The most significant work of art is the fragmented sepulchral monument of Odoardo Cicada, the Bishop of Sagona by Guglielmo della Porta which is dated around 1545. A gnarled bronze oak tree (Chigi) grows from the mountain with a huge red marble robe on its branches. In the middle the infant Jesus receives the message from the angel of God; both the child and the messenger are wearing similar red and white robes. Clicca qui di seguito per leggerne la storia Caravaggio: la Madonna dei Pellegrini, Se invece voleste incamminarvi per un tour delle opere di Caravaggio a Roma, leggete: Caravaggio a Roma: un percorso ragionato. Infatti, le due tele del Caravaggio oggi nella Cappella Cerasi non sono le due opere dipinte nel 1601 (che peraltro erano su tavola e non su tela come le attuali) ma due nuovi dipinti eseguiti successivamente. Curiously Morandi chose not depict the moment of the meeting between Mary and Elizabeth which is the traditional way to visualize the Visitation. Tomasza z Villanueva. On the canvas there are no perceptible signs of the Florentine apprenticeship of the painter, it firmly belongs to the artistic world of the Roman seicento dominated by Carlo Maratta, although Emilian influences could also be noticed. Originally the monument had a dual function as an altar and tomb. The altarpiece was commissioned by the family of Bernardino Elvino, the bishop of Anglona and the treasurer of Pope Paul III in the years after his death in 1548. One of most important Mannerist funeral monuments in the basilica is the tomb of Cardinal Gian Girolamo Albani, an influential politician, jurist, scholar and diplomat in the papal court in the last decades of the 16th century. The main altar-piece, The Adoration of the Child with St Jerome is an exquisite autograph work by Pinturicchio himself. 28–29, Jacob Bean: 17th Century Italian Drawings in the Metropolitan Museum of Art, The Metropolitan Museum of Art, 1979, p. 43, Felix Ackermann, Berninis Umgestaltung des Innenraums von Santa Maria del Popolo unter Alexander VII. From 1657 to 1658 four sculptors got payments for work on the statues: Antonio Raggi, Ercole Ferrata, Giovanni Antonio Mari and Arrigo Giardè. The two identical chapels opening in the right transept are relatively insignificant in terms of artistic value in comparison with the other side chapels of the church. The funeral monument is a typical Late Baroque artwork with distinctly macabre details. The bronze and marble funeral monument of Pietro Foscari from 1480 is preserved here. The altarpiece on right side altar was painted in 1659 by Giovanni Maria Morandi, the favourite portraitist of the Chigi family. Unlike the column shafts, the capitals are still coated with plaster. 1 (Mar., 1980), pp. E. Bentivoglio and S. Valtieri, Bari-Roma, 1976, p. 203. Le posizioni dei tre personaggi intenti alla crocefissione che impedisce di vederne i volti. This zone is emphasized by a strongly projecting stone cornice with acanthus modillions and varied rosettes. Santa Maria del Popolo: Caravaggio & Chigi Chapel. The original 15th-century architecture was largely preserved by Bernini who only added a strong stone cornice and embellished the arches with pairs of white stucco statues portraying female saints. On the same veduta a walkway with a balustrade is visible at the base of the tambour. On the right Zechariah takes the bag from the hands of Saint Joseph. The painting shows Elizabeth inviting her younger cousin into their home. The first design for the organ-case was more traditional with the superposed rows of the pipes set in an architectural framework defined by two columns and an arched pediment decorated with a sculpture group. Bazylika Santa Maria del Popolo jest jednym z kościołów tytularnych nadawanych kardynałom-prezbiterom (Titulus Sanctae Mariae de Populo)[3]. The most important works of art are the paintings of the lunettes by the school of Pinturicchio depicting the four Fathers of the Church; the marble altar-piece by Gian Cristoforo Romano (c. 1505); and the funeral monument of Cardinal Costa by the school of Andrea Bregno. The statues of Jonah and Elijah were carved by Lorenzetto. Nikolaus Muffel: Beschreibung der Stadt Rom, herausg. However, there are a few pieces of Baroque furniture in the church: two almost identical holy water stoups made of coloured marbles and six wooden confessionals standing by the pillars between the nave and the aisles. Za ołtarzem znajduje się chór zakonny ozdobiony freskami Pinturicchiego. It is set between a wooden booth and a stone half-column on the right side of the counterfaçade. La luce