1 10 25 https://artgalleries.milne-library.org/files/original/5313de6cb30117210a3d8187458eb834.jpg a08c9f7ad7afe0336eaa253b0447fec0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Raccolta di Monumenti Sacri e Sepolcrali Volume 4 Subject The topic of the resource Roman Sculpture from the 15th and 16th Century Description An account of the resource Volume 4 of 5 Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Century Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian translated by Marisa Powell Type The nature or genre of the resource Prints Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Monumenti Sepolcrale di Gherardo Maffei. Brigida Milizia, Stefano Capodiferro e Benedetto Ponto nella Chiesa dell'Ara-coeli Subject The topic of the resource TABLE CIV SEPULCHRAL MONUMENTS OF GHERARDO MAFFEI, BRIGIDA MILIZIA, STEFANO CAPODIFERRO, E BENEDETTO PONTO In the Church of Araroeli Description An account of the resource TABLE CIV In this most gracious Church of St. Maria of Ara-Coeli, made over the temple of Giove Feretrio, raised by Romoto to vote in a battle against the Cecinensi peoples, and it contains many precious moments of every art style and every age, that there is an abundance for individuals to observe. Aleuni, as understood by four others, understood that this table marked 104 is the one we will speak about. But before you can look at the two words above this art from ancient times, what was finished in Etrusci by the architects of the sixteenth century and their particular tastes and styles. I want to say that this art shows a history in the kind of marble that was used and the way it was adorned with the facades of houses. After the painter Duccio had hollowed the figures in the marble cathedral of Siena, this art was thought to be perfected by Domenico Beccafuni, who led so many subjects of Genesi, and who still has among the most beautiful artistic monuments. And the way of doing so pleased him, and outraged the best craftsmen, who wanted to pursue it even on the facades of the houses. Today, they seem to have going into disuse and have almost been lost, and we see particular evidence for this in the distinguished sculptor Mr. Vincenzo Gaissi, who designed the marble in a forceful and original way, and has been able to replace the fragile asphalt, when previously its grooves were unfilled, and made it much more durable and lasting. These are very beautiful works for the committee of the lovely Prince Alexander of Torlonio, who displayed the freshly made monument to adverse viewers. But it is time to go back to the discussion of our illustration of the monument. The first of them, and the others that follow, make up a quadrilateral in the center enclosed by a circle of leaves and flowers, as well as the figure of a deer, which represents the generosity of the Lord, to whom this coat of arms belongs. At the of the sepulchral plaque, it is known to hold and preserve the remains of the deceased Gerardo Maffei of Velletri, who was known for his costumes, pious ways, and knowledge which got him much praise as an apostolic writer, who was in charge of the register of the apostolic chamber, and the secretary of many Roman Popes. In the second monument, which is more ornate than the first, but otherwise created in a similar way, there is an outline around the effigy of Brigid, posthumous daughter of Francis Militia, wife of the Evangelist Risoca, who is deposited in this tomb. This figure carved in marble is a wonderful and sad work for the sad resignation that shines from his face, and for the east of the clothes and the blankets surrounded by delicate pleats. On the sides of the head, you can see the names, with a picture of a rampant greyhound dog, which teaches that fidelity should be the warrior to God and to the prince. The ornaments, which are the frieze of this monument, are sunken in and made of marble, and filled with metals: this is the only example of this style we have seen in Rome, and we could not omit it from the collection because it is something so unique. In the third picture, you can see a man wearing a long dress, and over his shoulders is a peninsula. This is the portrait of Stefano Capodiffero, who was a unique man, who was fairly lucky, yet impassive in reactions. His sepulchral monument was paid for by Diana Tebaldi, who was unhappy over conditions of common mortals, and the bitter task of seeing the composing bones of his son for whom he hoped his eyes were closed. As in the previous ones, the head us surrounded by two coats of arms (of Tebaldi of Capodiferro from left to right), which expresses the love to the hardships of life, and in another is a half prancing horse that represents generosity and love. The epigraph on these monuments reads much more, and we were able to find it after a great deal of care. So, again, we know that the marble epigraph was disturbed by the enemies of the deceased with the intent of affronting his memory. It is here where we read about the accurate description of the church and convent of Ara-Coeli, which left to us by P. Casimiro. On page 102 of his work, which discusses the monument, he says “two plaques are