituiscono i frammenti superstiti della decorazione ad affresco eseguita da Donato Bramante negli anni ottanta del Quattrocento in una sala di Palazzo Panigarola, un tempo esistente in via Lanzone e oggi distrutto. Gli furono commissionati dal consigliere di corte Gaspare Ambrogio Visconti, allora proprietario della casa.
La più antica testimonianza pervenutaci è quella del Lomazzo, che li descrive nel Cinquecento, quando il ciclo era ancora integro. Secondo la sua testimonianza, avrebbero rappresentato i più celebri uomini d'arme del tempo.
The detached frescoes are the surviving fragments of the fresco decoration executed by Donato Bramante in the eighties of the fifteenth century in a palace Panigarola room (now destroyed). They were commissioned by the court counselor Gaspare Ambrogio Visconti, then owner of the house.
The oldest surviving testimony is that of Lomazzo, who describes them in the sixteenth century, when the cycle was still intact. According to his testimony, they would have represented the most famous men of arms of the time.
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Francesco Salviati (Francesco de' Rossi - Florence, 1510 - Rome, November 11, 1563) - portrait of a young man (1543-45) oil on panel 58.4 cm; width 46.5 cm. - Poldi Pezzoli Museum, Milan
Non si conosce l’identità del personaggio: è stato ipotizzato che fosse Cosimo I de Medici, ma la somiglianza con un suo ritratto certo è abbastanza vaga. Osservando il vestito è evidente che il giovane era senz’altro ricco. Il nero era, insieme al rosso che spunta negli spacchi delle maniche, uno dei colori più eleganti e riservato agli abiti di lusso; anche il colletto di pizzo a due punte, moda nata in Spagna negli anni trenta del Cinquecento e presto diffusa anche in Italia, era all’epoca un accessorio costoso. Lo sguardo del giovane, che non è rivolto verso lo spettatore, rivela un’aria algida e distaccata. La fisionomia del personaggio presenta alcune delle raffinate caratteristiche tipiche del manierismo: la figura è un po’ allungata, le spalle sono lievemente cadenti, la carnagione è levigata, quasi marmorea, ma senza arrivare agli eccessi innaturali che talvolta contraddistinguono le opere di taluni seguaci di questo stile. Si tratta di un’opera, databile al 1543-1545, di Francesco Salviati, pittore e letterato fiorentino amico del Vasari; oltre che stimato ritrattista, realizzò cicli di affreschi in numerosi palazzi e chiese, a Roma come a Firenze
We do not know the identity of the character: it has been suggested that it was Cosimo I de Medici, but the resemblance to a portrait of him is quite vague. Looking at the dress is clear that the young man was certainly rich. Black was, together with the red that appears in the slits of the sleeves, one of the most elegant colors and reserved for luxury clothing; even the two-pointed lace collar, a fashion born in Spain in the 1630s and soon to spread to Italy, was at the time an expensive accessory. The young man's gaze, which is not turned towards the viewer, reveals an algid and detached air. The physiognomy of the character presents some of the refined characteristics typical of Mannerism: the figure is a little elongated, the shoulders are slightly sloping, the complexion is smooth, almost marble-like, but without reaching the unnatural excesses that sometimes characterize the works of some followers of this style. This is a work, datable to 1543-1545, by Francesco Salviati, Florentine painter and man of letters, a friend of Vasari's; besides being an esteemed portraitist, he painted cycles of frescoes in numerous palaces and churches, in Rome as well as in Florence.
Bramante (Donato di Angelo di Pascuccio - Fermignano, 1444 - Rome, 11 April 1514) - Man of arms (around 1486) - Detached fresco carried on canvas - cm 90 x 113 - Pinacoteca of Brera Milan
Gli affreschi strappati costituiscono i frammenti superstiti della decorazione ad affresco eseguita da Donato Bramante negli anni ottanta del Quattrocento in una sala di Palazzo Panigarola, un tempo esistente in via Lanzone e oggi distrutto. Gli furono commissionati dal consigliere di corte Gaspare Ambrogio Visconti, allora proprietario della casa.
La più antica testimonianza pervenutaci è quella del Lomazzo, che li descrive nel Cinquecento, quando il ciclo era ancora integro. Secondo la sua testimonianza, avrebbero rappresentato i più celebri uomini d'arme del tempo.
The detached frescoes are the surviving fragments of the fresco decoration executed by Donato Bramante in the eighties of the fifteenth century in a palace Panigarola room (now destroyed). They were commissioned by the court counselor Gaspare Ambrogio Visconti, then owner of the house.
