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Glided bronze, silver, painting on vellum. Urbano Bartelesi, silversmith Italy 1641-1732. Ciro Ferri, painter Italy, 1634-1689

 

Sant'Agnese in Agone is a 17th century Baroque church in Rome, Italy. It faces onto the Piazza Navona, one of the main urban spaces in the historic centre of the city and the site where the Early Christian Saint Agnes was martyred in the ancient Stadium of Domitian.

 

The rebuilding of the church was begun in 1652 at the instigation of Pope Innocent X whose family palace, the Palazzo Pamphili, faced onto the piazza and was adjacent to the site of the new church. The church was to be effectively a family chapel annexed to their residence (for example, an opening was formed in the drum of the dome so the family could participate in the religious services from their palace).[1]

 

A number of architects were involved in the construction of the church, including Girolamo Rainaldi and his son Carlo Rainaldi, and two of the foremost Baroque architects of the day; Francesco Borromini and the sculptor Gianlorenzo Bernini[2]

 

The name of this church is unrelated to the ‘agony’ of the martyr: in agone was the ancient name of Piazza Navona (piazza in agone), and meant instead, from the Greek, ‘in the site of the competitions’, because Piazza Navona was built on the form of an ancient Roman stadium on the Greek model, with one flat end, and was used for footraces. From ‘in agone’, the popular use and pronunciation changed the name into ‘Navona’, but other roads in the area kept the original name.[3]

 

The current Cardinal Priest pro hac vice of the Titulus S. Agnetis in Agone is Lorenzo Antonetti.

 

History

 

The first designs for a centralised Greek Cross church were prepared by the Pamphili family architect, Girolamo Rainaldi, and his son Carlo Rainaldi in 1652. They were commissioned by Pope Innocent X, whose funerary monument was later housed within the church.[4] They reorientated the main entrance to the church from the Via Santa Maria dell’Anima, a street set one urban block away from the piazza, to the Piazza Navona, a large urban space that Innocent was transforming into a showcase associated with his family. It had been the intention to build the new church over the old church which would become the crypt; this meant the new church was to be raised well above piazza level, but this idea was abandoned once construction started. The original drawings are lost but it is thought that the Piazza Navona facade design included a narthex between two towers and broad stairs descending to the piazza.[5]

 

Harsh criticism was made of the design, including the steps down to the piazza which were thought to project excessively, so Carlo Rainaldi eliminated the narthex idea and substituted a concave facade so that the steps would not be so intrusive.[6] The idea of the twin towers framing a central dome may be indebted to Bernini's bell towers on the facade of Saint Peter's basilica. Nonetheless, Rainaldi's design of a concave facade and a central dome framed by twin towers was influential on subsequent church design in Northern Europe.[7] In 1653, the Rainaldis were replaced by Borromini.

 

Borromini had to work with the Rainaldi ground plan but made adjustments; on the interior for instance, he positioned columns towards the edges of the dome piers which had the effect of creating a broad base to the dome pendentives instead of the pointed base which was the usual Roman solution.[8] His drawings show that on the façade to Piazza Navona, he designed curved steps descending to the piazza, the convex curvature of which play against the concave curvature of the façade to form an oval landing in front of the main entrance. His façade was to have eight columns and a broken pediment over the entrance. He designed the flanking towers as single storey above which there was to be a complex arrangement of columns and convex bays with balustrades.

 

By the time of Innocent's death in 1655, the façade had reached the top of the lower order. Innocent's nephew, Camillo Pamphili, failed to take interest in the church and Borromini became disheartened, eventually leading to his resignation in 1657.

 

Carlo Rainaldi was reappointed and made a number of modifications to Borromini's design including an additional storey to the flanking towers and simplifying their uppermost parts. On the death of Camillo, his wife Olympia (Aldobrandini), commissioned Bernini to take over. He was responsible for the straightforward pediment above the main entrance and for the emphatic entablature in the interior.

 

In 1668, Olympia's son, Camillo, took over responsibility for the church. He reinstated Carlo Rainaldi as architect and engaged Ciro Ferri to fresco the interior of the dome. Further decorations were added; there were large scale sculptures and polychrome marble effects. None of these are likely to have been intended by Borromini.

 

The interior of the dome has paintings portraying the Assumption (begun 1670) by Ciro Ferri was unfinished on his death in 1689 and completed by Sebastiano Corbellini. The pendentives were painted with the cardinal virtues by Bernini's protégée, Giovanni Battista Gaulli from 1662-72.

Palazzo Pitti, Firenze.

 

(+2 inside)

 

The Palatine Gallery, on the first floor of the piano nobile, contains a large ensemble of over 500 principally Renaissance paintings, which were once part of the Medicis' and their successors' private art collection. The gallery, which overflows into the royal apartments, contains works by Raphael, Titian, Perugino (Lamentation over the Dead Christ), Correggio, Peter Paul Rubens, and Pietro da Cortona. The character of the gallery is still that of a private collection, and the works of art are displayed and hung much as they would have been in the grand rooms for which they were intended rather than following a chronological sequence, or arranged according to school of art.

The finest rooms were decorated by Pietro da Cortona in the high baroque style. Initially Cortona frescoed a small room on the piano nobile called the Sala della Stufa with a series depicting the Four Ages of Man which were very well-received; the Age of Gold and Age of Silver were painted in 1637, followed in 1641 by the Age of Bronze and Age of Iron. They are regarded among his masterpieces. The artist was subsequently asked to fresco the grand ducal reception rooms; a suite of five rooms at the front of the palazzo. In these five Planetary Rooms, the hierarchical sequence of the deities is based on Ptolomeic cosmology; Venus, Apollo, Mars, Jupiter (the Medici Throne room) and Saturn, but minus Mercury and the Moon which should have come before Venus. These highly ornate ceilings with frescoes and elaborate stucco work essentially celebrate the Medici lineage and the bestowal of virtuous leadership. Cortona left Florence in 1647, and his pupil and collaborator, Ciro Ferri, completed the cycle by the 1660s. They were to inspire the later Planet Rooms at Louis XIV's Versailles, designed by Le Brun.

The collection was first opened to the public in the late 18th century, albeit rather reluctantly, by Grand Duke Leopold, Tuscany's first enlightened ruler, keen to obtain popularity after the demise of the Medici.

La chasteté de Joseph

Oeuvre de Ciro Ferri (1634-1689)

XVIIè siècle

Huile sur toile

 

La scène est un sujet de l'Ancien Testament. La femme de Putiphar, chef de l'armée de Pharaon, tente de séduire Joseph, le fils de Jacob et de Rachel, devenu l'homme de confiance de Putiphar. Ce dernier refuse de céder par fidélité envers son maître. Il fuit mais abandonne son manteau dans les mains de la séductrice, qui s'en servira pour l'accuser de viol. (Source : cartel du musée)

  

Musée des beaux-arts d'Angers

musees.angers.fr/collections/uvres-choisies/musee-des-bea...

  

Title: Raggvaglio della solenne comparsa, fatta in Roma gli otto di gennaio MDCLXXXVII. dall'illvstrissimo, et eccellentissimo signor conte di Castelmaine ambasciadore straordinario della Sagra Real Maestà di Giacomo Secondo rè d'Inghilterra, Scozia, Francia, et Ibernia, difensore della fede alla Santa Sede Apostolica, in andare pvblicamente all'vdienza della Santità di Nostro Signore Papa Innocenzo Vndecimo

Identifier: raggvagliodellas00wrig

Year: 1687 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Lenardi, Giovanni Battista, 1656-1704 Westerhout, Arnold van, 1651-1725 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: In Roma : Nella stamperia di Domenico Antonio Ercole

  

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Title: An account of His Excellence Roger Earl of Castlemaine's embassy : from His Sacred Majesty James the IId., King of England, Scotland, France, and Ireland, &c., to His Holiness Innocent XI.

Identifier: accountofhisexce00wrig

Year: 1688 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Camers, Philippus Michael Westerhout, Arnold van, 1651-1725 Lenardi, Giovanni Battista, 1656-1704 White, Robert, 1645-1703 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689 Tate, Nahum, 1652-1715

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: London : Printed by Tho. Snowden for the author

  

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Title: An account of His Excellence Roger Earl of Castlemaine's embassy : from His Sacred Majesty James the IId., King of England, Scotland, France, and Ireland, &c., to His Holiness Innocent XI.

Identifier: accountofhisexce00wrig

Year: 1688 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Camers, Philippus Michael Westerhout, Arnold van, 1651-1725 Lenardi, Giovanni Battista, 1656-1704 White, Robert, 1645-1703 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689 Tate, Nahum, 1652-1715

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: London : Printed by Tho. Snowden for the author

  

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rners of the hind-ftandards( being the moft conl]3icuouspart of the Coach)fate two other Boys i and two more, below ^ Thefirft, holding in his right hand a Rofe, and reft-ing the other, on theEfcutcheon of England; Thefecond, A Thiftle, and the Efcutcheon of Scoc^land; The third, A Floure deLis, and theEfcut-cheon of Fr^//^^; The fourth, A Laurel, and theEfcutcheon of Ir^fa^, in the fame manner as the firft. In the middle of thefe Figures, as itwere under a Canopy of Foliages, and the fameunder her feet, fate A Majeftique Female Figure,reprefenting Britannia: la her right hand, halfextended, (he held a Rofe, and a Thiftle of Gold;in the-other, a Lance ; and on her knee, leand i a large 43 a large Shield, charg d with the Crofles of Uni-on ; and laftly, over the top of the faid Stand-ards and Foliages, were fixt four Crowns, moftexquilitely Carv d, and Gilt ^ thatof£;?^/^;z//, be-ing mounted much above the reft; as in thefixth, feventh, and eighth Figures. rhff sJiU s^ 3 Co a it 3rr r

 

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Title: Raggvaglio della solenne comparsa, fatta in Roma gli otto di gennaio MDCLXXXVII. dall'illvstrissimo, et eccellentissimo signor conte di Castelmaine ambasciadore straordinario della Sagra Real Maestà di Giacomo Secondo rè d'Inghilterra, Scozia, Francia, et Ibernia, difensore della fede alla Santa Sede Apostolica, in andare pvblicamente all'vdienza della Santità di Nostro Signore Papa Innocenzo Vndecimo

Identifier: raggvagliodellas00wrig

Year: 1687 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Lenardi, Giovanni Battista, 1656-1704 Westerhout, Arnold van, 1651-1725 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: In Roma : Nella stamperia di Domenico Antonio Ercole

  

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e? 67 X[7 Rano in quattro altri piatti delia inedefima gran-•■— dezza, materia, ed arte, entro bizarriffimi car-ri , nella figura di Giunone, di Cibele, ed in quelle diVulcano, e Nettuno, efprelTiingegnofamente i quat-tro Elementi, quafi che delle più preziofe delizie * che^^racchiudino nel proprio feno, aueffe ciafchedunodi efsi alla gran Menfa fatto douiziofifsimo,ed onorato tributo * Fimra ii.^ 12, I z In »- tì t^.

