Descrizione Dei Monumenti Sacri E Sepolcrali Del Secolo XV. E XVI Contenuti Nel Quinto Volume

Descrizione Dei Monumenti Sacri E Sepolcrali Del Secolo XV. E XVI Contenuti Nel Quinto Volume

Description of Volume 5, Pages 1 through 7

Page 1 through 7 description of Volume 5 in Italian.

" Descriptions of Holy and Sepulchral Monuments
of XV and XVI Centuries
Contained in this Fifth Volume

I think no one will want to know about the good of this work, if after having promised only four volumes I was convinced to add fifth one: especially when you will view the importance of the monuments this one contains. Difficult thing to stop, especially in Rome and for works surviving from that prolific fifteenth century, is the ability to assign a piece of work of such size and so important, also to Tosi, who loves art, was set about with such perseverance and intelligence, and accompanying his career until the last moments of his life. He could not stop at the fourth volume, without recording these sumptuous monuments in the St. Maria of the People Church, and not carry on to this fifth volume. He deserves an applause to be one of the true intelligent people in the world, and it will never be to take away anyone who will want to be the holder of a work, if that will please all of you, I respect almost essential for all those engaged in any of the arts of design. If there be if the table is nice not take the word, and one Codest; Tosi having shrewdly provisioned with a fifth volume to his previous miscalculation, growing up in this way by a thousand after on the usefulness and importance of his work. Let him then he was really focused on the 141st table, and that the goal of this work and all the whole work, form the drawings he left, say they have already all tasks, and better yet, a thought out index of the whole work, which was found among his papers in clean form and well done to impress, because this would certainly be the author’s image, intending to donate our dear members. Finally, because the work has not lacked some certificate of gratitude to the man, who after having led to a satisfactory conclusion with so much love and care, could not be compared to see to completion, we believed that it too would be a gift to the members, and below, because of a life spent entirely in the decor and the glory of the arts remains some memory, as follows.





