Browse Items (25 total)

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…

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…

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…

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…

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…

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…

To enter the Cloister of S. Augustine, if a tired hand turns, the show is facing four monuments, the penultimate of which we will describe below (Table LXIII.) And the last is dedicated to the memory of Constance Piccolomini, whose son speaks very…

Of the four existing monuments of the Cloister of S. Augustine, as we said in the Table LXI, this is the third dedicated to the memory of the learned Cardinal Jacopo Ammannati, distinguished patron of the arts and sciences, and he himself not the…

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…

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.