Giacobbe Giusti, Theodelinda, queen of the Lombards

Giacobbe Giusti, Theodelinda, queen of the Lombards

Fratelli zavattari, storie della regina teodolinda, 1444, monza, duomo

see filename or category – book: Stefano Zuffi, Il Quattrocento, Electa, Milano 2004.

 

Giacobbe Giusti, Theodelinda, queen of the Lombards

 

Giacobbe Giusti, Theodelinda, queen of the Lombards

La croce di Teodolinda, Monza, Museo Serpero.

Giacobbe Giusti, Theodelinda, queen of the Lombards

Corona di Teodolinda

 

Giacobbe Giusti, Theodelinda, queen of the Lombards

La regina Teodolinda in una miniatura delle Cronache di Norimberga

 

Giacobbe Giusti, Theodelinda, queen of the Lombards

Bobbio, casa della regina longobarda Teodolinda

 

 

Théodelinde de Bavière

Giacobbe Giusti, Theodelinda, queen of the Lombards

Théodelinde, fresque des Zavattaris dans la Chapelle de Théodelinde à Monza, 1444

Théodelinde de Bavière, née vers 573, morte le 22 janvier 627¹, est une princesse bavaroise, épouse des rois des Lombards Authari puis Agilulf, mère du roi Adaloald.

 

 

Theodelinda, queen of the Lombards, (c. 570-628 AD) was the daughter of duke Garibald I of Bavaria.^[1]

She was married first in 588 to Authari, king of the Lombards, son of king Cleph. Authari died in 590. Theodelinda was allowed to pick Agilulf as her next husband and Authari’s successor^[2] in 591. She thereafter exerted much influence in restoring Nicene Christianity to a position of primacy in Italy against its rival, Arian Christianity.

After the conversion of Agilulf to the Catholic faith, she started building churches in Lombardyand Tuscany, among them the cathedral of Monza and the first Baptistery of Florence. They were all dedicated to Saint John the Baptist.

The famous treasure of Monza contains the Iron Crown of Lombardyand the theca persica, enclosing a text from the Gospel of John, sent by Pope Gregory I (590-604) to her for her son Adaloald. Another of the gifts of this pope to the Lombard queen was a cruciform encolpion(reliquary) containing a portion of the True Cross. The history of the queen and her connection with the famous Iron Crown of Lombardyare narrated in the frescoes painted in the Theodelinda Chapel in the Monza Cathedral, work by Ambrogio and Gregorio Zavattari (1444).

Notes

1. ^ Herbermann, Charles, ed. (1913). « Lombardy ». Catholic Encyclopedia. Robert Appleton Company. Missing or empty |url=(help); |access-date= requires |url= (help)
2. ^ « Theodelinda », Brooklyn Museum

References

•  This article incorporates text from a publication now in the public domain: Herbermann, Charles, ed. (1913). « Lombardy » . Catholic Encyclopedia. New York: Robert Appleton.

Biographie

Théodelinde est la fille du duc Garibald I^er de Bavière et de la princesse lombarde Vuldetrade, fille du roi Waccho.

Promise au roi franc mérovingienChildebert, elle l’épouse mais Brunehaut/Brunehilde, la mère de Childebert, fait annuler ce mariage en 585. Elle épousera en deuxièmes noces Authari, roi des Lombards, qui meurt en 590.

Selon la coutume lombarde, la reine doit épouser le successeur de son défunt époux et c’est ainsi qu’elle épouse Agilulf, duc de Turin, acclamé roi à Milan en mai 591. De religion catholique, alors que son époux est arien, elle a une grande influence sur Agilulf et lui conseille de traiter avec Rome, de faire la paix avec l’Église et la Papautédirigé par Grégoire le Grand (598)². Agilulf finit par se convertir au catholicisme et fait baptiser son jeune fils Adaloald en 603.

De nouveau veuve en 616, elle assume la régence pour Adaloald.

Elle meurt le 22 janvier 627.

Théodelinde est à l’origine de l’actuelle basilique Saint-Jean-Baptiste de Monza (Lombardie), siège d’un palais royal lombard. Elle est plus tard canonisée.

