Cappella di Urbano VIII – Chapel of Urban VIII
Cappella privata voluta da papa Urbano VIII Barberini nella Torre Borgia. Gli affreschi sono opera del fiorentino Alessandro Vaiani, con le Storie della Passione di Cristo. L'autore della pala d'altare ad affresco, invece, è Pietro da Cortona.
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Private chapel requested by Pope Urban VIII Barberini in the Borgia Tower. The frescoes are the work of the Florentine Alessandro Vaiani, with the Stories of the Passion of Christ. The frescoed altarpiece, instead, is by Pietro da Cortona.
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Places to see in ( Vatican City - Italy ) Baldacchino di San Pietro, di Bernini
Places to see in ( Vatican City - Italy ) Baldacchino di San Pietro, di Bernini
St. Peter's Baldachin is a large Baroque sculpted bronze canopy, technically called a ciborium or baldachin, over the high altar of St. Peter's Basilica in the Vatican City, the papal enclave surrounded by Rome, Italy. The baldachin is at the centre of the crossing and directly under the dome of the basilica. Designed by the Italian artist Gian Lorenzo Bernini, it was intended to mark, in a monumental way, the place of Saint Peter's tomb underneath. Under its canopy is the high altar of the basilica. Commissioned by Pope Urban VIII, the work began in 1623 and ended in 1634.
The baldachin acts as a visual focus within the basilica; it itself is a very large structure and forms a visual mediation between the enormous scale of the building and the human scale of the people officiating at the religious ceremonies at the papal altar beneath its canopy. The form of the structure is an updating in Baroque style of the traditional ciborium or architectural pavilion found over the altars of many important churches, and ceremonial canopies used to frame the numinous or mark a sacred spot. Old St. Peter's Basilica had had a ciborium, like most major basilicas in Rome, and Bernini's predecessor, Carlo Maderno, had produced a design, also with twisted Solomonic columns, less than a decade before.
The old basilica had had a screen in front of the altar, supported by 2nd century Solomonic columns that had been brought from Greece by Constantine I (and which are indeed of Greek marble). These were by the Middle Ages believed to have come from the Temple of Jerusalem and had given the rare classical Solomonic form of helical column both its name and considerable prestige for the most sacred of sites. Eight of the original twelve columns are now found in pairs half way up the piers on either side of the baldachin.
The bronze and gilded baldachin was the first of Bernini's works to combine sculpture and architecture and represents an important development in Baroque church interior design and furnishing. The canopy rests upon four helical columns each of which stands on a high marble plinth. The columns support a cornice which curves inwards in the middle of each side. Above this, four twice life size angels stand at the corners behind whom four large volutes rise up to a second smaller cornice which in turn supports the gilded cross on a sphere, a symbol of the world redeemed by Christianity.
The four columns are 20 metres or 66 feet high. The base and capital were cast separately and the shaft of each column was cast in three sections. Their helical form was derived from the smaller marble helical columns once thought to have been brought to Rome by the Emperor Constantine from Solomon's Temple in Jerusalem and which were used in the Old Saint Peter's Basilica (See the article Solomonic column). From the cornice hangs a bronze semblance of the scalloped and tasselled border that typically trimmed the papal baldacchino. The structure is decorated with detailed motifs including heraldic emblems of the Barberini family (Urban VIII was born Maffeo Barberini) such as bees and laurel leaves.
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Gian Lorenzo Bernini an Italian Artist and a Prominent Architect
Gian Lorenzo Bernini an Italian Artist and a Prominent Architect
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Gian Lorenzo Bernini (Gianlorenzo or Giovanni Lorenzo) (Naples, 7 December 1598 -- Rome, 28 November 1680) was an Italian artist and a prominent architect who worked principally in Rome. He was the leading sculptor of his age, credited with creating the Baroque style of sculpture. In addition, he painted, wrote plays, and designed metalwork and stage sets.
A student of classical sculpture, Bernini possessed the ability to capture, in marble, the essence of a narrative moment with a dramatic naturalistic realism which was almost shocking. This ensured that he effectively became the successor of Michelangelo, far outshining other sculptors of his generation, including his rival, Alessandro Algardi. His talent extended beyond the confines of his sculpture to consideration of the setting in which it would be situated; his ability to synthesise sculpture, painting and architecture into a coherent conceptual and visual whole has been termed by the art historian Irving Lavin the unity of the visual arts. A deeply religious man, working in Counter Reformation Rome, Bernini used light as an important metaphorical device in the perception of his religious settings, often using hidden light sources that could intensify the focus of religious worship, or enhance the dramatic moment of a sculptural narrative.
Bernini was also a leading figure in the emergence of Roman Baroque architecture along with his contemporaries, the architect, Francesco Borromini and the painter and architect, Pietro da Cortona. Early in their careers they had all worked at the same time at the Palazzo Barberini, initially under Carlo Maderno and on his death, under Bernini. Later on, however, they were in competition for commissions and fierce rivalries developed, particularly between Bernini and Borromini. Despite the arguably greater architectural inventiveness of Borromini and Cortona, Bernini's artistic pre-eminence, particularly during the reigns of popes Urban VIII (1623--1644) and Alexander VII (1655--1665), meant he was able to secure the most important commission in the Rome of his day, St. Peter's Basilica. His design of the Piazza San Pietro in front of the Basilica is one of his most innovative and successful architectural designs.