 

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Chiesa di Sant'Agnese in Agone, Piazza Navona, Roma.

 

Sant'Agnese in Agone is a basilica church in Rome. Construction started in 1652 under the planning of Carlo Rainaldi on the site where Saint Agnes was martyred in the Circus of Domitian, now the Piazza Navona in Rome.

Current Cardinal Priest pro hac vice of the Titulus S. Agnetis in Agone is Lorenzo Antonetti.

The first designs, by Girolamo Rainaldi in 1652, were for a Baroque church. They were commissioned by Pope Innocent X, whose funerary monument is housed within the church. The Pope's family, the Pamphilj, had a large palace adjacent and the church was to be a sort of personal chapel annexed to the their residence. For example, the tambour of the dome was provided of an opening from which the Pope could assist to the celebrations from his apartment in the palace. In the years 1653-1657 the works of the facade were completed by the important Baroque architect Francesco Borromini, who changed the distance between the two side towers and introduced a concave volume in the centre. Sant'Agnese in Agone is considered among Borromini's most restrained creations.

The construction was completed by Carlo Rainaldi, son of Girolamo.

The church has a Greek cross plan. The interior of the dome has paintings portraying the Martyrdom of St. Agnese (1670-1689) by Ciro Ferri and Sebastiano Corbellini. Under the church there are substantial remains of an ancient Roman house.

Title: An account of His Excellence Roger Earl of Castlemaine's embassy : from His Sacred Majesty James the IId., King of England, Scotland, France, and Ireland, &c., to His Holiness Innocent XI.

Identifier: accountofhisexce00wrig

Year: 1688 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Camers, Philippus Michael Westerhout, Arnold van, 1651-1725 Lenardi, Giovanni Battista, 1656-1704 White, Robert, 1645-1703 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689 Tate, Nahum, 1652-1715

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: London : Printed by Tho. Snowden for the author

  

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. :JiAR[A J), u.^ ^ytn-^LLOZ c) CO tzar Tr-£LrvcT^c& e.t ^yLzIjti REGINA KWhitc/cuLp.Lcn, To the^ Qu £ E N.

 

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Title: Raggvaglio della solenne comparsa, fatta in Roma gli otto di gennaio MDCLXXXVII. dall'illvstrissimo, et eccellentissimo signor conte di Castelmaine ambasciadore straordinario della Sagra Real Maestà di Giacomo Secondo rè d'Inghilterra, Scozia, Francia, et Ibernia, difensore della fede alla Santa Sede Apostolica, in andare pvblicamente all'vdienza della Santità di Nostro Signore Papa Innocenzo Vndecimo

Identifier: raggvagliodellas00wrig

Year: 1687 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Lenardi, Giovanni Battista, 1656-1704 Westerhout, Arnold van, 1651-1725 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: In Roma : Nella stamperia di Domenico Antonio Ercole

  

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ria per gli fpartimenti de colori, che di luogo in luogo , àcagione, che non refti con tanta viuacità di fplendor^^abbagliata la vifta, anno difcoperti lafciati. Viene per cinque palmi di lunghezza,e quattro di lar-ghezza occupato il cielo per entro alla carrozza da vna-»grandArme di Sua Eccellenza, ricamata con gran rilie-uo dargento, e doro, e coni proprj colori, fecondo ìzjregole del Blafon ; al nobiliiTimo ornamento della quale^fi vnifcono gli arabefchi dequattro canti, cadendo dalfregio parimente per entro dintorno à tutta la carrozzavna gran frangia dargento, e doro , che fi fpande à fog-gia di merletto in gran fiocchi, e cafcate, che fembra to- F i gliere 44 gliere la vifta, ed il pregio al ricchiffimo broccato , ehfodera il di dentro della cafTa, ed allo iplendoredella fontuofa lama fiorita, della quale fonofatte le bandinelle ; del che fé ne puòfcorgere qualche fegno nella vedutaper profilo della medefima car-rozza, come appreffo. o Figura 3; La / -s ^ SI-o cO ^ •Ti

 

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Title: Raggvaglio della solenne comparsa, fatta in Roma gli otto di gennaio MDCLXXXVII. dall'illvstrissimo, et eccellentissimo signor conte di Castelmaine ambasciadore straordinario della Sagra Real Maestà di Giacomo Secondo rè d'Inghilterra, Scozia, Francia, et Ibernia, difensore della fede alla Santa Sede Apostolica, in andare pvblicamente all'vdienza della Santità di Nostro Signore Papa Innocenzo Vndecimo

Identifier: raggvagliodellas00wrig

Year: 1687 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Lenardi, Giovanni Battista, 1656-1704 Westerhout, Arnold van, 1651-1725 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: In Roma : Nella stamperia di Domenico Antonio Ercole

  

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;Cii-o/crrt Kor?^ imi: oiiiJ? Cui-./scit Cjlo:Batta. lenOft^t delia.- JìriiMo%n^ester\\outJìan!.^ailr.- 45Jl A veduta pofcia principale della parte di dietro **^ al carro è marauigliofamente arricchita non puredi bizzarri grottefchi, e fogliami, ma di nobili, e benformate figure, che per lefpreffione della grandezza, o^potenza Britannica, fono iui collocate ; auuenga, che ildominio de vafti Regni, à quella Corona foggetti, viea^fimboleggiato nella figura della Dea Cibele, ed in quelladi Nettuno il gran dominio deMari ; porte ambe queftefigure in maeftà, fofleaendo infieme con vna mano vn_-jRegio Diadema, ed appoggiando laltra fopra due granTritoni di gentiliffimi fogliami graziofamente adornati.LVnicorno poi, ed il Leone, chefembrano regger la_)macchina tutta, e fi*à i quali fcherzano due gentililTimiputti, fono i fupporti, ò foflegni dellArme dInghilter-ra, conforme qui fi fcorge. Figura 4. Ma s \

  

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Begun in 1670 by Ciro Ferri and finished after his death in 1689 by Sebastiano Corbellini. In the church of Saint Agnes.

L'affresco è del 1667 ed è opera di Ciro Ferri e Sebastiano Corbellini mentre i pennacchi sono opera del Baciccia,

Title: Raggvaglio della solenne comparsa, fatta in Roma gli otto di gennaio MDCLXXXVII. dall'illvstrissimo, et eccellentissimo signor conte di Castelmaine ambasciadore straordinario della Sagra Real Maestà di Giacomo Secondo rè d'Inghilterra, Scozia, Francia, et Ibernia, difensore della fede alla Santa Sede Apostolica, in andare pvblicamente all'vdienza della Santità di Nostro Signore Papa Innocenzo Vndecimo

Identifier: raggvagliodellas00wrig

Year: 1687 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Lenardi, Giovanni Battista, 1656-1704 Westerhout, Arnold van, 1651-1725 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: In Roma : Nella stamperia di Domenico Antonio Ercole

  

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RAGGVAGLIO DELLA SOLENNE COMPARSA, Fatta in KOMÀ gli otto di Gennaio MDC LXXXVlI.DALL ILLVSTRISSIMO , ET ECCELLENTISSIMO SIGNOR. CONTE DI CASTELMAINE AMBASCIADORE STRAORDINARIODELLA SAGRA REAL MAESTÀ D I GIACOMO SECONDO RE D INGHILTERRA, SCOZIA, FRANCIA, E T I B E R N I A , DIFENSORE DELLA FEDE ALLA SANTA SEDE APOSTOLICA, IN ANDARE PVBLICAMENTE ALLVDIENZA DELLA SAHTITA DI TSiOSTRO SICHORE RAPA INNOCENZOVNDECIMO. DEDICATO ALL ALTEZZA SERENISSIMA DELLA DVCHESSA DI MODENA D A GIOVANNI MICHELE WRIT MAGGIORDOMODel medefimo Signor Ambafciadore. IN ROMA» Neil» Stamperia di Domenico Antonio Ercole. Con lianx.» deSuftrìtrì»

  

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Title: Raggvaglio della solenne comparsa, fatta in Roma gli otto di gennaio MDCLXXXVII. dall'illvstrissimo, et eccellentissimo signor conte di Castelmaine ambasciadore straordinario della Sagra Real Maestà di Giacomo Secondo rè d'Inghilterra, Scozia, Francia, et Ibernia, difensore della fede alla Santa Sede Apostolica, in andare pvblicamente all'vdienza della Santità di Nostro Signore Papa Innocenzo Vndecimo

Identifier: raggvagliodellas00wrig

Year: 1687 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Lenardi, Giovanni Battista, 1656-1704 Westerhout, Arnold van, 1651-1725 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: In Roma : Nella stamperia di Domenico Antonio Ercole

  

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Qio !Èaaa. finarài àcìin.. ArnoUo Yaa Wuterhoutjamjc-. 65 ti quefta grande Ambafciata; mentre nella figura, che fe-dea in maeftà fopra di vn Sole fra poche nubi nafcento,fi efponea la Chiefa, auanti alla quale dalla Verità , giàdifcoperta dal Tempo, venia in atto di riuerenza, con-dotto il Genio religiofo del Monarca Britanno, e dalRegio Valore, che in figura di vn alato Guerriero libra-to in aria, con in delira vna Lancia, era fcacciata la Dif-cordia, e la Frode ; vedendofi in fondo nel fembiant^^dVn Idra lacera, e tronca la Ribellione totalmente ab-batuta, efconfitta, efopradeltutto, come in trionfo,lArme dellInghilterra : conforme dal difegnofi fcorge , e dallaltra parte quella-^del Papa_j. Figura IO, I Erano -r

 

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Title: An account of His Excellence Roger Earl of Castlemaine's embassy : from His Sacred Majesty James the IId., King of England, Scotland, France, and Ireland, &c., to His Holiness Innocent XI.