Bibliographie

Sources

• Paul Diacre, Histoire des Lombards (écrite à la fin du viii^e siècle)

Ouvrages récents

• Gianluigi Barni La conquête de l’Italie par les Lombards VIe siècle, Éditions Albin Michel, coll. « Le Mémorial des Siècles », Paris, 1975 (ISBN2226000712).

Notes et références

1. ↑Barni, page 81
2. ↑Celui-ci entretint une correspondance avec elle, dont deux lettres de 593 sont conservées et publiées dans le 1 volume des Œuvres de saint Grégoire, publiées par les bénédictins de Saint-Maur en 1705, in f° t. g. p.683 & 718.

• Ross Balzaretti: Theodelinda, „most glorious queen“. Gender and Power in Lombard Italy. In: The Medieval History Journal 2 (1999), S. 183–207.
• Johannes Hofmann: Theodelinde, Königin der Langobarden, Selige. In: Biographisch-Bibliographisches Kirchenlexikon (BBKL). Band 18, Bautz, Herzberg 2001, ISBN 3-88309-086-7, Sp. 1365–1370.
• Wilfried Menghin: Die Langobarden. Theiss, Stuttgart 1985, S. 109ff.
• Walter Pohl: Theodelinde. In: Reallexikon der Germanischen Altertumskunde. Bd. 30 (2005), S. 412f. (mit umfangreicher Literatur).
• Sigmund von Riezler: Theodelinde. In: Allgemeine Deutsche Biographie (ADB). Band 37, Duncker & Humblot, Leipzig 1894, S. 687–689. (veralteter Forschungsstand)

 

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

http://www.giacobbegiusti.com

 

 

Giacobbe Giusti, MELOZZO da FORLI’: Selection of musician angels from fresco paintings of the Basilica dei Santi Apostoli

Giacobbe Giusti, MELOZZO da FORLI’: Selection of musician angels from fresco paintings of the Basilica dei Santi Apostoli

 

Melozzo da Forlì
self-portrait
Born	c. 1438 Forlì
Died	1494 (aged 55–56) Forlì
Education	Forlì painting school
Known for	Painting, architecture
Notable work	Frescoes of the Basilica of Santi Apostoli, Rome, Basilica della Santa Casa (Loreto)
Movement	Italian Renaissance
Patron(s)	Ansuino da Forlì

Melozzo da Forlì(c. 1438 – 8 November 1494) was an Italian Renaissance painter and architect. His frescopaintings are notable for the use of foreshortening. He was the most important member of the Forlì painting school.

Biography

Melozzo was supposedly from a wealthy family named Ambrosi from Forlì. Nothing is known about his early years. It is only a hypothesis^[1]that he was formed by the Forlivese school of art, then dominated by Ansuino da Forlì; both were influenced by Andrea Mantegna. It has been said, also without confirmation, that he became a journeyman and color-grinder to master painters. His presence was first mentioned in his birthplace in 1460 and again in 1464. Around this period, and together with Antoniazzo Romano, he painted frescoes in the Bessarione chapel in the Basilica dei Santi Apostoli in Rome. Melozzo then moved to Urbino, probably between 1465 and 1474. There he met Piero della Francesca, who profoundly influenced Melozzo’s style and use of perspective. He would have also studied architecture by Bramante and the work of Flemish painters then working for duke Federico da Montefeltro. Melozzo may have worked with Justus of Ghent and Pedro Berruguete to decorate the studiolo of the city’s famous Ducal Palace.

Around 1472-74, Melozzo transferred to Rome, although some authorities claim his presence in Rome five or ten years earlier for work in the Basilica di San Marco. In 1477 he finished his first major work in the new seat, a fresco now transferred to canvas and placed in the Pinacoteca Vaticana, representing Sixtus IV Appointing Platina as Librarian of the Vatican Library. In the same year Girolamo Riario built his palace in Rome, now known as Palazzo Altemps, with designs by Melozzo. In 1478 he was one of the original members of the Academy of St Luke, founded by Sixtus IV to unite the chief painters working in the city.

