Icnografia dei Monumenti Contenuti Nrl Volume I in meta dei Penapetti
Iconography of the monuments contained in Volume I in half of the collection.
An iconography of the monuments in the middle of the statements described so far closes this first issue, or rather this first part of the collection. How a board of this kind is beneficial to do better understand the artistic value of each monument and not one who does not see. So to demonstrate the uselessness elongated thing and of itself evident. We conclude therefore welcome the certainty that the merits where we saw this beautiful before there will be other parts of this collection, with which the knight Tosi impart grace the history of the arts of the golden five hundred honor himself and his country.
G. CHECCHETELLI
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
Monumento Sepolcrale di Giovanni de Coca nella Chiesa di S. Maria sopra Minerva
Sepulchral monument of Giovanni de C. in the church of St. Mary above Minerva
Table XXV
To the right of this sacred chapel of St. Raymond told in the church of St. Mary above Minerva is seen, as it stands in this table, the sepulchral monument which Spanish Didaco De Coca is put through. It consists of a basement and two pedestals protrude forward and containing two -arms ending with a pastoral and the other a machine gun glue : among those states where the entry imparansi the quality of the extinct . Which lies stretched over an urn supported by a small support, flanked by two dad decorated with cornucopias and adorned with a band over a couplet which exposes this judgment : that if vertu porggia to the sky, some of this blessed country welcomes the spirit of the deceased while it closes the sepulcher the body . Two beautiful pillars binned argons above those dice placed beside the casket and go to support the entablature, on which a small attic is based on an entablature in the shape of a shell with swirls and primary phases in the sides and in the middle of a coat of arms which hangs over a cross. The upper wall of the casket and decorated with a fresco failure by time, but you do not see that do not let tuttvia depict the divine Savior in his majesty to judge between two angels who give their trumpets. He raises his right hand in the high solemnly pronounce the words for which the elect will ascend to his bosom, and bowed quietly to the edge in the anime that aim at the head of the prelate is lying, almost melt from the body, joining hands in pious act, how to worship the divine decree that raises as the right to award each of martyrdom. We would like to mention the name of the maker of the work done so: but we succeeded in vain every search around him. What we can write to and what he revealed analysis of this deposit, that he had one or more artists who work there, the work they arose worthy of commendation and should take solemn witness Artistic valor of those who led it.
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
Monumento Sepolcrale della Famiglia Satri de Baronilli e di Maddalena Dearlotti nella Chiesa di S. Omobuono
Sepulchral monument of the Satri of the Babonilli family and of Magdalene Dearlotti in the church of St. Omobuono
Table XXIV
In the Binnacle of St. Omobono built to care for the company of tailors on the ruins of the basilica of St. Savior in porch is wonderful that even modest artistic loveliness of the deposit there the knight Tosi offers to see in this table. Magdalene Dearlotti while fioriale still life, cresol to Stephen and John the Baptist and Satri Baronilli, those husband and son these are very loved. And how he lived the life of sweet affection with them, so after death they wanted to be remembered in the memory of posterity, making carve his effigy along with them. You see that the wife and loving mother of her husband shake hands as if to indicate that; union of their hearts and not to defeat death, and the boy standing on the feet backwards embrace her conjugal the pair of which was delight and love. Scrizine lapidary can clearly be inferred from this deposit have already existed in the ancient church of St. Savior; narrisi being that of Stephen as he had to endow one of his basilica.
The monument is not large diversified made in the form of many altars of the time. But if it sells if not a few of them between the magnitude of the proportions ugluaglia altresi for the simplicity of the parties and the grace of the ornaments. Just look at him to be rendered to the ease and elegance in membering and the festoons that are a real delicacy of carving.
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
Dettagli del Monumento Sepolcrale di Benedetto Soranzo nella Chiesa di S. Maria sopra Minerva
Details of the Sepulchral monument of Benedict Soranzo in the church of St. Mary above Minerva
Table XXIII
That is what I mentioned about the variety of decorations that runs between it and the monument of the Ex-Valdes each may seem to us to judge by looking at the details that the knight drew Tosi on this board a greater proportion of the prospectus.
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
Monumento Sepolcrale di Benedetto Soranzo nella Chiesa di S. Maria Sopra Minerva
Sepulchral monument of Benedict Soranzo in the church of St. Mary above Minerva
Table XXII
And if the opinion of the author of the Knight Tosi around the Ex - Valdes storage place in St. James of the Spaniards , and then moved onto the porch of the hospice of St. Mary of Montserrat, was received with acclaim by the smart of ' art will also not without good reason that we write to Sansovino on this tomb that Victor Superanzio Venetian patrician consecrated to the memory of his brother Benedict , Archbishop of Nicosia apostolic secretary of Innocent VIII and Ceremonies of Alexander V , failure to live fresh age of 45 years. In fact, the two monuments can be said to be equal to each other, which changes where the Ex- Valdes must be distinguished from that of Superanzio you are of slight moment and diversify away from essentially all from one from the other, that would be indifferent and warn the passarcene. As one of the Ex - Valdes of this Superanzio is formed of two pillars adorned with sconces and Display heads and foliage of exquisite work, as in that of the base presents in these three compartments with -arms of the deceased and with the inscription on the life and death of him. Also in this that in those two shelves hold up a frame on which to pose the urn which by way of supporting the coffin of the deceased cardinal. If not this beautiful urn ornament and straight legs of a lion and bigger than that of Ex- Valdes and therefore somewhat covering the three compartments marked in the wall There arises more from at the frieze that is not in other store which frieze, however, and as well as in the compound of heads seraphim, and begins and ends in the pillars on which stands a band and turn in a semicircle in closing the monument, presenting in its bezel Mary with her son in the middle, St. John the Baptist on the right and left Pontiff St., figure all graciously carved in bas-relief. We will cease from noting the similarity of the two works almost perfect without mentioning that among the middle urn hath in this as well as in the plaque, which reads a couplet where do you copy nice advice from mortals. The council which consists in this, that I give every studio in not many years but both does that in life, whatever Salesian life, flowing honest and pious. But after observing how these two works are the children of one idea to another and therefore one countenance together, let us hasten to declare that what goes into the ornaments they COTAL variety to wonder how many other details can dress the same general concept.