Identifier: accountofhisexce00wrig

Year: 1688 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Camers, Philippus Michael Westerhout, Arnold van, 1651-1725 Lenardi, Giovanni Battista, 1656-1704 White, Robert, 1645-1703 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689 Tate, Nahum, 1652-1715

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: London : Printed by Tho. Snowden for the author

  

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[Cirojcrrt Ronutitu: Jind. Cor.jtcit Clio, aaita. 1 cna\-ii\ dclu vArnalio VajiWejteiiiour fuitn. ^culr- s \

  

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Title: An account of His Excellence Roger Earl of Castlemaine's embassy : from His Sacred Majesty James the IId., King of England, Scotland, France, and Ireland, &c., to His Holiness Innocent XI.

Identifier: accountofhisexce00wrig

Year: 1688 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Camers, Philippus Michael Westerhout, Arnold van, 1651-1725 Lenardi, Giovanni Battista, 1656-1704 White, Robert, 1645-1703 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689 Tate, Nahum, 1652-1715

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: London : Printed by Tho. Snowden for the author

  

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(which, with what went tothe Harnefs, Coachmans Cufhion, Braces,Strapps, &c. took up 120 yards ) And over thefides, or extream parts of the Velvet, was a richGold Embroidery, of raisd-work, and on theCurtains before, behind, and on each fide (ac-cording to the Italian fafhion) were large em-broidered Loops, a foot long, and eight Inchesbroad; and all other the void fpaces, as theDoors, Pannels, &c. were fiUd with flouriflies,of the like embroidery, and all the feams, andedges of the faid outfide, and corners, were ei-ther gold Galoon, or Fringe, of the fame. The four Vafes, or Knobbs, at the corners 37corners of the Coach, were three foot high abovethe roof, which falling back again on it, in largeFoliages of gold needle-work, and fpreadingalong the outfide of the Valence, in a freeze-work of fix Inches high, met and joynd in themiddle, by a large Scollop-£hell of the famework. As may be feen in the third, fourth, andfifth Figures. THE o -s-s • p v% <lO -i $=- <2 7*0

 

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Title: An account of His Excellence Roger Earl of Castlemaine's embassy : from His Sacred Majesty James the IId., King of England, Scotland, France, and Ireland, &c., to His Holiness Innocent XI.

Identifier: accountofhisexce00wrig

Year: 1688 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Camers, Philippus Michael Westerhout, Arnold van, 1651-1725 Lenardi, Giovanni Battista, 1656-1704 White, Robert, 1645-1703 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689 Tate, Nahum, 1652-1715

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: London : Printed by Tho. Snowden for the author

  

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Ut —IS 6i ^TTH E feventh and eighth, were the Figures-*■ of His Majefties Royal Virtues; where, up-on heaps of Arms, and Trophies, in the jSrft,ilood Juftice, and Peace, entwin d - with theirproper Symbols m then hands ^ in the other.Valour, and Vidory, as in the Fourteenth Fi-gure. R ; THE I c ^.

  

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Title: Raggvaglio della solenne comparsa, fatta in Roma gli otto di gennaio MDCLXXXVII. dall'illvstrissimo, et eccellentissimo signor conte di Castelmaine ambasciadore straordinario della Sagra Real Maestà di Giacomo Secondo rè d'Inghilterra, Scozia, Francia, et Ibernia, difensore della fede alla Santa Sede Apostolica, in andare pvblicamente all'vdienza della Santità di Nostro Signore Papa Innocenzo Vndecimo

Identifier: raggvagliodellas00wrig

Year: 1687 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Lenardi, Giovanni Battista, 1656-1704 Westerhout, Arnold van, 1651-1725 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: In Roma : Nella stamperia di Domenico Antonio Ercole

  

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aquale ftà in cortefe, e gentil pofitura per riceuerla. Si fcorge alla deftra della Chiefii vn antica Ara, ò Al-tare , e fopra di effo vn picciolo Tempio, ed il libro delfaiito Vangelo. Il zelo Criftiano , che afìlfìe à quefla grande Offerta,viene efprefToin vn Venerando Vecchio , che vicino al-la fisiura della Chiefa foftiene in mano, 6c inalza vna_joran Lampada ardente di fuoco ; ma perche fi veda, ef-fer il tutto regolato fecondo la Crifliana prudenza, ilafra quella della Chiefa, e quella della Gran Brettagnacollocata la fÌ2;ura della Prudenza,con in mano vna Ver-ga, à cui ftà il folito ferpente amiolto, e intrecciato. RaiTembra flmilmente, effer affiftito, e regolato queftogrande, ed importante AtTare dal Valore Regio, che fiefprime nella figura dErcole, quale con vna mano offe-rifce alla Chiefa la Monarchia, con laltra foflienc in di-fefa di effa, la Clan a, e calpefta con ambi i piedi lInni-dia proflernata , auuinta le tempia, e la delira di fpa.ucn-tofi fcrpenti. I ^^i-

 

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jhiupvui JvUchael Came.rsJpmae-hat. Arnoldus V.WcjterlujutJiSJc- 33 I Trionfi poi della Chiefa contro la potenza , ed em-pietà Ottomanna, fono viuacemente eipreffi nella figu-ra di vn Turco con diuife dAgà, che gemefotto lAlta-re, e fotto i piedi della medefima Chiefa , giacendo fo-pra vn confufo fafcio di Armi, Archi, Scure, Frezze, Sci-mitarre, Code dicauallo, VeffiUi, e Bandiere lacerate , efconfitte;ed in quella di vn Muftì, ò Maomettano Sacer-dote, con il Libro dellAlcorano lacero, e guafto, pre-muto anchegli dal piò vittoriofo, e trionfante della^Chiefa. Termina lornamento di quefìo piano, douopofano le fopradette figure, vn cartellone di oro di figu-ra ouata, foftenuto da due Sfingi, Gieroglifico dellAr-cano de i Regi, e Monarchi, effendo nel campo di det-to cartellone ombreggiata di oro la figura del Teuer^_^ ,che per tale vien dimoftrato dal Ponte SantAngelo, chefi vede iui efprefib in profpetto di lontananza . Refta le-flremitàdiqueftArmi adornata con fiondi dAlloro,p

  

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Title: Raggvaglio della solenne comparsa, fatta in Roma gli otto di gennaio MDCLXXXVII. dall'illvstrissimo, et eccellentissimo signor conte di Castelmaine ambasciadore straordinario della Sagra Real Maestà di Giacomo Secondo rè d'Inghilterra, Scozia, Francia, et Ibernia, difensore della fede alla Santa Sede Apostolica, in andare pvblicamente all'vdienza della Santità di Nostro Signore Papa Innocenzo Vndecimo

Identifier: raggvagliodellas00wrig

Year: 1687 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Lenardi, Giovanni Battista, 1656-1704 Westerhout, Arnold van, 1651-1725 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: In Roma : Nella stamperia di Domenico Antonio Ercole

  

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i-4iii,rcc CeittcW *- ctjccit Cjio 3atta Sc\iard% delm Arnoldo ^/an^esUvhstit Jiam.Sculu . 51 T A Statua, che in fembian te di Donna fiede maeflo- •^^ famente nella veduta, che apprcffo fiegue, rappre- fenta la Monarchia della Gran Brettas;na , foftcnendo con vna mano, vna Lancia , e con laltra vn mazzo com- pofto di lauro , gigli, rofe, e fiori di cardo, che fono lim- prefe de quattro Regni, efprelTi in quattro Putti, che le fanno attorno corona, fcherzando ogn vno di elli, con la propria Diuifa particolare, e con vna targa in ir.ano, entro cui è dipinta, con i propri) colori, lArme di eia- fcheduno di effi Regni, effendo anche nello Scudo, à cui fi appoggia la figura della Gran Brettagna, efpreifa vna Croce roffa per lInghilterra, ed vnaltra turchina, e bianca, per lvnione della Scozia. Tigura 7. G z Scher-

 

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iÀnarta Lorntìy inh, ttjecit mio: Jjattrf. L&ni^rdi dtlm: dimoilo ^aA^tsterhoutfì(tHt.SLulp: 5Ì O Cherzano altri due putti, con le medefime imprcfe,ed Armi, fopra vn ricchiffimo, e macftofo fogliamenella veduta dalla banda del timone, che refta con biz-zarri cartelloni, fiori, e grottefchi, vagamente adornata,di tal forte, che, effendo i fondi della Carrozza, come iodicea, dipinti dazzurro, e la fuperficie tutta d oro, rico-perta dalla viuacitàdecolori, vaghezza, ebi;zzarria deldifegno, e dello intaglio, viene al certo tolta alla pennaogni forma di efprimere così ricche, maeftofe, e veramen-te Regie machine, alle quali daremo vna femplice vifta,quando faranno con tutti i ricchiffimi, e pompofi abi-gliamenti in procinto di partire dal Palazzo verfoMonte Cauallo, con entroui Sua Eccellenza.,feguito dal publico , folenne, enobiliffi-mo Corteggio. Ff£ura 8. Il ^r,- 55 T L giorno ottauo di Gennaio, deftinato per ve dere•*■ Ipargerfi dauanti al Sagro Trono del Gran Paftorodel

  

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Title: Entretiens sur les vies et sur les ouvrages des plus excellens peintres anciens et modernes

Identifier: gri_entretienssu05feli

Year: 1666 (1660s)

Authors: Félibien, André, sieur des Avaux et de Javercy, 1619-1695 Le Petit, Pierre, 1617?-1686 Coignard, Jean Baptiste, 1638-1689 Mabre-Cramoisy, Sébastien Mabre Cramoisy, veuve

Subjects: Painters

Publisher: A Paris : Chez Pierre le Petit ...

