Giacobbe Giusti, Santa Pudenziana

Giacobbe Giusti, Santa Pudenziana

 

Giacobbe Giusti, Santa Pudenziana

Detail of the 5th-century AD Paleochristian mosaic in the Santa Pudenziana basilica

Giacobbe Giusti, Santa Pudenziana

Giacobbe Giusti, Santa Pudenziana

Giacobbe Giusti, Santa Pudenziana

Giacobbe Giusti, Santa Pudenziana

Giacobbe Giusti, Santa Pudenziana

 

 

Giacobbe Giusti, Santa Pudenziana

 

Giacobbe Giusti, Santa Pudenziana

Giacobbe Giusti, Santa Pudenziana

basilica of Santa Pudenziana is a 4th-century church of Rome, dedicated to Saint Pudentiana, sister of Saint Praxedis and daughter of Saint Pudens. It is the national church for the Philippines.

Giacobbe Giusti, Santa Pudenziana

Apse mosaic (enhanced image), a Paleochristian mosaic, c. 420 AD.

The basilica of Santa Pudenziana is a 4th-century church of Rome, dedicated to Saint Pudentiana, sister of Saint Praxedis and daughter of Saint Pudens. It is the national church for the Philippines.

It has been suggested that there was no such person as Pudentiana, the name having originated as an adjective used to describe the house of Pudens, Domus Pudentiana. St. Paulrefers to Pudens (2 Timothy 4:21), however, so it appears that there was a real person with this name.

Giacobbe Giusti, Santa Pudenziana

Close-up of Saint Pudentiana in the mosaic of the apse

The church of Santa Pudenziana is recognized as the oldest place of Christian worship in Rome. It was built over a 2nd-century house, probably during the pontificate of Pius Iin 140–155 AD, and re-uses part of a bath facility still visible in the structure of the apse. This church was the residence of the Pope until, in 313, Emperor Constantine I offered the Lateran Palace in its stead. In the 4th century, during the pontificate of Pope Siricius, the building was transformed into a three-naved church. In the acts of the synod of 499, the church bears the titulus Pudentis, indicating that the administration of the sacraments was allowed.

Giacobbe Giusti, Santa Pudenziana

Main entrance of the church

The church is situated at a lower level. One enters through wrought iron gates. Steps (added in the 19th century) spring down to the square courtyard from both sides of the entrance. The architrave of the entrance hall of the faded façade (1870) contains a marble frieze that used to belong to a portal from the 11th century. It is a significant work of medieval sculpture in Rome. It shows (from left to right) Pastore (the first church owner), Pudenziana, Prassede and their father Pudens. The columns in the nave were part of the original basilica structure.

The Romanesque belltower was added in the early 13th century. Restorations of 1588 by Francesco da Volterra, on orders from cardinal Enrico Caetani, Camerlengo of the Holy Roman Church, transformed the three naves into one and a dome was added, also designed by Francesco da Volterra. The painting of Angels and Saints before the Saviour on the dome is a fresco by a painter Pomarancio. During these last restorations some fragments of a Laocoön group were found that were larger than those in the Vatican. As no one was willing to pay extra for this find, they filled up the hole in the ground. These fragments were never recovered. The façade was renewed in 1870 and frescoes were added by Pietro Gagliardi.

The right side of the present basilica was part of a Roman bath house dating from the reign of emperor Hadrian (117–138).

Inside

Roman mosaic

Giacobbe Giusti, Santa Pudenziana

Detail of the 5th-century AD Paleochristianmosaic in the Santa Pudenziana basilica

On the wall behind the high altar are three paintings made in 1803 by Bernardino Nocchirepresenting (from left to right): St. Timotheus, The Glory of St Pudentiana, and St Novatus.

The mosaics in the apse are late Roman art. They date from around the end of the 4th century; they are regarded by different groups of scholars as dating from either the reign of Pope Siricius (384–399) or the pontificate of Innocent I (401–417).^[1]They were heavily restored in the 16th century. They are among the oldest Christian mosaics in Rome and one of the most striking mosaics outside of Ravenna. They were deemed the most beautiful mosaics in Rome by the 19th-century historian Ferdinand Gregorovius.

This mosaic is remarkable for its iconography. Christ is represented as a human figure rather than as a symbol, such as lamb or the good shepherd, as he was in very early Christian images. The regal nature of this representation prefigures the majestic bearing of Christ as depicted in Byzantine mosaics. Christ sits on a jewel encrusted throne, wearing a golden togawith a purple trim (a sign of imperial authority and emphasizing the authority of Christ and his church). He poses as a classical Roman teacher with his right hand extended. Christ wears a haloand holds in his left hand the text: « Dominus conservator ecclesiae Pudentianae » (The Lord is the preserver of the church of Pudenziana). He sits among his apostles, two of which were removed during restoration. The apostles wear senatorial togas. They all have individual expressions and face the spectator. The lower part of the mosaic was removed during the restoration in the late 16th century. The mosaics of the apostles on the right side have been lost in the course of time and are replaced by new, but rather blank, mosaics. Two female figures (representing « Church » and « Synagogue ») hold a wreath above the head of St. Peter and Paul. Above them the roofs and domes of heavenly Jerusalem (or, in another interpretation, the churches built by the emperor Constantine in Jerusalem) are depicted. Above Christ stands a large jewel encrusted cross on a hill (Golgotha), as a sign of the triumph of Christ, amidst the Christian symbols of the Four Evangelists. These iconographic symbols (angel, lion, ox and eagle) are the oldest still existing representations of the Evangelists.^[2] The backdrop is a blue sky with an orange sunset.

One scholar has suggested that the enthroned figure in the center of the apse mosaic normally regarded as Christ, in fact represents God the Father,^[3] which would be an extremely unusual depiction of God the Father in art at this date.

Chapels

Giacobbe Giusti, Santa Pudenziana

St Praxedes and Pudenziana collecting the Blood of the Martyrs by Giovanni Paolo Rossetti

• The Peter chapel, on the left side of the apse, contains a part of the table at which Saint Peter would have held the celebration of the Eucharist in the house of Saint Pudens. The rest of the table is embedded in the papal altar of St. John Lateran. The sculpture on the altar depicts Christ delivering the keys of Heaven to St. Peter (1594) by the architect and sculptor Giacomo della Porta. In the same chapel there are two bronze slabs in the wall, explaining that here St. Peter was given hospitality and that St. Peter offered for the first time in Rome bread and wine as a consecration of the Eucharist. The pavement is ancient. A door opens into a cortile with a small chapel that contains frescoes from the 11th century.
• Chapel of the Crucifix: contains a bronze crucifix by Achille Tamburini.
• Chapel of the Madonna of Mercy: contains the painting The Nativity of the Madonna by Lazarro Baldi
• Chapel of St. Bernard: contains a painting of St Benedict and St Catherine of Siena
• Caetani chapel: This chapel for Caetani family (family of pope Boniface VIII) was designed by Capriano da Volterra in 1588 and, after his death in 1601, completed by Carlo Maderno. The mosaics on the floor are notable. The columns of Lumachella marble. The relief (1599) above the altar is by Pier Paolo Olivieriand depicts Adoration of the Magi. Giovanni Paolo Rossetti painted St Praxedes and Pudenziana collecting the Blood of the Martyrsin 1621. He also painted the fresco of the Evangelist in the ceiling, to a design by Federico Zuccari.

The statue of St Pudenziana (c. 1650) in a niche is by Claude Adam. The sisters’ well stands just outside the Caetani chapel in the left aisle, which is said to contain the relics of 3,000 early martyrs, many of which were brought here and hidden by Saints Pudentiana and Praxedes. This is marked by a square porphyry slab in the floor.

Following the decline of popular piety ushered by the ecclesiastical reforms of the Second Vatican Council in 1969, the names of Pudentiana and her sister Praxedes were removed from the General Roman Calendar.

Titular church

The church’s cardinalate status is vacant with the 2017 death of Cardinal Joachim Meisner, thereby meaning that the Titulus S. Pudentianae is vacant until a new cardinal is appointed. One of the former Cardinal-Priests of this basilica was Cardinal Luciano Bonaparte, great-nephew of the emperor Napoleon I.