The oldest surviving testimony is that of Lomazzo, who describes them in the sixteenth century, when the cycle was still intact. According to his testimony, they would have represented the most famous men of arms of the time.
Santa Marinella(ROMA) 11 Agosto 2021
L'ETR252.003-7 I-TI "Arlecchino" in transito nei pressi di Santa Marinella(ROMA) mentre effettua l'invio Pistoia / ROMA T.ni
Bramante (Donato di Angelo di Pascuccio - Fermignano, 1444 - Rome, 11 April 1514) - Man of arms with beard and helmet (around 1486) - Detached fresco carried on canvas - cm 90 x 113 - Pinacoteca of Brera Milan
Gli affreschi strappati costituiscono i frammenti superstiti della decorazione ad affresco eseguita da Donato Bramante negli anni ottanta del Quattrocento in una sala di Palazzo Panigarola, un tempo esistente in via Lanzone e oggi distrutto. Gli furono commissionati dal consigliere di corte Gaspare Ambrogio Visconti, allora proprietario della casa.
La più antica testimonianza pervenutaci è quella del Lomazzo, che li descrive nel Cinquecento, quando il ciclo era ancora integro. Secondo la sua testimonianza, avrebbero rappresentato i più celebri uomini d'arme del tempo.
The detached frescoes are the surviving fragments of the fresco decoration executed by Donato Bramante in the eighties of the fifteenth century in a palace Panigarola room (now destroyed). They were commissioned by the court counselor Gaspare Ambrogio Visconti, then owner of the house.
The oldest surviving testimony is that of Lomazzo, who describes them in the sixteenth century, when the cycle was still intact. According to his testimony, they would have represented the most famous men of arms of the time.
Francesco de' Rossi, known as Il Salviati, and often referred to simply as Francesco Salviati (Florence, 1510 - Rome, November 11, 1563) - allegory of Charity (c. 1544-1548) oil on canvas 156 x 122 cm- Galleria dell'Accademia, Florence
Il Salviati, allievo di Andrea del Sarto, sviluppò una lunga ed intensa carriera tra Firenze, Roma e la Francia, dove lavorò al cantiere del manierismo internazionale alla reggia di Fontainebleau.
Il presente dipinto è strettamente legato alla Madonna con Bambino, San Giovannino ed Angelo, esposto sempre qui in Accademia. Entrambi vennero dipinti dal Salviati rifacendosi alla stessa composizione manierista dai vivaci e cangianti colori, restituiti grazie ad un recente restauro del 2003.
Salviati, a pupil of Andrea del Sarto, developed a long and intense career between Florence, Rome and France, where he worked at the site of international Mannerism at the palace of Fontainebleau.
The present painting is closely related to the Madonna and Child, St. John and Angel, also exhibited here in the Accademia. Both were painted by Salviati referring to the same Mannerist composition with vivid and iridescent colors, restored thanks to a recent restoration in 2003.
Francesco Salviati (Florence, 1510 - Rome, November 11, 1563) - Stories of Furio Camillo (1543-1545) - Audience Hall, Palazzo Vecchio - Florence
Le pareti sono decorate, nelle scene principali, dalle storie di Furio Camillo, generale romano che di ritorno dall'esilio liberò Roma dagli invasori Galli Boi nel 390 a.C. L'allusione simbolica era evidentemente legata alla ripresa della città di Firenze da parte di Cosimo dopo la morte violenta del suo predecessore Alessandro, e alla sconfitta e cacciata dei dissidenti.
Le scene si dispiegano su un unico registro principale, con la fascia inferiore occupata da festoni e medaglioni a monocromo. Essendo una sala d'angolo del palazzo, un lato lungo e uno breve sono interessanti da un totale di cinque finestre, tra le quali si inseriscono allegorie scene più piccole, mentre sui due lati interni si trovano due scene più grandi, divise dai rispettivi portali, con in mezzo altre allegorie e divinità, tutte legate al tema del Tempo e dell'eternità.
The walls are decorated in the main scenes, the stories of Furio Camillo, Roman general who returned from exile freed Rome from invading Gauls Boi in 390 BC. The symbolic allusion was evidently related to Cosimo's recovery of the city of Florence after the violent death of his predecessor Alessandro, and the defeat and expulsion of the dissidents.
