10 10 290 https://artgalleries.milne-library.org/files/original/0b7724a4c7dd93fc51c67890719ed00b.JPG 5886354167b01cbf8a554e00facef294 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 A Torquato Tasso Subject The topic of the resource Image of reclining man behind two arches Description An account of the resource Soon to be translated. IMG 5354 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 4 Format The file format, physical medium, or dimensions of the resource Etchings Language A language of the resource Italian 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 https://artgalleries.milne-library.org/files/original/4b7e5886bedd4d4726445168d806178a.jpg 9220400899120bbae727c44cc8d99295 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 3 Subject The topic of the resource Roman Sculpture from the 15th and 16th Century Description An account of the resource Volume 3 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, 4, 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 Bianca Pedulla 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 de Fratelli Antonio e Pietro Pollaioli nella Chiesa di S. Pietro in Vincoli Subject The topic of the resource Tomb of brothers Antonio and Pietro Pollarili in the church of San Pietro in Vincoli Description An account of the resource Where there stands the church of S. Pietro in Vincula willed to pious tradition have made wall the first church in Rome, the Prince of the Apostles, and dedicated to SS. Savior. However this may be that, it is certain that the fire of Nero razed the ground all those primitive buildings, and not before 442 of our era was throw the first stone of this temple that since that time he devoted himself to S. Pietro in Vincula. And that is because Eudoxia, wife of Theodosius the young emperor of the East, being gone to visit the Holy Places of Jerusalem, was a gift from Juvenal, Patriarch of the chain that held this city bound S. Peter in prison, which she sent to give to the Vicar of Christ in Rome. We wanted to say this to manifest in our readers what God was always dear to this sacred place, and to make our way to talk about the cool that we play on this same table on the monument (de' Pollajuoli), and which will mean an awful scourge that desolated Rome in the year 680. Historians relate (Bar yr. 680 - PIE DIAC. De gest. Longob.lib.6.c.5) that in that year, after the eclipse of the sun and moon awoke in Rome is a great place if it lasted most all died. But a good servant of God in the revelation that the disease had ceased, though in this temple had crack an altar in honor of St. Sebastian, as the facts of what happened. It still said that during the plague saw some night time wandering around the city an angel with the devil, and that the husbandmen morning many deaths were in this house or that for many shots to the commandment of the angel had given to his door the demon hunter with a skewer. That's the subject of cool. Now passing to the monument, there will certainly be those who ignore the name of ' brothers Pollajuoli , both painters of much merit . Antonio first practiced the art of the goldsmith, he helped lead the Ghiberti doors of St. John, afterwards made many works in painting, and finally brought him to Rome by Pope Innocent VIII ordered the burial of this metal and that of his predecessor Pope Sixtus IV, who works in the Basilica of St. Peter, and one of the most beautiful monuments that can be admired there. In addition to this cast in bronze main door of the temple to the vast order of Eugenius IV, who was allocated to Filaret, a sculptor from Florence, to perpetuate the memory of the Council of Florence. Death came to these two brothers one after the other in 1498, there were relatives this burial in S. Pietro in Vincula, where in the memory of the joint affection that kept them always alive, they were portrayed in a natural next to each other. The ch. Vasari commentator, John. Forgings, reports note amended by an error in another epitaph made to Pollaiuolo, which reads another edition of Vasari. Here it is: LATIN 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, 4, 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/7bfc1a883455db8c839e4e134f8a119a.jpg 887e940540bed45f242c58b869858621 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 del Card. Domenico Capranica nella Chiesa di S. Maria sopra Minerva Subject The topic of the resource Table. LXXVI. SEPULCHRAL TOMB OF THE BELOVED DOMENICO CAPRANICA In the Santa Maria sopra Minerva Curch Description An account of the resource … It consists of two pillars decorated in foliage and flowers, above which rests an entablature that is rich in ornaments, especially in its beautiful frieze, covered in foliage and rosettes. Above this begins an arch covered in carvings, and on it, the venerated images of Our Lady with her Divine Child in her arms, and two winged figures kneeling in a fine act of prayer can be seen. The fresco painting has a wonderful exquisiteness, and it is lamentable that it has been so battered by time. On top of the arch lies the salvific cross. Enclosed between the two aforementioned pillars is an arch, inside of which the mortal remains of the Christian saint are kept, resting peacefully, which was a tradition that dominated the fifteenth century. There is an urn decorated with festoons, and above this. He was honored for his above average prowess in handling public affairs in the forum with the sincerity of one who truly loved his country. And of course he loved it, because it had the desired experience in the difficult years towards the end of the Florentine Republic, divided by factions and torn by external and internal wars. A little lower, hath another body from the same family, the grandson of the above, who entered into eternity at a dear, young age. Both sides of this humble memory are written in Greek; two mottos alluding to the departed, that sound the following way in our discourteous language: WORSHIPPER OF THE HOME BUT MINDFUL OF THE TOMB. And these are the words that should be imprinted into every mortal’s soul. 