seen on the floor, however, graphite composes the inscriptions at the foot of Stefano and Tiberius, which have been destroyed and levelled by envy, and they were found in the library of Emo Albrani Alexander, the other place mentioned in the register”. As for how much care we put in throughout the book and in other works by the same author, we have come to find that the epigraph is of swine and vesicular disease, rather than the words he promises us. That which we were able to find more of in the memorial of the Sepulchral Cardinal Francis Gualdi, is in the process of being printed by Mr. Benedetto and Mr. Constantine Mellini Gigli.3 Finally, the fourth is far more ornate than any of those aforementioned, and has stayed in the midst of the family, consisting of a rampant lion traveling through three mountains, signifying the great and generous actions, and his invincible and virile mind. This monument is in memory of Benedetto Podio, a young teenager removed from the world by dead, to signify hope to his relative and much of the country. Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian Type The nature or genre of the resource Print Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 https://artgalleries.milne-library.org/files/original/4b3808a647093abba184ec350c3f72ea.jpg 1289f7b47b5a40aeb2b035ebec4b8729 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Raccolta di Monumenti Sacri e Sepolcrali Volume 4 Subject The topic of the resource Roman Sculpture from the 15th and 16th Century Description An account of the resource Volume 4 of 5 Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Century Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian translated by Marisa Powell Type The nature or genre of the resource Prints Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Basamenti ed Urne Sepolcrali di Ottaviano Fornari e del Car. Giov. Giacomo Schiaffenati nel Chiostro di S. Agostino Subject The topic of the resource TABLE XCVI SEPULCHRAL URNS AND STANDS OF OTTAVIANO FORNARI AND CARDINAL GIOVANNI GIACOMO SCHIAFFENATI In the Cloister of Saint Agostino Description An account of the resource 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. Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian Type The nature or genre of the resource Print Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 https://artgalleries.milne-library.org/files/original/ce75c73b3e34f4a5ac7ba1b0d80fa826.jpg 985d3417a158e6e0b462df3b54e57d14 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Raccolta di Monumenti Sacri e Sepolcrali Volume 4 Subject The topic of the resource Roman Sculpture from the 15th and 16th Century Description An account of the resource Volume 4 of 5 Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Century Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian translated by Marisa Powell Type The nature or genre of the resource Prints Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Monumento Sepolcrale dei Fratelli Filippo ed Eustachio de Levis nella Basilica Liberiana Subject The topic of the resource TABLE XCV SEPULCHRAL TOMB OF THE BROTHERS FILIPPO AND EUSTACHIO DE LEVIS In the Basilica’s Library Description An account of the resource TAVOLA XCV On the Holy Door of the Liberian Basilica, this monument stands on supported shelves, which contain the mortal remains of a dear brother and sister, who loved their lives together and wanted to remain close after death, so their bodies were placed in this tomb. They were from France, and descended from a noble family of the barons of Guelei and Cousan. The first of these names, also known as Philip Levis Levi was compensated by Pope Sixtus IVfor his rare merits and the nobility of his blood on May 7, 1475, along with a Cardinal priest of the title of St. Peter of Marchillino. The second person mentioned was named Eustace, and he was the archbishop of Arles, which was a position that had also been held by his brother, Fillippo, in 1462 and 1463 until he was promoted by Pope Pius II. The inscriptions that decorate the monument recall the mutual love of the two brother, and depict their mercy, religion, and doctrines, as well as the women who were with them throughout life. The six alcoves that make up the two pillars, on which rests the archway, are decorated with seven heads of winged cherubs, as is occupied by two Saints, and four of the main virtues, under the Effigy of women, who adorned the lives of the dead. The two saints flanking the body of St. Eustace are St. George on the right, and St. Catherine on the left. The four virtues are justice, fortitude, tolerance and prudence: the first with a sword in his hand, the second leading against a column with his symbol, the third engaged in the act of pouring water into a cup of wine, and the last with his typical emblems of the mirror and the snake. Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian Type The nature or genre of the resource Print Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 https://artgalleries.milne-library.org/files/original/f8c51f9415d0307ac71845f277f343c3.jpg 4062acfbc6ec464c8411a5f83445e8b7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Raccolta di Monumenti Sacri e Sepolcrali Volume 4 Subject The topic of the resource Roman Sculpture from the 15th and 16th Century Description An account of the resource Volume 4 of 5 Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Century Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian translated by Marisa Powell Type The nature or genre of the resource Prints Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Monumento Sepolcrale di Giovanni Crivelli e Giacomo Sanzio nella Chiesa dell'Ara-Coeli in Bernardino Landucci nella Chiesa di S. Machimo ai Monti Subject The topic of the resource TABLE XCIV SEPULCHRAL TOMB OF GIOVANNI CRIVELLI AND GIACOMO SANZIO In the Church of Aracoeli, Too unclear to read the rest Description An account of the resource TAVOLA XCIV. The first of these three monuments is a work of Donatello, the Donatello of which Vasari says was not only a sculpture who created rare and marvelous statuary, but was also well practiced in stucco, talented in perspective, and held in high esteem for his architecture, and this work in particular was done with such grace and elegance that it is more than one could have ever wished for. The monument was created to guard the ashes of, and remember the virtue of the Venerable Giuseppe De Crivelli, who died in sanctity. His Christian virtues added little learning in all matters of doctrines. He was an Archdeacon and a writer of unique letters and Apostolic Papal briefs, and the price of the monument was not important because of his good reputation after his death. The second monument is dedicated to perpetuating the memory of the generous actions of Christian virtues, which are responsible for the forgiveness of offenses and abhor revenge. Bernardo Barch of Rome was Stefano’s father, and was deposed in this place. He wished to avenge his father’s death, who was killed by the militia, when he began to see this was wrong and humbly asked for forgiveness. The young Stefano was able to let go of his need for revenge in that humble moment, and was able to forgive and let go: embracing the offender in a very noble action, and introducing him to many gifts. Virginio Orsini, the commander of the royal army, made this memorial wall in the second year of the pontificate of Alexander the Sixth to remember his generous actions. The third monument was created to guard the mortal remains of Sienese Bernardino Landucci. He was a taught at the Carmelite institute, of which he was general, and was known to be very merciful and was universally admired. This is a very valuable sculpture which we regretfully will lose in a few years, because it will continue to be consumed by the friction of what is above it. As with some of our other goals, we aimed to create an ensemble which will remain as the memory of the many beautiful tombstones and their designs, especially when we see them quickly moving towards inevitable destruction: we always feel an ardent love for the arts. Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian Type The nature or genre of the resource Print Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 https://artgalleries.milne-library.org/files/original/7870cd9847ac9f63fd05cc6c784d263b.jpg 380a9cff09f1212adaa93acfb91939d1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Raccolta di Monumenti Sacri e Sepolcrali Volume 4 Subject The topic of the resource Roman Sculpture from the 15th and 16th Century Description An account of the resource Volume 4 of 5 Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Century Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian translated by Marisa Powell Type The nature or genre of the resource Prints Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ciborio nella Chiesa di S. Giovanni de Genevesi Subject The topic of the resource TABLE XCIII CIBORIUM In the Church of Saint Giovanni of Genoa Description An account of the resource TAVOLA XCIII We took this design of a pretty ciborium from the church of St. Genovesi, which in our opinion, is commendable and worthy of giving various amounts of exquisite work of others. It is composed of two pillars resting on a simple base, which is supported by two dolphins in the middle by a plaque on which is carved an eagle, and this is placed in the arms of Meriaduca Cicala, to whom we dedicated the monument from table 92, although the work was erected at his own expense, incorporating the shield of the initial letters of his name and family name. It is said that the pillars supporting a lintel covered with carved works of small globes. In the frieze there are two festoons tied together by a ribbon, and above an entablature with ovules, which are seen again in the tympanum, which is what makes it stand out. On this gable, the artist drew the divine dove with outstretched wings, which reminds us of the love of God who gives the institutions of divine sacraments. In the interpillar, one can see two angels, with their hands clasped on their chests and their eyes looking towards heaven, which flank the tabernacle on whose door which is held up by a pediment reads “SANCTUM OLEUM INFIRMORUM”. On this side of the door shows the perspective of two angels coming out from above, and above them raises a divided bezel, which is supported by a frame whose overhang supports three statues, of which the side ones are ancient and seem to be two saints, both of whom are carrying pergaments in their hands, on which the mystery of the Eucharist is written. The first figure in the background is the divine Redeemer, and to the left of him is the sign of redemption and to the right of him is the cup filled with his living blood, which is the precious price he paid to his father for human redemption. Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian Type The nature or genre of the resource Print Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 https://artgalleries.milne-library.org/files/original/4b0da0d82f68dfcbfddfc5b29d19079c.jpg bc8b09bd99ca16eb3037e459a7778fb7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Raccolta di Monumenti Sacri e Sepolcrali Volume 4 Subject The topic of the resource Roman Sculpture from the 15th and 16th Century Description An account of the resource Volume 4 of 5 Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Century Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian translated by Marisa Powell Type The nature or genre of the resource Prints Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Monumento Sepolcrale di Meriaduca Cicala nella Chiesa di S. Giovanni di Geneveai Subject The topic of the resource TABLE XCII SEPULCHRAL TOMB OF MERIADUCA CICALA In the Church of Saint Giovanni of Genoa Description An account of the resource TAVOLA XCII When there are men who come together and decide who to honor with these monuments, in sculpture and with golden letters on their tombstones, those who are chosen have most distinguished themselves by their religion and their loyalty and love to their neighbors. All of these virtues describe Meriaduca Cicala, who is buried here, who was enlivened by a lively faith second to none, and in spirit, which all virtuous Christians possess, especially in the love of our neighbors and God, who our most holy religion teaches us to simultaneously love. When the eminent virtues that accompanied the life of the illustrious deceased and the merciful deceased advised the holy Pope Sixtus IV to appoint him to the guardian of the apostolic tax, the love of the next part of another true Christian that burned in his chest and urged him to build a hospital to feed and house poor sailors. He knew how to rouse the mind of the lowest suffering of this world, and fulfill their divine precepts and then rushes to receive his reward in the home of the blessed. Artistically, this monument is considered to have no shortage of beautiful virtues, both for the decorations that adorn the pillars and the cornice above the other, and the urn lies on top of the body of the deceased. At the top of the interpillar is the scultanel, which shows the image of the Mother of God, who is holding the holy child in her arms. The artist placed Giovanni, the forerunner of Christ and his most beloved disciple, holding a cross, a chalice and a book. The base contains the epigraph and on its sides is the information of the family of Genoese patrician buried here. Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian Type The nature or genre of the resource Print Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 https://artgalleries.milne-library.org/files/original/ccbe615cd70f55d08d44f54f044b8ffc.jpg 74343f65d386cc79973d7582a57f8377 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Raccolta di Monumenti Sacri e Sepolcrali Volume 4 Subject The topic of the resource Roman Sculpture from the 15th and 16th Century Description An account of the resource Volume 4 of 5 Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Century Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian translated by Marisa Powell Type The nature or genre of the resource Prints Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Monumento Sepolcrale di Antonio Albertoni nella Chiesa dell'Ara Coeli Subject The topic of the resource TABLE XCI ISOLATED ALTAR In the Church of Saint Gregoria at Monte Celio SEPULCHRAL TOMB OF ANTONIO ALBERTONI In the Church of Aracoeli Description An account of the resource TABLE XCI A church that is dedicated to the loving memory of the Blessed Pope Gregorio the Great, holds the observed monuments that have been reproduced in this table. The first of these monuments was created to remember the miracles St. Gregorio performed through divine grace throughout his life. It is an antependium which is miraculously in the same chapel where he celebrated the bloodless sacrifice of the Holy Pontiff, who is remembered in a beautiful oil painting created by Anibale Caraccio, which is on top of the altar that we are describing. The first and third panels show the holy act celebrating the souls in purgatory leaving the expiatory flames and flying to heaven because of man’s Most High God. The middle panel shows him celebrating the bloodless sacrifice, and, oh marvel! The monument is visibly dedicated to Christ the Redeemer, whose gauntlet has a splash of living blood. This entire work of art is very gracefully