Sculptures By Gian Lorenzo Bernini
Bust of Giovanni Battista Santoni (c. 1613--1616) Marble, life-size, Santa Prassede, Rome
The Goat Amalthea with the Infant Jupiter and a Faun (1615) Marble, Galleria Borghese, Rome
A Faun Teased by Children (1616--1617) Marble, height 132,1 cm, Metropolitan Museum of Art, New York
Martyrdom of St. Lawrence (1617) Marble, 66 x 108 cm, Contini Bonacossi Collection, Galleria degli Uffizi, Florence
St. Sebastian (1617--1618) Marble, Thyssen-Bornemisza Museum, Madrid
Bust of Pope Paul V (1618) Marble, Galleria Borghese, Rome
Aeneas, Anchises, and Ascanius (1618--1619) Marble, height 220 cm, Galleria Borghese, Rome
Bust of Giovanni Vigevano (1618--1631) Marble tomb, Santa Maria sopra Minerva, Rome
Damned Soul (1619) Palazzo di Spagna, Rome
Blessed Soul (1619) Palazzo di Spagna, Rome
Neptune and Triton (1620) Marble, height 182,2 cm, Victoria and Albert Museum, London
Bust of Monsignor Pedro de Foix Montoya (c. 1621) Marble, life-size, Santa Maria di Monserrato, Rome
The Rape of Proserpina (1621--1622) Marble, height 295 cm, Galleria Borghese, Rome
Bust of Antonio Cepparelli (1622) Marble, Museo di San Giovanni dei Fiorentini, Rome
Apollo and Daphne (1622--1625) Marble, height 243 cm, Galleria Borghese, Rome
David (1623--1624) Marble, height 170 cm, Galleria Borghese, Rome
St. Peter's Baldachin (1624) Bronze, partly gilt, Basilica di San Pietro, Vatican City
Fontana del Tritone (1624--1643) Travertine, over life-size, Piazza Barberini, Rome
Charity with Four Children (1627--1628) Terracotta, height 39 cm, Museo Sacro, Musei Vaticani, Vatican
Fontana della Barcaccia (1627--1628) Marble, Piazza di Spagna, Rome
Tomb of Pope Urban VIII (1627--1647) Golden bronze and marble, figures larger than life-size, Basilica di San Pietro, Vatican City
Saint Longinus (1631--1638) Marble, height 450 cm, Basilica di San Pietro, Vatican City
Two Busts of Scipione Borghese (1632) Marble, height 78 cm, Galleria Borghese, Rome
Bust of Pope Urban VIII (1632--1633) Bronze, height 100 cm, Museo Sacro, Musei Vaticani, Vatican City
Charity with Two Children (1634) Terracotta, height 41.6 cm, Museo Sacro, Musei Vaticani, Vatican City
Bust of Costanza Bonarelli (c. 1635) Marble, height 70 cm, Museo Nazionale del Bargello, Florence
Bust of Thomas Baker (1638) Marble, height 81,6 cm, Victoria and Albert Museum, London
✓✓Forbidden Tomb in Italy 2016✓✓
This is Capuchin Crypt, an eerily beautiful sanctuary adorned with the bones of 3700 medieval Franciscan monks who died between 1528 and 1870.
In 1631 a local Franciscan Monastery was moved here, and with the living friars came 300 cartloads of their deceased predecessors. They were then re-buried in these very rooms, with dirt brought from Jerusalem at the behest of Pope Urban VIII. As new friars died they were buried without coffins in this same soil. When a new friar died, the longest-buried monk’s remains were exhumed and added to the decorative motifs. Bodies usually rotted in the sacred soil for about 30 years before being reclaimed.
This just the first of six haunting chambers found beneath the church of Santa Maria della Concezione dei Cappuccini, in Rome, known as the ‘Crypt of the Resurrection’. Each of the following rooms tells its own solemnly macabre story, so make sure you make some time to visit this hidden gem on your next trip to The Eternal City!
The Papal Basilica of St. Peter in the Vatican, or simply St. Peter's Basilica,
The Papal Basilica of St. Peter in the Vatican, or simply St. Peter's Basilica, is an Italian Renaissance church in Vatican City, the papal enclave within the city of Rome. Wikipedia
Address: Piazza San Pietro, 00120 Città del Vaticano, Vatican City
Construction started: April 18, 1506
Dome diameter (outer): 137.7 feet (42.0 m)
Dome diameter (inner): 136.1 feet (41.5 m)
Architects: Michelangelo, Gian Lorenzo Bernini, Raphael, MORE
Did you know: St. Peter's Basilica in Vatican City is the world's largest church building. wikipedia.org
During Nero’s great Christian persecution in 64 A.D., Saint Peter was martyred, crucified and buried in Caligula’s Circus, as one reads in the Liber Pontificalis (I, 118), “via Aurelia (…) iuxta palatium Neronianum, in Vaticanum” (In the Vatican, in Via Aurelia opposite Nero’s Palace). Eusebius of Caesarea (4th century) quotes a letter written by Gaius to Proclus, in which the presbyter invites his friend to Rome, claiming, “in the Vatican and in Via Ostiense, you will find the trophies of those who founded this Church.” For this reason, the 2nd century aedicule which was intended to protect Saint Peter’s shrine, and which was discovered during the excavations in the Vatican necropolis, was called “Gaius’s Trophy”. After Constantine’s Edict of Milan (313 A.D.) Christians were allowed to construct places of worship. Constantine himself authorized the building of the basilica in 324. It was intended to enclose “Gaius’s Trophy” and to allow Peter’s tomb to become the centre of the structure. Consecrated in 329, the great basilica appeared as a longitudinal building with a nave, four aisles and a transept. Outside, a staircase led to the four-sided portico in front of the basilica, known also as Paradise, with a fountain in the middle for the ablutions of the catechumens. Charlemagne, king of the Franks, was crowned emperor of the Holy Roman Empire in this basilica on Christmas eve in the year 800. Pilgrims gathered in the basilica from the early 14th century, having travelled on foot from all over Europe to reverence the tomb of the “Prince of the Apostles”.
When the Popes abandoned Rome during the Avignon schism (1309-1377), the basilica, which was one thousand years old by then, was showing signs of wear and deterioration. Although we have little information about these problems, we know for a fact that in the mid 15th century, Pope Nicholas V asked the architect Bernardo Rossellino to draw up a project for a new choir, outside the Constantinian apse. It was built to a height of about 1.5 metres.
By the early 16th century, the need to choose between restoring St Peter’s or rebuilding it completely was unavoidable, so much so that the new Pope Julius II, elected in October 1503, decided to entrust this task to Donato Bramante in 1505, one of the greatest architects of his time.
The Constantinian basilica disappeared with time. Over 150 years passed from the decision of Nicholas V Parentucelli to enlarge and restore the ancient basilica to the completion of the Renaissance building with the façade (1612). This is quite a long period of time in terms of the number of years, but it is absolutely understandable if one remembers the enormous amount of work and the continuous changes in the planning.