  

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oir. LAmour m ayant écouté me fit fi-gne de le fuivre-, & comme pour luyobéir je voulois fortir du lieu où jef-tois, jentendis un grand bruit qui mefit tourner la tefte dun autre cofté. Il eft vray qualors j ouvris à demiles yeux; & voyant dans lallée la plusproche de lendroit où je meftois en-dormi, toute la Cour qui fuivoit leRoy, je fus extrêmement furpris. Ce-pendant me trouvant encore poifedéde Terreur de mon fonge, je cherchoisà joindre le faux & le vray. Il mefem-ble que je regardois fi lAmour nes approchoit point dn Roy pour me rendre de Philo m a the. 337rendre quelque bon office, & je fer-may les yeux pour ne me pas détrom-per fîtoft, & pour goufter plus long-temps la douceur dune fi aimable rê-verie. Vous aurez donc, mon cher Cleo-gene, de la joye dapprendre que jefuis prefentement de voltre avis, &quune fi agréable aventure eft unenouvelle raîjbn à alléguer pour prou-ver que le Sommeil eft le plus char-mant de tous les Dieux. A. F.

 

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Tome F. Vu c!^*S*^*i*îKi*a <$$y *&& c^*i9 *y®> $*tKMif TABLE. AC A d e M i e de Peinture& de Sculpture établie à P*cic- page 18 Alexandre Veroneje. M Alfonfe du Frefnoy. 277 Alexandre VI. Pape. 233 André Camacée. 6 André Ouche. ibid. André Sacchl. ib!d. Sant André. 189 Appartemens des Tuilleriespeints par N. Mignard. 66Armand SvoanQert. 44 Audran. B BA IlLY.Baltazar Marcy.J. Baptifte de Champagne.Barthélémy.Bartholet Flamaei.Baudejfon.L. Baugin.Beiin. P. Bsretm de Cortont.Le Bicheur.J. Blanchart.H. Bobrun.A. Boffe.Boule.Bonlongns. M4 M4 180 84181 M4 ibid. i76 6 5*57185114286158 Bourbon.Bourdon.Boufonnet Stella. ^hiftte. Le Alabrese. A. Camacée.De Cani.M. de Chamois.Philippe de Champagne.Chaperon.Charmeton.Chafteau.Chauveau.Ciro-Ferri.Cirante.Cleobis & Biton peints Loyr.Mich- Comédie.P. Dt CartonsCotelle.Courtois. D *7 154161 176 i%6 le,. 22 161 180 MS 181 9 Hpar 259 5*6 286 ibid. DArius ouvre le Tom-beau de Sémiramis. 218P. De Cortone. 6 De la Hyre.

  

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Title: Raggvaglio della solenne comparsa, fatta in Roma gli otto di gennaio MDCLXXXVII. dall'illvstrissimo, et eccellentissimo signor conte di Castelmaine ambasciadore straordinario della Sagra Real Maestà di Giacomo Secondo rè d'Inghilterra, Scozia, Francia, et Ibernia, difensore della fede alla Santa Sede Apostolica, in andare pvblicamente all'vdienza della Santità di Nostro Signore Papa Innocenzo Vndecimo

Identifier: raggvagliodellas00wrig

Year: 1687 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Lenardi, Giovanni Battista, 1656-1704 Westerhout, Arnold van, 1651-1725 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: In Roma : Nella stamperia di Domenico Antonio Ercole

  

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1

 

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-3 Jtì O^ ^ N

  

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Title: An account of His Excellence Roger Earl of Castlemaine's embassy : from His Sacred Majesty James the IId., King of England, Scotland, France, and Ireland, &c., to His Holiness Innocent XI.

Identifier: accountofhisexce00wrig

Year: 1688 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Camers, Philippus Michael Westerhout, Arnold van, 1651-1725 Lenardi, Giovanni Battista, 1656-1704 White, Robert, 1645-1703 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689 Tate, Nahum, 1652-1715

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: London : Printed by Tho. Snowden for the author

  

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4-

 

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Title: An account of His Excellence Roger Earl of Castlemaine's embassy : from His Sacred Majesty James the IId., King of England, Scotland, France, and Ireland, &c., to His Holiness Innocent XI.

Identifier: accountofhisexce00wrig

Year: 1688 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Camers, Philippus Michael Westerhout, Arnold van, 1651-1725 Lenardi, Giovanni Battista, 1656-1704 White, Robert, 1645-1703 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689 Tate, Nahum, 1652-1715

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: London : Printed by Tho. Snowden for the author

  

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5i? ^TTHE fifth, and fixth, were of two Palm-* Trees, theHieroglyphicks ofVidory.andImprefs, of his Excellences Family ^ and underthem, feveral Nymphs, fitting on Foliages, andreprefenting the Moral Virtues, as in the thir-teenth Figure. THE > ! ^ r

  

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Title: An account of His Excellence Roger Earl of Castlemaine's embassy : from His Sacred Majesty James the IId., King of England, Scotland, France, and Ireland, &c., to His Holiness Innocent XI.

Identifier: accountofhisexce00wrig

Year: 1688 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Camers, Philippus Michael Westerhout, Arnold van, 1651-1725 Lenardi, Giovanni Battista, 1656-1704 White, Robert, 1645-1703 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689 Tate, Nahum, 1652-1715

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: London : Printed by Tho. Snowden for the author

  

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ant, to bring whatfoever he wanted, or defired. The breadth of the faid Table waseight foot ( which might eafily be allowd, theRoom being 24. wide ) and thro the middleof it, from one end to the other, ran a Range ofHiftorical Figures ( fome almoft half as big asthe Life) which the Italians, call Trionfi: Theyare made of a kind of Sugar-Pafte, but model-led, to theutmoft skill of a Statuary; So thatthey are afterwards, fent as Prefents to the great-eft Ladies ; and their ufe at Entertainments, isto gratifie the Eye, as the Meat, Muj(ique,andPerfumes, do the other Senfes. Between thefe, ftood great Vafes of ArtijScial Artificial Flowers ^ and (to fill up the emp-ty fpaces of the middle) there were a wonder-ful Company of Birds in a flying pofture, onlefler Plates • and as many Lyons, Unicorns, andEagles, on larger, alluding to the fupporters,and bearings, of both their Majefties: An entiredefcription of which, as the Table flood all to-gether, may be feen in the ninth Figure. AND V ^

 

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The Getty foCdbut/mapnot digitized 51AND for a more particular account of the -^ ^ Triumphs themfelves, they were as fol-loweth. Thefirft four, wtr^oi Juno, Cjtele, Nep^tunCy and Vulcan, in Chariots, drawn over largeFoliages; thereby reprefenting, the four Ele-ments, as if each of them, had paid a Tribute tothe Table ,• as in the eleventh and twelfth Fi-gures. Q^ THE \? 8£ 9*137/ Y *•- •*-*- ^ -—^ t ^-^ »^ --• ^. 1^

  

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Piazza Navona - Sant'Agnese in Agone is a seventeenth century Baroque church in Rome, Italy. It faces onto the Piazza Navona, one of the main urban spaces in the historic centre of the city and the site where the Early Christian Saint Agnes was martyred in the ancient Stadium of Domitian.

 

The rebuilding of the church was begun in 1652 at the instigation of Pope Innocent X whose family palace, the Palazzo Pamphili, faced onto the piazza and was adjacent to the site of the new church. The church was to be effectively a family chapel annexed to their residence (for example, an opening was formed in the drum of the dome so the family could participate in the religious services from their palace).

 

A number of architects were involved in the construction of the church, including Girolamo Rainaldi and his son Carlo Rainaldi, and two of the foremost Baroque architects of the day; Francesco Borromini and the sculptor Gianlorenzo Bernini.

 

The name of this church is unrelated to the ‘agony’ of the martyr: in agone was the ancient name of Piazza Navona (piazza in agone), and meant instead, from the Greek, ‘in the site of the competitions’, because Piazza Navona was built on the form of an ancient Roman stadium on the Greek model, with one flat end, and was used for footraces. From ‘in agone’, the popular use and pronunciation changed the name into ‘Navona’, but other roads in the area kept the original name.

 

The current Cardinal Priest pro hac vice of the Titulus S. Agnetis in Agone is Lorenzo Antonetti.

 

The first designs for a centralised Greek Cross church were prepared by the Pamphili family architect, Girolamo Rainaldi, and his son Carlo Rainaldi in 1652. They were commissioned by Pope Innocent X, whose funerary monument was later housed within the church. They reorientated the main entrance to the church from the Via Santa Maria dell’Anima, a street set one urban block away from the piazza, to the Piazza Navona, a large urban space that Innocent was transforming into a showcase associated with his family. It had been the intention to build the new church over the old church which would become the crypt; this meant the new church was to be raised well above piazza level, but this idea was abandoned once construction started. The original drawings are lost but it is thought that the Piazza Navona facade design included a narthex between two towers and broad stairs descending to the piazza.

 

Harsh criticism was made of the design, including the steps down to the piazza which were thought to project excessively, so Carlo Rainaldi eliminated the narthex idea and substituted a concave facade so that the steps would not be so intrusive. The idea of the twin towers framing a central dome may be indebted to Bernini's bell towers on the facade of Saint Peter's basilica. Nonetheless, Rainaldi's design of a concave facade and a central dome framed by twin towers was influential on subsequent church design in Northern Europe. In 1653, the Rainaldis were replaced by Borromini.

 

Borromini had to work with the Rainaldi ground plan but made adjustments; on the interior for instance, he positioned columns towards the edges of the dome piers which had the effect of creating a broad base to the dome pendentives instead of the pointed base which was the usual Roman solution. His drawings show that on the façade to Piazza Navona, he designed curved steps descending to the piazza, the convex curvature of which play against the concave curvature of the façade to form an oval landing in front of the main entrance. His façade was to have eight columns and a broken pediment over the entrance. He designed the flanking towers as single storey above which there was to be a complex arrangement of columns and convex bays with balustrades.

 

By the time of Innocent's death in 1655, the façade had reached the top of the lower order. Innocent's nephew, Camillo Pamphili, failed to take interest in the church and Borromini became disheartened, eventually leading to his resignation in 1657.

 

Carlo Rainaldi was reappointed and made a number of modifications to Borromini's design including an additional storey to the flanking towers and simplifying their uppermost parts. On the death of Camillo, his wife Olympia (Aldobrandini), commissioned Bernini to take over. He was responsible for the straightforward pediment above the main entrance and for the emphatic entablature in the interior.