è tutta per lui e per il suo mantello arancione che occupa la base della tela. This naturalistic and marvelous organ-tree could have been inspired by the descriptions of tree-shaped musical instruments in Byzantium and the eastern world or the singing fountains of Renaissance gardens in Italy. Comunque, il cavallo di Caravaggio non sarà forse un purosangue ma resta di certo un grande pezzo di pittura. The keystones in the nave and the transept are decorated with coats of arms of Pope Sixtus IV. The Late Renaissance monument is one of the main works of the Roman sculptor, Giovanni Antonio Paracca. Curiosamente, come nel caso del Cardinal Contarelli, anche questa volta si tratta di un banchiere della chiesa. It was built in 1772 for the young princess, the first wife of Don Sigismondo Chigi Albani della Rovere, the 4th Prince of Farnese, who died in childbirth at the age of 20. 127–129, Michela Corso: Jacopino del Conte nel contesto artistico romano tra gli anni trenta e gli anni cinquanta del Cinquecento, Università degli Studi Roma Tre, 2014, pp. The marble statues of the angels supporting the frame of the altar are attributed to Ercole Ferrata (right) and Arrigo Giardè (left). Tra le zampe del cavallo, le gambe dalle vene turgide ed i piedi nudi dello scudiero. This thin and light structure was built to create a suitable surface for the painted decoration at an unknown date. The wall tomb of the Cypriot Cardinal Ludovico Podocataro, secretary and physician of Pope Alexander VI, is a monumental work of Roman Renaissance sculpture. Quest’ultimo fatto, come vedremo, ha una sua importanza. The frescoes of the dome were painted on the underside of an inner brick shell. Paolo è a terra. The angel on the left holding a processional cross draped in clothes may be a symbol of resurrection. Sanctae Mariae de Populo) – tytularna, rzymskokatolicka, bazylika mniejsza znajdująca się na północnym skraju Piazza del Popolo w Rzymie. The stone frame of the window is decorated with a coat-of-arms and two bronze medallions. 5.1K likes. Temi cari alla tradizione romana – Pietro e Paolo sono i santi patroni della Città Eterna – con al di là del Tevere un illustre precedente. Two big frescos on the side walls show scenes from The Legend of the True Cross. On the remaining organ-case the pipes are carried by four spreading, gnarled branches of a gilt oak tree complete with leaves and acorns. Their names are written on the spandrels of the arches with gilt letters. Katarzyny, ołtarz w krzyżownicy z obrazem św. The frescos of the vault were created by Giovanni da San Giovanni in 1623–27. The original maiolica floor tiles from Deruta also survived. ): Studien zur Wissenschafts- und zur Religionsgeschichte, De Gruyter, Berlin/New York 2011, Heinz Schilling: Martin Luther: Rebel in an Age of Upheaval, transl. Al centro della cappella, infatti, si trova l’Assunzione della Vergine di Annibale Carracci. Tę stronę ostatnio edytowano 15 lut 2020, 23:25. Dunque, il cavallo potrebbe essere un espediente artistico-morale per evidenziare il passaggio di Paolo da una condizione di potere e preminenza ad una di ben più umile sottomissione. The Costa Chapel follows the same plan as the Della Rovere chapels but it was furnished by Portuguese Cardinal Jorge da Costa who purchased it in 1488. Located next to the northern gate of Rome, Porta del Popolo, the well-known Basilica of Santa Maria del Popolo stands in the famous Piazza del Popolo, right in the heart of Rome’s city center. Egli aveva acquistato la cappella nella chiesa di Santa Maria del Popolo pensando alla propria sepoltura e si rivolse a due grandi del suo tempo per adornarla. The plinths are decorated with the arms of the Chigi family (the princely version on the right-hand altar and the ecclesiastical version with the cardinal hat on the other) while the frontals are particularly rich pietre dure stoneworks. Presumably he was tasked with the seamless integration of the real and painted sculpture in the nave and the transept. Il Signore gli disse: Alzati, entra nella città e ti sarà detto ciò che devi fare”. The tomb of Cardinal Antoniotto Pallavicini on the left wall was made by the same workshop in 1501. This group is the work of Antonio Raggi. Bazylika Santa Maria del Popolo (wł. The symbol of his family, a displayed eagle is set on an Italian escutcheon decorated with a cherub head and a cross. Ambrogio Landucci, cited by Alessandro Locchi: La vicenda della sepoltura di Nerone. 