Monumento Sepolcrale di Agapito Rustico nella Chiesa di S. Maria sopra Minerva
Dublin Core
Title
Monumento Sepolcrale di Agapito Rustico nella Chiesa di S. Maria sopra Minerva
Subject
TABLE LXXXIV
SEPULCHRAL TOMB OF AGAPITO RUSTICO
In the Santa Maria sopra Minerva Church
SEPULCHRAL TOMB OF AGAPITO RUSTICO
In the Santa Maria sopra Minerva Church
Description
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.
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
Drawn by Francesco M. Tosi
Publisher
Presso l'Editore Proprietario
Date
15th and 16th Sculpture
Contributor
Unknown Donor
Rights
Geneseo Foundation
Relation
Volumes 1, 2, 3, and 5
Format
20 x 16
Language
Italian
Type
Print
Identifier
Italian Monuments in Rome created during the 15th and 16th Century
Coverage
Prints were made circa 1835 to 1860
Files
Citation
Drawn by Francesco M. Tosi
, “Monumento Sepolcrale di Agapito Rustico nella Chiesa di S. Maria sopra Minerva,” LLB Galleries, accessed December 22, 2024, https://artgalleries.milne-library.org/items/show/316.