 

In 1668, Olympia's son, Camillo, took over responsibility for the church. He reinstated Carlo Rainaldi as architect and engaged Ciro Ferri to fresco the interior of the dome. Further decorations were added; there were large scale sculptures and polychrome marble effects. None of these are likely to have been intended by Borromini.

 

The interior of the dome has paintings portraying the Assumption (begun 1670) by Ciro Ferri was unfinished on his death in 1689 and completed by Sebastiano Corbellini. The pendentives were painted with the cardinal virtues by Bernini's protégée, Giovanni Battista Gaulli from 1662-72.

[edit] Other interior decorations

 

There are a number of large scale sculptures in this church, including the marble relief in the main altar, placed in a setting installed by Carlo Rainaldi and Ciro Ferri, that depicts the Miracle of Saint Agnes, initially commissioned from Alessandro Algardi and completed by Ercole Ferrata and Domenico Guidi in 1688, under constraints that their product must remain in conformity with the original Algardi design. The Sacred Family altarpiece (third to the right) is also by Domenico Guidi.

 

The altar dedicated to Saint Alexius, depicting his death, was completed by Giovanni Francesco Rossi. The stucco decoration of angels by Ferrata with the symbols of the Saint: pilgrim's staff and flower crown. The altar depicting the Martyrdom of Sant’Emerenziana is by Ercole Ferrata. He also completed Sant’Agnese and the flame, Leonardo Retti completed the superior portions. The altar depicting the Death of Santa Cecilia was executed by Antonio Raggi. Stucco angel decorations (with musical instruments) by Ercole Ferrata with fresco designs by Ciro Ferri. The altarpiece of the Martyrdom of St. Eustace was commissioned to Melchiorre Caffà, but generally completed after Caffà's early death by Ferrata and Giovanni Francesco Rossi. The statue of Saint Stephen Martyr is by Pietro Paolo Campi.

[edit] Origin of name and legends

 

Bernini's Fountain of the Four Rivers lies in front of the church. It is often said that Bernini sculpted the figure of the "Rio de la Plata" cowering as if he thought the facade designed by his rival Borromini could crumble atop him. This story, like many urban legends, persists because it has a ring of authenticity, despite Bernini's fountain predates the facade by some years.

 

Borromini and Bernini became rivals, and more, for architectural commissions. Most prominently, during the Pamphili papacy, an official commission was established to study defects that had arisen in the foundations of the belltowers (built under Bernini's guidance) in the facade of Saint Peter's Basilica. In testimony before the commission, Borromini was one of many harsh critics that assailed the project's engineering. Ultimately, in a severe blow to Bernini's prestige as an architect, the facade bell-towers were torn down, and never rebuilt.

Title: An account of His Excellence Roger Earl of Castlemaine's embassy : from His Sacred Majesty James the IId., King of England, Scotland, France, and Ireland, &c., to His Holiness Innocent XI.

Identifier: accountofhisexce00wrig

Year: 1688 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Camers, Philippus Michael Westerhout, Arnold van, 1651-1725 Lenardi, Giovanni Battista, 1656-1704 White, Robert, 1645-1703 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689 Tate, Nahum, 1652-1715

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: London : Printed by Tho. Snowden for the author

  

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ong 11^ Amongfi the Nmerotis Voevis prefentedto his Excellence lyr/;^ Roman T^/V.f, only this-out of thofe infer tedin the Italian Account of this FamousEmh(Jj, is tranjlated By N. Tate. WHen Palmers mighty Triumph now came one,With Latian Dames the Crouded Cafements fhone.Old Rome his Train and Chariots did furvey,dir?lhidf ^^ feemd again in the * Flaminian Way. his E\ce- JusEnlrv: Do wc (fays fhe) as Uaro fiing, ftill find The hardy Britains from the World dif-joynd.The Brittijh Empire with the Roman meets,Onefplendid Pomp unites their diftant Streets 5And Palmer by one happy Day at laft.Renews the Triumps of the Ages paft. FINIS. E R R A T AS. Folio 8. line 2. for Swits, read Switztrs; fol. 8,1. 8. for Anmianuy x\ AtUnianti; fol. 2a.1.14. for Attendanc , r. Attendants ■-, fol. 47. 1. iz. for Attendance^ r. Attendants; fol. 5^ j.1.12. for SvJiJJe^T. Stuitzers; fol.73. 1. if. for we, v.be; foL yZ.\.ultAot dejartiX.defert;io\.Z.1. I r. r. Lord Ratcliffe,/we Earl </Dunwarrenwater.

 

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Title: An account of His Excellence Roger Earl of Castlemaine's embassy : from His Sacred Majesty James the IId., King of England, Scotland, France, and Ireland, &c., to His Holiness Innocent XI.

Identifier: accountofhisexce00wrig

Year: 1688 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Camers, Philippus Michael Westerhout, Arnold van, 1651-1725 Lenardi, Giovanni Battista, 1656-1704 White, Robert, 1645-1703 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689 Tate, Nahum, 1652-1715

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: London : Printed by Tho. Snowden for the author

  

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on a pur-ple Cuihion by her ^ her felf on the left knee,making an obeyfance to the Church, and wasattended, by prudence, and valour. Prudence, another female figure, hadher head, and breaft, adornd with Pearl, andin her Left hand, a ftaff, with a Serpent twindabout it. Valour, was reprefented by Hercules, ina Lyon s Skin -, his Club, on his Shoulder, andtrampling on envy, who with her Snakes abouther, and one twifted on her right arm, lay ravingat Britannia. Underneath that, an Oval of Gold, fup-H ported 2^ ported by two Sphinxes, and adorn d with Law-rels, wherein was reprefented the River Tyher, byan old man, lying at length, and leaning on anUrne, or Vafe of water 5 A Wreath of Reeds onhis head -, in his left hand, an Oare, in his right,k Cornucopia: On his right fide, lay a Wolf, fuck-ling two Children (the Symbole of Rome) on hisleft, A perfpeftive of the Bridge of St. Angelo;and under all, in Golden Capital Letters, theword, Tjiris. As may be feen in the firft printedFigure, rhf

 

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jra^UviJUj Jviuhacl Camers rmqe^Jal. Arnolds Y.W<utar]vontJi£jc ^1 The Kings Arms.^nr^Hey, with the Garter, Supporters, &c. were-* raisd, on another kind of Architefture,adorned, withRofes, andThiftles Under them, was Britannia, crownd,and Wreathd, as before; but here, fitting, in afull Majefty: In her right hand, A Scepter, andA Globe (infcribd Britannia) in the other ^ HerVeil, ofa Gold Colour richly embroiderd at thebottom , Her Mantle, as before -, Sandals on herfeet, with Ligaments, to the mid-leg, after theold Roman manner ; and trampling an armed Fi-gure, that lay facing Her, and ftrughng to getup againfb Her : In his right hand, was a drawnSword, and on his Helmet, a plume of Orange-tauny Feathers; The firft Colours at Edge-hill,againft King Charles the Firft. On her left hand, in the middle, ftoodHercules, dreft as before, but now, leaning on hisClub, and in his left hand, an Azure Tablet, withthe Royal Motto (DIEU ET MON DROIT) in 28 in large Capitals of Gold, on it;

  

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El Palazzo Pitti es un gigantesco palacio renacentista en Florencia, Italia. Está situado en la ribera sur del Arno, a muy corta distancia del Ponte Vecchio. El aspecto del actual palacio data de 1458 y era originalmente la residencia urbana de Luca Pitti, un banquero florentino. Fue comprado por la familia Médicis en 1539 como residencia oficial de los Grandes Duques de la Toscana.

Las principales estancias fueron decoradas por Pietro da Cortona en puro estilo barroco, que pintó frescos en siete salas del palacio. De hecho, se considera uno de sus mejores trabajos la inmensa serie de frescos de la Sala della Stuffa (1637- 1642), que representan la Edad del Oro, la Edad de la Plata, la Edad del Cobre y la Edad del Hierro, y las Salas de Marte, Jupiter y Venere (1647), que sirvieron de modelos para los Salons des Planétes de Le Brun en el Palacio de Versalles. El resto de los cuartos fueron completados a los largo del siglo XVII por Ciro Ferri.

es.wikipedia.org/wiki/Palacio_Pitti

 

"La realidad no debe ser más que un telón de fondo"

Oscar Wilde (1854 – 1900) fue un famoso escritor irlandés.

Title: Raggvaglio della solenne comparsa, fatta in Roma gli otto di gennaio MDCLXXXVII. dall'illvstrissimo, et eccellentissimo signor conte di Castelmaine ambasciadore straordinario della Sagra Real Maestà di Giacomo Secondo rè d'Inghilterra, Scozia, Francia, et Ibernia, difensore della fede alla Santa Sede Apostolica, in andare pvblicamente all'vdienza della Santità di Nostro Signore Papa Innocenzo Vndecimo

Identifier: raggvagliodellas00wrig

Year: 1687 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Lenardi, Giovanni Battista, 1656-1704 Westerhout, Arnold van, 1651-1725 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: In Roma : Nella stamperia di Domenico Antonio Ercole

  

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<rlo Ham ^eru^rM /^.^-XJ^TS^r^^^^^^ ^]>!i IJc YanWej-u-rluiulflMii.rcalÀ SERENISSIMA ALTEZZA^

 

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. ^10 Matta^cnarAì 3nu:et Jrr-i *Arn«lÌ9 ^an^fj-trrhùut JtaniScuìv: LI applaufi, dati da tutto il Mon^ do Criffiano alla Straordinaria , folenne, e rileuantirsiraa Amba- fceria deiJa Sagra Rea! Maeflà di GIACOiMO SECONDO Rè ddla Gran A a Brct-

  

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G. B. Piranesi;

Basilica di S. Sebastiano fuori le mura

 

Storia

La chiesa fu costruita nel IV secolo, sul luogo dove, secondo la tradizione, erano state trasferite nel 258 le reliquie degli apostoli Pietro e Paolo per salvarle dalle persecuzioni. Ritornate in seguito nelle loro sedi originarie (sulla via Cornelia e sulla via Ostiense), nelle sottostanti catacombe agli inizi del IV secolo fu sepolto il martire romano Sebastiano: sopra le catacombe l’imperatore Costantino fece costruire, nella prima metà del IV secolo, una grande basilica, che inizialmente fu dedicata alla memoria apostolorum, e che in seguito assunse il nome attuale.