In the over 150 years required to complete the basilica, the most famous artists of the time directed the “Fabbrica di San Pietro”. Among these were Raphael Sanzio, who decided to transform Bramante’s Greek cross design with a Latin cross-like structure in 1514; Antonio da Sangallo the Younger; and Michelangelo who, during the pontificate of Paul III, decided to reuse the original Greek cross plan, designed the dome and supervised its construction until his death in 1564.
Over the course of the next thirty years, the “Fabbrica di San Pietro” was directed by Giacomo Vignola, and then by the architects Giacomo Della Porta and Domenico Fontana, who completed Michelangelo’s plan of the dome around 1588.
Saint Peter’s Basilica reached its present state thanks to Carlo Maderno, who went back to the Latin cross plan and defined the scenographic aspect of the façade.
Work on the basilica was completed during the pontificate of Urban VIII in 1626, but it was only between 1656 and 1667 that Bernini, commissioned by Alexander VII, planned and constructed the great colonnade in Saint Peter’s Square with the 1st century B.C. obelisk in the middle. Originally set in the centre of Caligula’s Circus, where Saint Peter was martyred, it was moved to the present site in 1585 by Domenico Fontana, who was directed to do so by Sixtus V.
Saint Peter’s Basilica can host 20,000 people. It is 190 m long, the aisles are 58 m wide, the nave is 45.50 m high as far as the vault, the dome is about 136 m high as far as the cross. The interiors, characterized by huge mosaics, are sites of some of the most famous art works from all over the world, for example, Bernini’s baldachin and Michelangelo’s Pietà.
18th April 1506: Construction begins on St Peter's Basilica
St. Peter’s Basilica, whose enormous Michelangelo-designed dome makes it one of the most dominant features on the Rome skyline, is located on what Catholics believe is the burial site of Saint Peter, one of the Twelve Apostles of Jesus Christ.
Emperor Constantine the Great had built an earlier basilica on the site of a shrine that was reputed to mark St. Peter’s burial place in the 4th century. However, this building had fallen into a poor state of repair by the 15th century and in 1505 Pope Julius II made the decision to demolish the 1,100 year old basilica and build an entirely new one.
Such an undertaking would prove to be incredibly costly but, with funds partially provided by the selling of indulgences, construction began on a design by architect Donato Bramante in 1506. A number of adaptations were made to the plans over the next few decades, although a large part of the current building was designed by Michelangelo after he took over the project in 1547.
It took over a century to complete St. Peter’s Basilica, which was consecrated by Pope Urban VIII on 18 November 1626. Judged by many as the greatest example of Renaissance architecture, the basilica is the largest church in the world. Even more than 500 years after its construction, the dome still remains one of the largest in the world and continues to tower over lavish decorations and unmatched pieces of religious art. Yet, despite its position as perhaps the most famous Catholic building in the world, St. Peter’s Basilica is not the mother church. This is rather St. John Lateran, the cathedral church of Rome and the official seat of the Pope.
St. Peter's Basilica, Rome, Italy
Saint Peter's Basilica, the world's largest church, is the center of Christianity. The imposing structure was built over a span of more than one hundred years by the greatest Italian architects of the era.
The church is built on Vatican Hill, across the Tiber river from the historic center of Rome. The location is highly symbolic: this was the site where Saint Peter, the chief apostle, died a martyr and where he was buried in 64 AD. St. Peter is considered the first pope, so it made perfect sense for the papacy to build the principal shrine of the Catholic church here.
Brief History
The First Basilica
In the early fourth century Emperor Constantine, the first Christian emperor of Rome, decided to build a basilica on Vatican Hill at the site of small shrine that marked the likely location of the tomb of St. Peter. Construction of the basilica started between 319 and 322. It was consecrated in 326 AD and finally completed around 349 AD. To facilitate the construction, a part of the terrain was leveled and the necropolis where St. Peter was originally buried was demolished.
The basilica had an eighty-five meter (279 ft) long nave with four aisles and a spacious atrium with a central cantharus (fountain), enclosed by a colonnade. A bell tower stood at the front of the atrium. Visitors entered the atrium through a triple-arched portico.
In the middle of the fifteenth century, the basilica was falling into ruin and pope Nicolas V ordered the restoration and enlargement of the church after plans by Bernardo Rossellino. After Nicolas V died, works were halted.
No progress was made for half a century until pope Julius II decided to build a completely new church. He appointed Donato Bramante as chief architect. Bramante designed a structure with a high dome on a Greek cross plan (all sides have equal lengths). In 1506 Julius II laid the first stone of the new basilica which was to become the largest in the world.
After Bramante's death in 1514 he was succeeded by a number of different architects, all of whom made changes to the design, most notably Michelangelo Buonarroti, who became chief architect in 1547 at the age of seventy-two. He conceived the imposing dome and made further alterations to the plans.
At the time of Michelangelo's death in 1564 only the drum of the dome was built. The dome was finally completed in 1590 by Giacomo della Porta. On request of pope Paul V the imposing edifice was extended further into a true Latin cross plan by Carlo Maderno, who completed the main facade in 1614. The church was finally reconsecrated in 1626 by pope Urban VIII, exactly 1300 years after the consecration of the first church.
Ever since, the St. Peter's Basilica has been the center of Christianity, drawing pilgrims and tourists from all over the world.
St. Peter's Square
Visitors on their way to the St. Peter's Basilica pass along St. Peter's Square, a grandiose elliptical esplanade created in the mid seventeenth century by Gian Lorenzo Bernini. The square is bordered by massive colonnades that symbolize outstretched arms. Bernini and his assistants sculpted the 140 statues of saints that grace the balustrades on the colonnades. The square is decorated with fountains and an Egyptian obelisk that was transported to Rome in 37 AD.