The scenes unfold on a single main register, with the lower band occupied by monochrome festoons and medallions. Being a corner room of the palace, a long and a short side are interesting by a total of five windows, between which are inserted allegories smaller scenes, while on the two inner sides are two larger scenes, divided by their respective portals, with in between other allegories and deities, all related to the theme of Time and Eternity.
Francesco Salviati (Florence, 1510 - Rome, November 11, 1563) - Stories of Furio Camillo (1543-1545) - Audience Hall, Palazzo Vecchio - Florence
Le pareti sono decorate, nelle scene principali, dalle storie di Furio Camillo, generale romano che di ritorno dall'esilio liberò Roma dagli invasori Galli Boi nel 390 a.C. L'allusione simbolica era evidentemente legata alla ripresa della città di Firenze da parte di Cosimo dopo la morte violenta del suo predecessore Alessandro, e alla sconfitta e cacciata dei dissidenti.
Le scene si dispiegano su un unico registro principale, con la fascia inferiore occupata da festoni e medaglioni a monocromo. Essendo una sala d'angolo del palazzo, un lato lungo e uno breve sono interessanti da un totale di cinque finestre, tra le quali si inseriscono allegorie scene più piccole, mentre sui due lati interni si trovano due scene più grandi, divise dai rispettivi portali, con in mezzo altre allegorie e divinità, tutte legate al tema del Tempo e dell'eternità.
The walls are decorated in the main scenes, the stories of Furio Camillo, Roman general who returned from exile freed Rome from invading Gauls Boi in 390 BC. The symbolic allusion was evidently related to Cosimo's recovery of the city of Florence after the violent death of his predecessor Alessandro, and the defeat and expulsion of the dissidents.
The scenes unfold on a single main register, with the lower band occupied by monochrome festoons and medallions. Being a corner room of the palace, a long and a short side are interesting by a total of five windows, between which are inserted allegories smaller scenes, while on the two inner sides are two larger scenes, divided by their respective portals, with in between other allegories and deities, all related to the theme of Time and Eternity.
Adam Elsheimer (Frankfurt am Main, September 16, 1578 - Rome, December 11, 1610) - the sack of Troy (1600 -1601) oil on copper - Alte Pinakothek Munich
Il quadro molto dettagliato, creato subito dopo il suo arrivo a Roma, mostra l'orientamento di Adam Elsheimer verso la tradizione fiamminga di raffigurare paesaggi notturni con scene di fuoco, come quelle di Jan Brueghel il Vecchio, che godette di grande popolarità nei circoli dei collezionisti romani.
This very detailed painting, created soon after his arrival in Rome, shows Adam Elsheimer's orientation towards the Flemish tradition of depicting nocturnal landscapes with fire scenes, like those of Jan Brueghel the Elder, which enjoyed great popularity in Roman collectors' circles.
Francesco Salviati (Florence, 1510 - Rome, November 11, 1563) - Stories of Furio Camillo (1543-1545) - Audience Hall, Palazzo Vecchio - Florence
dettaglio con la firma autografa (in alto a sinistra in alto sopra il festone) di Francesco Salviati, autore dell'affresco.
detail with the autograph signature (top left above the festoon) of Francesco Salviati, author of the fresco.
Francesco Salviati (Florence, 1510 - Rome, November 11, 1563) - Stories of Furio Camillo (1543-1545) - Audience Hall, Palazzo Vecchio - Florence
Le pareti sono decorate, nelle scene principali, dalle storie di Furio Camillo, generale romano che di ritorno dall'esilio liberò Roma dagli invasori Galli Boi nel 390 a.C. L'allusione simbolica era evidentemente legata alla ripresa della città di Firenze da parte di Cosimo dopo la morte violenta del suo predecessore Alessandro, e alla sconfitta e cacciata dei dissidenti.
Le scene si dispiegano su un unico registro principale, con la fascia inferiore occupata da festoni e medaglioni a monocromo. Essendo una sala d'angolo del palazzo, un lato lungo e uno breve sono interessanti da un totale di cinque finestre, tra le quali si inseriscono allegorie scene più piccole, mentre sui due lati interni si trovano due scene più grandi, divise dai rispettivi portali, con in mezzo altre allegorie e divinità, tutte legate al tema del Tempo e dell'eternità.
The walls are decorated in the main scenes, the stories of Furio Camillo, Roman general who returned from exile freed Rome from invading Gauls Boi in 390 BC. The symbolic allusion was evidently related to Cosimo's recovery of the city of Florence after the violent death of his predecessor Alessandro, and the defeat and expulsion of the dissidents.
