Scolture dell' Antico Altares del Presepe nella Basilica Liberiana
Sculpture of the ancient altar of the nativity in the Basilica Liberiane
This sculpture along with the others that we will examine in the following table were once inside the interior of the church of S. Maria Maggiore, until they were removed with many other works by the order of Pope Benedict XIV which he restored so that the church could be rebuilt. We cannot say which was the foundation of their original destination, but it is certain that they had to be destined to decorate some altar and perhaps the same one was built by the cardinal of Estouteville.
This bas-relief was composed of two composite pillars and covered with beautiful ornaments, closed within these two niches separated by a pillar on which rest the arches of the niches forming shells. In the first of these, to the right of the beholder, may be seen the effigy of St. Abbot Bernard of Clairvaux, his face full of devout meditation. He has a book in his left hand, perhaps to mention the works written by this learned and holy man, and with his right hand holding a chain, to which is tied a filthy animal depicting the devil, which was won by the holy abbot and afflicted. The other niche is occupied by S. Jerome, as can be seen clearly from the lion, which is the animal always placed at the side of this saint, and the cardinal's hat owed to him because he was a priest of the Roman Church, and therefore decorated with the title of cardinal. He is dressed in a cardinal’s cloak that hangs from the shoulders broad with rich folds, and has a book in his hands in the act of opening it and read it.
The whole relief is surmounted by a lunette, in whose center is carved the figure of the Redeemer, and around it runs a carved frame, which is reminiscent of what rests on the pillars.
Drawn by Francesco M. Tosi
Presso l'Editore Proprietario
15th and 16th Century Sculpture
Unknown Donor
Geneseo Foundation
Volumes 1, 2, 4, and 5
20 x 16
Italian
Print
Italian Monuments in Rome created during the 15th and 16th Century
Prints were made circa 1835 to 1860
"Allemander"
Watercolor
Yellow Flowers, Realism.
The date of attribution is c. 1870
For more information on Agnes Jeffrey, see collection description.
Old Accession Number: J-2D-JEFFREY-A-10.
Agnes Jeffrey (1806-1896)
Gift in 1971 from Virginia Jeffrey Smith of East Avenue, Rochester, NY, grand niece of Agnes Jeffrey.
Part of the "Art of Four Generations of Jeffrey Family Women" exhibit sponsored by the College from June 27th to July 18th, 1976 at the Brodie Fine Arts Gallery.
Also shown in "The Genteel Pastime: 19th Century Watercolors by the Ladies of the Jeffrey Family" at the Memorial Art Gallery of the University of Rochester from December 9, 1988 to February 26, 1989.
1980
15.5x20
1980.49
"Scottish Flowers" (Bluebells)
Watercolor
One of two panel mat with Thistle (1980.42)
Realism. The date of attribution is c. 1870
For more information on Agnes Jeffrey, see collection description.
Old Accession Number: J-2D-JEFFREY-A-2.
Agnes Jeffrey (1806-1896)
Gift to the college in 1971 from Virginia Jeffrey Smith of East Avenue, Rochester, NY, grand niece of Agnes Jeffrey. Part of the "Art of Four Generations of Jeffrey Family Women" exhibit sponsored by the College from June 27th to July 18th, 1976 at the Brodie Fine Arts Gallery Also shown in "The Genteel Pastime: 19th Century Watercolors by the Ladies of the Jeffrey Family" at the Memorial Art Gallery of the University of Rochester from December 9, 1988 to February 26, 1989.
Virgina Jeffrey Smith
1980
Geneseo Foundation
Jeffrey Collection 1980.40-1980.57
6x4.25
English
Watercolor on paper
1980.41
c. 1870
"Scottish Flowers" (Thistle)
Watercolor
Realism. The date of attribution is c. 1870
One of two-panel matte with Bluebells (1980.41)
For more information on Agnes Jeffrey, see collection description.
Old Accession Number: J-2D-JEFFREY-A-3.
Agnes Jeffrey (1806-1896)
Gift in 1971 from Virginia Jeffrey Smith of East Avenue, Rochester, NY, grand niece of Agnes Jeffrey. Part of the "Art of Four Generations of Jeffrey Family Women" exhibit sponsored by the College from June 27th to July 18th, 1976 at the Brodie Fine Arts Gallery Also shown in "The Genteel Pastime: 19th Century Watercolors by the Ladies of the Jeffrey Family" at the Memorial Art Gallery of the University of Rochester from December 9, 1988 to February 26, 1989.