Notes

1. Jump up^ Kleinbauer, 940
2. Jump up^ Some Recent Finds at Alahan (Koja Kalessi), Michael Gough, Anatolian Studies, Vol. 5, (1955), 121.JSTOR
3. Jump up^ Suggestion by F.W. Sclatter, see Kleinbauer, 940

References

• « Santa Pudenziana », katolsk.no.
• Fredric W. Schlatter, The Text in the Mosaic of Santa Pudenziana, Vigiliae Christianae, Vol. 43, No. 2 (Jun., 1989), pp. 155–165
• Review by W. Eugene Kleinbauer of The Clash of Gods: A Reinterpretation of Early Christian Art, by Thomas F. Mathews, Speculum, Vol. 70, No. 4 (Oct., 1995), pp. 937–941, Medieval Academy of America, JSTOR
• (in Italian) Antonietta Cozzi Beccarini, « La cappella Caetani nella basilica di Santa Pudenziana in Roma », Quaderni dell’Istituto di Storia dell’Architettura, 22, 1975, pp. 143–158
• Matilda Webb, The churches and catacombs of early Christian Rome: a comprehensive guide, Sussex Academic Press (February 2002), ISBN1-902210-58-1

https://en.wikipedia.org/wiki/Santa_Pudenziana

http://www.giacobbegiusti.com

 

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

Tuscany, Monte Falterona, Bronze statue depicting warrior. Etruscan civilization V century b.C.

London, British Museum

 

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

Kouros in bronze, from Monte Falterona

 

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

Lake of the Idols Lago degli IdoliGiacobbe Giusti, Lake of the Idols, MONTE FALTERONA
Lake of the Idols following restoration
Lake of the Idols Location in Italy
Location	Arezzo, Tuscany, Italy
Basin countries	Italy
Surface elevation	1,380 m (4,530 ft)

Lake of the Idols (Italian: Lago degli Idoli) is a lake located in Arezzo Province, Tuscany, Italy. It is located 1,380 metres (4,530 ft) above sea level atop Monte Falterona, about 600 metres from the source of the river Arno.^[1] Situated near an ancient road linking Etruria (including Tuscany and Umbria) with the Adriatic port cities of Romagna,^[2] it is known for one of the largest archaeological finds of the Etruscan civilization; over 600 bronze statuettes of Etruscan and Roman origin, along with thousands of other figurines from Cisalpine Gaul and Umbria, were discovered within the lake.^[3]

Name

The lake was originally known as Lago della Ciliegeta (eng. Cherry Grove Lake), named for the cherrygroves that grew around the lake.^[4] The name Lago degli Idoli (eng. Lake of the Idols) was applied after 1838 and refers to the Etruscan bronze statuettes found in the lake (see History). Another name for the lake is Buca del Tesoro (eng. Treasure Hole).^[5]

History

According to Alfredo Bresciani, the lake formed approximately 6,000 years ago (4th millennia BCE), based on radiocarbon dating and dendrochronology testing done on the lake.^[6]

The lake was used in ancient times by the Etruscans. They viewed it as a « holy spring of the river-gods » because of the healing qualities of the water, which contains a high concentration of tannin.^[7] The Etruscans would throw bronze statuettes into the lake as a form of votive offering. These statuettes depicted typically people or animals.^[8] Some artifacts in the lake depicted body parts, such as heads, arms and legs,^[9] suggesting the healing power of the lake. Other artifacts found at the lake were coins (including Etruscan aes rude), and fragments of arrow bits and pottery.^[10]It is believed that the lake was popular among soldiers based on the number of arrow fragments, and more importantly, the number of statuettes found depicting Hercle, the Etruscan version of Greek divine hero, Heracles.^[11] Artifacts found at the lake are dated between mid-6th to late-4th centuries BCE.^[12]

One of these statuettes was discovered by a local shepherdess in May 1838.^[13] The statuette was probably of Hercle, now kept in the British Museum.^[14][15] News of the find spread quickly, and a team of local amateur archaeologists from nearby Stia^[16]began excavating the site in June 1838.^[13] The lake was subsequently dried following several days of fruitful excavations.^[17] Over 600 statuettes and thousands of other artifacts were discovered between 1838–1839.^[13] Many of these artifacts at the time were presented to the Archaeological Institute of Rome in 1842, but without any buyers. Ultimately they were sold to a private collector, who resold them to a number of museums, notably among them the British Museum,^[18] the Hermitage Museum and the Louvre.^[19] Over time, treasure seekers looted the lake, stripping it of whatever artifacts remained within.^[20]

Official excavations were sparse following the 1838–1839 excavations. The next excavation, in 1972, led to the discovery of three artifacts within the lake.^[21]Previously, in 1971, five artifacts in the form of bronze statuettes were accidentally recovered from the site.^[22]

The last significant excavation of the lake was done in 2003. Eight trenches were dug into the lake center.^[23] Within the trenches, among the artifacts found were bronze statuettes, fragments of bronze weaponry, « two pieces of gold foil shaped into bull-headed protomes » and « two polychromebeads« .^[24] « In addition to the objects named above, other finds include nails, spear points, ceramics (including an intact bucchero grigio miniature cup), arrows and aes rude. » These artifacts were mostly dated between the 6th–5th centuries BCE.^[25]

Following the 2003 excavations, local authorities began rehabilitating the lake. In 2007, the lake was refilled using water from a nearby spring.^[26] Vegetation surrounding the lake was replanted to mimic its original form during the Etruscan period, using pollen samples recovered from the surrounding layers of earth.^[27]

Hydrology

The lake is widely perceived to be a pond, due to lack of inflow from any bodies of water, i.e. rivers and streams. Research done at the University of Florence – Faculty of Engineering suggests that there exists an underground spring that provides a continuous stream of water to the lake.^[28] It appears that the lake is sinkhole-like, sitting atop layers of sandstone.^[29]

Cultural impact

The lake and its history was heavily incorporated into the plot of the 2013 film Neverlake.^[30][31]