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4K Entombment of Christ by Caravaggio @ Vatican Museum - Rome Italy - Eric Clark’s Travel Videos
4K Entombment of Christ by Caravaggio @ Vatican Museum - Rome Italy - Eric Clark’s Travel Videos
From Wikipedia
Caravaggio created one of his most admired altarpieces, The Entombment of Christ, in 1603–1604 for the second chapel on the right in Santa Maria in Vallicella (the Chiesa Nuova), a church built for the Oratory of Saint Philip Neri.[1] A copy of the painting is now in the chapel, and the original is in the Vatican Pinacoteca. The painting has been copied by artists as diverse as Rubens,[2] Fragonard, Géricault and Cézanne.[1]
On 11 July 1575, Pope Gregory XIII (1572-1585) issued a bull confirming the formation of a new society called the Oratory and granting it the church of Santa Maria in Vallicella. Two months after the bull, the rebuilding of the church commenced. Envisaged in the planned reconstruction of the Chiesa Nuova (new church), as it became known, was the dedication of all the altars to the mysteries of the Virgin. Starting in the left transept and continuing around the five chapels on either side of the nave to the right transept, the altars are dedicated to the Presentation of the Temple, the Annunciation, the Visitation, the Nativity, the Adoration of the Shepherds, the Circumcision, the Crucifixion, the Pietà, the Resurrection, the Ascension, the Descent of the Holy Ghost, the Assumption and the Coronation.[3]
The Entombment was probably planned and begun in 1602/3.[1] The chapel in which the Entombment was to be hung, was dedicated to the Pietà, and was founded by Pietro Vittrice, a friend of Pope Gregory XIII and close follower of Filippo Neri.[4] The Capella della Pietà occupied a 'privileged' position in the Chiesa Nuova: Mass could be celebrated from it and it was granted special indulgences.[3]
The chapel, placed in the right nave of the Chiesa Nuova, was conceded to Vittrice in June 1577, and the foundation of the chapel ratified in September 1580. Some time after his death in March 1600, a legacy of 1,000 scudi became available for the maintenance of the chapel, and it was built in 1602, which is then held to be the earliest date for the commission of Caravaggio's painting.[5] Indeed, on 1 September 1604, it is described as 'new' in a document recording that it had been paid for by Girolamo Vittrice, Pietro's nephew and heir.[1][6]
Girolamo Vittrice had a direct connection with Caravaggio: in August 1586 he married Orinzia di Lucio Orsi, the sister of Caravaggio's friend Prospero Orsi and the niece of the humanist Aurelio Orsi. Aurelio, in turn, was a one-time mentor to the young Maffeo Barberini, who became Pope Urban VIII in 1623. It is through these connections that Girolamo's son, Alessandro, became bishop of Alatri in 1632, and was able to bestow the gift of Caravaggio's Fortune Teller (now in the Louvre) on Pope Innocent X Pamphilij after being appointed governor of Rome in 1647.[5]
The painting was universally admired and written about by such critics as Giulio Mancini,[a] Giovanni Baglione (1642),[8][b] Gian Pietro Bellori (1672)[9][c] and Francesco Scanelli (1657).[11][d]
The painting was taken to Paris in 1797 for the Musée Napoléon, returned to Rome and installed in the Vatican in 1816.[5][7][e]
This counter-reformation painting – with a diagonal cascade of mourners and cadaver-bearers descending to the limp, dead Christ and the bare stone – is not a moment of transfiguration, but of mourning. As the viewer's eye descends from the gloom there is, too, a descent from the hysteria of Mary of Clopas through subdued emotion to death as the final emotional silencing. Unlike the gored post-crucifixion Jesus in morbid Spanish displays, Italian Christs die generally bloodlessly, and slump in a geometrically challenging display. As if emphasizing the dead Christ's inability to feel pain, a hand enters the wound at his side. His body is one of a muscled, veined, thick-limbed laborer rather than the usual, bony-thin depiction.
Two men carry the body. John the Evangelist, identified only by his youthful appearance and red cloak supports the dead Christ on his right knee and with his right arm, inadvertently opening the wound. Nicodemus (with the face of Michelangelo) grasps the knees in his arms, with his feet planted at the edge of the slab. Caravaggio balances the stable, dignified position of the body and the unstable exertions of the bearers.[12]
While faces are important in painting generally, in Caravaggio it is important always to note where the arms are pointing. Skyward in The Conversion of Saint Paul on the Road to Damascus, towards Levi in The Calling of Saint Matthew. Here, the dead God's fallen arm and immaculate shroud touch stone; the grieving Mary of Cleophas gesticulates to Heaven. In some ways, that was the message of Christ: God come to earth, and mankind reconciled with the heavens. As usual, even with his works of highest devotion, Caravaggio never fails to ground himself.
Pope Urban VIII
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Pope Urban VIII
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Artist-Info: Pietro da Cortona (1596–1669) Alternative names Pietro Berretini, Pietro Berrettini da Cortona Description Italian painter and architect Date of birth/death 1 November 1596 16 May 1669 Location of birth/death Cortona (Tuscany) Cortona (Tuscany) Work period High Baroque Work location Cortona, Rome, Florence Authority control VIAF: 95204251 LCCN: n79109863 GND: 118638599 BnF: cb12288134z ULAN: 500115154 ISNI: 0000 0001 0859 4518 WorldCat WP-Person
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Saint Peter's – Interior – Bernini's Baldachin – Rome – Audio Guide – MyWoWo Travel App
Now cross the large spaces of the basilica and head towards the main altar.
Let me immediately start with a premise: if you want to truly understand the spirit of the Baroque reconstruction of St. Peter's, you must concentrate on the bronze baldachin above the altar: all the basilica's magic starts from there. Without being intimidated by Michelangelo's immense dome, Bernini conceived a tall but agile structure supported by four helical, grooved columns. The form of these columns is together a tribute to and reconstruction of the basilicas from Emperor Constantine's era. The baldachin adds a note of movement and vivacity to the vast, solemn, but potentially static basilica atmosphere. The animation of the helical columns is enhanced by their dense grooves, clever gilding, and the effect produced by the baldachin's fringes on the top, which seem to be moved by the wind.
For Pope Urban VIII's tomb next to the baldachin, Bernini took inspiration from the patterns of Renaissance tombs, but as before, impressed it with an innovative charge of dynamism and action, underlined by the combined use of different colored and textured materials including white and colored marble, bronze, and gilding. His idea to use Death almost seems like it's from a horror movie: Death is depicted here as a skeleton, writing the pope's name on his tombstone.