Virgina Jeffrey Smith
1980
Geneseo Foundation
Jeffrey Collection 1980.40-1980.57
7.5" x 6"
English
watercolor on paper
1980.42
c. 1870
"Ships at Anchor-Night"
Oil Painting
Oil on canvas
School of Paris
Signature: LR
James Coignard was born in Tours, France in 1925. He remained there until he was 17, then went to live in Paris. During the war, he returned to Touraine. While there, he met the painter Marchand des Raux. When Marchand des Raux returned to St. Jean, Cap Ferrat, Coignard joined him and worked in the studio belonging to Marchand des Raux. He made his home with this painter for many years. Coignard set himself up in a pottery studio in St. Cloud, continuing to paint and draw and to exhibit in the galleries of the Left Bank. In Paris, he met other painters and took part in the difficult life of Paris. He married in 1956 and abandoned Paris and pottery. He went to live on the Riviera. He had one-man shows in Sweden, Geneva, Venice, Paris, New York and Berlin. He also took part in a School of Paris exhibition in Dublin in 1960 and in Tokyo in 1961. He is represented in the following museums: Dublin Museum, Museum of San Diego, Museum of New Mexico, Historical Society of Montana, La Jolla Art Centre, Oklahoma Art Centre. Group Shows: 1956, Won first prize in Barcelona show of Fine Arts. 1957, Second Prize young painters & Juan Gris Prize honorable mention. 1959, Alexandria Biennale. 1960, Ecole de Paris & Galerie Charpentier. 1961, Salon de Paris (Japan). 1964, Biennale de Menton. 1964, First Prize Dorothy Gould.
Old Accession Number: SL-2D-Coignard-1.
James Coignard (1925-2008)
Gift from Mr. and Mrs. Samuel Silverman
1980
One of 21 Oil Paintings in the Silverman Collection (1980.8.1 - 1980.8.21)
22 x 29.5
1980.8.2
"Wintergreen" (Red Berries)
Watercolor
Realism. The date of attribution is c. 1870
For more information on Agnes Jeffrey, see collection description.
Old Accession Number: J-2D-JEFFREY-A-5
Agnes Jeffrey (1806-1896)
Gift from Virginia Jeffrey Smith of East Avenue, Rochester, NY, grand niece of Agnes Jeffrey.
Part of the "Art of Four Generations of Jeffrey Family Women" exhibit sponsored by the College from June 27th to July 18th, 1976 at the Brodie Fine Arts Gallery.
Also shown in "The Genteel Pastime: 19th Century Watercolors by the Ladies of the Jeffrey Family" at the Memorial Art Gallery of the University of Rochester from December 9, 1988 to February 26, 1989.
Virgina Jeffrey Smith
1980
Geneseo Foundation
Jeffrey Collection 1980.40-1980.57
7" x 5.5"
English
Watercolor on paper
1980.44
c. 1870
Altare nel Tempietto di Bramante in S. Pietro Mantorio
TABLE LXXXV
ALTER
In the Temple of Bramante Lazeri in San Pietro in Montorio
TAVOLA LXXXV
In the model of architectural elegance that is in the walkway of S. Pietro of Montorio, and which Vasari says – cannot proportion, order, and diversity be imagined, and grace kinder be better imagined – this altar is dedicated to the Prince of the Apostles, of which Bramante himself was the creator. It consists of a table upon which stands a base, from two pillars stand out which encloses a seated statue of the first Vicar of Christ on Earth, who was given the keys to the Kingdom of Heaven, which is depicted by the artist on the right. In front of the table, there are three panes of which the two side arms refer to those who order the fabrication of this altar, the middle one containing the image of fish in the waves of the sea, which was important to the life of the sovereign apostle to whom this monument was dedicated. The bas-relief that adorns the aforementioned base recalls the terrible death administered to Peter by the impious Pagans. The whole work ends with an arch, within which a beautiful shell shape is enclosed.
Drawn by Francesco M. Tosi
Presso l'Editore Proprietario
15th and 16th Sculpture
Unknown Donor
Geneseo Foundation
Volumes 1, 2, 3, and 5
20 x 16
Italian
Print
Italian Monuments in Rome created during the 15th and 16th Century
Prints were made circa 1835 to 1860
Altare nell'andito che immete nella Sagrestia di S. Maria del Popolo
Altar in the passage that leads into the sacristy of Santa Maria del Popolo
This a gift made by William Periera to the church of S. Maria del Popolo in 1447, and the work is really commendable for the beauty of its decorations and for the kindness of its design. One day it will have been in the church since the noble ornament of the altar, but having afterwards to give way to other works, he sought to place it among many other works in that hallway for which you enter in the sacristy.
It is dedicated to the Virgin Mary, as seen from the inscription carved into the base and flanked by the arms of the donor. From this base there are four pillars, which support a cornice carved in the three parts that make it up. Above this cornice and corresponding to the width of two pillars median with their whole thickness is a bezel that encompasses head of the Savior. The three-pillar and open niches contain three figures standing: the middle one is the effigy of the Virgin Mary, who has the right niche in the shape of an S. Augustine, Bishop and left that of S. Catherine. The beauty of the ornaments, which are the pillars of the simplicity of the work, and the manner in which it dealt with the large party of folds, which are made from 'other mantles that are dressed in the three figures, the fans believe this to what fine, and press to be a model for those who are dedicated to the beautiful art is ornamental.
The same William Pereira makes a gift of another beautiful altar (istile) not conformed to this the church of S. Paul, and we will give you more than before.