In about 1472-74, Melozzo was commissioned by Pietro Riario to paint the vault of the apse in the basilica dei Santi Apostoli in Rome, his subject being the Ascension of Christ. In this work, Christ is boldly and effectively foreshortened. This fresco was taken down in 1711. The figure of Christ is now in the Quirinal Palace; while some of the other portions, which influenced Raphael, are in the sacristy of St Peter’s. A hall in the Vatican Museums, with designs of angels and apostles by Melozzo, was taken from the same fresco. Another work of the Roman period is an Annunciation that can still be seen in the Pantheon.

Melozzo’s last work in Rome was a chapel, now destroyed, in the church of Santa Maria in Trastevere. After the death of Sixtus IV in 1484, Melozzo moved from Rome to Loreto. There he painted the fresco in the cupola of the sacristy of San Marco in the Basilica della Santa Casa, commissioned by cardinal Girolamo Basso della Rovere. It is one of the first examples of a cupola decorated both with architectures and figures; it greatly influenced the Camera degli Sposiby Mantegna.

In 1489 Melozzo returned to Rome. During this period he probably drew some cartoons for the mosaics of Jesus blessing in the Chapel of St Helena of the basilica of Santa Croce in Gerusalemme.

Melozzo also painted the cupola of the Capuchin church at Forlì, which was destroyed in 1651. It has been said that he executed at Urbino some of the portraits of great men (Plato, Dante, Sixtus IV, et al) which are now divided between the Barberini Palace and the Campana collection in Paris. In 1493 he worked on some ceilings, now lost, of the Palazzo Comunale of Ancona. Eventually Melozzo returned to Forlì, where, together with his pupil Marco Palmezzano, he decorated the Feo Chapel in the church of San Biagio, which was destroyed during World War II. The Pinacoteca of Forlì houses a fresco by Melozzo, known as the « Pestapepe, » or Pepper-grinder, now much damaged. Originally painted as a grocer’s sign, it is an energetic example of rather coarse realism and is Melozzo’s only secular subject.

Melozzo died in November 1494 in Forlì and is buried in the Church of the Santissima Trinita (Most Holy Trinity).

Giacobbe Giusti, MELOZZO da FORLI’: Selection of musician angels from fresco paintings of the Basilica dei Santi Apostoli

Selection of musician angels from fresco paintings of the Basilica dei Santi Apostoli, by Melozzo da Forli (Pinacoteca of the Vatican Museums)

Legacy

While few of Melozzo’s works are still preserved, critics agree that he contributed to the progress of pictorial art. Without being remarkable as a colorist, he painted with care and finish, creating fine and dignified figures. His use of perspective influenced other painters. Melozzo’s works bear a certain resemblance to those of his contemporary Andrea Mantegna. Marco Palmezzano was a pupil of Melozzo. The signature « Marcus de Melotius » on some of Palmezzano’s works, along with a general affinity of style, has led to their being ascribed to Melozzo and to the latter being incorrectly named « Marco Melozzo ». The paintings of Melozzo strongly influenced Michelangelo, Raphael and Donato Bramante.

References

•  Herbermann, Charles, ed. (1913). « Melozzo da Forlí« . Catholic Encyclopedia. New York: Robert Appleton Company.
• Bryan, Michael (1886), Robert Edmund Graves, ed., Dictionary of Painters and Engravers, Biographical and Critical, London: George Bell and Sons, p. 505
• Clark, Nicholas (1990), Melozzo Da Forli, London: Sotheby’s Publications, ISBN 978-0-85667-371-9
•  This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). « Melozzo da Forlì« . Encyclopædia Britannica (11th ed.). Cambridge University Press.

Notes

1. Jump up^ The theory is credited to Luigi Lanzi. See  Herbermann, Charles, ed. (1913). « Melozzo da Forlí« . Catholic Encyclopedia. New York: Robert Appleton Company.

https://en.wikipedia.org/wiki/Melozzo_da_Forl%C3%AC

http://www.giacobbegiusti.com

 

Giacobbe Giusti, Basilica of Saint Nicolas of Tolentino

Giacobbe Giusti, Basilica of Saint Nicolas of Tolentino

Particolare delle Nozze di Cana

Giacobbe Giusti, Basilica of Saint Nicolas of Tolentino

Cappellone di san Nicola

 

Giacobbe Giusti, Basilica of Saint Nicolas of Tolentino

Orazione nell’Orto

 

Giacobbe Giusti, Basilica of Saint Nicolas of Tolentino

 

Le Maestro della Cappella di San Nicola ou Maestro di Tolentino est un peintre italienanonyme du xiv^e siècle qui a exécuté avec talent les représentations figuratives du cycle de fresques de la chapelle Saint-Nicolas de Tolentino.