Eleven years before the Ex-Valdes, died the Superanzio came to life: this is detected by the respective lapidary inscriptions. Although the chronological date of their death is not certain proof of the creation of monuments, not of necessity that the Ex-Valdes, because dead after the Superanzio, not even after it was raised the deposit, the more that those prepare for living in the if and but a strong indication that the erection of this preceded that of the other, in short, this is the original and the other the imitation. Both, however, however, and in one another and start to copy as much of the artistic beauty of details that make you forget the question of the originality of the general thought of the work. This monument is to the left of the chapel already sacred to St. Agnes of Montepulciano and now at St. Raymond in the church of St. Mary above Minerva.
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
Monumento Sepolcrale di Giacomo Tebaldi nella Chiesa di S. Maria sopra Minerva
Sepulchral monument of James Tebaldi in the church of St. Mary above Minerva
Table XXI
In the same church of St. Mary above Minerva, even on the same wall where the tomb of the Tornabuoni and just above this referred to the treatment table XIII property rises deposit drawn in this table. Five shelves, including standard or candelabra or run festoons of fruit, whose support base in the middle two winged cherubs hold a table. In this written and how the monument superimposed divided into two floors with a frame, was erected to the memory of Cardinal James Tebaldi died in 1466, and for his Christian virtues had in great admiration of Pope Calisto. In the lower floor lies an urn above the cardinal dressed in bishop's robes. From the depth of the upper floor is revealed this was intended to contain some sculpture, ignoring, however, if never been asked or if it was then removed. The pillars cut in the middle of the frame that already have to aim in the below -arms of the noble lineage of Tebaldi, in two niches above the Saints James and Rocco, the one and the other patrons of the deceased. It overlooks the entablature and finally to them this a stylish over- honored, in the midst of which is a bas-relief in a glory of the Divine Savior scrafini having a book in his left hand , the book of his law , and with his right hand in the act of blessing . Oh this figure really shines with divine beauty! With a nod from him who can destroy and bless as in this act manifested to man the whole spirit of His law of love!
Not without good reason is attributed to this monument carver Andrea Verrocchio by a talented artist of the time.
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
Dettagli dell'Altare nella Chiesa di S. Maria sopra Minerva
Details of the Altar in the church of St. Mary above Minerva
Table XX
The details of the sacred monument displayed on the preceding table are so many wise and rich qualities that the knight Tosi proposed to present them clearly in this. And what made love that the advice was to bring together in this collection means how many more he stigmas advantaged to study in special character where the arts of the time you took a glorious side of originality.
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 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
Ciborium nella Chiesa di S. Marco
Ciborium in the church of St. Marco
Table XVIII
Among the few works of sculpture by Mino da Fiesole in Rome hath made the ciborioche committed the Cardinal Barbo, then Paul II, and existing in the ancient church of St. Marc. True and not having Mino wrote your name in it. But whether we like to hear Vasari to tell how that the Cardinal said all weapons placed in his noble palace adjoining the said church, palace built by him and then by Clement VII granted to the Republic of Venice, and if after hearing the Vasari we will to consider one of those same coats of arms surmounted by a cardinal's hat and Barbo almost to the ciborium, and if you finally land on behalf of the style with which to coat the figures and carvings of all of the work were carried out, there will be no doubt that this sacred monument is due to the chisel of the school by Desiderio of Settignano.
The knight Tosi offers us to view the drawing in this Table. A simple frame superimposed on the shield of the lion salient Barbo. Is based on two pillars with vague workings of foliage, and on this a very elegant entablature ends on the monument. He's in the middle of the frame mentioned a chalice and paten covered by the host of this bloodless, in front of the point of a base on which to pose the divine tabernacle surrounded by four angels posed in admiration. Below the lintel can be seen in the lacunar place in perspective and then the Holy Spirit descend by a halo of fire. Anyone who looks at such a job, if you do not want to have certainty about the author by his easy manner and gentle are conducted where the cuts will be other consideration of any kind, just with an eye to the figure of the four adoring angels to conclude that the same hand that has posed as those of the ciborium of St. Mary in Trastevere was only able to give these movements are graceful.
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
Dettagli del Monumento Sepolcrale di Pietro Ferricio nel Chiostro di S. Maria sopra Minerva
Details of the Sepulchral monument of Peter Ferricio in the cloister of St. Mary above Minerva
Table XVII
From this table, which provides us with precision the details we have enough to better them admiring the artistic merit of the sepulchral monument described above.
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