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/be1c7fa803e225dfc4b54fc7dd7381e5.JPG 6a083f5cbcfe6cb84d3a8fe97d46c3a8 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 Subject The topic of the resource Roman Sculpture from the 15th and 16th Century Description An account of the resource Volume 1 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 2, 3, 4, and 5 Format The file format, physical medium, or dimensions of the resource Etchings Language A language of the resource Italian translated by Arianna Buttarazzi 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 della Famiglia Ponzetti nella Chiesa di S. Maria della Pace Subject The topic of the resource Sepulchral monument of the Ponzetti family in the church of St. Mary of Peace. Description An account of the resource Table VI Ferdinand Ponzettiint in the year 1509 erected a tomb to his family; spear of noble and ancient lineage of Naples transplanted to Rome had to be here to flourish. And growing in the chapel the statue of St. Mary of Peace in the church built with the architecture of Baccio Pintello by Pope Sixtus IV, as we have said elsewhere, obtained for the concord of Christian principles - This tomb, as seen on the table, is a simple, rectangular shape and divided into two parts - the lower, almost base- wide, contains a framework in which it holds the entry where people are buried and who it was intended for the funeral room. The frame of this picture adorned with festoons read that has two coats of arms on his hips formed a shield that represents two hands indicating a rise and the other the set of a star , life and death. At the top, almost the urn, see among the various intertwined flowers and leaves with whimsical animals, two rounds comprising two half-figure portrait of an old man and a young person of a family who rests in here. Both play a sad face in a scroll, perhaps one where recorded and what was the old plant that produced their gentile offspring. Maybe that thought saddens them that it is not worth blazon to instantly lengthen the days prescribed in live human? Or maybe that they be freezing outside of his native land? This would lead us to believe the words that Ferdinand wrote on the stones-Vetustissimae Ponzettorii familiae partenopeeRomae obiture- inspiring words to Christians but it is but a melancholy resignation to a deep pain. If not it better to reveal the cause of their sadness other store that Ferdinand raised a few years before this. The time was a major disaster. We'll see him at the table IX: but of this, I was given and what we track down the author's name and those who do not question was one among talented artists of his century. 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 2, 3, 4, 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/fcc6f2b5692ea6efde6d8f1c04a65802.JPG f406f5a80a1a5ecced3c64f38cc9adfa 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 Subject The topic of the resource Roman Sculpture from the 15th and 16th Century Description An account of the resource Volume 1 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 2, 3, 4, and 5 Format The file format, physical medium, or dimensions of the resource Etchings Language A language of the resource Italian translated by Arianna Buttarazzi 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 della Famiglia Satri de Baronilli e di Maddalena Dearlotti nella Chiesa di S. Omobuono Subject The topic of the resource Sepulchral monument of the Satri of the Babonilli family and of Magdalene Dearlotti in the church of St. Omobuono Description An account of the resource 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. 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 2, 3, 4, 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/496e9dcdff9f673c812abffc2ca52599.jpg 535663b675e65f4674fb43d06a3fa99f 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 Agapito Rustico nella Chiesa di S. Maria sopra Minerva Subject The topic of the resource TABLE LXXXIV SEPULCHRAL TOMB OF AGAPITO RUSTICO In the Santa Maria sopra Minerva Church Description An account of the resource TABLE LXXXIV This monument that is rich in the simplicity of its lines, rests on three shelves decorated with acanthus leaves, and is one of the best things that can be seen in the Church of Saint Maria above Minerva. The shape is unlike its style, which is typically firmly rooted in the century in which it was constructed. Though it has a simple base, it is cleverly created, and at either end, it has a coat of arm of the deceased, and has two pillars on it, covered with ornaments and topped with two lovely capital composites. Above this lies a very vague and rich entablature, on top of which is also a beautifully decorated pediment. The interpillar is placed on the