Il a fait débat entre les historiens d’art, certains le voyant comme un élève de Giotto, d’autres comme un peintre indépendant.

On peut le classer dans l’école giottesque de Rimini.

Giacobbe Giusti, Basilica of Saint Nicolas of Tolentino
Facade of the Basilica di San Nicola a Tolentino
Basic information
Location	Tolentino, Italy
Affiliation	Roman Catholic
District	Marche
Country	Italy
Ecclesiastical or organizational status	Minor basilica
Website	www.sannicoladatolentino.it
Architectural description
Architectural type	Church
Architectural style	Baroque

The Basilica of Saint Nicolas of Tolentino (Italian: Basilica di San Nicola a Tolentino) is a Roman Catholic church and minor basilica that is part of the Augustinian monastery in the hill-town ofappellone di San Nicola is a Gothic chapel that opens to the cloister. The walls and ceiling are covered with early-14th century, Giottesque frescoes, attributed variously to the Master of Tolentino, the Master of the Magi of Fabriano, or Pietro da Rimini, depicting scenes from the Life of St Nicholas of Tolentino, Life of the Virgin, and episodes of the life of Christ., central Italy. The church is a former cathedral of the Roman Catholic Diocese of Tolentino, suppressed in 1586.^[1]

It contains architecture and art from the 14th through the 17th century. The imposing marble facade of the church was constructed over the centuries, and was completed in the 17th century.^[2]

Interior

Chapels

• Cappellone of San Nicola

The Cappellone di San Nicola is a Gothic chapel that opens to the cloister. The walls and ceiling are covered with early-14th century, Giottesque frescoes, attributed variously to the Master of Tolentino, the Master of the Magi of Fabriano, or Pietro da Rimini, depicting scenes from the Life of St Nicholas of Tolentino, Life of the Virgin, and episodes of the life of Christ. The spandrels of the chapel depict the four evangelists and four doctors of the church. The altar has a 15th-century polychrome stone statue of the saint, attributed to Niccolò di Giovanni, atop a funereal memorial. The saint’s tomb lies in the crypt. The frescoes appear to have been completed within a few decades of the saint’s death in 1305.

• Chapel of the Sante Braccia (Holy Arms)

This chapel was erected for the veneration of the relics of the saint’s arms. It is entered through a 17th-century portal, which enters what was once the sacristy and leads to the 15th-century chapel, reconstructed in 1670 to accommodate more pilgrims. In 1819, the walls were decorated with polychrome marble in scagliola by Stefano da Morrovalle. In 1850 the ceiling was decorated with stars by Emidio Pallotta. In 1662, the dome had been decorated with a stuccowork depicting Paradise by Marco Antonio Baraciola, an artist from Como.^[3] The lateral walls have two large canvases: a Fire in the Ducal Palace of Venice by Matteo Stom and a Plague affecting a Venetian city by Giovanni Carboncino. They were donated in the 17th century, and erected as allegories for the miraculous interventions of the saint. The walls are replete with ex voto donations. Six statues in stucco and bas reliefs beside the windows allude to the Virtues of the saint are by Giambattista Latini da Mogliano, based on designs by Pallotta.