The scenes unfold on a single main register, with the lower band occupied by monochrome festoons and medallions. Being a corner room of the palace, a long and a short side are interesting by a total of five windows, between which are inserted allegories smaller scenes, while on the two inner sides are two larger scenes, divided by their respective portals, with in between other allegories and deities, all related to the theme of Time and Eternity.
1 Year of RealizzARTI Project for people with disability
50 Shots
Rome - Città dell'Altra Economia
Exhibition 11/12//13 Dicembre 2017
John 15:16 (ESV)
16 You did not choose me, but I chose you and appointed you that you should go and bear fruit and that your fruit should abide, so that whatever you ask the Father in my name, he may give it to you.
Elect, Election.
In modern English, terms referring to the selection of a leader or representative by a group of people. An element of choice is involved, since usually there are several candidates out of whom one must be chosen.
When the verb “elect” is used theologically in the Bible, it usually has God as its subject. In the OT it is used for God’s choice of Israel to be his people (cf. Acts 13:17). Israel became God’s people, not because they decided to belong to him, but because he took the initiative and chose them. Nor did God’s choice rest on any particular virtues that his people exemplified, but rather on his promise to their forefather Abraham (Dt 7:7, 8). God also chose their leaders, such as Saul and David (1 Sm 10:24; 2 Sm 6:21), apart from any popular vote by the people. The word thus indicates God’s prerogative in deciding what shall happen, independently of human choice.
The same thoughts are found in the NT. God’s people are described as his “elect” or “chosen ones,” a term used by Jesus when speaking of the future time when the Son of man will come and gather together God’s people (Mk 13:20, 27). He will vindicate them for their sufferings and for their patience in waiting for his coming (Lk 18:7). In 1 Peter 2:9 God’s people are called an “elect nation.” This phrase was originally used of the people of Israel (Is 43:20), and it brings out the fact that the people of God in the OT and the Christian church in the NT stand in continuity with each other; the promises addressed to Israel now find fulfillment in the church.
In Romans 9–11 Paul discusses the problem of why the people of Israel as a nation have rejected the gospel, while the Gentiles have accepted it. He states that in the present time there is a “remnant” of Israel as a result of God’s gracious choice of them. This group is called “the elect.” They are the chosen people who have obtained what was meant for Israel as a whole, while the greater mass of the people have failed to obtain it because they were “hardened” as a result of their sin (Rom 11:5, 7).
Nevertheless, God’s choice of Israel to be his people has not been cancelled. Most Jewish people have aligned themselves against the gospel, so that the Gentiles may come in and receive God’s blessings in their place; but they still remain beloved by God, and God will not go back on his original calling of them (Rom 11:28). Consequently Paul is confident that in due time there will be a general return to God by the people of Israel.
The word translated “elect” is generally found in the plural and refers either to the members of God’s people as a whole or to those in a particular local church (Rom 8:33; Col 3:12; 1 Thes 1:4; 2 Tm 2:10; Ti 1:1; 1 Pt 1:1; 2 Pt 1:10; Rv 17:14; Rom 16:13 and 2 Jn 13 have the singular form). The use of the plural may partly be explained by the fact that most of the NT letters are addressed to groups of people rather than to individuals. More probably, however, the point is that God’s election is concerned with the creation of a people rather than the calling of isolated individuals.
The use of the word “election” emphasizes that membership of God’s people is due to God’s initiative, prior to all human response, made before time began (Eph 1:4; cf. Jn 15:16, 19). It is God who has called men and women to be his people, and those who respond are elect. God’s call does not depend on any virtues or merits of humankind. Indeed, he chooses the foolish things by worldly standards to shame the wise, the weak to confound the strong, and the low and insignificant to bring to nothing those who think that they are something (1 Cor 1:27, 28). The effect of election is to leave no grounds whatever for human boasting in achievement and position. Whatever the elect are, they owe entirely to God, and they cannot boast or compare themselves with other people.
God’s elect are a privileged people. Since they now have God to uphold them, no one can bring any accusation against them that might lead to God’s condemnation (Rom 8:33). They constitute a royal priesthood; they are God’s servants with the right of access to him (1 Pt 2:9). It is for their sake that the apostles endured hardship and suffering, so that they might enjoy future salvation and eternal glory (2 Tm 2:10).
