Monumenti Sepolcrale di Vincenzo e Marcello Rustico nella Chiesa di S. Maria sopra Minerva
Tomb of Vincenzo and Marcello Rustico in the church of Santa Maria sopra Minerva
A right hand of the little port of St. Maria sopra Minerva is placed against the wall this time and supported by three carved corbels. The white marble statue lies down on the urn reminds the effigy of Rural Vincent apostolic secretary and man eminently versed in Greek and Latin literature. Marcello was his father's secretary and writer, and also apostolic. The monument was in place by his son and grandson Anthony. It is not lacking in its simplicity, elegance, and graceful are the ornaments which are the two pillars, and overlaid them entablature.
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
Monumento Sepolcrale di Giovanni battista de Cavalieri nella Chiesa dell' Ara-Corli
Tomb of Giovanni Battista de’Cavalieri in the church of Ara-Coeli
Giovanni Battista Cavalieri, a Roman patrician, young age while growing up in the virtues, honors, riches, it was from her that does not look neither provided nor to age, and revolves around his scythe inexorably caught forever in many sweet hopes. Sure that a painful feeling of pity filling my heart gazing into the monument of this unfortunate young man, but I see it when I surmounted by a cross, and I think the sweetness of the eternal future homeland, which will be much more intense, as much as resigned and generous was the abandonment of 'labile and passengers suffering of this world, I envy rather than pity the fate of the extinct. So the advantage that you have in gazing at the Christian sepulchers, which, if nothing else, there (avvezzano) to look with an eye of indifference and scorn broke the brief joys of this miserable earth.
Forgive me this digression before the tomb of a young husband and son loved so dearly. She was the mother Lucrezia Massimi who put this memory, and that you keep with expressions (all'estinto) son speaks in the epigraph. The decorative part of the monument Remember her condition of the deceased, then the two genes act to extinguish the torches mourn the untimely death of the young to the sides of the torso that recalls his effigy. The two pillars are decorated arms, flowers, bows, (quadrella), torches and musical instruments; frieze of flowers and crests, and the base swags and other arms of the family. The all conducted with great care and kindness set up a very pleasant to look at.
The tomb is placed in the Chapel of 'Sir Knights who is the latest in the left hand. It was made by walling Tommasso Orsini in honor of St. Gregory the Great, and Pauline Maffei in the seventeenth century build again the altar and adorned with fine marble.
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 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
Dettagli dell' altare nella Chiesa di S. Maria della Pace
Details of the altar in the church of Santa Maria della Pace
Even at this altar we wanted to add a table that contains some parts drawn in a greater proportion, because the best you can see the merit of the ornaments and study their behavior.
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
Monumento Sepolcrale in bronzo di Martino V. nella Basilica di S. Giovanni in laterano
Bronze tomb of Martino V in the Basilica of San Giovanni in Laterano
Otto Colonna was born in Rome in 1368, and the 11 of November 1417 at the Council of Constance was elected as Pope Martin V, after the voluntary renunciation of the papacy of Gregory XII, and after the said council had deposed John XXIII and the 'antipope Pietro di Luna that made you call Benedict XIII. Calamitous times for the Church were turning even the inauguration of this Pontiff, and the schism of the West's 'persisted, however, no' his vain efforts to sink the amyl barque of Peter. In that state of what was highly to be wished that a firm and prudent man would take the pontifical chair. And such was Martin V, accompanied on the day of his coronation, which was on December 22, 1417 by the votes and congratulations of all his people, and led to the church to the reins of his horse by the Emperor and the Elector Palatine. The industry and the zeal of the Pope, if you do not see the hand of God, they would have the marvelous.
He finished the Council of Constance: Public bubble against the Hussites of Bohemia. He summoned another council at Pavia, who thereafter was transported to Siena and was finally dissolved without any conclusion. He called the Jubilee in 1425, and after having made the most difficult chores of the Church took care of the beautification and decoration material of the city, which owes him a lot of improvements. So he died on 21 February 1431 for 63 years after having governed the Church 13 years 3 months and 12 days.
His monument was placed on the floor that he had built at his own expense, in the middle of the ship and much greater at the confession. Today it is the same site, but several palms (sottera), and you go down to two beautiful marble stairs. The author of this burial was a Florentine Simon, brother of the famous Donatello, and it is said that he had invited him to Rome to examine the pattern of this' work before you melt it. It composed of a grand marble urn, while marble set on sockets and covered by a sheet of bronze subdues of very beautiful ornamental sculptures and bas-relief with the image in the middle of the whole dead Pontiff. It 'two longer sides of the case are carved between two frames very well carved four winged putti, supporting two wreaths in relief which are carved the arms of the Colonna family. It 'minor sides there are putti with one crown and an escutcheon.