References

1. Jump up^ InEtruria.it: « The Lake of Idols is about 1380 metres above sea level on the southern slope of Monte Falterona (1654 metres) near to the sources of the Arno, approximately 600 metres more to the north-west (1358 metres). »
2. Jump up^ Il lago sacro: « Passava da questo zona una importante viabilità che collegava l’Etruria toscana e umbra alle zone dell’attuale Romagna e relativi porti adriatici (viabilità utilizzata anche in epoca romana e per tutto il medioevo. »
3. Jump up^ Caselli 2004, pp. 78–79: « Well in excess of 600 Etruscan and Roman bronze figurines, up to 60 cm in height, were found buried in the mud, together with thousands of other artifacts, coming from a wide area of Etruria, Cisalpine Gaul, and Umbria. »
4. Jump up^ Ferrini & Arrivo al Lago degli Idoli: « Eccoci al Lago degli Idoli, fino al 1838 Lago della Ciliegeta per le molte piante di ciliegio che qui erano presenti. »
5. Jump up^ Caselli 2004, p. 78: « Proceeding due south for about 1 km, a little above our path, we should be able to find the little, now refilled, basin of the famous Lago degli Idoli (Lake of the Idols), once known as Buca del Tesoro (the Treasure Hole) or Lago delle Ciliegeta (the Cherry Grove Lake). »
6. Jump up^ Meyers 2008: « The volume includes an interesting archaeological discussion by Alfredo Bresciani on Carbon-14 dating and dendochronology, which have been used to determine that the lake formed naturally c. 6000 years ago »
7. Jump up^ Caselli 2004, p. 79: « People gathered at the pond which they regarded as the holy spring of the river-gods embracing the country of Etruria. The waters of the pond, containing a high quantity of tannin, were also a strong disinfectant […] »
8. Jump up^ Salsini: For centuries, people in the area believed that if an earthquake awakened the god, they would all be drowned. The Etruscans, in fact, threw thousands of small bronze statues, depicting people and animals, into a lake, called Lake of the Idols, to keep the god happy.
9. Jump up^ Marie-Bénédicte: « […] nearly 2,000 fragments of weapons and of depictions of the human body (heads, trunks, arms, legs, etc.); and a few coins. »
10. Jump up^ Ferrini & Il lago sacro: « Tra il 1838 e 39 furono portati alla luce migliaia di reperti tra cui oltre seicento bronzetti, un migliaio di Aes Rude (la prima monetazione etrusca), circa 2000 punte da freccia e molti frammenti di ceramica. »
11. Jump up^ InEtruria.it: « This is highlighted by the existence in the votive offering of Hercle of Greek manufacture. It can be hypothesized that this offering was mainly associated with « soldiers » both on account of the statuette of Hercle (god connected to heroism and also to war) and that of the Warrior, not to mention the huge quantity of arrows. »
12. Jump up^ Pancani & Tocchi 2012, p. 2: « The finds dated from the middle of the VI and the late IV century BC […] »
13. ^ Jump up to:^a b c Pancani & Tocchi 2012, p. 2: « The Lake of Idols was discovered by chance in May 1838, the accidental discovery of a bronze statue of Heracles was followed by more in-depth investigations in the area and the excavations, which began in June of the same year, brought to light more than 600 figurines and thousands of other artifacts. »
14. Jump up^ Perhaps this one
15. Jump up^ Ferrini & Un lago sacro: « Casualmente in quell’anno una mandriana rinvenne sulla sponda del lago una statuetta bronzea raffigurante Eracle (oggi conservata nel British Museum di Londra). »
16. Jump up^ InEtruria.it: « In Stia, a company was formed by a group of local amateurs, who started a dig (1838-‘39).
17. Jump up^ InEtruria.it: « A few days later, due to the formidable amount of excavated material, it was decided to dry the lake. »
18. Jump up^ 8 pieces in the British Museum
19. Jump up^ Caselli 2004, p. 79: « In 1842, secretary E. Braun, presented the finds to scholars in the hall of the Archaeological Institute of Rome. Since no public authority considered buying any of the finds, they were at once sold to a private buyer who, in his turn, sold them to various museums including the Museums of Berlin, the British Museum, the Louvre, the Boston Museum and the Hermitage. »
20. Jump up^ Caselli 2004, p. 79: « The extensive excavations, carried out from the summer of 2003 on-wards, demonstrated that the basin had been all but cleared of every possible interesting relic by generations of treasure hunters. »
21. Jump up^ Meyers 2008, pp. 175–176: « In 1972 three new bronze pieces were found at the same site, inspiring further excavation in the area.
22. Jump up^ InEtruria.it: « In 1971, five statuettes were found by chance. »
23. Jump up^ Meyers 2008, p. 176: « Following the history and catalog of earlier excavations at the site of the Lago degli Idoli, Fedeli provides a brief account of the 2003 campaign. Based on information from the earlier work on the site, eight trenches were opened in the center of the ancient basin.
24. Jump up^ Meyers 2008, p. 176: « Several trenches yielded substantial deposits of archaeological finds—one in particular producing bronze votive statuettes, bronze heads, fragments of bronze weapons, two pieces of gold foil shaped into bull-headed protomes and two polychrome beads. »
25. Jump up^ Meyers 2008, p. 176: « Most of the finds are datable to sixth-fifth centuries B.C.[…] »
26. Jump up^ Ferrini & Il lago sacro: « Ultimati gli ultimi scavi, a fine 2007 la conca è stata riempita con l’acqua di una vicina sorgente. »
27. Jump up^ Caselli, p. 78: « The local authority and the Park authority have now refilled the anciend[sic] lake bed and are now replanting the origi-nal vegetation of the Etruscan period, as has been extrapolated by studying the pollen in the va-rious excavation layers. »
28. Jump up^ InEtruria.it: « As to the widely debated origin of the lake, a hypothesis was recently formulated by a team of researchers and scholars of the Engineering Faculty of Florence University. Research, analyses and hydrogeological studies revealed that the lake originated from an underground spring capable of keeping up a constant flow of water.
29. Jump up^ InEtruria.it: « From research conducted, it turns out that the rocks in which the lake formed consist of layers of sandstone belonging to a « pseudo-doline ». »
30. Jump up^ Keats-Shelley House 2013: « Paoletti chose a place full of charm and mystery, ‘The Lake of the Idols’, a Tuscan location renowned for many discoveries of ancient Etruscan artifacts in its depths. »
31. Jump up^ Hough 2014: « The setting is the historic « Lake of the Idols, » which was beheld by ancient Etruscans as a place of healing and mysticism. It was believed that one could escape sickness by tossing objects into the center of the waters, and for thousands of years, artifacts have been discovered at the lake. »

Sources

• Caselli, Giovanni (2004), The Casentino History Anthropology Environment, Le Balze, ISBN 88-7539-035-5, retrieved 12 June 2015
• Salsini, Paul, A Tuscan Trilogy: The Flood of Florence, November 4, 1966, retrieved 12 June 2015
• Lago degli Idoli, InEtruria.it, retrieved 12 June 2015
• Pancani, Giovanni; Tocchi, Marco (November 2012), The archaeological area of Pieve a Socana (Tuscany – Italy) (PDF), Vienna: Museen der Stadt Wien – Stadtarchäologie, ISBN 978-3-200-03281-1, retrieved 12 June 2015
• Marie-Bénédicte, Astier, Lago degli Idoli, Louvre Museum, retrieved 12 June 2015
• Ferrini, Alessandro, Arrivo al Lago degli Idoli [Arriving at the Lake of the Idols] (in Italian), Il bel Casentino, retrieved 12 June 2015
• Ferrini, Alessandro, Il lago sacro [The Sacred Lake] (in Italian), Il bel Casentino, retrieved 12 June 2015
• Meyers, Gretchen E. (1 January 2008), « Review of M. Ducci, ed., Santuari Etruschi in Casentino », Etruscan Studies: Journal of the Etruscan Foundation, University of Massachusetts Amherst, 11: 175–177, ISBN 978-0-9819692-1-3, retrieved 12 June 2015
• Neverlake, a new psychological thriller inspired by Shelley’s poetry, Keats-Shelley House, 20 December 2013, retrieved 12 June 2015
• Hough, Quinn Vincent (13 May 2004), Movie Review: Neverlake (2013), Critical Movie Critics, retrieved 12 June 2015

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

British Museum

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

Hermitage Museum

Giacobbe Giusti, Lake of the Idols, MONTE FALTERONA

Louvre

https://en.wikipedia.org/wiki/Lake_of_the_Idols

Giacobbe Giusti, MONTE FALTERONA, ‘IL LAGO DEGLI IDOLI’

https://en.wikipedia.org/wiki/British_Museum

 

https://en.wikipedia.org/wiki/Hermitage_Museum

https://en.wikipedia.org/wiki/Louvre

https://en.wikipedia.org/wiki/Monte_Falterona

http://www.toscana.beniculturali.it/articoli/acque-sacre-culto-etrusco-sullappennino-toscano

http://www.giacobbegiusti.com

https://en.wikipedia.org/wiki/Foreste_Casentinesi,_Monte_Falterona,_Campigna_National_Park

Giacobbe Giusti, Couvent Sainte-Marie-des-Anges (Florence)

Giacobbe Giusti, Couvent Sainte-Marie-des-Anges (Florence)

 

Giacobbe Giusti, Couvent Sainte-Marie-des-Anges (Florence)

 

Giacobbe Giusti, Couvent Sainte-Marie-des-Anges (Florence)

 

Giacobbe Giusti, Couvent Sainte-Marie-des-Anges (Florence)

Lunetta del chiostro degli Angeli, Bernardino Poccetti, La creazione di Eva

Giacobbe Giusti, Couvent Sainte-Marie-des-Anges (Florence)

 

43° 46′ 28″ nord, 11° 15′ 39″ est

Sainte-Marie-des-Anges.