 

La chiesa ricevette l'attributo ad catacumbas per le catacombe di san Sebastiano, sulle quali venne costruita, mentre l'attributo fuori le mura è in riferimento al fatto che la chiesa si trova al di fuori delle Mura aureliane e serviva a distinguerla dalla chiesa di San Sebastiano al Palatino.

 

I resti di san Sebastiano furono trasferiti nella basilica di San Pietro in Vaticano nell'826, per il timore di un assalto dei Saraceni, che si materializzò, causando la distruzione della chiesa. Il luogo di culto fu riedificato da papa Nicola I (858-867) e l'altare del martire fu riconsacrato da papa Onorio III su richiesta dei cistercensi, che ricevettero la cura della chiesa.

 

L'edificio attuale risale alla ricostruzione ordinata dal cardinale Scipione Caffarelli-Borghese nel XVII secolo e portata avanti da Flaminio Ponzio prima e da Giovanni Vasanzio poi.

 

La basilica è sede parrocchiale, istituita il 18 aprile 1714 con bolla di papa Clemente XI. Ed è anche sede del titolo cardinalizio di «San Sebastiano alle Catacombe» istituito da papa Giovanni XXIII nel 1960.

Descrizione

La basilica costantiniana Costantino fece costruire la primitiva basilica secondo il modello circiforme a tre navate e preceduta da un grande atrio quadrangolare, modello riscontrabile anche nelle altre basiliche fatte erigere dall’imperatore a Sant'Agnese sulla via Nomentana e a San Lorenzo sulla via Tiburtina. Parti di questa basilica furono utilizzate per la ricostruzione del XVII secolo: in particolare il nuovo edificio occupò l’antica navata centrale.

 

Nel 1933 furono ricostruite le navate utilizzando il deambulatorio che correva attorno alla basilica del IV secolo: nella navata di destra sono raccolti manufatti provenienti dalle catacombe sottostanti, ed è posta l’entrata al cimitero ipogeo; nella navata di sinistra vi è una delle uscite della catacomba ed un museo epigrafico.

 

L'attuale basilica

La facciata dell'edificio è dovuta a Giovanni Vasanzio e fu terminata nel 1613; essa è costituita da un portico a tre archi nella parte inferiore, a cui corrispondo da tre grandi finestre separata da paraste nella parte superiore. Gli archi inferiori sono sorretti da colonne di granito provenienti dalla basilica costantiniana.

 

L’interno è a navata unica, con soffitto ligneo intagliato: in esso sono raffigurati il santo titolare i gli stemmi del cardinale Scipione Borghese e di papa Gregorio XVI.

 

Sul lato destro si trovano: la cappella delle reliquie, decorata nel 1625, in cui sono collocate una pietra che recherebbe le impronte dei piedi di Gesù, una delle frecce che uccise san Sebastiano assieme a parte della colonna alla quale fu legato durante il supplizio; gli altari di Santa Francesca Romana e di San Girolamo; la cappella Albani, costruita nel 1706-1712 dall'architetto Carlo Fontana su commissione di papa Clemente XI Albani, sotto la direzione di Carlo Maratta, con la collaborazione di Alessandro Specchi, Filippo Barigioni e Carlo Fontana, tra le cui opere vi è una statua di Francesco Papaleo raffigurante San Fabiano con angeli.

 

Sul lato sinistro si hanno: a sinistra dell’entrata, la lapide di papa Damaso I con l’elogio funebre del martire Eutichio, fatta scolpire a Furio Dionisio Filocalo; la cappella di San Sebastiano, costruita da Ciro Ferri nel 1672, con statua del santo di Giuseppe Giorgetti, dove sono conservate le reliquie del martire; la cappella del Crocifisso (antica sacrestia) costruita nel 1727; gli altari laterali dedicati a san Carlo Borromeo e a san Francesco, e in quest'ultimo una tela raffigurante San Francesco in preghiera di Gerolamo Muziano.

 

La navata centrale termina con l'arco trionfale che porta al presbiterio: questo, a pianta quadrata, è sormontato da una cupola. L’altare maggiore, composto da un’edicola con quattro colonne, è opera di Flaminio Ponzio: in esso si trovano una tela di Innocenzo Sacconi con la Crocifissione, e ai lati Busti dei santi Pietro e Paolo di Nicolas Cordier.

 

Da Wikipedia, l'enciclopedia libera.

   

Title: Raggvaglio della solenne comparsa, fatta in Roma gli otto di gennaio MDCLXXXVII. dall'illvstrissimo, et eccellentissimo signor conte di Castelmaine ambasciadore straordinario della Sagra Real Maestà di Giacomo Secondo rè d'Inghilterra, Scozia, Francia, et Ibernia, difensore della fede alla Santa Sede Apostolica, in andare pvblicamente all'vdienza della Santità di Nostro Signore Papa Innocenzo Vndecimo

Identifier: raggvagliodellas00wrig

Year: 1687 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Lenardi, Giovanni Battista, 1656-1704 Westerhout, Arnold van, 1651-1725 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: In Roma : Nella stamperia di Domenico Antonio Ercole

  

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-3 Jtì O^ ^ N

 

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Title: An account of His Excellence Roger Earl of Castlemaine's embassy : from His Sacred Majesty James the IId., King of England, Scotland, France, and Ireland, &c., to His Holiness Innocent XI.

Identifier: accountofhisexce00wrig

Year: 1688 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Camers, Philippus Michael Westerhout, Arnold van, 1651-1725 Lenardi, Giovanni Battista, 1656-1704 White, Robert, 1645-1703 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689 Tate, Nahum, 1652-1715

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: London : Printed by Tho. Snowden for the author

  

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M^, Co o F< r

 

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Title: Raggvaglio della solenne comparsa, fatta in Roma gli otto di gennaio MDCLXXXVII. dall'illvstrissimo, et eccellentissimo signor conte di Castelmaine ambasciadore straordinario della Sagra Real Maestà di Giacomo Secondo rè d'Inghilterra, Scozia, Francia, et Ibernia, difensore della fede alla Santa Sede Apostolica, in andare pvblicamente all'vdienza della Santità di Nostro Signore Papa Innocenzo Vndecimo

Identifier: raggvagliodellas00wrig

Year: 1687 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Lenardi, Giovanni Battista, 1656-1704 Westerhout, Arnold van, 1651-1725 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: In Roma : Nella stamperia di Domenico Antonio Ercole

  

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^ ! ^^ i S - •Itì sq - ■2 69 T N due altri fimilmente accompagnati piatti fi fcor-geuanofottovnalbero di Palma, imprefa della Fa-miglia di Sua Eccellenza, e geroglifico di Vittoria, ia^fembianzadi Ninfe, federe alcune di quelle Virtù,per le quali fi rendono i Regni, e loMonarchie ftabilmente felici. Figura 13. Segui- y

 

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6.CAPILLA CESI: Construida por el barón Federico Cesi

•VIDRIERA: Representan a Santa Prassede y Santa Pudenziana

•ALTAR: Retrato del Papa Pio X (1954) por Bartoli

•TECHO: Pintado por William Cortesi, en el centro representación de La bendición de Dios y de los Santos

•PECHINAS: Papa Pascual I, San Filippo Neri, Santa Francesca Romana y Santa Firmina (1661-63) por Ciro Ferri

•PARED DERECHA: Sant'Elena fa erigere una statua alla Madonna (bisel) (1661-63) Ciro Ferri. Visione della Madonna Immacolata. Santi Anna e Gioacchino (1661-63) Guillaume Courtois (Cortese)

•PARED IZQUIERDA: Asalto al Papa Gelasio II (bisel) (1661-63) Ciro Ferri

Adorazione dei Magi - Guillaume Courtois (Cortese)

 

S. Giovanni de' Fiorentini

L' Università della nazione fiorentina e compagnia della Pietà di Roma ottenne licenza da Leone X di fabbricare una chiesa parrocchiale so l' invocazione di s. Giovanni Battista con il fonte battesimale, come per bolla 29 gennaio 1519. In vigore di tale concessione, fu incominciata la fabbrica di questa p353chiesa sulla riva del Tevere a capo di strada Paolina, chiesa che era lunga palmi 185, larga palmi 85 ed alta palmi 143 con 13 cappelle. La compagnia della Pietà, composta di buoni fiorentini, di cui qui si parla, ebbe origine in Roma nel 1448 in occasione di pestilenza, affine di seppellire i corpi degli appestati che rimanevano insepolti per le strade. Cessato il morbo, questa compagnia si costituì definitivamente, cambiando il primitivo saco nero in altro di colore azzurro.

 

La parrocchia nel secolo XVII comprendeva in tutto case e famiglie 221. Fu scelto quel luogo perchè era nel secolo XVI la contrada in cui dimoravano i Fiorentini, e vi tenevano i loro banchi e dove risiedeva il Consolato, specie di tribunale presso i connazionali da cui prese il nome la via del Consolato. Autore del disegno della chiesa, fu Iacopo Tatti, detto il Sansovino, che presso la riva del fiume fece accumulare una enorme quantità di sabbia, onde poter ampliare l' area della chiesa stessa. Il lavoro fu compito assai tardi, cioè sotto Clemente XII, che fece terminare la facciata con i disegni del Galilei. Clemente XII assegnò a vantaggio della fabbrica i beni confiscati al Benozzi. Ivi sorgeva un' antica chiesuola dedicata a s. Pantaleo, che fu demolita per la nuova fabbrica.

 

Il Buonarroti avea preparato i disegni della chiesa, di cui si conservò il modello nel vicino oratorio fino al 1720; il progetto michealangiolesco non venne eseguito perchè troppo costoso. Nell' altare della crociera v' è un quadro di Salvatore Rosa rappresentante i due santi Cosma e Damiano; l' altar maggiore è architettura di Pietro da Cortona, ma proseguito da Ciro Ferri. Il Lanfranchi dipinse la volta. In questa chiesa è sepolto Carlo Maderno, nipote di Domenico Fontana, che architettò la facciata della basilica vaticana.

