Altare nella Chiesa di S. Maria della Pave
Altar in the church of Santa Maria della Pace
This magnificent altar was made to raise by Innocent VIII in the church of S. Our Lady of Peace in honor of the Virgin Mary for having overcome a painful disease. It took some time for the place of the 'Altar and afterwards was transported to where it now is seen. Everything we have from Pennotti is from his histor. Canon. The Reg. 3. c. 33, who writes: (LATIN). Today the main altar in (LATIN) reads the following inscription:
Innocent VIII had to love the Church of Peace also for his genius peaceful, so was able to make peace between the Christian princes, and so Vital Wheat sang her credit for this side:
The altar in the said conveyance to the side of the Gospel, and the use of altar of the Crucifix underwent some modifications, which art cannot certainly approve. The niche of Our Lady was not enough (pel) crucifix, and so it was enlarged almost two branches, that spoil the pristine beauty of the lines, and what is more they break the beautiful design of 'pillars carved with ornate, that arise at his side. It incarcerated in a space too small, and not field or background that we mean, who does not show for a tenth of the beauty of art resurgent, and that set that has picture in the paper.
About the saints that fill the niches, here is what we could (conghietturare). The first two on the right and left of the upper part are the two John in 'their sides, one and abbot, and it seems that we should thus characterize the pastoral flower that looks inward, unlike the pastoral bishop who turns out: the other seems to S. Anthony abbot and youthful face is the fire that alludes to a famous miracle in order to split the elements that made up a brick. The two circular figures contain some means of two angels, and maybe two evangelists, as does the suspect parchment. Finally at the bottom we have some the only two apostles St. Peter and S. Paul Delk bishop you cannot say anything, and the other with high cross, watching the sky and in a suit venerable and apostolic would seem the apostle St. Philip, or S. Compano apostolic Barnabas S. Paul.
As to the reasons for these saints: two apostles, Peter and Paul as protectors of Rome, the two John allude, one in the name of the Pope who order the altar, which was called (LATIN) John, the other being the beloved disciple left his son to Mary, the two must be mitred saints who have written especially the SS. Virgin and so the Evangelists: St. Presumably Anthony was the patron saint of the Pope, as he had studied in Padua.
The Crucifix carved in wood, which is in the midst of great niche is working fine, but falsely attributed to Michelangelo.
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 S. Maria sopra Minerva
Altar in the church of St. Mary above Minerva
Table XIX
It would be enough that the altar is presented in this table to have made a wise degree of perfection in which they were the sister arts in the fifteenth and sixteenth century. In fact, the architectural proportions or want to, or do you want for the finiteness of the sculptures of ornaments or do you want in order for the beautiful fresco painting depicting the Annunciation of the Virgin Mary that he and the altar of a work of art worthy of economic. It is in the chapel of Cardinal Caraffa of Oliviero founded by his family in the strait of the crown in the church of St. Mary above Minerva, dedicating it to St. Thomas Aquinas. If you're looking scruffy draw because any stand that forms the canteen, what comes for this reason that is no longer the old: and enclosed between two pedestals where the weapon of the house and carved jug Steelyard. At this overlooks a small base which in the extreme sides of the coat of arms of Cardinal Founder and most within two angels kneeling. Precisely those arms are raised above the two pillars of the Corinthian order of exquisite work when the ignition locking between two scenes of the Annunciation party. See it from one side of the archangel Gabriele ATO to utter the sublime words to Mary, and that in the middle while the other St. Thomas Aquinas presents to her the Cardinal Olivier devotee who commissioned the work, and founder of the chapel. Attic that overpowers the frame of the entablature to four previously fixed to the heads of satyrs with swirls and festoons of flowers and fruit.
The value that each can see in this work of art it heartened the desire to know what it cleft the architect, who would lead with such grace carvings and who finally was painting the fresco. But if this desire is disappointed by history and tradition as the architect and sculptor whose founder, Cardinal at work, well it compensates for learning the name of the author of the painting. This which is attributed by some people to B. Angelico da Fiesole, there can be no doubt, moreover, is the work of Filippino Lippi. Of that same Filipino in the upper part of the same chapel he painted the Assumption and the lower the Apostles did not dispute that St. Thomas Aquinas which occupies the entire wall straight: that dispute was judged since its contemporary excellent painting, and held in the same esteem by posterity.
Drawn by Francesco M. Tosi
Presso l'Editore Proprietario
15th and 16th Sculpture
Unknown Donor
Geneseo Foundation
Volumes 2, 3, 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 Sagrestia di S. Maria del Popolo
Altar in the sacristy of Santa Maria del Popolo
The interior of the church of Santa Maria del Popolo changed shape at the time of Bernini, who was an architect invited to direct its work. He among many beautiful things that (vi operò) knew not to deserve universal approval in substituting another work, conducted over his drawings, one that we imprinted in this table, or that for many years was a noble ornament of the high altar. The altar drawn by Bernini. One is a work worthy of being remembered amongst the wonders of the most luminous centuries of Italian art, the other suffers much from the principle of baroque that already began and hinting at wanting to occupy much of the field in the artistic realm.
Certainly the author of this stupendous work was Andrea Bernini, of which we will speak of in Table 74 (LXXIV), speaking of the monument that he raised in the church of Santa Maria sopra Minerva, and who knows how many other exquisite works he was he author among the many artistic treasures left to us by our glorious fathers.