Drawn by Francesco M. Tosi
Presso l'Editore Proprietario
15th and 16th Century Sculpture
Unknown Donor
Geneseo Foundation
Volumes 1, 2, 4, and 5
20 x 16
Italian
Print
Italian Monuments in Rome created during the 15th and 16th Century
Prints were made circa 1835 to 1860
Altare nella Basilica di S. Giovanni in Laterano
Altar in the Basilica of San Giovanni in Laterano
As we said in the table LXV intend to repeat here, about the conduct of this elegant altar: that the author is something that is unknown and that it is the work of beautiful and exquisite work, both for the invention of the ornaments, which for the proportion of 'members.
Is seen in the Basilica of St. John leaned over the door of the chapel of the ancient family Massimi, noble architecture by Giacomo della Porta. The holy place in the middle of the recess formed between the cross-pillar is the figure of St. James Major, who holds the drone with his right hand or stick (viatorio) from which hangs a shell and a diaper, and has a book in his left hand close to his chest, and with whom he also holds a piece of the rich pallium that descends from the humerus I miss and wraps around with a nice party folds. The whole work is something very gentle and pure you pe 'that adorned her for the correctness of' his (modani), which prayers you do notice it more 'four, cute pilasters ending in many capitals of composite order and very vague to see. The beautiful cornice that rests above these, (comechè) original (estita) not, must not occur for what I imagined, but it is the result of my research. Because finding a day in the cloister of the basilica, in the last one of 'its corners a small fragment of the entablature, whose frieze was decorated with garlands woven with bells, and each of them contained a shell in the middle. Built soul I doubt this was not the cornice of 'altar, I wanted to measure the proportions and examine thoroughly the parties. In seeing that everything between them was answered exactly easy to convince me of the truth of the fact, and seeing me more convinced that ran from the similarity between the shells of the 'one to one that is suspended from the drone of S. James, I said so much that was the thing, and I wanted to add it to 'work to make something pleasing to the artists.
Drawn by Francesco M. Tosi
Presso l'Editore Proprietario
15th and 16th Century Sculpture
Unknown Donor
Geneseo Foundation
Volumes 1, 2, 4, and 5
20 x 16
Italian
Print
Italian Monuments in Rome created during the 15th and 16th Century
Prints were made circa 1835 to 1860
Altare nella chiesa di a Marcello
Monumento Sepolcrale del Card. Nicola de'Cusa nella chiesa di a Pietro in Vincoli
Altar in the church of San Marcello
Tomb of Cardinal Nicola de’Cusa in the church of San Pietro in Vincoli
Entering the church of S. Marcello, in the third chapel on the right hand you see the altar that we give in this table. The chapel contains, provided in 1562 by Monsignor Griffins and finished in ornate in 1607 by Cav. John Matthew his kinsman, since its first erection was colored by Giovanni Battista Ricci from Novara and Francesco Salviati, who painted the main face. We do not know the author of this 'work of art, but the beauty of the decorations and the right proportion of' members are believed to be good for anything in the century.
The upper part of the table is occupied by the monument erected in S. Pietro in Vincula to the memory of the illustrious Cardinal Nicholas de Cusa , so called from his birthplace on the banks of the Moselle to Treves , where was born the year 1405. He was in charge of the monastery Wotobergense regular canon, archdeacon do Liege, dean of St. Florinus Constance and prothonotary apostolic. Intervened in 1441 at the Diet of Mainz, where the presence of Emperor Frederick III defended (gagliardemente) the Pontiff. Ascended the Chair of Peter Nicholas V, was this Pope to December 20 , 1448 raised to the honor of the purple with the title of S. Pietro in Vincula , which added a monastery and embellished the church of a new ceiling. He held several important legations in Germany, Bohemia, and in other northern provinces, and worked for all things of great benefit to Christianity. In the absence of Pius II in Rome he kept his post as vicar linked the city, and it was all an object of admiration and complacency. In addition to that he was a man full of so much teaching to write on a variety of materials a good number of works, which were printed in Basel gathered in three vol. in fol. in 1565.
Do not stay there we know by reporting the following words of Ciaconio (Vit et res. Gest. Pont. V. 5. P. 975) in praise of this man virtuous: (LATIN)
He had until (visso) a singular devotion to the chains that (avvinsero) the apostle Peter in prison, and therefore is seen portrait on the front of his monument in the act of praying (ginocchinone) to land the Prince of the Apostles who is sitting in the middle, and the other side has also an angel with bent knee, while his hands were holding up the chain. The top of the monument contains the arms of a Cardinal, who was a shrimp on a blue field.
Drawn by Francesco M. Tosi
Presso l'Editore Proprietario
15th and 16th Century Sculpture
Unknown Donor
Geneseo Foundation
Volumes 1, 2, 4, and 5
20 x 16
Italian
Print
Italian Monuments in Rome created during the 15th and 16th Century
Prints were made circa 1835 to 1860