 

Sulla porta della sacrestia entro una nicchia, opera del Sansovino è stata posta recentemente una insigne statuetta marmorea del Battista, attribuita al famoso Donatello, e che era rimasta fino ai giorni nostri dimenticata e negletta nei sotterranei della vicina chiesuola, ora demolita, di s. Orsola della Pietà.

 

Appresso alla chiesa, santificata dalla dimora e dal ministero di s. Filippo Neri, che ne fu rettore, nella casa annessa rimangono ancora intatti la cucina ed il refettorio che appartenevano al sodalizio dei compagni del grande santo fiorentino. Sull' architrave della capa vi si legge l' epigrafe scritta già col carbone ed oggi sostituita da altra in color nero dal famoso cardinale Cesare Baronio che il santo impegnava in quell' umile esercizio: CAESAR BARONIVS COQVVS PERPETVVS. Nel refettorio restano ancora al posto le tavole e le mense ove sedevano quei primi grandi discepoli p354di Filippo, costruiti quali egli riformò i corrotti costumi dei suoi contemporanei. In questo medesimo refettorio è stato trasportato il pulpito che era nella chiesa, dal quale parlava il Neri delle cose di Dio colla sua potente famigliarità ai suoi uditori.

 

Da Le chiese di Roma di Mariano Armellini 1891

Raccolta Internet de Le chiese di Bill Thayer

Raccolta foto De Alvariis

 

Title: Raggvaglio della solenne comparsa, fatta in Roma gli otto di gennaio MDCLXXXVII. dall'illvstrissimo, et eccellentissimo signor conte di Castelmaine ambasciadore straordinario della Sagra Real Maestà di Giacomo Secondo rè d'Inghilterra, Scozia, Francia, et Ibernia, difensore della fede alla Santa Sede Apostolica, in andare pvblicamente all'vdienza della Santità di Nostro Signore Papa Innocenzo Vndecimo

Identifier: raggvagliodellas00wrig

Year: 1687 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Lenardi, Giovanni Battista, 1656-1704 Westerhout, Arnold van, 1651-1725 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: In Roma : Nella stamperia di Domenico Antonio Ercole

  

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Title: Raggvaglio della solenne comparsa, fatta in Roma gli otto di gennaio MDCLXXXVII. dall'illvstrissimo, et eccellentissimo signor conte di Castelmaine ambasciadore straordinario della Sagra Real Maestà di Giacomo Secondo rè d'Inghilterra, Scozia, Francia, et Ibernia, difensore della fede alla Santa Sede Apostolica, in andare pvblicamente all'vdienza della Santità di Nostro Signore Papa Innocenzo Vndecimo

Identifier: raggvagliodellas00wrig

Year: 1687 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Lenardi, Giovanni Battista, 1656-1704 Westerhout, Arnold van, 1651-1725 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: In Roma : Nella stamperia di Domenico Antonio Ercole

  

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o, la Ribellione di Cromvvell. Quefto fembra,chefi voglia liberare, e difendere dalla Monarchia, che glifourafta, fi:ando con vna mano librata in aria, e con lal-tra facendo gli vltimi sforzi con la fpada ; ha quefto fol-dato, nel cui fembiantela Ribellione, òlo fteffo Crom-V vel fi figura, in tefta vn cimiero, da cui fuentolano lopiume di colore aranciato : diuifa de i Ribelli controCARLO il PRIMO. Nel cartellone poi ouato, che è il termine dellArme^-,foftenuto, come laltro, da due Sfingi, ed ornato dalloro,ftà ombreggiato con oro il Tamigi, fiume R-eale deUln-ghilterra : Sì come nellaltro è il Teucre, per moftraronellVnione di quelli gran fiumii Regj la defiata pace , oriunione di quella Gran Monarchia, con la Regia dellcL^Fede, e della Religione Criftiana, Si vede, Monfignore, che il nobile penfiero di queftoEccellentifiimo Ambafciadore , ò lo fpirito eleuato dichi egli ritiene apprefib di se per tali Affari, dando ilmotiuo di quefte Armi, ha voluto efprimere in effe no- bil-

 

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Title: Raggvaglio della solenne comparsa, fatta in Roma gli otto di gennaio MDCLXXXVII. dall'illvstrissimo, et eccellentissimo signor conte di Castelmaine ambasciadore straordinario della Sagra Real Maestà di Giacomo Secondo rè d'Inghilterra, Scozia, Francia, et Ibernia, difensore della fede alla Santa Sede Apostolica, in andare pvblicamente all'vdienza della Santità di Nostro Signore Papa Innocenzo Vndecimo

Identifier: raggvagliodellas00wrig

Year: 1687 (1680s)

Authors: Wright, John Michael, ca. 1617-ca. 1694 Lenardi, Giovanni Battista, 1656-1704 Westerhout, Arnold van, 1651-1725 Cornely, Andrea, fl. 1678 Ferri, Ciro, 1634-1689

Subjects: Castlemaine, Roger Palmer, Earl of, 1634-1705 James II, King of England, 1633-1701 Mary, of Modena, Queen, consort of James II, King of England, 1658-1718 Visits of state Carriages and carts Dinners and dining Table setting and decoration Sugar sculpture

Publisher: In Roma : Nella stamperia di Domenico Antonio Ercole

  

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J > ri o

  

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This church is considered the jewel of Roman Baroque. Here Roma Opera Omnia present the event MUSIC IN BERNINI'S ROME. Guided tour with Baroque concert. Every Thursday 6:30pm

Villa Falconieri

Villa Falconieri è una villa tuscolana situata nel comune di Frascati, in provincia di Roma.Originariamente era chiamata villa Rufina essendo stata costruita da monsignor Alessandro Rufini vescovo di Melfi. In seguito fu ingrandita da papa Paolo III intorno al 1546. Nel 1628 Orazio Falconieri acquistò la villa e commissionò il restauro a Francesco Borromini.

 

Al progetto lavorarono importanti architetti come Antonio da Sangallo il Giovane e lo stesso Borromini. Gli affreschi presenti all'interno sono opera di Pier Leone Ghezzi, Giacinto Calandrucci, Ciro Ferri, Nicolò Berrettoni ed altri ancora. Il parco è costituito da splendidi giardini all'italiana ampliati nel XVII secolo, e con un piccolo lago circondato da cipressi costruito nel XVIII secolo.

 

Nel maggio del 1907 la villa fu acquistata dal barone tedesco Ernest Mendelsshon-Bartholdy di Berlino che ne fece dono al Kaiser Guglielmo II. Il 6 aprile 1911 il principe

 

Guglielmo e la principessa Cecilie visitarono la villa e decisero di iniziare i lavori di restauro. Qui lo scrittore tedesco Richard Voss visse per 25 anni e scrisse alcuni romanzi quali Villa Falconieri, Febbre romana, Il figlio della Volsca ed altri. Egli chiamò la villa "la mia casa splendente": per queste ragioni villa Falconieri rimane sempre cara alla comunità tedesca presente a Roma.

 

Alla fine della Prima guerra mondiale la villa fu confiscata dallo Stato italiano.

 

Villa Falconieri fu danneggiata dai bombardamenti del 1943-1944 ma un lavoro di restauro magistrale l'ha riportata agli antichi splendori. Villa Falconieri è stata sede del Centro Europeo per l'Educazione (CEDE) fino al 1999, mentre dal 2000 è sede dell'Istituto Nazionale per la Valutazione del Sistema dell'Istruzione (INVALSI), ora Servizio nazionale di valutazione del sistema educativo di istruzione e di formazione.

Villa Falconieri ha ospitato le riprese della fiction Elisa di Rivombrosa-parte seconda, andata in onda su Canale 5 nel 2005; era la residenza napoletana del barone di Conegliano.

 

Da Wikipedia, l'enciclopedia libera.

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As Sant'Ignazio was so well received I continue with Rome barocco paintings.

Sant'Agnese is a church in Pazza Navona, Rome. The paintings within the dome are by Ciro Ferri and Sebastiano Corbellini.

Visto il successo della pittura barocca di Sant'Ignazio, proseguo con Sant'Agnese in Agone. Magari faccio una miniserie di pittura barocca a Roma. Le pitture all'interno della cupola furono eseguite dal 1670 al 1689 da Ciro Ferri e Sebastiano Corbellini.

it.wikipedia.org/wiki/Chiesa_di_Sant'Agnese_in_Agone

  

A Basílica de São João de Latrão (San Giovanni in Laterano), localizada na praça de mesmo nome em Roma, é a Catedral do Bispo de Roma: o Papa. Seu nome oficial é Archibasilica Sanctissimi Salvatoris (Arquibasílica do Santíssimo Salvador) e é considerada a "mãe" de todas as igrejas do mundo. É uma das quatro basílicas patriarcais.

Como catedral da Diocese de Roma, contém o trono papal (Cathedra Romana), o que a coloca acima de todas as igrejas do mundo, inclusive da Basílica de São Pedro. Tem o título honorífico de Omnium Urbis et Orbis Ecclesiarum Mater et Caput (Mãe e Cabeça de todas as Igrejas de Roma e do Mundo).

É uma das quatro basílicas patriarcais de Roma. As três outras, também caracterizadas com uma Porta Santa e um Altar Papal, são:

•a Basílica Vaticana, que manifesta a igreja apostólica fundada sobre o apóstolo Pedro;

•a Basílica Ostiense, que manifesta a igreja católica fundada sobre a missão de Paulo;

•a Basílica Liberiana, ou Mariana que manifesta a igreja santa gerada com Cristo de Maria.

O local onde se encontra a Basílica de São João de Latrão foi ocupado durante o Império Romano pelos gens Lateranos. Os Lateranos serviram como administradores para diversos imperadores; Sexto Laterano foi o primeiro plebeu a ser designado Cônsul. Um dos Lateranos, também designado Cônsul, Pláucio Laterano, ficou famoso por ter sido acusado por Nero de conspiração contra o imperador: acusação que resultou em confisco e distribuição de suas propriedades por volta do ano 60 d.C.

Juvenal menciona o palácio, e fala que era dotado de alguma magnificência, regiæ ædes Lateranorum. Alguns resquícios das construções originais ainda resistem nos muros da cidade fora da Porta de São João e um largo corredor, decorado com pinturas, foram descobertos no século XVIII junto à Basílica, atrás da Capela Lancellotti. Outros traços, menos significantes, apareceram durante escavações feitas em 1880, quando obras de ampliação estavam em andamento.