Giacobbe Giusti, Couvent Sainte-Marie-des-Anges (Florence)

Le cloître des anges et le clocheton du couvent.
Présentation
Nom local	Convento Santa Maria degli Angeli
Culte	Catholique romain
Type	église conventuelle
Rattachement	Archidiocèse de Florence
Début de la construction	1295
Fin des travaux	xvie siècle
Architecte	Brunelleschi (au xve siècle)Gherardo Silvani et Bartolomeo Ammannati (au xvie siècle)
Style dominant	Renaissance italienne
Géographie
Pays	Italie
Région	Toscane
Province	Florence
Commune	Florence
Coordonnées	43° 46′ 28″ nord, 11° 15′ 39″ est
Géolocalisation sur la carte : Florence

Le couvent Sainte-Marie-des-Anges(en italien  : Convento Santa Maria degli Angeli) est un ancien couvent de Florence, situé sur la via degli Alfani. Ayant été un des plus importants et des plus riches de Florence, il comprend d’importantes créations architecturales et picturales du xvii^e siècle s’inspirant de la Renaissance italienne. Supprimé comme les autres lieux des ordres monastiques par Napoléon en 1808, sa destination devient communale. Ses bâtiments hébergent aujourd’hui la Faculté de Lettres et de Philosophie de l’Université de Florence.

Histoire

Le couvent est fondé en 1295 par Antonio Viva Guittone d’Arezzo. Il s’inspire de l’ermitage de l’ordre camaldule.

En 1434, l’architecte Brunelleschi réalise l’église, s’articulant autour d’un octogone central. C’est le premier bâtiment de la Renaissance à plan centré.

L’édifice est rénové au xvii^e siècle par Gherardo Silvani et Bartolomeo Ammannati. Bernardino Poccetti peint les fresques du cloître des Anges.

Le couvent est supprimé en 1808 sur ordre de Napoléon. Utilisé par l’Hôpital de Santa Maria Nuova, il est ensuite transféré à l’Université de Florence en 1940, qui en prend usage à partir de 1964.

Architecture

Église

Giacobbe Giusti, Couvent Sainte-Marie-des-Anges (Florence)

Façade de l’église.

Grande cloître

Giacobbe Giusti, Couvent Sainte-Marie-des-Anges (Florence)

Grande cloître.

Cloître des Anges

Giacobbe Giusti, Couvent Sainte-Marie-des-Anges (Florence)

Cloître des Anges.

Cette section est vide, insuffisamment détaillée ou incomplète. Votre aide est la bienvenue ! Comment faire ?

Le cloître des Anges est imposant, situé au milieu de la structure du couvent.

Les fresques de la Crucifixion et saints, d’Andrea del Castagno réalisées entre 1440 et 1444, décoraient ce petit cloître. Elles sont aujourd’hui conservées à l’Hôpital Santa Maria Nuova.

Cloître des Morts

Giacobbe Giusti, Couvent Sainte-Marie-des-Anges (Florence)

Cloître des Morts.

• La Cène, œuvre de Ridolfo del Ghirlandaio sur le mur du fond du réfectoire.

Rotonde de Brunelleschi

Rotonde de Brunelleschi.

Giacobbe Giusti, Couvent Sainte-Marie-des-Anges (Florence)

Rotonde de Brunelleschi.

Notes et références

Bibliographie

• Divo Savelli, Il Convento di Santa Maria degli Angeli a Firenze, Editoriale Tornatre, Firenze 1983.
• Divo Savelli, Rita Nencioni, Il Chiostro degli Angeli, Storia dell’antico monastero camaldolese di Santa Maria degli Angeli a Firenze, Edizioni Polistampa Firenze 2008

维基百科，自由的百科全书

Giacobbe Giusti, 天神之后堂 (佛罗伦萨)

学者圆形堂

天神之后堂（Santa Maria degli Angeli）是意大利佛罗伦萨一个现已解散的天神之后修道院的教堂。它属于卡马尔多利修会，是本笃会的一个分支。该修会由圣罗穆亚尔德于1012年在阿雷佐附近的卡马尔多利创立，因此而得名。该建筑历经多次改建，已经很少保留中世纪建筑原貌。

该修道院在文艺复兴初期曾是一个主要研究中心，这里的写字间以出产高品质的手稿而著称，今天被收藏在世界各地的博物馆。画家洛伦佐·摩纳哥，曾有一段时间以修道为职业，但最终他还俗离开了。然而，他在修道期间及之后，都为该修道院和卡马尔多利修会其他机构创作了一系列的艺术品。

“学者圆形堂”（Rotonda degli Scolari）是修道院建筑群的一部分，1434年，由美第奇家族委托菲利波·布鲁内莱斯基设计。在其核心，有一个八角形的圆顶空间，周围环绕着八个附属空间^[1]。

参考

https://fr.wikipedia.org/wiki/Couvent_Sainte-Marie-des-Anges_(Florence)

http://www.giacobbegiusti.com

Giacobbe Giusti, LA VERNA

 

Giacobbe Giusti, LA VERNA

 

Giacobbe Giusti, LA VERNA

Autore	Giotto?
Data	1295–1299 circa
Tecnica	affresco
Dimensioni	230×270 cm
Ubicazione	Basilica superiore di Assisi, Assisi

 

Giacobbe Giusti, LA VERNA

 

Giacobbe Giusti, LA VERNA

 

Giacobbe Giusti, LA VERNA

 

Giacobbe Giusti, LA VERNA

 

Giacobbe Giusti, LA VERNA

Kloster La Verna

Das Kloster La Verna liegt an der Erhebung Alverna am Südwesthang des Monte Penna nördlich von Chiusi della Verna auf 1128 Meter.

Geschichte

1213 schenkte der Graf Orlando Catani von Chiusi den Monte Alverna Franz von Assisi und seinem Orden. Ein Jahr später kam Franziskus das erste Mal an diesen Ort. Während seines Lebens wurden nur die Kapelle Santa Maria degli Angeli und mehrere einfache Hütten errichtet. An diesem Ort soll Franziskus 1224 die Wundmale Christiempfangen haben.

Basilika

Darstellung der Geburt Christi in der Basilika, Werk von Andrea della Robbia

Basilika

Die Basilika Chiesa Maggiore wurde von 1348 bis 1509 erbaut. 1348 finanzierte der Graf Tarlato den Kirchenbau. Vollendet wurde er mit Mitteln der Konsulen dell’arte della Lana aus Florenz und am 22. April 1509 eingeweiht. Am 22. August 1921 wurde die Kirche zur Basilica minor erhoben.

Von der florentinischen Künstlerfamilie della Robbiasind auf La Verna fünfzehn glasierte Terracotta-Tafeln zu sehen. In den Seitenkapellen der Basilika befinden sich das von Andrea della Robbiastammende älteste Werk, das 1476 erschaffene Maria Verkündigung, und als weitere Werke die Geburt des Herrnund die Himmelfahrt Christi. Die beiden Figuren Franz von Assisi und Abt Antonius auf den Seiten des Hochaltars werden ihm ebenso zugeschrieben. Am Altar rechts des Eingangsbereichs befindet sich die Terracotta-Tafel Madonna der Zuflucht, die auch von diesem Künstler stammen könnte. Diese Tafel befand sich bis 1874 im benachbarten Vallesanta.

In der Mitte des 1495 erbauten Chorgestühls mit den Sitzen aus Nussbaumholz befindet sich das mit Schnitzereien und Einlagen dekorierte große Lesepult aus dem Jahr 1509.

Unter dem Hochaltar befinden sich in einem ausgeschnitzten Sarg die Überreste des Johannes von La Verna. Hinter einem schmiedeeisernen Gitter befindet sich die Reliquienkapelle. 1939 ließ Graf Ginori die Kapelle des allerheiligsten Sakraments unter das alte Orgelgehäuse bauen.

Die aus 90 Registern und 5500 Pfeifen bestehende Orgel wurde mehrmals restauriert, erneuert und erweitert. Das alte Orgelgehäuse ist aus dem 15. Jahrhundert und beinhaltet heute die Echo-Orgel mit zwölf Registern. Die große Orgel wurde 1926 eingeweiht und stammt von der Firma Tamburini aus Crema.