The elect are distinguished by their faith in God (Ti 1:1), and they are called to show the character that befits God’s people (Col 3:12). They must make their calling and election sure; that is, they must show that they belong to God by the quality of their lives (2 Pt 1:10). They must continue being faithful to the One who called them (Rv 17:14).
The relationship between God’s call and human response is explained in Matthew 22:14: “For many are called, but few are chosen.” Although God calls many through the gospel, only some of those respond to the call and become his elect people. The text sheds no light on the mystery of why only some become God’s people. Certainly, when a person does respond to God’s call, it is because the gospel comes to him or her “in power and in the Holy Spirit and with full conviction” (1 Thes 1:4, 5). When men and women refuse the gospel, it is because they have become hardened as a result of sin and their trust in their own works. Scripture does not go beyond that point in explanation, and neither should Christians.
“Election” can also be used of God’s choice of people to serve him. Jesus chose the 12 disciples out of the larger company of those who followed him (Lk 6:13; Acts 1:2). The same thought reappears in John’s Gospel; Jesus commented that although he chose the 12, one of them turned out to be a devil (Jn 6:70; 13:18). When a replacement was needed for Judas, the church prayed to Jesus and asked him to show them which of the two available candidates he would choose to fill the gap in the 12 (Acts 1:24). Peter attributes his evangelism among the Gentiles to God’s “election” of him for that purpose (Acts 15:7). Similarly, Paul was an elected instrument for God’s mission to the Gentiles (Acts 9:15). The initiative in Christian mission rests with God, who elects people to serve him in particular ways.
Jesus is called “God’s Chosen” (Lk 9:35; cf. the taunt in Lk 23:35). The heavenly voice at Jesus’ transfiguration spoke in language that echoed Isaiah 42:1 and identified Jesus as God’s Servant, chosen to do his work of bringing light to the nations. In the same way, Jesus is a “chosen cornerstone” (1 Pt 2:4, 6; cf. Is 28:16).
In the teaching of Augustine and Calvin, the doctrine of election is of fundamental importance. They taught that God had chosen before the creation of the world to save a number of specific individuals from sin and judgment and to give them eternal life. Those whom he chose did nothing to deserve it; their merits are no better than the rest of humankind who will be judged for their sins. But in his mercy God decided to save some; therefore, he chose them and sent Jesus to be their Savior. The Holy Spirit regenerates and brings to faith through an “effectual calling” those whom God has elected. God’s Spirit effectively persuades each of them to submit to the gospel, so they are guaranteed recipients of eternal life.
This choice by God selectively to save some may seem unjust. But in fact, God is not obliged to show mercy to anybody; he is free to show mercy as he pleases. People cannot protest that because they were not the elect, they never had a chance of being saved. They never deserved that chance anyway. But anybody who hears the gospel and responds to it with faith can know that he is one of the elect. Whoever rejects the gospel has only his own sinfulness to blame.
Many Christians reject that explanation of God’s election. They maintain that although it appears to be logically consistent with Scripture, it makes God the prisoner of his own plan. His predestination of certain individuals to salvation commits him personally to a detailed, predetermined, unilateral course of action that reduces human action to a charade and renders it insignificant. God ceases to be a person dealing with persons.
The Augustinian and Calvinist view of election, according to its critics, also makes God out to be arbitrary in his choice of the elect. In effect, chance becomes the arbiter of human destiny rather than a holy and loving God. Those difficulties arise because, they say, the teaching of Scripture has been pressed into an artificial logical system that distorts it.
Walter A. Elwell and Barry J. Beitzel, Baker Encyclopedia of the Bible (Grand Rapids, MI: Baker Book House, 1988), 681–683.
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Naveen Andrews ... Sayid Jarrah (115 episodes, 2004-2010)
Matthew Fox ... Jack Shephard (115 episodes, 2004-2010)
Jorge Garcia ... Hugo 'Hurley' Reyes (115 episodes, 2004-2010)
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Daniel Dae Kim ... Jin Kwon (115 episodes, 2004-2010)
Yunjin Kim ... Sun Kwon (115 episodes, 2004-2010)
Evangeline Lilly ... Kate Austen (115 episodes, 2004-2010)
Terry O'Quinn ... John Locke (115 episodes, 2004-2010)
Emilie de Ravin ... Claire Littleton (93 episodes, 2004-2010)
Michael Emerson ... Ben Linus / ... (76 episodes, 2006-2010)
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Harold Perrineau ... Michael Dawson (60 episodes, 2004-2008)
Henry Ian Cusick ... Desmond Hume (59 episodes, 2005-2010)
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