Although this monument is not to be compared with the best works of the century that followed him, the whole time the artist seems to us worthy of praise for the simplicity of the invention and many decorative pieces very well conceived.
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
Custodia degli olii Santi nella Basilica di S. Giovanni in Laterano
Custody of holy oils in the Basilica of San Giovanni in Laterano
This work of sculpture certainly belongs to the good of the century 'art, wanting to argue it from its simple style and correct. We saw the Rasponi and Crescimbeni cited by Valentini (Illus. the four Bas.) But we could not find the author's name. A more accurate and patient investigator will perhaps one day be more fortunate in his research: we are now able to have enough of is uniform, as can be seen in two parts, an upper and a lower. The first was at the bottom on a plane to equal sides and frame around a metal door on which is written: (LATIN). From the two sides are first put in perspective two arcs, of which are seen going out six and Seraphim prostrate reverently before the sacred deposit. On the whole monument is a pedestal, and over them the whole figure of Christ standing humbly and posed as his head crowned with thorns.
The bottom has only two figures, representing S. John the Evangelist, and the Holy Pontiff Leo I. The one standing with a book in his right hand and a glass in the left and the other to the ground on his knees before him, and with his hands clasped in prayer. The little snake that you see out of the cup that S. John presents to S. Leo, perhaps reminiscent of the miracle worked by the saint, when the poison chalice of sojourn served up in the making and he above the sacred sign of redemption discover the deception.
This second bas-relief, both for the expression of the figures, as for how to fold and for the kindness of the ornaments, which contains, it is certainly bill once more close to us, that is when the art of the chisel alluded to that perfection which would soon arrive.
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
Monumenti Sepolcrali di Uberto Strozzi, Antonio Castalio e Girolano Butigella nella Chiesa di S. Maria sopra Minerva
Tombs of Uberto Strozzi, Antonio Castalio and Girolano Butigella in the church of Santa Maria sopra Minerva
There are three monuments. The first is a memory burial Alberto Strozzi Mantua, who died in 1553, operates all of white marble, simple but beautiful in its proportions and with the portrait of the deceased in a bust in full relief. The last Butigella remember the name of Jerome, Doctor of Law, who died in 1515, just 45 years old and man in 'his day (stimabilissimo). The median is sacred to the memory of Antonio Castalio, writer and papal archives of 80 years died in 1533. Before you renew the church of S. Maria sopra Minerva, in the mound under this monument (leggevansi) a marble table in the following two couplets:
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
Monumento Sepolcrale di Pietro da Vicenza nella Chiesa dell'Ara-Coeli
Tomb of Pietro of Vicenza in the church of Ara- Coeli
The year 1504 went up and this monument to the memory of learned and upright magistrate Pietro da Vicenza, for care of the 'grieving sister Margaret. This man is remembered with praise worthy in the works of many writers (contemporanci) him, insomuch that should not be considered for the two virtues personified liars who worship the top in the inter pillar of his burial, I mean prudence and justice. Eminent qualities of his heart they were these, and the voice of posterity not (ismentì) that laudable that took her life.
The Archives Vatican, between the acts of the Papal Master of Ceremonies, is found recorded the following news under the date of 'May 13, 1487: (LATIN) tells us that Peter was Vicar of the Liberian Basilica year 1489. Finally, for the memories that are preserved in the church of Aracoeli know that this prelate died of the plague in 1504 and that was March 1 of 1505 on the Sabbath day he was celebrated a solemn funeral which intervened many cardinals, many prelates, all Auditors of the Rota, all the Presidents, the Cardinals, many prelates, all auditors of Rota, all the Presidents, the clerics, notaries, officials of the Chamber, lawyers and prosecutors Consistorial Rota. The funeral prayer was recited by Canon Thomas of Volterra, a learned and eloquent man, (soprannomato) the Phaedra (Leando Alberti Desciz. throughout Italy p. 49. Venez. 1555), and with this nickname is mentioned in the document, to which (cavammo) this news with the following words: (LATIN)
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
Parth Inferiobe url Monumento Di Giulio II nella Chiesa di S. Pietro in Vincoli
Bottom of the monument of Giulio II in the church of San Pietro in Vincoli
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