Kapellen

Santa Maria degli Angeli

Die auch chiesina (kleines Kirchlein) genannte Kapelle geht auf die Zeit des Franziskus zurück. Der Legende nach erschien ihm Mariaund beschrieb ihm Lage und Ausdehnung für die erste Kirche von La Verna. Das Patrozinium ist das gleiche wie das der Portiuncula bei Assisi, wo sich Franziskus häufig aufhielt.

1216–18 entstand der erste Teil der Kapelle, der heute Chor und Altar umfasst. Nach 1250 wurde die Kapelle um den Teil erweitert, der heute von der Eingangstür zum Eisengitter reicht. Eingeweiht wurde die Kapelle am 20. August 1260. 1923/24 gab es umfangreiche Restaurierungsarbeiten.

Das im 15. Jahrhundert von Andrea della Robbia erschaffene Terracotta-Relief am Hochaltar stellt die Himmelfahrt Mariens dar. Links vom geöffneten Kenotaph sind Papst Gregor der Große und der Heilige Thomas zu sehen, der den Gürtel Mariens empfängt. Rechts sind Franz von Assisi und Bonaventura dargestellt.

Von Giovanni della Robbia, dem Sohn des Andrea della Robbia, sind die beiden farbig glasierten Terracotten an der Vorderseite des kleinen Eisengitters. Dargestellt sind die Kreuzabnahme Jesu und die Geburt Christi.

Unter dem Boden liegt der Stifter des Ortes, Graf Orlando, begraben. Im Türmchen hängt eine 1257 von Leonhard Pisano gegossene Glocke.

• 

  Santa Maria degli Angeli

• 

  Himmelfahrt Mariens von Andrea della Robbia

   

• 

  Geburt Christi von Giovanni della Robbia

Kapelle der Vögel

Die Kapelle ist an der Stelle einer Eiche errichtet, auf der sich nach den Fioretti bei der ersten Ankunft von Franz von Assisi die Vögel des Waldes niedergelassen und ihn durch Gesang und Flügelschlagen begrüßt hatten. An der Stelle der alten Eiche wurde 1602 die Kapelle erbaut.

Sasso spicco

Kapelle der Magdalene

Diese wird auch erste Kapelle des hl. Franz genannt. Hier soll die erste von Graf Orlando für Franziskus erbaute Hütte gestanden und der Altarstein soll ihm als Tisch gedient haben. Erbauen ließ die Kapelle Ende des 15. Jahrhunderts Gräfin Caterina Tarlati. Darüber befindet sich die Kapelle des Petrus von Alcantara. Unterhalb befindet sich der Sasso spicco.

Gang der Wundmale

Am Gang zur Kapelle der Wundmale

Am 78 Meter langen Gang von der Basilika zur Kapelle der Wundmale liegen mehrere Kapellen. Gebaut wurde der Gang, um bei jedem Wetter die tägliche Prozession zur Kapelle der Wundmale durchführen zu können.

Die Kapelle der Pietas liegt am Anfang des Ganges. In ihr ist die robbianische Terracotta-Tafel Kreuzabnahme Christi zu finden.

In der Mitte des Ganges geht es zum sogenannten Bett des hl. Franz, einer feuchten und kalten Grotte.

Kurz vor dem Ende des Ganges befindet sich die Kapelle Loddi. Sie wurde 1581 von Loddo Loddi, einem Edelmann aus Chiusi, in Auftrag gegeben. An diesem Ort befand sich der erste Friedhof. Neben einem Holzkreuz aus dem 14. Jahrhundert finden sich hier Reste von Fresken aus dem 15. Jahrhundert.

Am Ende des Ganges betritt man zunächst über eine Treppe hinab die Kreuzkapelle. Diese wird auch als zweite Zelle des hl. Franzbezeichnet. Hier hielt sich Franziskus 1224 vor der Stigmatisierung auf. Über dem Altar ist eine Terracottastatue von Johannes Collina-Graziani aus dem Jahr 1886 zu sehen. Dargestellt ist Franziskus mit den Wundmalen, einem offenen Evangelium auf einem Totenkopf und einem Falken auf einem Baumstumpf.

Um den Bereich der Kapelle der hl. Wundmale befinden sich noch das Oratorium des hl. Bonaventura, das Oratorium des hl. Antonius von Padua und über den sogenannten Abgrund erreichbar die Kapelle des hl. Sebastian. In letztere wurden 1480 die Gebeine der Mönche vom alten Friedhof gebracht und in den Folgejahrhunderten weitere Ordensmitglieder begraben.

Kreuzigung, Werk von Andrea della Robbia

Kapelle der hl. Wundmale

Hinter der Kreuzkapelle liegt die Kapelle der hl. Wundmale. Baubeginn war im Jahr 1263 durch den Grafen Simone aus Battifolle. Über der Eintrittstür mit ihren zwei Flügeln ist eine aus dem 13. Jahrhundert stammende, in Marmorgehauene Darstellung des Empfangs der Wundmale.

An der Mittelwand befindet sich die Darstellung der Kreuzigung, einer Terracottatafel von Andrea della Robbia. Zu sehen ist der am Kreuz hängende Christus mit vier Gruppen ihn umgebender, weinender Engel. Vor dem Kreuz sind Franziskus mit den Wundmalen, Maria, der Evangelist Johannes und der sich mit einem Stein an die Brust schlagende Hieronymus zu sehen.

In der Mitte der Kapelle ist der Fels zu sehen, auf dem Franziskus die Erscheinung und den damit verbundenen Empfang der Wundmale gehabt haben soll.

An den Seitenwänden befindet sich ein Chorgestühl aus dem 14. Jahrhundert. Die Schnitzereien an den Rückenlehnen der Chorstühle stellen Heilige, Selige, Päpste und berühmte Männer dar.

Kapelle auf dem Penna

Weitere Kapellen

Auf dem Klostergelände befindet sich noch die Kapelle del Faggio bzw. Kapelle vom seligen Johannes aus dem Jahr 1518, auf dem Monte Penna die Kapelle della Penna von 1580 und auf dem Friedhof die Totenkapelle. In letzterer ist das Fresko Kreuzabnahme Jesu von Baccio M. Bacci.

Kloster

Im Bereich der Klostergebäude befindet sich ein Kreuzgang aus dem 14. Jahrhundert mit einem Ziehbrunnen. Im Chiostro von der hl. Klara hängt das Holzrelief Die vollkommene franziskanische Fröhlichkeit der Bildhauerin Hildegard Hendrichs aus dem Jahr 1955. Im Jahr 1518 wurde das acht Meter breite Refektorium erbaut und 1717 um neun Meter auf nun 39 Meter verlängert. Über dem Eingang ist die Terracottafigur Madonna del cardellino von Andrea della Robbia zu sehen. Auf die hintere Wand malte 1873 der Ferdinando Folchi das Letzte Abendmahl.

Siehe auch

• Alverna
• Alwernia
• Mount Alvernia

Literatur

• Christoph Hennig: Toscana. Köln: Du Mont, 1996. ISBN 3-7701-3626-8
• Emanuele Repetti: ALVERNIA, VERNIA (Petra Verna). In: Dizionario Geografico Fisico Storico della Toscana (1833–1846), Onlineausgabe der Universität Siena (pdf, italienisch)
• Toskana. München: Polyglott-Verlag, 6. Auflage 1982/83. ISBN 3-493-60861-6
• Broschüre: Das Heiligtum von La Verna. B.N. Marconi, Genova.