• Chapel of St Anne (Sant’Anna)

This chapel, the first on the right, originally commissioned by the Benadduci family, houses a main altarpiece of the Vision of the Virgin by St Anne by Guercino. The lateral wall on the left has a canavas depicting the Glory of St Lucy with two Augustinian Saints (1754) by Marcantonio Romoli, a pupil of Placido Costanzi and Sebastiano Conca. The right wall has a 17th-century Prayer in Gesthemane.^[4]

• Chapel of the Sacro Cuore (Sacred Heart)

This chapel, the second on the right, has a main altarpiece depicting the Sacred Heart of Christ shown to Saint Margherita Maria Alacoque (1920) by Virgilio Monti. The wooden crucifix on the right is said to be that venerated by St Nicola himself. There is also a 17th-century canvas depicting the Madonna, St John Evangelist, and Magdalen at the foot of the Cross^[5]

• Chapel of the Beata Virgene del Buon Consiglio (Blessed Virgin of the Good Counsel)

This chapel, the third on the right, has a copy of the icon of this Marian veneration found at the Augustinian Sanctuary of Genazzano. This copy (1850) was completed by the Augustinian Giovanni Gerold and gilded by Tito Beccachiodi of Recanati. The walls were decorated with the Story of the Icon (1873) by Villebaldo Natali.^[6]

• Chapel of the Virgine della Pace (Virgin of Peace)

This chapel, the fourth on the right, has an altarpiece depicting this veneration, Madonna dell’Ulivo (1810) by Giuseppe Lucatelli. A late 18th-century painting on the right shows St Nicola releasing souls from purgatory. The altar holds the relics of the Roman martyr Lorenzina in a casket with a wax body.^[7]

• Chapel of St Thomas of Villanova

This chapel, the first on the left, has an altarpiece depicting Charity of St Thomas(1663) by Giuseppe Ghezzi.^[8]

• Chapel of the Beata Virgene di Consolazione (Blessed Virgin of Consolation)

This chapel, the second on the left, was commissioned by the Confraternity of Cinturati (Pregnant). The altarpiece depicts the Madonna pregnant between St Augustine and Ste Monica (1858) by Luigi Fontana, copied after a painting of Giovanni Gottardi in the church of Sant’Agostino in Rome.^[9]

• Chapel of Santa Rita

This chapel, the third on the left, has a main altarpiece depicting Santa Rita (1912) by Girolamo Capofierri, a pupil of Emidio Pallotta. The painting is a copy of the canvas by Giacinto Brandi in the church of Sant’Agostino in Rome.^[10]

• Chapel of the Madonna dei Miracoli

This chapel, the fourth on the left, has a main altarpiece depicting a Miracle of San Giovanni da San Facondo reviving a young girl (1691) by Giovanni Anastasi.^[11]

Artwork in main church

The main altarpiece in the basilica is by Marchisiano di Giorgio (1518–1526).^[12]

Other paintings depict the Mystical night of St. Catherine of Alexandria with Saints Nicola and Anthony of Padua by Simone de Magistris, the Apparition of the Madonna of Loreto to San Nicola attributed to Antonio Francesco Peruzzini. A San Nicola da Tolentino attributed to Simone de Magistris. Other paintings are attributed to Guercino and Rossellino.

Burials include that of St. Nicholas of Tolentino.

Notes

1. Jump up^ Today part of the Roman Catholic Diocese of Macerata-Tolentino-Recanati-Cingoli-Treia
2. Jump up^ Picture of the facade
3. Jump up^ Il sesto centenario di San Nicola da Tolentino: periodico mensile religioso, page 375.
4. Jump up^ Basilica site, entry on Chapel of St Anne.
5. Jump up^ Basilica site, entry on Chapel of the Sacred Heart.
6. Jump up^ Basilica site, entry on Chapel of the B.V. del Buon Consiglio.
7. Jump up^ Basilica site, entry on Chapel of Vergine della Pace.
8. Jump up^ Basilica site, entry on Chapel of San Tomasso da Villanova.
9. Jump up^ Basilica site, entry on Chapel of the B.V. di Consolazione.
10. Jump up^ Basilica site, entry on Chapel of Santa Rita.
11. Jump up^ Basilica site, entry on Chapel of Madonna dei Miracoli.
12. Jump up^ on loan from Galleria Nazionale d’Arte Antica of Rome.

References

•  Herbermann, Charles, ed. (1913). « St. Nicholas of Tolentino« . Catholic Encyclopedia. New York: Robert Appleton Company.

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

http://www.giacobbegiusti.com