The Saints Peter, Paul, Augustine, and Jerome occupy the four niches of the pillars. In the middle is a large niche of a fresco painting depicting the Madonna with the Child in her arms. This painting was found in recent excavations on Mount Pincio in the year 1810 and is said to be the work of Giotto, but his voice was belied by analyses by intellectuals who believed that it was created by a hand entirely different from that of the famous Florentine.
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 Sagrestia di S. Maria della Consolanione
Altar of the Sacristy of St. Mary of Consolation
Table XII
The altar that knight Tosi wants to introduce in this table is located in the sacristy of the church of St. Mary of Consolation. Simplistic and the base gently adorned with festoons and two -arms that is encased of Cibo. In the middle there was a table in this verse of the Psalmist - worship Deum in Sanctis ejus. - Two nimble pillars adorned with elegant chandeliers from the work and which skirted the quadrilateral intended to contain a painting , there are two nuts on the ends being in the basement , and stand up holding up the entablature with their capitals to put the whole ovules stars and light garlands of flowers. An entablature ending in volutes, with antefixes in the sides and in the middle of a seraph end of the altar: one in the middle above the main entablature of Innocent VIII noble weapon of the powerful Cibo family. It will be enough to make after work but have noticed that the band of the quadrilateral said above, and all full of golden ornaments, and that taste good proportions, the elegance of the ensemble and the delicacy of the carvings make this a most valuable monument altar art of the fifteenth century.
Drawn by Francesco M. Tosi
Presso l'Editore Proprietario
15th and 16th Sculpture
Unknown Donor
Geneseo Foundation
Volumes 2, 3, 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. Paolo sulla Via Ostiense
Alter with three figures, center figure has lost his head
TAV. CXVI
Soon to be translated. IMG 5348
Drawn by Francesco M. Tosi
Presso l'Editore Proprietario
15th and 16th Century Sculpture
Unknown Donor
Geneseo Foundation
Volumes 1, 2, 3, and 4
Etching
Italian
Print
Italian Monuments in Rome created during the 15th and 16th Century
Prints were made circa 1835 to 1860
Basamenti ed Urne Sepolcrali di Ottaviano Fornari e del Car. Giov. Giacomo Schiaffenati nel Chiostro di S. Agostino
TABLE XCVI
SEPULCHRAL URNS AND STANDS OF OTTAVIANO FORNARI AND CARDINAL GIOVANNI GIACOMO SCHIAFFENATI
In the Cloister of Saint Agostino
TABLE XCVI
These two existing monuments are in the cloister of the church of St. Augustine, and were made to honor the piety of loving brothers laid to rest next to each other, one to the memory of modesty and integrity of the scholarly and zealous Cardinal Giacomo Sciaffenati, the other to remember the virtues of the industrious Bishop Octavian Fornari. Each monument consists of a base, flanked by the arms of the deceased with an epigraph that recalls their main important merits. Next to it is a beautifully carved urn that contains the ashes of the illustrious departed, whose body is carved into the bass-relief and is shown lying on the cover, with his head resting on his hands, and he seems to be as gentle and quiet as one sleeping. The death of the righteous is a sweet sleep, among the continuing struggles of the underworld, and Francati flying to recommend the eternal reward of virtue in the smile of the angels.
As for me, given all the times I have paused in front of these Christian monuments, I can only highly regret the strange customs some took in creating the graces with more than moral or religious instruction. But granted that this bad technique does not invade the mind of most artists, we can say this was just a brief and illustrious fad; it is the most inferior of the monuments are here. It was made for Father Milano, who had gone to Rome, when Sixtus IV appointed him to be an attendant, and he was elected the Bishop of Parma in 1482, and the following year he was awarded the “sacred purple†with the title first of St. Cecilia and later St. Stefano of Monticello. There was a Roman Curia, who often worked with him in business activities, though few could match the affability and kindness of his ways. The aspects of his life that earned him the affection and esteem from everybody earned him no less than to perpetuate his desire that after death in 1497 he would receive Christian resignation.
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
Beasts
A black and brown lithograph in the "10 Plagues" scene.
Cohen, Adele
1985
Paper, lithograph, 22.5 x 28.5 Inches
English
Still Image
2018.1.3
Behold the Moor
A visual representation of 'Othello'
Sepia print of full length man (sepia).
Curlee R. Holton
Purchased from Curlee R. Holton
Printed and bound at the Experimental Printmaking Institute
Lafayette College, Easton, PA
2012
Curlee R. Holton
Geneseo Foundation
Holton Collection
Accession items: 2013.14.1 through 2013.14.22
17'' x 11.25''
English
Experimental Prints
2013.14.3
Late 21st Century
Behold the Moor of Venice (The Moor or Universal Man)
A visual representation of 'Othello'
Title page preceding print of "Behold the Moor."
Curlee R. Holton
Purchased from Curlee R. Holton
Printed and bound at the Experimental Printmaking Institute
Lafayette College, Easton, PA
2012
Curlee R. Holton
Geneseo Foundation
Holton Collection
Accession items: 2013.14.1 through 2013.14.22
4.5'' x 2''
English
Experimental Prints
2013.14.2
Late 21st Century
Blood
It is a red and pink Lithograph in the "10 Plague" scenes.
Cohen, Adele
1985
Lithograph, 22.5 x 28.5 Inches
English
Still Image
2018.1.9