Brief Biographical Notes
Of the architect
Knight Francesco Maria Tosi
With many painful words for the early death, and many words of praise and of awe for an honorable life, and full of hard work we remember Knight Francesco Maria Tosi, who left this world in peace. His death is augmented with tears; inasmuch as the death of men of genius, who consecrate their vigils to the immortal works, I think it is cruel and always come with too much of a solicitous step. Those who live day by day will cease to live someday, we never really learned how to start living, only finish living. But whoever gives it all to follow their nationalism and their studies, and who thanks to their works handed down his name is posterity, his death seems to us too sudden which is saddening especially if they left a work unfinished. Not overborne with excess love or vagueness of praise that I lead to him; and the truth, his work that deserved the estimate of its value to ancient practice, appears to be a thousand times more now that he has left the earth, almost that life and the presence counteract the true glory. I remember, not without mourning, and is engraved in my mind those words that the pure soul of Plinio wrote to Euricio, exhorting him to read the books of Pompeo Saturnino. “I advise you (he told him) that you do the same and, and do not disapprove of it only because he is still alive. Because if he fllurished amongst people we had never seen before, not only would we have looked for his works but we would want his images too; and now his honor languria almost to satiety we have of him and in favor of his presence! And malignancy is not to have towards this man worthy of admiration, because we should have seen him, talk to him, hug him, and love him (Epist. XVI. Book 1.)” I am not saying that Tosi was not venerated, but he deserved much more praise; and that's to blame our cases, the challenges to spread out the works that come to light here, and believe that there has been seperation of true and strong minds. Therefore, for the simplicity of confusing different things, even the works of art publicized for volumes underlie equal jundgement, or at least a few people have trouble with it. You do not make these works solely for profit, but for general use. Tosi who was skillful, studious, and careful to conserve the monuments and reproduce them until even the absent find it useful, made his works have a universal importance of utility making works that were barely expected for only one man to do, who has not lived long and had other errands on his plate, we did not know he could not have done more than what was expected of him, but he did so like a good messiah. Before nominating these works, I will provide information on the good time of the arts, of which they will lead me to explaining those that Tosi accomplished.
It was said by some writers of great fame and a high reputation, that the arts emigrated from our soil in the past of the low empire and they returned not before the Turks approached the capital of the East Empire. To make a good assertion, we have evidence of this manifest that the arts in Rome will continue without interruption, and the mosaics will supply them. Visiting the churches in this Metropolis, it is sure that the first, who want to be a history of the fine arts that never stops, does the material easily enough from the works in the mosaic. If he would want the arts to expire: the expiration is not disappearance. Alena poses are real and the architecture is not working new things, because the old superabundance, and why the relics and ruins occasioned by the barbarian foreigners and our own, and the abandonment of pagan times formed a large deposit of universally-owned materials. In wanting to raise a porch, there was a church and manufactures of crafts to think of columns, while the bad government made up of many churches, holes, amphitheaters, circuses, and the kind temples allowed the first occupant of the columns of those abandoned buildings more work, or those that were overthrew but not fallen, if only because they were outsiders. This was done by the various admitted capitals, cornices, of basics, friezes that in the same work of several different architectures see them in all the ancient churches, among which the most strange as it provides St. Loernzo outside the walls. The painting was used sparingly, the great simplicity was expected and reigned in the early days of the church; and if it was used, it was for another reason which because of that extreme equality, it was lawful for a devout layman to paint the church himself instead of a more secular or less devout. But the art of the mosaic does not seem like it was treated by the expired, since at all times if they are good examples. Anyway the centuries devout and barbarians beginning to learn how to kindness, as early as the thirteenth century, without the Turks being rowdy around Constantinople, the paintings began to make good evidence, and there is an example on the door of St. Lorenzo outside the walls, where the acts of St. Steven, of St. Lorenzo and a story or two of the matron Ciriaca are represented if not beautifully, certainly without smut. Along with Cimabue and Giotto they became the best forms, and therefore the sister arts pass and rise to the excellence that we see in the 15th and 16th century.
When the ducts of Constantinople came back to the mother country, escaping the hordes of Muslims, the arts had already returned to a new life, and would have been joined with the best (it is the foundation to believe it), even with the oriental invasion. And it is not even your logic to loan faith to those who say they have remade the Italian arts with the coming of the Greeks, like how there is still no foundation to say that the famous Baschetto that designed the Cathedral from Pisa was not even Italian. I say that the return of the arts, if the kindness was seen in good models, they would not lack in Rome, if it were not for the mosaic; if it is natural what is expressed in who is of a sensitive soul, where nature is beautiful, the varied and fecund soil, the benign sun, the sky is purest and the sea is blue; these things cannot be taken from Italy.
But is is necessary to observe that religion was very much important in the renovating of the arts, and it was referenced in the fighting of the images. The fact is that either from impulse, or by examples done by outsiders in the 15ht and 16th century, the arts were at the highest summit where they were not joined anymore, and the best monuments in that era were received in abundance, maximum in facts of sculptures of which the churches in Rome are packed and also paved. But, my goodness! Even these treasures that remind us of the last glory of the arts, and that for nature they would not perish, have perished and are being perished by ignorance of men.