Weblinks

 Commons: Santuario della Verna (Chiusi) – Sammlung von Bildern, Videos und Audiodateien

• Santuario Francescano La Verna Offizielle Webseite des « Santuario della Verna »

 

Normdaten (Körperschaft): GND: 4270500-9

Kategorien:

• Franziskanerkloster in Italien
• Kloster (14. Jahrhundert)
• Kloster in der Toskana
• Franz von Assisi
• Chiusi della Verna
• Basilica minor

https://de.wikipedia.org/wiki/La_Verna

https://it.wikipedia.org/wiki/San_Francesco_riceve_le_stimmate_(Assisi)

http://www.giacobbegiusti.com

Giacobbe Giusti, BOTTICELLI: Vénus et les Grâces

Giacobbe Giusti, BOTTICELLI: Vénus et les Grâces

Giacobbe Giusti, BOTTICELLI: Vénus et les Grâces

Vénus et les Grâces offrant des présents à une jeune fille, fresque de la villa Lemmi, à Florence, Musée du Louvre.

https://fr.wikipedia.org/wiki/Sandro_Botticelli

http://www.giacobbegiusti.com

Giacobbe Giusti, Cappella della Madonna di Vitaleta

Giacobbe Giusti, Cappella della Madonna di Vitaleta

Giacobbe Giusti, Cappella della Madonna di Vitaleta

Giacobbe Giusti, Cappella della Madonna di Vitaleta

Giacobbe Giusti, Cappella della Madonna di Vitaleta

Giacobbe Giusti, Cappella della Madonna di Vitaleta

 Chiesa della Madonna di Vitaleta.

Giacobbe Giusti, Cappella della Madonna di Vitaleta
Esterno
Stato	Italia
Regione	Toscana
Località	San Quirico d’Orcia
Religione	cattolica
Arcidiocesi	Siena-Colle di Val d’Elsa-Montalcino
Consacrazione	1590
Stile architettonico	Rinascimentale

La cappella della Madonna di Vitaleta è un edificio sacro che si trova nella località rurale di Vitaleta, nel territorio comunale di San Quirico d’Orcia, in provincia di Siena. La chiesa, di proprietà privata, è inclusa nel territorio dell’Arcidiocesi di Siena-Colle di Val d’Elsa-Montalcino.

Storia

La chiesa, di probabile origine tardo-rinascimentale, è ricordata per la prima volta in un documento del 1590.

L’edificio religioso venne in seguito riprogettato sia esternamente che internamente dall’architetto Giuseppe Partini nel 1884, ispirandosi a modelli cinquecenteschi.

Da essa proviene la statua della Madonna attribuita ad Andrea della Robbia, dal 1870 in poi conservata all’interno della chiesa della Madonna di Vitaleta nel centro storico di San Quirico d’Orcia, che si dice acquistata nel 1553 in una bottega a Firenze.

Descrizione

Giacobbe Giusti, Cappella della Madonna di Vitaleta

Madonna di Andrea della Robbia, originariamente posta nella cappella

Giacobbe Giusti, Cappella della Madonna di Vitaleta

Chiesetta della Madonna di Vitaleta

La cappella della Madonna di Vitaleta si trova su una strada sterrata che porta da Pienza a San Quirico d’Orcia ed è posta sotto tutela dall’UNESCO.

L’edificio religioso si presenta ad aula unica, con la facciata principale rivestita in pietra di Rapolano che si caratterizza per un piccolo rosone che si apre al di sopra del portale architravato; lateralmente, la stessa facciata è delimitata da lesene, una a destra e l’altra a sinistra, sulle quali poggia il frontonesommitale, nel cui timpano è collocato uno stemma gentilizio.

Le facciate laterali sono rivestite in pietra, così come la parte posteriore dell’edificio religioso alla cui sommità si eleva un campanile a vela con due celle campanarie contigue ad arco tondo.

•  cappella della Madonna di Vitaleta

https://it.wikipedia.org/wiki/Cappella_della_Madonna_di_Vitaleta

http://www.giacobbegiusti.com

Giacobbe Giusti, High Renaissance

Giacobbe Giusti, High Renaissance

The Creation of Adam, a scene from Michelangelo‘s Sistine Chapel ceiling.

 

Giacobbe Giusti, High Renaissance

The Last Supper
Il Cenacolo or L’Ultima Cena Giacobbe Giusti, High Renaissance
Artist	Leonardo da Vinci
Year	1490s (Julian)
Medium	fresco-secco
Dimensions	460 cm (180 in) × 880 cm (350 in)
Location	Convent of Santa Maria delle Grazie in Milan

Giacobbe Giusti, High Renaissance

Michelangelo’s Pietà in St. Peter’s Basilica in the Vatican.

 

Giacobbe Giusti, High Renaissance

Mona Lisa, by Leonardo da Vinci

Mona Lisa or La Gioconda (1503–05/07)—Louvre, Paris, France

Giacobbe Giusti, High Renaissance

The Creation of Adam, a scene from Michelangelo‘s Sistine Chapel ceiling.

Giacobbe Giusti, High Renaissance

Frescos by Raphael in the Stanza della Segnatura in the Vatican Palace

Giacobbe Giusti, High Renaissance

Mona Lisa or La Gioconda (1503–05/07)—Louvre, Paris, France

In art history, the High Renaissance is the period denoting the apogee of the visual arts in the Italian Renaissance. The High Renaissance period is traditionally taken to begin in the 1490s, with Leonardo’s fresco of the Last Supper in Milan and the death of Lorenzo de’ Medici in Florence, and to have ended in 1527 with the sacking of Rome by the troops of Emperor Charles V. This term was first used in German (Hochrenaissance) in the early nineteenth century, and has its origins in the « High Style » of painting and sculpture described by Johann Joachim Winckelmann.^[1] Over the last twenty years, use of the term has been frequently criticized by academic art historians for oversimplifying artistic developments, ignoring historical context, and focusing only on a few iconic works.^[2]

Overview

Giacobbe Giusti, High Renaissance

Giorgione‘s Tempest, c. 1507-8.

Since the late eighteenth century, the High Renaissance has been taken to refer to a short (c. 30-year) period of exceptional artistic production in the Italian states, principally Rome, capital of the Papal States, under Pope Julius II. Assertions about where and when the period begins and ends vary, but in general the best-known exponents of painting of the High Renaissance, include Leonardo da Vinci, early Michelangelo and Raphael. Extending the general rubric of Renaissance culture, the visual arts of the High Renaissance were marked by a renewed emphasis upon the classical tradition, the expansion of networks of patronage, and a gradual attenuation of figural forms into the style later termed Mannerism.

The paintings in the Vatican by Michelangelo and Raphael are said by some scholars such as Stephen Freedberg to represent the culmination of High Renaissance style in painting, because of the ambitious scale of these works, coupled with the complexity of their composition, closely observed human figures, and pointed iconographic and decorative references to classical antiquity, can be viewed as emblematic of the High Renaissance.^[3] In more recent years, art historians have characterised the High Renaissance as a movement as opposed to a period, one amongst several different experimental attitudes towards art in the late fifteenth and early sixteenth century. This movement is variously characterised as conservative;^[4] as reflecting new attitudes towards beauty;^[5] a deliberate process of synthesising eclectic models, linked to fashions in literary culture;^[6] and reflecting new preoccupations with interpretation and meaning .^[7]

Architecture

Giacobbe Giusti, High Renaissance

Bramante’s Tempietto, designed 1502, San Pietro in Montorio, Rome.

 Renaissance architecture

High Renaissance style in architecture conventionally begins with Donato Bramante, whose Tempietto at S. Pietro in Montorio at Rome was begun in 1510. The Tempietto, signifies a full-scale revival of ancient Roman commemorative architecture. David Watkin writes that the Tempietto, like Raphael’s works in the Vatican (1509–11), « is an attempt at reconciling Christian and humanist ideals ».^[8]

Painting

The High Renaissance was traditionally viewed as a great explosion of creative genius, following a model of art history first proposed by the Florentine Giorgio Vasari. Even relatively minor painters of the period, such as Fra Bartolomeo and Mariotto Albertinelli, produced works that are still lauded for the harmony of their design and their technique. The elongated proportions and exaggerated poses in the late works of Michelangelo, Andrea del Sarto and Correggioprefigure so-called Mannerism, as the style of the later Renaissance is referred to in art history.^{[citation needed]}

The serene mood and luminous colours of paintings by Giorgione and early Titian exemplify High Renaissance style as practiced in Venice. Other recognizable pieces of this period include Leonardo da Vinci‘s Mona Lisa and Raphael‘s The School of Athens. Raphael’s fresco, set beneath an arch, is a virtuoso work of perspective, composition and disegno.