If you think about it, the baldachin is even more effective thanks to its placement. Bernini remodeled the basilica's four gigantic central pillars, placing four enormous marble statues depicting saints in the niches; the saints are supporting the precious relics that are conserved in the loggias above them. Bernini personally sculpted Longino, the Roman centurion that was converted during the Crucifixion…
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The Vatican
The name Vatican predates Christianity and comes from the Latin Mons Vaticanus, meaning Vatican Mount.[19] The territory of Vatican City is part of the Mons Vaticanus, and of the adjacent former Vatican Fields. It is in this territory that St. Peter's Basilica, the Apostolic Palace, the Sistine Chapel, and museums were built, along with various other buildings. The area was part of the Roman rione of Borgo until 1929. Being separated from the city, on the west bank of the Tiber river, the area was an outcrop of the city that was protected by being included within the walls of Leo IV (847--55), and later expanded by the current fortification walls, built under Paul III (1534--49), Pius IV (1559--65) and Urban VIII (1623--44).
Places to see in ( Rome - Italy ) Museum and Crypt of Capuchins
Places to see in ( Rome - Italy ) Museum and Crypt of Capuchins
The Capuchin Crypt is a small space comprising several tiny chapels located beneath the church of Santa Maria della Concezione dei Cappuccini on the Via Veneto near Piazza Barberini in Rome, Italy. It contains the skeletal remains of 3,700 bodies believed to be Capuchin friars buried by their order. The Catholic order insists that the display is not meant to be macabre, but a silent reminder of the swift passage of life on Earth and our own mortality.
When the monks arrived at the church in 1631, moving from the old monastery, they brought 300 cartloads of deceased friars. Fr. Michael of Bergamo oversaw the arrangement of the bones in the burial crypt. The soil in the crypt was brought from Jerusalem, by order of Pope Urban VIII.
As monks died during the lifetime of the crypt, the longest-buried monk was exhumed to make room for the newly deceased who was buried without a coffin, and the newly reclaimed bones were added to the decorative motifs. Bodies typically spent 30 years decomposing in the soil, before being exhumed.
There are six total rooms in the crypt, five featuring a unique display of human bones believed to have been taken from the bodies of friars who had died between 1528 and 1870.
Crypt of the Resurrection, featuring a picture of Jesus raising Lazarus from the dead, framed by various parts of the human skeleton.
The Mass Chapel, as an area used to celebrate Mass, does not contain bones. In the altar-piece, Jesus and Mary exhort St. Felix of Cantalice, St. Francis of Assisi, and St. Anthony of Padua to free souls from Purgatory. The chapel contains a plaque with the acronym DOM, which stands for Deo optimo maximo (To God, the best and greatest), a term initially used to refer to the pagan god Jupiter, but claimed by later Christians. The plaque contains the actual heart of Maria Felice Peretti, the grand-niece of Pope Sixtus V and a supporter of the Capuchin order. The chapel also contains the tomb of the Papal Zouaves who died defending the Papal States at the battle of Porta Pia.
Crypt of the Skulls
Crypt of the Pelvises
Crypt of the Leg Bones and Thigh Bones
Crypt of the Three Skeletons The center skeleton is enclosed in an oval, the symbol of life coming to birth. In its right hand it holds a scythe, symbol of death which cuts down everyone, like grass in a field, while its left hand holds the scales, symbolizing the good and evil deeds weighed by God when he judges the human soul. A placard in five languages declares
( Rome - Italy ) is well know as a tourist destination because of the variety of places you can enjoy while you are visiting Rome . Through a series of videos we will try to show you recommended places to visit in Rome - Italy
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Eric Clarks Travel Videos - Rome Italy - Basilica of the Holy Cross. Actual nail and thorns in JESUS
Santa Croce In Jerusalem / Basilica of the Holy Cross
Eric Clarks Travel Videos - Rome Italy - Santa Croce In Jerusalem / Basilica of the Holy Cross
Eric Clarks Travel Videos - Rome Italy - Basilica of the Holy Cross. Actual nail and thorns in JESUS
From Wikipedia
The Basilica of the Holy Cross in Jerusalem or Basilica di Santa Croce in Gerusalemme, (Latin: Basilica Sanctae Crucis in Hierusalem) is a Roman Catholic minor basilica and titular church in rione Esquilino, Rome, Italy. It is one of the Seven Pilgrim Churches of Rome.
According to tradition, the basilica was consecrated circa 325 to house the relics of the Passion of Jesus Christ brought to Rome from the Holy Land by Empress St. Helena, mother of Roman Emperor Constantine I. At that time, the Basilica's floor was covered with soil from Jerusalem, thus acquiring the title in Hierusalem; it is not dedicated to the Holy Cross which is in Jerusalem, but the Basilica itself is in Jerusalem in the sense that a piece of Jerusalem was moved to Rome for its foundation. The most recent Cardinal Priest of the Titulus S. Crucis in Hierusalem was Juan José Omella, since 28 June 2017.
At one time the site of the temple of El Gabal, or Sol Invictus, the god of Emperor Elagabalus, the Basilica was later built around a room in Empress St. Helena's imperial palace, the Palazzo Sessoriano, which she converted into a chapel circa AD 320.[1]
Relics were once in the ancient St. Helena's Chapel, which is partly subterranean. Here the founder of the Basilica had some soil from Calvary dispersed. Some decades later, the chapel was converted into a basilica, called the Heleniana or Sessoriana. In the eighth century, the basilica was restored by Pope Gregory II.[2] After falling into neglect, the Pope Lucius II (1144-5) restored the Basilica. It assumed a Romanesque appearance, with a nave, two aisles, belfry, and porch. The Cosmatesque pavement dates from this period.
In the vault is a mosaic designed by Melozzo da Forlì before 1485 depicting Jesus Blessing, Histories of the Cross, and various saints. The altar has a huge statue of St. Helena, which was obtained from an ancient statue of the pagan goddess Juno discovered at Ostia.