No ano de 161, Marco Aurélio construiu ali um palácio. Em 226, Sétimo Severo devolveu uma parte das propriedades dos Lateranos. Não se sabe se incluiu o palácio. Sabe-se que o Palácio Laterano encontrava-se em posse do Imperador Constantino I enquanto casado com sua segunda esposa, Fausta, irmã de Magêncio. Ficou conhecido na época como "Domus Faustae", ou "Casa de Fausta," e, posteriormente foi doado ao Bispo de Roma por Constantino. A data precisa da doação é desconhecida, mas os estudiosos acreditam que tenha sido durante o pontificado do Papa Melquíades, em tempo de hospedar um sínodo dos bispos em 313, realizado com o intuito de combater o Donatismo.

A Basílica foi fundada por Constantino, o primeiro imperador cristão, para ser a principal igreja de Roma, era a única dentre as três grandes basílicas construídas que se encontrava no interior dos muros que cercavam a cidade e por isto serviu de catedral. A Basílica de São Pedro e a Basílica de São Paulo Extramuros situavam-se sobre os túmulos dos apóstolos, do lado externo da muralha.

A dedicação oficial do Palácio Laterano e Basílica foi presidida pelo Papa Silvestre I em 324, declarando ambos Domus Dei ou "Casa de Deus". Inicialmente dedicada ao Salvador, Basilica Salvatoris, posteriormente dedicada também a São João Batista e São João Evangelista.

Seu nome moderno data do século VII quando o Papa Gregório I, o Grande, (pontificado de 590 a 604), a colocou sob a proteção de São João Batista. Desta igreja medieval subsistem o importante claustro, do século XIII, e algumas partes da igreja. Durante a Idade Média, foram realizados cinco grandes concílios ecumênicos na Basílica de São João de Latrão, conhecidos como os Concílios de Latrão.

Sua modificação mais importante data de 1650, quando o papa Inocêncio X (pontificado de 1644 a 1655) chamou Francesco Borromini, que transformou a basílica de quatro naves laterais em uma igreja barroca. Entre 1733 e 1736, Alessandro Galilei acrescentou a fachada monumental e em 1886 o papa Leão XIII (pontificado 1878-1903) mandou alargar o coro.

A fachada de Galilei, acima do vestíbulo, marca o apogeu do barroco em Roma. Altas pilastras e colunas dividem a parede em cinco seções, com uma central. Uma balaustrada adorna o ático, com imagens dos santos. Atrás da fachada principal há um segundo paredão, na forma de colunata com dois andares e projetando-se um pouco para a frente acima da entrada principal de modo a criar um balcão para as bençãos papais.

A antiguidade da Basílica e do Complexo Laterano pode ser medida pelo antigo Baptisterium; pelos restos do palácio medieval papal com a Scala Santa e a Capela Sancta Santorum; pelo Triclínio de São Leão e pelo Obelisco Laterano.

Até 1309, ao lado da Basílica se situava a residência do Papa, cujo resquício ainda é visível na Capela Sancta Sanctorum e na Scala Santa. Todos os papas foram nela entronizados até o Século XIX. Ao seu lado situa-se o Palácio Laterano.

Na fachada norte se vê a chamada “loggia da bênção”. O arquiteto Domenico Fontana já construira um vestíbulo diante do transepto norte da Praça de São João de Latrão (piazza di S. Giovanni in Laterano) em 1586-1598, encomendada pelo papa Sisto V. É uma estrutura com dois andares e pinturas internas e dela o papa dava sua bênção tradicional no dia da Ascensão. Dentro do vestíbulo, há uma estátua de bronze do rei Henrique IV de França feita por Nicolas Cordier em 1608. Como o rei fez generosas doações ao capítulo, todos os chefes de Estado da França desde então são cônegos honorários da basílica.

O imperador Constantino adornou a antiga basílica monumental com ouro, prata e mosaicos. Tratava-se de uma basílica tradicional com quatro naves com colunas, transeptos e abside. Em toda a largura, havia uma espécie de átrio (atrium) quase quadrado para servir como local de meditação e purificação. Quinze colunas de mármore da Numídia separavam a ampla nave central das laterais, e cada amplo arco tinha 4 m. de largura. Um arco triunfal em altas pilastras marcava o limite entre a nave e o transepto com o altar no centro. Na abside, atrás, ficava a cadeira papal, elevada. As naves não eram abobadadas, e as traves de madeira do teto ficavam expostas como se deduz ao ver o afresco em S. Martino ai Monti, que mostra o interior da velha basílica.

Ao redesenhar a igreja em 1650, Borromini recebeu ordem do papa para criar uma igreja moderna, mas manter-se tanto quanto possível fiel à antiga estrutura de Constantino. Reduziu as 14 arcadas da nave central a cinco apenas, colocadas entre altos pilares enquadrados por pilastras colossais, e inserindo janelas acima delas. Nas paredes entre os pilares colocou nichos emoldurados por colunas, e enormes estátuas dos Apóstolos foram ali colocadas entre 1703 e 1719 graças a doadores generosos. Os nichos são coroados por relevos em estuque que mostram cenas do Antigo e do Novo Testamento, e medalhões pintados com retratos dos profetas. Comparados com as delicadas estruturas do apogeu do Barroco, quase todas em estuque branco, os tetos em madeira executados durante o pontificado do papa Pio IV (1559-1565), mantidos por ordem do papa Inocêncio X, dão impressão de pesados, maciços. Borromini também acrescentou capelas às naves laterais, e ao contrário da velha basílica longitudinal, a atual parece mais ampla, mais larga.

Um dos trabalhos mais importantes é o altar papal, no qual apenas o papa pode celebrar a Eucaristia. Contém a ara em madeira do altar onde, segundo a tradição, os primeiros bispos de Roma celebravam missa. Acima, ergue-se o tabernáculo, adornado com afrescos e esculturas. Pode ter sido desenhado por Giovanni di Stefano, de Siena, entre 1367 e 1370, mas foi muito restaurado em 1851. As flores-de-lis são referência ao patrono, rei Carlos V de França. Na parte superior vêem-se bustos de S. Pedro e S. Paulo, de prata dourada, os quais, na Idade Média, se acreditava conterem as próprias cabeças dos Apóstolos. Na confessio, abaixo do altar, está o túmulo do papa Martinho V (pontificado de 1417 a 1431) feito por Simone di Giovanni Ghini em 1443. Nesta igreja, em 1417, Martinho V deu por findo o Grande Cisma.

 

Entre a basílica e a Muralha Aureliana havia, em períodos anteriores, um grande mosteiro, no qual habitava uma comunidade de monges da Ordem de São Bento que servia à igreja. Este mosteiro era o maior de Roma, com seus 36 metros na lateral. A única parte que restou desta edificação foi o claustro, circundado por graciosas colunas de mármore marchetado. Estas são de um período intermediário entre o Romanesco e o Gótico: obra do estilo cosmatesco dos Vassaletto, célebre família de marmoristas romanos, datados do início do Século XIII.

O Batistério Octogonal de Latrão é, provavelmente, o mais antigo do cristianismo, considerado o protótipo dos batistérios. Muitíssimo bem preservado, registra, como um calendário, as intervenções ao longo dos séculos. Fica no lado meridional da basílica.

Foi construído com forma de rotunda, possivelmente sobre uma base mais antiga ou um nympheum do antigo palácio, por volta de 313 ou 315 por Constantino, que teria sido ali batizado. A forma octogonal com a fonte no centro foi criada em 432, quando o papa Sisto III substituiu o edifício de Constantino pela nova estrutura. Apresenta ainda restos de antigos mosaicos e colunatas de pórfiro egípcias.

Sua entrada é notável, e o rico entalhe dos capitéis, bases e entablamentos do período Flaviano (Século I). A parte superior descansa sobre uma arquitrave sobre pilares de pórfiro, com uma inscrição que louva o batismo. No século XVI, criou-se um círculo de colunas menores na arquitrave o que fez levantar a galeria.

Um portal de bronze da época do Papa Hilário (Século V) é um dos últimos remanescentes da antiguidade romana.

O interior se deve muito ao redesenho barroco feito por Andrea Sacchi e seus alunos no século XVII, decorando as paredes com afrescos que mostram a vida de Constantino, e a lanterna foi decorada com cenas da vida de São João Batista. A pia batismal, de basalto verde, da antiguidade clássica, recebeu uma orla de bronze dourado por Ciro Ferri em 1677. As capelas laterais, dedicadas a Santa Rufina, São Venâncio e dois São João, datam dos séculos V a VII. A porta de bronze da Cappella del Battista é mesmo proveniente da Antiguidade. Os tetos da capela de São João Batista são decorados com mosaicos do século V, tendo no centro o Cordeiro de Deus e ao redor uma guirlanda que mostra as estações do ano, com espigas de milho, rosas, lilases, azeitonas e folhas de vinha e, ao redor, vasos de flor entre pares de pássaros.

 

Die Kirche Sant'Agnese in Agone, die sich nahtlos an den Palazzo Pamphilj anschliesst, wurde Mitte des 17. Jh. von Borromini erbaut. Sie ist die Gedenkstätte für de Märtyrerin Agnes, die im Stadion des Domitian dem Volk nackt vorgeführt und verbrannt werden sollte. Wunderbarerweise wuchs ihr langes Haar und verhüllte ihren Körper. Da die Flammen von ihr zurückwichen, wurde sie an der Stelle enthauptet, an der heute die Kirche steht.

 

Das Paradiesfresko in der Kuppel wurde von Ciro Ferri und seinen Schülern in den 1680er Jahren geschaffen.

Die Kirche Sant'Agnese in Agone wurde Mitte des 17. Jh. von Borromini erbaut. Sie ist die Gedenkstätte für de Märtyrerin Agnes, die im Stadion des Domitian dem Volk nackt vorgeführt und verbrannt werden sollte. Wunderbarerweise wuchs ihr langes Haar und verhüllte ihren Körper. Da die Flammen von ihr zurückwichen, wurde sie an der Stelle enthauptet, an der heute die Kirche steht.

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