arch that encloses the ashes of the man who was laid to rest there, and depicts a statue of the actual headdress, on top of which is the episcopal statue. This recumbent statue and work of expert sculpting, which shows a marvelous portrait of charity and kindness that, should depict the sacred mystery that such an important priest maintains. In addition, the garments show a cyclical style, and portray all of the uplifting majesty and devotion. And a devout and majestic Christian with the poise of Agapito Rustico, was buried here; because the Shepard of souls was always gracious and sweet in his advising that in return for those who remain with the integrity of Catholic morals should be a mirror to the world. He was a bishop of Camerino, and due to the magnificence of his church, is still remembered as a beloved pastor whose biographers recorded the remarkable virtue that surrounded his truly Christian spirit. And they know that in addition to his aforementioned moral excellence, he had cultivated the spirit, by knowing much about divinity, and being skillful in the Latin language that was orally known throughout Italy. On the bare space that can be seen between the interpillar of this tomb, and in the tympanum, perhaps there will one day be someone who can interpret these vague fresco paintings, or what is shown the bas-reliefs means, but in the same location, most of the monuments to goddesses that existed in the 15th century, as well as others, were damaged, decomposed and mutilated. 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/a3b9e014db60d540d83b6032762a5fc8.jpg 6705dcd6eaf33501713d9e22038ffdbd 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 Agostino Maffri nella Chiesa di S. Maria sopra Minerva Subject The topic of the resource TABLE LXXXVI SEPULCHRAL TOMB OF AGOSTINO MAFFRI In the Santa Maria sopra Minerva Church Description An account of the resource TAVOLA LXXXVI This is a vague monument, and makes a fine display in the Church of Saint Maria on top of Minerva, and is located in the chapel which is currently owned by Mr. Duca Grazioli. It is similar to the composition of the majority of monuments created in this period of time, to clarify, and it is particularly remarkable for the simplicity and beauty of its carvings. In the basement there is the epigraph of the deceased and his coat of arms on the sides, consisting of a resurgent and prancing deer, which symbolizes caution. Two pillars exquisitely decorated with foliage on a capitellum and ending with the composite style support an entablature frieze in which deer being chased by hounds with leashes flying from around their necks can be seen. On the interpillar is an urn, on top of which is a statue depicting the image of those who have been laid to rest there. Above is the image of the Mother of angels, taking the divine cherub to the breast, and on the sides two winged spirits can be seen supporting the frame where the above mentioned effigy is placed, and at the bottom, there is a hanging ending with a rich fringe indented with large flakes between each dent; decorations are carried out in a nice fresco, while the image of the Virgin Mary is carved in marble, as is the rest of the monument. The person for which this important tomb was erected is Agostino Maffei, the Roman court officer who received a great deal of praise. In addition, he was a man who loved literature and the fine arts, though the most important thing was that he was a very pious and virtuous Christian. 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/a7d3b665411b61ebd7bd51b18833605c.jpg 52948b4e88fa73ba44ea880a914cfd79 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 Astorgio Agnense nella Chiesa di S. Maria sopra Minerva Subject The topic of the resource TABLE LXXXVII SEPULCHRAL TOMB OF ASTORGIO AGENSE In the Santa Maria sopra Minerva Church Description An account of the resource TAVOLA LXXXVII. This monument was erected to the Cardinal Astorgio Agnese of Galeotto and his relatives, who wished to be buried beside him. An urn is lying on top of the figure of the illustrious Cardinal, but in the top frame, both are depicted with their eyes and faces turned to the Virgin Mary, who has her Divine Son in her arms. Perhaps they wished to indicate that they were not taking the glory of the blessed mother for granted, or that they had a special devotion to the Mother of God. Whatever the reason may be, it is certain that this is a very beautiful painting, and that the paintbrush of the noble Federico Zuccari showed her with admirable grace and intelligence. Astorgio was a man of great prudence and actions, which were good qualities that he used to procure a doctrine to be used in many nunciatures, government of Marca, and the Dukes of Spoleto, of Bologna, and of the provincial shareholders. He was Bishop of Mileto, Ravello, Melfi, and Ancona; after that he was the Archbishop of Benevento, Vice-Chancellor of the S.R.C, and Cardinal for Niccolo V in 1488. It was his ardent zeal in advocating the sound and true doctrines of the Roman Catholic Church, and distinguished himself mainly by his heated arguments against the crazy breed of “Cretici” appointed Fraticelli. He died in Rome in 1451, and a monument was erected for him in the walkway of the Saint Maria on top of Minerva Church, in which four statues symbolize four of the main virtues of the deceased. 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