done, both through the beauty of the decorations and the excellence of the bas-reliefs. The other monument is a kind of chamber in each side, and it is faintly adorned with a variety of embellishments. It was built to hold the body of Antonio Albertonio’, who’s portrait is located at the center of the monument. One of his hands holds a book, and the other props up his drowsy head. This is depicted so naturally that it seems like he is asleep; this coincides well with Christian doctrines, which teach us that the tomb is a place of rest, from which the deceased will rise out of after a period of sleep to appear at the final judgment. And, like the words of faith that early Christians of the catacombs continuously hinted at, this was manifested in many works of statuary in the 15th and 16th centuries. In fact, his pose seems to correspond with what was previously stated: that in the tomb, one sleeps to await the resurrection, and therefore during this period of not having to think, he will adopt the good manner of our Father, and we create these monuments to perpetuate the resurrection. We will conclude by saying that Albertoni died a Roman patrician of ancient lineage and a loveable man full of Christian virtues, and he left this mortal world too soon. And because he had a special devotion to St. Antonio Abate, the artist wanted to portray three principal moments of his life in this holy frieze, putting it in the entrance of the cave where he used to sleep, all the while preaching about the afterlife and lying on top of two lion’s coats. Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian Type The nature or genre of the resource Print Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 https://artgalleries.milne-library.org/files/original/62180253f8951d18a0104d35a7087cdc.jpg a68c5dc394f90676433f63ac5e7ba22a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Raccolta di Monumenti Sacri e Sepolcrali Volume 4 Subject The topic of the resource Roman Sculpture from the 15th and 16th Century Description An account of the resource Volume 4 of 5 Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Century Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian translated by Marisa Powell Type The nature or genre of the resource Prints Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dettagli del Monumento Sepolcrale di Giuliano da Volterra nella Chiesa di S. Pietro Montorio Subject The topic of the resource TABLE XC DETAILS OF THE SEPULCHRAL TOMB OF GIULIANO DA VOLTERRA In the Church of Saint Pietro Montorio Description An account of the resource TAVOLA XC This table shows the more details of the monument whose beauty is mentioned above. Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian Type The nature or genre of the resource Print Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 https://artgalleries.milne-library.org/files/original/0be1712a6f85cec86a34f97fed07e015.jpg 64fcdf52ca2cd3774360b8cb552f4d59 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Raccolta di Monumenti Sacri e Sepolcrali Volume 4 Subject The topic of the resource Roman Sculpture from the 15th and 16th Century Description An account of the resource Volume 4 of 5 Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Century Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian translated by Marisa Powell Type The nature or genre of the resource Prints Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Monumento Sepolcrale di Giuliano da Volterra nella Chiesa di S. Pietro Montorio Subject The topic of the resource TABLE LXXXIX SEPULCHRAL TOMB OF GIULIANO DA VOLTERRA In the Church of Saint Pietro Montorio Description An account of the resource TAVOLA LXXXIX In the simple yet elegant church of Saint Pietro at Montorio, which was rebuilt based on the designs of Baccio Pintelli, exists this beautiful work of sixteenth century art. It contains the remains of Giuliano of Volterra, of the religious order of Minori, who was the bishop of Ragusi, known for his reputation, studies and virtue. He was called to be a part of a special assemblage of the most brilliant philosophers and theologians in Rome of that time by Cardinal Bessarione, where he practiced the divine sciences. There was also his position in the Apostolic Penitentiary, which he held with passion and zeal until he was taken by God during his 73rd year. Vegerius of Savona, the Cardinal of Senigallia, knew of his burden and erected this monument in his wonderful memory. It was created with the most careful artistic proportions, though it is adorned with unimaginably indistinctive carvings. The carvings are used sparingly at the bottom of the work, and then they increase, and fully cover the stands that lift it. So, at the base, there are commendably beautiful lines, a good proportion of moldings, and a lining of frivolous ornaments. The arms of the dome and its frame are beside it, and the frame is adorned with a lovely ovulo. They are both richly carved and enclose an arch at the middle. The pillars that support the monument faintly show the carving of a braid. In the center of the monument is the urn, which rests on a base and is supported by two lions’ paws, and in the space in between the legs, one can faintly see the emblems exercised by the sacred ministry with regard to the deceased. The lunettes formed by the arch are also rich in ornamentation, and fittingly contain carvings of all three members of the entablature. The realistic top of the work, which can be attributed to Pintelli, is a creation of grace and elegance. Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian Type The nature or genre of the resource Print Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 https://artgalleries.milne-library.org/files/original/6e067d97153b49152102a7b10255d9f4.jpg a0f5862399db2c4196f7a9431ccee0ec Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Raccolta di Monumenti Sacri e Sepolcrali Volume 4 Subject The topic of the resource Roman Sculpture from the 15th and 16th Century Description An account of the resource Volume 4 of 5 Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Century Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian translated by Marisa Powell Type The nature or genre of the resource Prints Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Monumento Sepolcrale di Lucio Mancini nel Chiostro de SS. Apostoli Subject The topic of the resource TABLE LXXXVIII SEPULCHRAL TOMB OF LUCIO MANCINI Of the Cloister of the Holy Apostles Description An account of the resource TAVOLA LXXXVIII Whoever came to for a beautiful day in the Church of the SS. Apostles could not stop looking at this great monument which was created, along with those that were erected during the sixteenth century. At first glance, it is clearly perceived to be intended to perpetuate the memory of some unknown captain, so there are weapons, eagles, trophies, and laurels rather than ornaments. The artist truly made the monument too lavish, so that the eye cannot focus on any particular part, especially at the middle, where there is a recumbent statue of the deceased, and minute details are indented all over. But we will leave such investigations to the duty of others, who we believe will have the appropriate care. I will continue, as I have in the other tables, with the summary description. But first, you will have to consider what was said above, for today you cannot see this beautiful work in the interior of the church, but rather, it is in the cloister. And, what is worse is that it is in such bad conditions that you can hardly see it. With great care, we have been able to rummage through the corners of the cloister, and eventually reassemble everything, finding much of the monument scattered in small remnant that are easy for the eye to miss. First, continuing from the descriptions, and we will start at the base, where signs discussing the noble family who is responsible for the admission of this monument, and will next move up the stacked pillars, that are adorned with all types of military decorations and rich entablatures. Under this is a semicircle covered with simple lines that help the venerated image of Our Lady stand, supported in the air by angels. In the center, resting on a kind of case, is the statue of the departed with a hand on a sword, and his right arm resting. And with what seems to be references to his hard earned military pursuits, this monument is made as a reminder of the perils of war. The urn is supported by two eagles with outstretched wings, each snatching a tortoise in her claws, alluding to the victories of the noble and courageous warrior that is resting here. He was called Lucio Mancini, and was Roman. He felt very naturally inclined to weapons, and became very useful to the Republic of St. Mark, the republic for which he always fought bravely for, reaping praise and fortunes with every conquest. He was considered to be a great captain, who was very honored and envied by all, and was taken from life far too young, filling those who knew him with inconsolable grief and sorrow. And this is why his great love built this tomb for him, so that he would have a place to remain when he took his final trip, since he had hope his pious soul would be delivered to his spouse in heaven, where the good can find peace. Also, their bones were incinerated together in this urn, a testament to the tender love of the couple. Creator An entity primarily responsible for making the resource Drawn by Francesco M. Tosi Publisher An entity responsible for making the resource available Presso l'Editore Proprietario Date A point or period of time associated with an event in the lifecycle of the resource 15th and 16th Sculpture Contributor An entity responsible for making contributions to the resource Unknown Donor Rights Information about rights held in and over the resource Geneseo Foundation Relation A related resource Volumes 1, 2, 3, and 5 Format The file format, physical medium, or dimensions of the resource 20 x 16 Language A language of the resource Italian Type The nature or genre of the resource Print Identifier An unambiguous reference to the resource within a given context Italian Monuments in Rome created during the 15th and 16th Century Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prints were made circa 1835 to 1860