From the thirteenth to the sixteenth century, the Christians began making sacred tombs placing a figure of the deceased in a lying position the same way it was placed in the casket where they would commence the funerals. Being that the sight of the corpse caused the most tender emotions to show in the friends and family after seeing their loved one once so alive and moving, now so cold, mute, and dead, it seems that memory will replay in their minds and hearts renewing their sadness for his passing as if it was the first day of his death. To not speak of the statues that are still well-preserved, I shall mention that the same lying figure emerges scratching by a marble slab, within the chapel and more often in the floor of the church, being part of the pavement, so that it went on and marked the figure and character. Such other similar monuments are a little stuck in the same raised floors, and are allowed to be walked and crush them. In St. Martino at Monti one of the such scenes made where the face and figure of the whole person that was beautiful and is consumed and has worn the shoes of the devotees or the sandals of the friars; I grieve much and I cannot stop from the accuse of the monks which support the church or who oversees the by public monuments. To repair such grave evil, and to put in view of the lovers of the fine arts and valuable works of our greatest, the Tosi rilevòin drawing all the best in the fifth and tenth century sixteenth, publicizing them in five volumes on a sheet with a brief illustration for each table; but he, while living, saw through the light of only one hundred and twenty-seven tables that do not form the entire collection. The remaining had Ammaniti drawings, only to have them suppose failure; which does not much care was made to care for his relatives, almost extinct veneration which had shown so much concern and tenderness for this work, and usefulness of the scholars of the arts of design.
Almost as if this work appears to be not enough, Tosi also commenced the publication of the all places of the sepulchral monuments by memory of the illustrious men buried in Rome, followed by accuracy and biographical lying from the writer Oreste Raggi. The publication of the monuments by incisions in the branch arrived in the eightieth table, and therefore remained disturbed to have vicissitudes. In both these works, the immense difficulty in encountered throughout the agile imagination, when it is known that not a few of those monuments are disfigured, others had observed the inscriptions; waves of which had to be restored, deduces the real lesson. And why it would not have been altered of which one is most valued to be judged in the era to which it is referred to and can serve historical information, the characters were reproduced form the same shape in which in the original it was more or less orthography.
When Gregorio XVI reigned, Tosi captain of artillery in the fortress of Perugia also took the command, I do not let that dwelling go through the idle. In that city, noble and rich in antiquities and Roman artifacts of valuable works of Italian art, reveal that the decorations on the designs of the divine Raphael woodcut Stefano da Bergamo for choir of St. Peter monks existing in that city. This work contained in seventy tables written in pen, remarkable for the purity and precision of the design, the purchase much fame and praise from those who venerate the memory of our great.
Another work that has not been published consists of the drawings of the major broze door of St. Peter in the Vatican, also contoured in pen; a work that always seemed amiable and how much people went through to keep an eye on it.
It is amazing how many works only man created! He loved the arts so much that he could not detach himself from them. He was architect in profession, was a prominent figure, yet in the purity and way of creating his art pieces he reached the summit of pure excellence. The collection of the monuments in the XV and XVI century, dedicated to the academy of St. Luke, this illustrious achieved a medal, and sent him a letter of congratulations saying that the work “does not seem lack anything.” He said it was different from the other works that “not only not reinvigorate the arts, but also make a mockery of the Roman and Italian gentile reputation. Such verdict shall be a more illustrious Academy of Europe and not easy to praise, hands him the most desirable secure merit of that great and wonderful work, for which Pope Gregory XVI also awarded the Tosi with the cross of the order of St. Silvestro.
It will not be in vain to add to the glory of this illustrious deceased, that if the Tosi did not appear to direct great works of architecture, many in Rome there are walled over his drawings, of which he was always off to those not of the required tips only, to also work. And in what seemed the kindness, the description follows, and the goodness of his soul, that we do not otherwise if we would know by the very people that he took advantage of it were not obvious. Besides that we also mention works that bear his name directly, but we do not spend too much for short limits that were assigned and also not to take anything away from that kind of work, and for whom continuous and without a well laid instant laboring always deserve the universal gratitude and admiration.
His studies and work weakened his body, yet he still did not fail to keep going along with taking little to no breaks. And finally ah! Unfortunately for his father, his wife, family, and friends, for Italy, the 9th of March 1859 his spirit suddenly left him and went to heaven. This sudden death, according to the doctors, caused so much fatigue and negativity that it is best not to be remembered.
Accident, in which they want to tap to ancient custom to those who are less deserving, and less of Tosi very hard. And he, having been civilized and wealthy and also had excellent education And of course sweetest disposition, was frank, benevolent, friendly, tender towards her, caring with friends, pious, charitable, and kind of purged costumes, the Common beloved homeland. The affability of ways, and the whiteness to the generosity of the soul and the spirits francs proved the first aspect lovable, lively eyes and clear: he was the person to well composed. His remains were placed in the tomb of his gentle home in the cemetery of San Spirito in Sassia; and like that in his whole life that has passed to draw and collect monuments, had reserved one for him, and had worked with skill by the talented sculptor Luca Carimini for the care of his relatives, and embellished his portrait conducted at the hands of a talented painter from Bergamo. Knight Francesco Coghetti; although to live in the memory of the future are sufficient monument its virtues and his works, less fragile than a marble!"

Drawn by Francesco M. Tosi

Unknown

Presso l'Editore Preprietario

15th and 16th Sculpture

Unknown Donor

Geneseo Foundation

Volumes 1, 2, 3, and 4.

Etchings

Italian

Prints

Italian Monuments in Rome created during the 15th and 16th Century

Prints were made circa 1835 to 1860