Sculpture

Giacobbe Giusti, High Renaissance

Michelangelo‘s Pietà, 1498–99.

High Renaissance sculpture, as exemplified by Michelangelo‘s Pietà and the iconic David, is characterized by an « ideal » balance between stillness and movement. High Renaissance sculpture was normally commissioned by the public and the state, this becoming more popular for sculpture is an expensive art form. Sculpture was often used to decorate or embellish architecture, normally within courtyards where others were able to study and admire the commissioned art work. Wealthy individuals like cardinals, rulers and bankers were the more likely private patrons along with very wealthy families; Pope Julius II also patronized many artists. During the High Renaissance there was the development of small scale statuettes for private patrons, the creation of busts and tombs also developing. The subject matter related to sculpture was mostly religious but also with a significant strand of classical individuals in the form of tomb sculpture and paintings as well as ceilings of cathedrals.

References

1. Jump up^ Jill Burke, « Inventing the High Renaissance from Winckelmann to Wikipedia: an introductory essay« , in: Id., Rethinking the High Renaissance: Culture and the Visual Arts in Early Sixteenth-century Rome, Ashgate, 2012
2. Jump up^ Marcia Hall, “Classicism, Mannerism and the Relieflike Style” in The Cambridge Companion to Raphael, Cambridge: Cambridge University Press, p. 224.
3. Jump up^ Stephen Freedberg, _Painting of the High Renaissance in Rome and Florence, 2 vols., Cambridge MA; Harvard University Press
4. Jump up^ Alexander Nagel, « Experiments in Art and Reform in Italy in the Early Sixteenth Century », in Kenneth Gouwens and Sheryl E. Reiss eds., The Pontificate of Clement VII: History, Politics, Culture, Ashgate 2005, 385–409
5. Jump up^ Elizabeth Cropper, « The Place of Beauty in the High Renaissance and its Displacement in the History of Art », in Alvin Vos ed., Place and Displacement in the Renaissance, 1995, 159–205
6. Jump up^ David Hemsoll, ‘The conception and design of Michelangelo’s Sistine Chapel ceiling: ‘wishing to shed a little light upon the whole rather than mentioning the parts’, in Jill Burke ed., Rethinking the High Renaissance, Ashgate, 2012
7. Jump up^ Jill Burke, ‘Meaning and Crisis in the Early Sixteenth Century: Interpreting Leonardo’s Lion’, Oxford Art Journal, 29, 2006, 77–91
8. Jump up^ D. Watkin, A History of Western Architecture, 4th ed., Watson Guptill (2005) p. 224.

https://en.wikipedia.org/wiki/High_Renaissance

http://www.giacobbegiusti.com

 

Giacobbe Giusti, Santa Maria del Carmine, Florence

Giacobbe Giusti, Santa Maria del Carmine, Florence

 

Giacobbe Giusti, Santa Maria del Carmine, Florence

 

Giacobbe Giusti, Santa Maria del Carmine, Florence

La chapelle Brancacci

Giacobbe Giusti, Santa Maria del Carmine, Florence

Le réfectoire
La Cène d’Alessandro Allori

Giacobbe Giusti, Santa Maria del Carmine, Florence

Paiement du Tribut par Masaccio

 

Giacobbe Giusti, Santa Maria del Carmine, Florence

l’Ombre de St Pierre… par Masaccio

Giacobbe Giusti, Santa Maria del Carmine, Florence

 

 Santa Maria del Carmine.

Église Santa Maria del Carmine Giacobbe Giusti, Santa Maria del Carmine, Florence
Façade de l’église
Présentation
Culte	Catholique romain
Type	Église
Début de la construction	1268 Reconstruite en 1782
Style dominant	Roman
Géographie
Pays	Italie
Région	Toscane
Ville	Florence
Géolocalisation sur la carte : Florence

L’église Santa Maria del Carmine (du Carmel) est une église de Florence en Italie, située dans le quartier Oltrarno à l’ouest de la ville – au-delà du fleuve.

Sa construction initiale date de 1268. Elle fut détruite par un incendie en 1771, à l’exception de la sacristie, du transept et des chapelles Corsini et Brancacci. Elle fut reconstruite en 1782 dans un pastiche adroit.

Patrimoine d’intérêt culturel et religieux

• La sacristie avec son polyptyque d’Andrea da Firenze, les fresques de la vie de sainte Cécile (~ Bicci di Lorenzo), une Vierge à l’enfant et des saints du Maître du Codex de saint Georges
• La salle capitulaire et sa documentation sur l’art de la fresque.
• La voûte en trompe-l’œil de Domenico Stagi.
• Le chœur et le monument funéraire de Piero Soderini, gonfalonier de la république, du xvi^e siècle par Benedetto da Rovezzano.
• La chapelle baroque Corsini, à l’extrémité du transept gauche est dédiée à saint André Corsini(1302–1373). Elle a été construite entre 1675 et 1683. Giovanni Battista Foggini a sculpté les reliefs en marbre (la Bataille d’Anghiari, la Messe de saint André Corsini, et l’Apothèose de saint André Corsini) et Luca Giordano a peint les fresques.
• La chapelle Brancacci, dans son transept droit, contient des fresques, restaurées en 1990, de Masolino, de Masaccio et de Filippino Lippi. Elles représentent le Péché originel, et l’histoire de la vie de Saint-Pierre : Adam et Ève chassés du Paradis terrestre, Paiement du Tribut, Saint-Pierre et Saint-Jean distribuent les biens de la communauté, Saint-Pierre guérissant les malades en les couvrant de son ombre, Saint-Pierre en chaire, Saint-Pierre baptisant les néophytes, Martyre de Saint-Pierre.
• Le retable de la Madone du Carmel (Madone du Peuple), au-dessus de l’autel, de la seconde moitié du xiii^e siècle, est l’attribué à Coppo di Marcovaldo.)
• Le couvent et le cloître du xvii^e siècle, son réfectoire décoré d’une Cène d’Alessandro Allori ; le second réfectoire comprend une fresque de la Cena in casa di Simone Fariseo de Giovan Battista Vanni (~ 1645).

Vues des différents lieux

• 

  Intérieur de l’église

• 

  Voûte de Domenico Stagi

• 

  L’autel de Giacomo Brogi (1822-1881)

• 

  Le cloître

• 

  La chapelle Corsini

• 

  Le réfectoire
  La Cène d’Alessandro Allori

• 

  La chapelle Brancacci

• 

  l’église la nuit

Quelques fresques de la chapelle Brancacci

• 

  Paiement du Tribut
  par Masaccio

• 

  l’Ombre de St Pierre…
  par Masaccio

• 

  Masolino et Masaccio

• 

  Filippino Lippi

https://fr.wikipedia.org/wiki/%C3%89glise_Santa_Maria_del_Carmine_(Florence)

http://www.giacobbegiusti.com

 

Giacobbe Giusti, Magi Chapel

Giacobbe Giusti, Magi Chapel

Giacobbe Giusti, Magi Chapel

Giacobbe Giusti, Magi Chapel

Pseudo Pier Francesco Fiorentino, copia della Natività di Filippo Lippi

 Giacobbe Giusti, Magi Chapel

Magi Chapel.

The Magi Chapel is a chapel in the Palazzo Medici Riccardi of Florence, Italy. Its walls are almost entirely covered by a famous cycle of frescoes by the Renaissance master Benozzo Gozzoli, painted around 1459 for the Medici family, the effective rulers of Florence.