73–74. Nella tela del Merisi, invece, il cavallo sembra appena staccato dal carretto. The church was a favourite burial place for the Roman aristocracy, clergy and literati, especially after Bernini's intervention. Obecnie kościół tytularny kardynała Stanisława Dziwisza. Ai lati le due tele del Caravaggio delle quali abbiamo det… These are probably the most important works of art in the basilica. E il Signore: Io sono Gesù, che tu perseguiti. L’opera ha suscitato nel tempo numerosi commenti relativi al ruolo del cavallo. The chapel was named after Bishop Giovanni Montemirabile (†1479) and it was transformed into the baptistery of the basilica in 1561. Laureato in Economia alla LUISS e Master in Business Administration della Carnegie Mellon University di Pittsburgh, Fabrizio Sciarretta ha dedicato i primi anni della sua attività professionale al giornalismo economico. Wilhelm Vogt, Literarischer Verein, Stuttgart, 1876, p. 53, The Pilgrimage of Arnold Von Harff (ed. Beck, 2007, p. 53, David Boffa: Artistic Identity Set In Stone: Italian Sculptors' Signatures c. 1250-1550, 2011, pp. The bust of the Cardinal is a realistic portrait of the old statesman. Banker Agostino Chigi commissioned Raphael to design and decorate a funerary chapel for him around 1512–1514. Un’ulteriore possibilità potrebbe invece essere quella che le prime due opere per dimensioni non fossero adatte alla conformazione della cappella che, mentre Caravaggio le dipingeva, poteva non essere ancora ultimata. Ottavio Panciroli: Tesori nascosti dell'alma citta' di Roma, Rome, Heredi di Alessandro Zannetti, 1625, p. 449. On the right side the funeral monument of Giovanni de Castro (died 1506) is attributed to Francesco da Sangallo. The Della Rovere (or Nativity) Chapel is the first side chapel on the right aisle. Bernini designed two elegant marble cantorie for the instruments which are supported by stucco angels and putti displaying rich garlands of flowers and the coats of arms of Pope Alexander VII. Na obrazie znajduje się napis „Tu honorificenta populi nostri”. Basilica Santa Maria del Popolo, łac. There are subtle differences between the capitals in the type of the palmette and the fleuron. There are identifiable Roman buildings in the background: the round Temple of Vesta in Tivoli, the Castel Sant'Angelo and the Meta Romuli. Do il mio consenso affinché un cookie salvi i miei dati (nome, email, sito web) per il prossimo commento. Rona Johnston, Oxford University Press, 2017, p. 81, Volker Reinhardt: Der unheimliche Papst: Alexander VI. The semi-columns have Corintianesque capitals with a palmette ornament between the scrolls. For the beauty of its paintings, the preciousness of marble revetments covering its walls and the importance of the artists involved in its construction the chapel is regarded one of the most significant sacral monuments erected in Rome in the last quarter of the 17th century. The oldest stained glass window in Rome can be found here, made by French artist Guillaume de Marcillat. The sinister, shrouded figure is facing towards the viewer with his bony hands clutched on his breast. W ołtarzu głównym znajduje się cudowny obraz Najświętszej Maryi Panny namalowany, jak głosi legenda, przez św. He got 200 scudi for the commission on 11 August 1659. There are four piers on each side that support the arches separating the nave from the aisles. W 1587 roku kościół został podniesiony do godności kościoła tytularnego „Sanctae Mariae de Populo”. 115–123, Mark Weil: The history and decoration of the Ponte S. Angelo, Pennsylvania State University Press, 1974, pp. The funeral monument of Princess Maria Flaminia Odescalchi Chigi is sometimes dubbed the "last Baroque tomb in Rome". Francisco Javier de Cienfuegos y Jovellanos, Parrocchia santa Maria del Popolo w serwisie, https://pl.wikipedia.org/w/index.php?title=Bazylika_Santa_Maria_del_Popolo&oldid=58810086, Świątynie pod wezwaniem Najświętszej Marii Panny, licencji Creative Commons: uznanie autorstwa, na tych samych warunkach, Korzystasz z Wikipedii tylko na własną odpowiedzialność, 1227 – na miejscu kapliczki powstaje kościół zbudowany na zlecenie papieża, 1516 – zakończenie budowy kaplicy Chigich przez, 1658 – kościół zostaje odnowiony według projektu. On the lower part of the counterfaçade there are various funeral monuments. The Chapel of the Crucifixion or the Cybo-Soderini Chapel was remodelled in the Baroque era when a Flemish artist, Pieter van Lint executed its cycle of frescos on the vault and the lunettes which depict Angels with the Symbols of the Passion and Prophets. [38], The stucco sculptures under the cantorie were modelled by Antonio Raggi under the supervision of Bernini in 1655-57. 