The Basilica was also modified in the 16th century, but it assumed its current Baroque appearance under Pope Benedict XIV (1740–58), who had been its titular prior to his elevation to the Papacy. In 1601, during his first stay in Rome, Peter Paul Rubens completed his first altarpiece commission, St. Helena with the True Cross for the Chapel of St. Helena.[3] Rubens was commissioned by Archduke Albert of Austria to paint an altarpiece with three panels for the Chapel. Two of these paintings, St. Helena with the True Cross and The Mocking of Christ, are now in Grasse, France. The third, The Elevation of the Cross, was lost.
New streets were also opened to connect the Basilica to two other Roman major basilicas, namely, San Giovanni in Laterano and Santa Maria Maggiore. The façade of the Basilica, which was designed by Pietro Passalacqua and Domenico Gregorini,[4] shares the typical late Roman Baroque style of these other basilicas.
In May 2011, the Cistercian abbey linked to the Basilica was suppressed by a decree of the Congregation for Institutes of Consecrated Life and Societies of Apostolic Life, following the results of an apostolic visitation prompted by years of serious problems, including significant liturgical disputes. According to a Vatican spokesman, an inquiry found evidence of liturgical and financial irregularities as well as lifestyles that were probably not in keeping with that of a monk.[5] According to Il Messaggero, Simone Fioraso, an abbot described as a flamboyant former Milan fashion designer, transformed the church, renovating its crumbling interior and opening a hotel, holding regular concerts, a televised bible-reading marathon and regularly attracting celebrity visitors with an unconventional approach.[5]
Several famous relics of disputed authenticity are housed in the Cappella delle Reliquie, built in 1930 by architect Florestano Di Fausto, including part of the Elogium or Titulus Crucis, i.e. the panel which was hung on Christ's Cross (generally either ignored by scholars[6] or considered to be a mediaeval forgery[7]); two thorns of the Crown of Thorns; part of a nail; the index finger of St. Thomas; and three small wooden pieces of the True Cross. A much larger piece of the True Cross was taken from the Basilica on the instructions of Pope Urban VIII in 1629 to St. Peter's Basilica, where it is kept near the colossal statue of St. Empress Helena sculpted by Andrea Bolgi in 1639.[8]
Baroque Art - 2 Italy: Sculpture
Second video about the Baroque Art serie. Any doubt? Send me a message.
Historia del Arte:
Land of the Art:
Sculpture is united to architecture. Monumental sculpture. Movement and scenography.
Stefano Maderno
Saint Cecilia
Francesco Mochi
Annunciation: it is a couple of sculptures, the Virgin and an angel.
Alessandro Farnese monument in Piacenza: equestrian sculpture.
Saint Veronica: in San Peter, Rome.
Alessandro Algardi: he did portraits and was the opposite to Bernini, he was more classical.
Tomb of Leo XI
Tomb of Innocent X
Expulsion of Attila: the pope appear as a triumph of the church.
Ercole Ferrata
Angel of Sant’Angelo bridge
Monument of Guilio del Corno
Pietro Bernini
San Martin, Naples
Fontana della Barcaccia (appeared in architecture, in the part of Urbanism)
Gian Lorenzo Bernini: the great sculptor of this period. Naturalism. He made religious and mythological sculptures. Desire of movement with free composition, imbalance and great realism and expression.
Rape of Proserpina: it shows Pluto taking Proserpina to the Underworld. The realism is astounding, personally I love that detail with the hand.
Goat Amalthea: other mythological theme, the goat who took care of Jupiter at the beginning, while the other gods were devoured by Saturn.
David: despite being a religious topic, it is an excuse to rescue the classic thematic of the greek athletes.
Apollo and Daphne: it represents this mythological episode, and you can see Daphne becoming a tree. He plays here with non finito and it is an sculpture that depends where you see it, you will have a different view.
Santa Bibiana
Constanza Bonarelli
Innocent X
Saint Longinus
Ecstasy of Santa Teresa: it is in the Cornaro chapel. This is the perfect example of scenographic sculpture, incrusted in the architecture. The group is the saint and an angel. The rays are made of bronze. It is fantastic the way he worked the clothes, and also the face of the saint.
Blessed Ludovica Albertoni: very similar to the ecstasy of Saint Terese but only appear a figure.
Tomb of Urban VIII
Tomb of Alexander VII
Fontana del Tritone
Fontana dei Quattro Fiumi: the famous fountain in Piazza Navona, with the obelisk. The sculptures that appear are representations of the four major rivers of the four continents through which papal authority had spread: the Nile representing Africa, the Danube representing Europe, the Ganges representing Asia, and the Río de la Plata representing the Americas.
Louis XIV
François I
Constantine of the Vatican: movement.
Throne of Saint Peter: it is in the Vatican. Symmetric composition, representations of the masters, use of bronze and behind there is a window with the holy spirit.
Camillo Rusconi
Gregory XIII
San Andrea
Pietro Bracci
Tomb of Maria Clementina Sobieski
Antonio Corradini
His sculptures are fantastic, you can see the body through the clothes. Truly impressive.
Giovanni Maria Morlaiter
Gerolamo Emiliani
Giuseppe Sanmartino
Cristo Velato
Giacomo Serpotta: he worked with stucco.
Decoration of oratory of Santa Rita (2 images)
San Lorenzo
San Francesco
Filippo Parodi
Glory of Saint Anthony
Music: Spring by Antonio Vivaldi
Photos taken in Google images.
No copyright infringement intended.
Renaissance the tomb of pope julius II
Places to see in ( Rome - Italy ) Basilica di Santa Croce in Gerusalemme
Places to see in ( Rome - Italy ) Basilica di Santa Croce in Gerusalemme
The Basilica of the Holy Cross in Jerusalem or Basilica di Santa Croce in Gerusalemme, is a Roman Catholic minor basilica and titular church in rione Esquilino, Rome, Italy. It is one of the Seven Pilgrim Churches of Rome.
