Altare nella Chiesa di S. Maria sopra Minerva

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