416–417, Ilaria Miarelli Mariani: La pittura, in Santa Maria del Popolo. The robe is hemmed with gold and decorated with an epitaph made of golden letters and also the stars of the Chigi and the incense burners of the Odescalchi at the lower part. Mary is leaning on a rocky wall and she is looking up on the sky where cherubs are bringing the instruments of the Passion, a huge cross, the crown of thorns and the nails. The most valuable works of art in the chapel are the aediculae of the baptismal font and the font of the holy oil. Andrzeja w kościele Sant'Andrea del Vignola, którą dołączył do zakonu augustianów na Piazza del Popolo, aby mnisi dbali o parafię. The name referred to the funeral monument of Pietro Guglielmo Rocca, the archbishop of Salerno who died in 1482. Instead of a humble house in Judea, the home of Zechariah and Elizabeth is a monumental edifice with circular steps leading to the entrance door. The chapel in the left transept was called Cappella della Santissima Pietà detta Salerna before the Berninian restructuring. 7–20. Caravaggio e i San Matteo di San Luigi dei Francesi, Andrea del Verrocchio e il Putto col Delfino, Cappella Contarelli a San Luigi dei Francesi, Caravaggio e la Madonna dei Pellegrini a Sant'Agostino - ArtePiù, Caravaggio a Roma: un percorso ragionato - Artepiù, Il busto di Benedetto XIII a Santa Maria Maggiore, Santa Maria Maggiore: i mosaici dell’abside, Santa Maria Maggiore: le storie dell’Arco Trionfale, Santa Maria Maggiore: i mosaici della navata, Il mosaico dell’Ordine Trinitario sul colle Celio. Po lewej stronie od wejścia znajduje się kaplice: kaplica Wniebowzięcia Najświętszej Maryi Panny, kaplica św. Nonetheless there are three different pairs: the two plain ones have no other decoration, the two "Chigi-type" confessionals bear the six mountains symbol of the papal family between two oak branches and have small cherubs for consoles, while the two "Madonna del Popolo-type" confessionals have a small carving of the Madonna and the child in the pediment (although one of carvings is missing). In the 19th century the monument was dismissed as tawdry. In 1660 inscriptions were placed in the new transept chapels above the side doors that named the two nephews of the pope as founders although the rebuilding of the transept was conceived by the Pope Alexander VII himself and the costs were paid directly by the Apostolic Camera. The wall tomb of Cardinal Bernardino Lonati is similar to the coeval sepulchre of Ludovico Podocataro, and they both belong to the group of monuments from the age of Pope Alexander VI which made the basilica the shrine of the Borgia dynasty at the beginning of the 16th century. According to tradition this tree gave shelter and nourishment to the Holy Family on their journey. Gli occhi sono chiusi, abbagliati dalla luce, l’elmo con la piuma bianca a terra accanto alla testa, la spada a fianco a sinistra. 1–10. Originally Bernini planned to fill the spaces between the windows and the arches with statues of kneeling angels. The nave ends with a triumphal arch that is decorated with a sumptuous stucco group which was created during the Berninian reconstruction. The Basso Della Rovere Chapel was furnished by Girolamo Basso della Rovere in the 1480s. The tomb is located by the pillar between the Chigi and Montemirabile Chapels. Il collo e la manica della camicia del personaggio a cui appartengono (le mani) sono anch’esse grandi pennellate. 87–88, Antonio Muñoz: Nelle chiese di Roma. in the city of Rome) and Ut phoenix multiplicabo dies ("as a phoenix I multiply my days"). His additions include the sculptures of Habakkuk and the Angel and Daniel and the Lion. The marble statues of the angels supporting the frame of the altar are attributed to Giovanni Antonio Mari (left) and Antonio Raggi (right). The Della Rovere papal escutcheons were also placed on the cornice of the intrados in the first and the last arches of the nave. Santuario "Santa Maria del Fonte" - Caravaggio, Caravaggio (Italia). Infatti, intorno al 1542, Paolo III Farnese aveva commissionato a Michelangelo due affreschi esattamente sugli stessi temi per la sua cappella paolina. The Cybo Chapel was radically rebuilt by Cardinal Alderano Cybo (1613–1700) between 1682 and 1687 according to the plans of Carlo Fontana. Kościół stał się parafialnym w XVI wieku, kiedy papież Pius IV stworzył parafię św. The angel on the right is gracefully aligned with the marble angel supporting the altar. It is not possible to reconstruct his work in the basilica but he was a specialist of sumptuous ornamental friezes with great figures, festoons and grisailles. Le braccia aperte nel gesto della Croce, lo stesso gesto, per inciso, della Vergine dipinta lì accanto dal Carracci. [37] The tomb was eventually relocated to the sacristy corridor while the painting was sold by the Augustinians in 1787. 