According to tradition, the basilica was consecrated circa 325 to house the relics of the Passion of Jesus Christ brought to Rome from the Holy Land by Empress St. Helena, mother of Roman Emperor Constantine I. At that time, the Basilica's floor was covered with soil from Jerusalem, thus acquiring the title in Hierusalem; it is not dedicated to the Holy Cross which is in Jerusalem, but the Basilica itself is in Jerusalem in the sense that a piece of Jerusalem was moved to Rome for its foundation. The most recent Cardinal Priest of the Titulus S. Crucis in Hierusalem was Miloslav Vlk, who died on 18 March 2017.
At one time the site of the temple of El Gabal, or Sol Invictus, the god of Emperor Elagabalus, the Basilica was later built around a room in Empress St. Helena's imperial palace, the Palazzo Sessoriano, which she converted into a chapel circa AD 320.
Relics were once in the ancient St. Helena's Chapel, which is partly subterranean. Here the founder of the Basilica had some soil from Calvary dispersed. Some decades later, the chapel was converted into a basilica, called the Heleniana or Sessoriana. In the eighth century, the basilica was restored by Pope Gregory II.
Several famous relics of disputed authenticity are housed in the Cappella delle Reliquie, built in 1930 by architect Florestano Di Fausto, including part of the Elogium or Titulus Crucis, i.e. the panel which was hung on Christ's Cross (generally either ignored by scholars or considered to be a mediaeval forgery); two thorns of the Crown of Thorns; part of a nail; and three small wooden pieces of the True Cross. A much larger piece of the True Cross was taken from the Basilica on the instructions of Pope Urban VIII in 1629 to St. Peter's Basilica, where it is kept near the colossal statue of St. Empress Helena sculpted by Andrea Bolgi in 1639.
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In 897, the corpse of a pope was exhumed to be put on trial
Known as the 'Cadaver Synod,' the posthumous trial of Pope Formosus resulted from the chaos of the ninth century as factions battled for control of the church.
IT MUST HAVE been a shock for the poor Roman fisherman who, according to legend, pulled up the body of a dead pope from the Tiber River. Few people would ever have expected to dredge up the remains of a pontiff who, nine months after his death, was at the center of on of the most bizarre episodes in the history of the papacy: a posthumous trial of a corpse. The story of Pope Formosus and the indignities suffered by his mortal remains embodied the tangled politics of late ninth-century Europe.
A quick glance at the list of popes in that era shows that Christian concord was notably absent from Rome and the Vatican: Instead, there was chaos. Between 872 and 965, no fewer than 24 popes were coronated in Rome (between 896 and 904, there was roughly one pope appointed per year!) Occupational hazards of the papacy included being deposed, thrown in prison, or murdered. The high rate of papal turnover could be attributed to both political intrigue and government instability.
Dukes and kings.
In the late ninth century, the papacy played a central role in violent power struggles across the Italian peninsula. Openly intervening in the family feuds of Rome’s rulers, the pontiffs also played a central role in the regional struggle for supremacy. This conflict was fought, on the one hand, by the Carolingian emperors who, throughout the ninth century, emerged as protectors of the Catholic Church and lords of Italy. Their supremacy was increasingly challenged by burgeoning local dynasties such as the Dukes of Spoleto. From early in his career, Formosus found himself tangled up in these complex conflicts. From his consecration as bishop of Porto—a diocese located at the mouth of the Tiber, slightly north of Ostia—he carried out numerous diplomatic missions in the name of the papacy, which took him to Bulgaria, Constantinople, and the Carolingian court. Formosus showed favor to Arnulf of Carinthia, a Frankish king of the Carolingian imperial dynasty, who aspired to take the throne as King of Italy.
Formosus’s diplomacy went over badly with his superiors. Pope John VIII feared that if a king from such a powerful imperial dynasty became King of Italy, Rome would lose its independence. Pope John had Formosus excommunicated in 876 and expelled from his diocese. He and his followers were forced to flee Rome under threat of a trial for corruption and immorality. They found refuge in the court of Guy III of Spoleto.
Lying low for several years in northern Lombardy, Formosus waited for the situation in Rome to improve. In 883, under the new, brief papacy of Marinus I, Formosus’s excommunication was lifted, and he was reinstated as the head of his former diocese in Porto. After the death of Pope Stephen V in 891, Formosus became pope.
Ally of the emperor.
The new pope had to confront a dangerous political situation. Shortly before Formosus was appointed, Guy III of Spoleto—his former protector—had been crowned King of Italy in Pavia. He had then headed to Rome to force Pope Stephen V to crown him Holy Roman Emperor. After Stephen V’s death, Formosus had to confirm Guy’s coronation and recognize his son Lambert as successor to the empire. Formosus, however, distrusting the new emperor and King of Italy, began to resume diplomatic ties with Arnulf of Carinthia, inviting him to confront Guy in Italy.
To seize what he thought was his by right, Arnulf made a first incursion into Milan and Pavia in 893. Three years later, Guy had died, and his son Lambert had been crowned Holy Roman Emperor in Rome. In response, Arnulf laid siege to the Eternal City. Inside Rome, the Spoleto faction loyal to Lambert rebelled and imprisoned Pope Formosus in the Castel Sant’Angelo. But they were unable to stave off the invaders. Formosus was freed and a few days later, he crowned Arnulf emperor in St. Peter’s Basilica. Some months later, Pope Formosus died, whether of poison or old age (he was 80) was uncertain. Some praised him as a just and pious pope; others were unable to forgive him for favoring the German Arnulf over the Italian Spoleto clan.
Lambert’s revenge.
The story, however, did not end there. Not even death, it turned out, would exempt Formosus from the seemingly eternal cycle of intrigue and infighting. Formosus was succeeded by Boniface VI, who only lived 15 days into his term, and Boniface was succeeded by Stephen VI, a former follower of Formosus who also initially recognized Emperor Arnulf.
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Pope Alexander VII
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Pope Alexander VII
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Visit inside St Peter's Basilica, Vatican! Thăm Bên trong Vương Cung Thánh Đường Thánh Phêrô
Bilingual: English Vietnamese!
Saint Peter's Basilica, the world's largest church, is the center of Christianity. The imposing structure was built over a span of more than one hundred years by the greatest Italian architects of the era.