The chapel is on the piano nobile of the palace and was one of the first rooms to be decorated after the completion of the building, designed by Michelozzo. In its original appearance the chapel was perfectly symmetrical and had its entrance through the central door, which today is closed. Inside, the chapel is divided into two juxtaposed squares: a large hall and a raised rectangular apse with an altar and two small lateral sacristies. Begun around 1449-50, the chapel was probably completed around 1459 with the precious ceiling of inlaid wood, painted and generously gilded by Pagno di Lapo Portigiano, according to Michelozzo’s design.^[1] The latter also designed the flooring of marble mosaic work divided by elaborate geometric design, which due to the extraordinary value of the materials (porphyries, granites, etc.) affirmed the Medicis’ desire to emulate the magnificence of the Roman basilicas and the Florentine Baptistry.

Giacobbe Giusti, Magi Chapel

Fiorentino‘s Adoration (after Lippi).

The first pictorial element in the chapel was the altar panel bearing Filippo Lippi‘s Adoration in the Forest. This painting is now in Berlin after being sold in the 19th century, while a copy by a follower of Lippi remains in the chapel.

Giacobbe Giusti, Magi Chapel

Apse, Detail of the choir of angels.

The chapel is famous for the series of wall paintings by Benozzo Gozzoli, with the Angels in Adorationin the rectangular apse and the Journey of the Magi in the large hall. The latter is covered in three large frescos, each showing the procession of one of the Three Magi on their way to Bethlehem to see the Nativity of Jesus. The religious theme was combined with a depiction of several members of the Medici family, their allies and some of the important figures who arrived in Florence for the Council of Florence (1438-1439) several decades earlier. On that occasion the Medici could boast to have facilitated the (abortive, as it turned out) reconciliation between the Catholic and the Eastern Orthodox churches. The luxury of the Byzantine dignitaries is manifest, and shows the impression they would have at the time on the Florentine population.

In the apse, the side walls are painted with saints and angels in adoration, where Gozzoli followed the style of his master, Fra Angelico. There are also three thin vertical fresco sections showing the shepherds of the nativity.

Gozzoli’s Journey of the Magi

Giacobbe Giusti, Magi Chapel

East Wall.

Background

Having begun the work in the spring-summer of 1459, Benozzo probably completed the work rapidly over the space of a few months, with the help of at least one assistant, under the supervision of Piero di Cosimo de’ Medici. It was probably Piero who suggested that the artist should use Gentile da Fabriano‘s Adoration of the Magi as a model for the frescoes. The extraordinary complexity and subtlety of the technique of execution, in which true fresco alternated with dry fresco, permitted the painter to work with meticulous care, almost as if he was engraving, like the goldsmith he had been in Ghiberti‘s workshop. This sheer craftsmanship is evident not just in the precious materials of jewelry, fabrics, and harnesses, but even in the trees laden with fruit, the meadows spangled with flowers, the variegated plumage of the birds, and the multicolored wings of the angels. Finally, leaves of pure gold were applied generously to shine in the dark, in the dim light of the candles.

The painting is dedicated to a sacred subject but rich in traces of pomp and secular elegance. Hosts of angels sing and adore while the magnificent procession of the Three Kings approaches Bethlehem, accompanied by their respective entourages as they enjoy the scene of a noble hunting party with falcons and felines along the way. The sumptuous and varied costumes with their princely finishing make this pictorial series one of the most fascinating testimonies of art and costume of all time.^[2]

The procession

Giacobbe Giusti, Magi Chapel

West Wall, Page with a leopard – possibly Giuliano.

Melchior, the oldest Magus, rides on the west wall leading the procession. Traditionally, his features have been read as those of Joseph, Patriarch of Constantinople, who died in Florence during the Council; but they could also be those of Sigismund, Holy Roman Emperor, who helped end the Great Schism by convoking the Council of Constance in 1414. Like Cosimo, he is shown as a peacemaker riding on a donkey. He is preceded by a page in blue with a leopard on his horse – this figure is by some argued to represent an idealized Giuliano de’ Medici.

Bearded Balthasar, the middle Magus, rides a white horse on the south wall. He is portrayed with the same facial features as Byzantine emperorJohn VIII Palaiologos. It is thought by some that the three pages behind him represent Piero‘s daughters, Nannina, Bianca and Maria, while others argue that the faces of those young women are more likely to be amongst the rest of the Medici portraits.

East Wall, Caspar, the youngest Magus – possibly Lorenzo.

On the east wall, Caspar, the youngest Magus, leads the end of the procession on a white horse. This figure has often been taken for an idealized Lorenzo il Magnifico, who was born in 1449 and so was still a boy when the fresco was completed. Closely following Caspar are the contemporary head of the family, Piero the Goutyon a white horse, and devout family founder Cosimo on a humble donkey. Then come Sigismondo Pandolfo Malatesta and Galeazzo Maria Sforza, respectively lord of Rimini and Milan. They did not take part in the Council, but were guests of the Medici in Florence in the time the frescoes were painted. After them is a procession of illustrious Florentines, such as the humanists Marsilio Ficino and the Pulci brothers, the members of the Art Guilds and Benozzo himself. The painter looks out at the viewer and can be recognized for the scroll on his red hat, reading Opus Benotii. Little Lorenzo il Magnifico is the boy directly below him with the distinctive snub nose; Lorenzo’s younger brother Giuliano is next to him.

Giacobbe Giusti, Magi Chapel

West Wall (cut clearly visible).

With rich Tuscan landscapes filling the rest of of the pictorial space, this fresco was designed like contemporary tapestries, a new type of courtly art destined for wealthy patrons.The fortress, in the style of medieval castles, which appears at the highest point of the picture and is the point from which the king’s pilgrimage has set out, is similar to the Medicis’ country seat in Cafaggiolo, which was again designed by Michelozzo. It is interpreted as Jerusalem, where the procession of the magi started. This was where King Herod had instructed the wise men to search for the child.

Gozzoli’s patron, Piero de’ Medici, felt some of the seraphim were unsuitable, and wanted them painted over. Although the artist agreed to do this, it was never actually done.^{[citation needed]} In 1659, the Riccardi family bought the Palazzo Medici and undertook some structural changes. This included, in 1689, the building of an exterior flight of stairs leading up to the first floor. For this purpose the entrance to the chapel had to be moved. During the process, two sections of wall were cut out of the south western corner, in the Procession of the Oldest King. After the stairs were finished, the cut out elements were mounted on a corner of the wall projecting into the room. During the course of this, the oldest king’s horse was cut up and mounted on two different segments of the wall.

• Interior
• 

  Chapel ceiling

• 

  Chapel floor

• 

  Decorations

• 

  Decorations

• 

  Carved wooden stalls

• Apse and altar
• 

  The original altarpiece, Lippi’s Adoration

• 

  Angels in Adoration (left)

• 

  Angels in Adoration (right)

• Procession
• 

  Melchior

• 

  Balthasar

• 

  Caspar

• 

  Sigismondo Malatesta and Galeazzo Maria Sforza

   

Giacobbe Giusti, Magi Chapel

• 

  Byzantine wealth

• Medici and Gozzoli
• 

  Cosimo and Piero

• 

  Nannina, Bianca and Maria.

• 

  Lorenzo and Giuliano

• 

  Gozzoli, self-portrait.

• 

  Gozzoli (centre), self-portrait

• Nature
• 

  Hunting scene

• 

  Falcon and hare

• 

  Birds in flight

• 

  Exotic felid

• 

  Jerusalem/Cafaggiolo

References

• Cardini, Franco (2001). The Chapel of the Magi in Palazzo Medici. Florence: Mandragora.
• Davisson, Darrell D., Secrets of the Medici Palace and Its Private Chapel: Six Studies in the early Italian Renaissance, 2014, San Bernardino, Createspace.

https://en.wikipedia.org/wiki/Magi_Chapel

http://www.giacobbegiusti.com

Giacobbe Giusti, BENOZZO GOZZOLI, Cortège des mages

Giacobbe Giusti, BENOZZO GOZZOLI, Cortège des mages

Giacobbe Giusti, BENOZZO GOZZOLI, Cortège des mages

Cortège des mages 1459, fresque
figurant la Maison de Médicis
Chapelle des Mages Palais Medici-Riccardi

https://fr.wikipedia.org/wiki/Benozzo_Gozzoliwww.giacobbegiusti.com