2-3 (1952-53), The inscription was already recorded by Fioravante Martinelli: Roma ricercata, 1658, p. 302, Claudia Bolgia: Icons 'in the Air': New Settings for the Sacred in Medieval Rome, in: Architecture and Pilgrimage, 1000-1500. Adesso, nessuno ci può dire quale cavallo montasse San Paolo, magari una modestissima cavalcatura. The pictorial decoration is attributed to Pinturicchio and his school. Łukasza. (1655–1659), in: Römisches Jahrbuch der Bibliotheca Hertziana 1996, pp. Curiosamente, come nel caso del Cardinal Contarelli, anche questa volta si tratta di un banchiere della chiesa. Egli aveva acquistato una cappella nella chiesa di Santa Maria del Popolo pensando alla propria sepoltura e si rivolse a due grandi del suo tempo per adornarla. Certamente il taglio della scena con la croce non rappresentata per intero ma tagliata alle estremità per indurre la sensazione che la scena continui al di fuori. The tree had a particular significance in the context of Santa Maria del Popolo where the memory of Emperor Nero's evil walnut tree was still vivid. Rione Rzymu – Campo Marzio przy Piazza del Popolo[1]. Storia e restauri, eds. The princess died in 1745 after visiting a hospital. The arms are only one bay long, they end with semicircular apses that were rebuilt by Bernini. The Altar of the Holy Family belonged to Flavio Chigi, who was Cardinal-Priest of Santa Maria del Popolo at the time and Cardinal-Nephew of the pope. Merita dire che l’impianto generale della Cappella Cerasi è dovuto a Carlo Maderno e che gli affreschi delle due volte sono di Giovan Battista Ricci per il vano d’ingresso e del Carracci e di Innocenzo Tacconi per la cappella vera e propria. He removed the thick plaster coat from the shafts of the travertine half-columns that was painted to create an appearance of cipollino marble. The Pietà in the name referred to the painting on the altar by Jacopino del Conte, the Deposition of Christ into the Sepulchre, which is now kept in the Musée Condé in Chantilly. The church of Santa Maria del Popolo is a Renaissance basilica with a nave and two aisles, and a transept with a central dome. There is almost nothing on the painting indicating the flight to Egypt except a single palm tree in the background. Malcolm Letts), London, The Hakluyt Society, 1946, pp. The apse was designed by Donato Bramante. Situated between the two works of Caravaggio is the altarpiece Assumption of the Virgin by Annibale Carracci. The marble revetment and the double Corinthian pilasters on the side walls of the octagonal tambour appear Berninian, although similar double pilasters are visible on an earlier fresco in the vestibule of the Sala Sistina of the Vatican Library. The one on the left holds a wreath in her hand. His tomb was later relocated to the sacristy. The first two pairs on the left and the right are medieval monastic founders and reformers, the rest are all early Christian saints and martyrs. The master(s) of the monument are unknown but on stylistic grounds it is assumed to be the work of different groups of sculptors. It has been the funerary chapel of the Mellini family for centuries and contains several monuments among them the works of Alessandro Algardi and Pierre-Étienne Monnot. The inscriptions convey the same message: In nidulo meo moriar ("in my nest I die" i.e. A cominciare dalla criniera e dalla perfetta resa della muscolatura per finire con il morso di ferro restituito in ogni particolare. Katarzyny, w krzyżownicy – ołtarz Nawiedzenia Najświętszej Maryi Panny według projektu Berniniego, kaplica św. Aggiungerei anche il buio che avvolge la scena a cui fanno da contrasto i due bianchi del drappo che cinge San Pietro e la camicia dell’uomo che cerca di alzare la croce facendo leva con la schiena. There are cherubs high up in the sky, and the one without wings on his shoulder looks very similar to the sculpted putto supporting the organ loft in the right transept.[36]. Ma, nel contempo, la forte cromia delle loro vesti e la perfezione delle anatomie. The chapel, which was dedicated to Saint Nicholas of Tolentino, is one of the original 15th-century hexagonal side chapels of the basilica, but its inner decoration was changed during the later centuries. The dome of the centralized octagonal chapel is decorated with Raphael's mosaics, the Creation of the World.
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