In the early fourth century Emperor Constantine, the first Christian emperor of Rome, decided to build a basilica on Vatican Hill at the site of small shrine that marked the likely location of the tomb of St. Peter. Construction of the basilica started between 319 and 322.
In 1626 the main face completed by Carlo Maderno, The church was finally reconsecrated in 1626 by pope Urban VIII, exactly 1300 years after the consecration of the first church.
Ever since, the St. Peter's Basilica has been the center of Christianity, drawing pilgrims and tourists from all over the world.
The building itself is truly impressive. The largest church in the world, it has a 211.5 meter long nave (694 ft, including the narthex). The basilica's dome is one of the world's largest measuring 42 meters in diameter and reaching 132.5 meters high (more than 434ft).
Once inside the nave the enormous size of the church becomes apparent. The basilica has a surface area of 15,160 square meters, enough space to accommodate 60,000 visitors. It is covered by a coffered barrel vault ceiling and a huge central dome.
The opulence of the interior bears testimony to the wealth of the Catholic church in the sixteenth and seventeenth centuries. It is decorated with large monuments, many of which were created by Gian Lorenzo Bernini, one of the greatest artists of all time.
The most famous monument in the St. Peter's Basilica is the Pietà, a marble sculpture of a young looking Mary holding the dead body of her son. It was created in 1499-1500 by Michelangelo at the early age of twenty-five. The monument is located in the first chapel on the right. It is the only work of Michelangelo that bears his signature. He etched his name on the ribbon that runs across Mary's chest, allegedly after he heard that people attributed his work to another artist. The sculpture was heavily damaged in 1972 when a deranged visitor hit it with a hammer; it is now protected by a bulletproof glass screen.
St. Peter's is located in Vatican City, across the river Tiber, west of Rome's center. Vatican City is completely surrounded by the city of Rome. The nearest subway station is Ottaviano, from where the Via Otaviano leads straight to St. Peter's Square.
Thăm Bên trong Vương Cung Thánh Đường Thánh Phêrô
Vương Cung Thánh Đường Thánh Phêrô, nhà thờ lớn nhất thế giới, là trung tâm của Kitô giáo. Các công trình hùng vĩ được xây dựng trong khoảng thời gian hơn một trăm năm bởi các kiến trúc sư Italy lớn nhất của thời đại.
Vào đầu thế kỷ thứ tư Hoàng đế Constantine, vị hoàng đế đầu tiên của Kitô giáo Roma, quyết định xây dựng một nhà thờ trên Vatican Hill tại trang web của ngôi đền nhỏ mà đánh dấu vị trí có thể có của các ngôi mộ của Thánh Phêrô. Xây dựng nhà thờ bắt đầu giữa 319 và 322.
Năm 1626 các mặt chính hoàn thành bởi Carlo Maderno, Nhà thờ được cuối cùng reconsecrated năm 1626 bởi Giáo hoàng Urban VIII, chính xác 1300 năm sau khi truyền phép của nhà thờ đầu tiên.
Kể từ đó, nhà thờ Thánh Phêrô đã được trung tâm của Kitô giáo, vẽ người hành hương và khách du lịch từ khắp nơi trên thế giới.
Việc xây dựng chính nó là thật sự ấn tượng. Các nhà thờ lớn nhất thế giới, nó có 211,5 mét gian giữa dài (694 ft, bao gồm cả narthex). mái vòm của nhà thờ là một trong những lớn nhất thế giới đo 42 mét, đường kính và đạt cao (hơn 434ft) 132,5 mét.
Một khi bên trong gian giữa kích thước khổng lồ của nhà thờ trở nên rõ ràng. Nhà thờ có diện tích bề mặt của 15.160 mét vuông, đủ không gian để chứa 60.000 khách. Nó được bao phủ bởi một trần khung vòm tròn và một mái vòm trung tâm lớn.
Sự sang trọng của nội thất mang chứng cho sự giàu có của nhà thờ Công giáo ở thế kỷ XVI và XVII. Nó được trang trí với các di tích lớn, nhiều trong số đó đã được tạo ra bởi Gian Lorenzo Bernini, một trong những nghệ sĩ vĩ đại nhất của mọi thời đại.
Các di tích nổi tiếng nhất tại Vương Cung Thánh Đường Thánh Phêrô là Pietà, một tác phẩm điêu khắc bằng đá cẩm thạch của Mary nhìn còn trẻ đang giữ xác chết của con trai mình. Nó được tạo ra trong 1499-1500 của Michelangelo ở tuổi hai mươi lăm. Di tích nằm trong nhà nguyện đầu tiên bên phải. Đó là công trình duy nhất của Michelangelo mà mang chữ ký của mình. Ông khắc tên mình trên ribbon chạy ngang ngực của Mary, sau khi ông ta đã nghe người ta quả quyết cho rằng công việc làm của ông ta là của một nhà điêu khắc khác. Tác phẩm điêu khắc bị hư hỏng nặng vào năm 1972 khi một người khách loạn trí đập nó với một cái búa; nó bây giờ được bảo vệ bởi một màn hình kính chống đạn.
Thánh Phêrô được đặt tại thành phố Vatican, qua sông Tiber, phía tây của trung tâm của Rome. Thành phố Vatican được bao bọc hoàn toàn bởi các thành phố Roma. Các ga tàu điện ngầm gần nhất là Ottaviano, từ nơi Via Otaviano dẫn thẳng đến quảng trường Thánh Phêrô.
Basilica Vaticana in 3D
Anno circiter 1450, Nicholas Pp. I conclusit Basilicam Sancti Petri magis oportere reficere quam instaurare. Iulius, Pp. II, tamen, opem dedit novis initiis, eligens Bramantem architectum, anno 1506 primam lapidem ponens. Opus, tamen, erat maior quam vita unius hominis, et successio paparum architectumque mutavit lineamenta Bramantis. Anno 1548 cura operis in manibus Michaelangeli Buonarroti est tradita, et novam figuram fecit iuxta Bramantis descriptionem. Magna ex parte, haec visio nunc exstat in monte vaticano. Die 18 Novembris 1626 nova basilica est dedicata a Papa Urbano VIII.