The monument is a large tripartite aedicula composed of coloured marbles. [1] Besides the tombs in the side chapels and the choir there are many other funeral monuments in the aisles and the transept. The monument was erected by her son, Bernardino Petrinochi for the "dearest mother" in 1683. The coats-of-arms are crowned with a bishop's hat and a conch. While many churches in Rome were built on the remains of earlier pagan temples, the location of Santa Maria del Popolo was chosen for its proximity to a tree. The reliefs on the back wall of the central niche depict a slender Madonna flanked by two praying angels. The monument of Marquise Cristiana Duglioli Angelelli is set in the wall of the counterfaçade. Vous pouvez y accéder facilement par le métro (station Flaminio – ligne A) ou par un bus (lignes 61, 119, 160 notamment). Atlas Obscura and our trusted partners use technology such as cookies on our website to personalise ads, support social media features, and analyse our traffic. A medieval church with largest and oldest collection of Renaissance frescoes in France. The unusually high plinth is adorned with a Pietà scene in high relief flanked by two panels showing the symbols of Christ's Passion. The long time gap is explained by the fact that the cardinal was buried in the Old St. Peter's Basilica together with his uncle and benefactor, Cardinal Antonio Pallavicini Gentili (Antoniotto). The sizable marble monument conveyed a sense of importance because Sforza wanted to enhance the reputation of his protégée in the eyes of those who used to see him as a mere puppet. Girometti died in 1851 at the age of 71. The most interesting feature of the funeral monument of Vincenzo Parenzi, a consistorial advocate of the Roman Curia and a patrician of Lucca, is that its curved form follows the shape of the half-column it is attached to. Piazza del Popolo. The relief portrait of the deceased is set in a medal, referring to his profession, and the base is decorated with the tools of his art, the compasses and the brush, encircled by a small ouroboros. The round central niche with the bust of the deceased is flanked by fluted pilasters. © 2020 Atlas Obscura. He was created cardinal priest in 1517 that allowed him to further strengthen the position of his family. Museo di Roma, 2014, Diego Angeli: Le chiese di Roma; guida storica e artistica delle basiliche, chiese e oratorii della città di Roma, 1902, p. 374, Gaetano Moroni: Dizionario di erudizione storico-ecclesiastica da San Pietro sino ai nostri giorni, Venice, 1860. The style of monument is archaic for the 19th century. The sarcophagus with the recumbent figure of the cardinal (gisant) is placed in the central rectangular niche. Posi used the heraldic symbols of the Chigi and the Odescalchi to celebrate the intertwining of the two princely families. Fondée au 15ème siècle, sous le pape Sixte IV, elle est un bel exemple de la Renaissance romaine. Attention, pensez à réserver votre billet à l’avance sur internet ! It is flanked by slim volutes and crowned with a strong architrave. Jon Oygarden Flaeten, Tarald Rasmussen), Göttingen, 2015, p. 70, Enrico Parlato: Memorie romane del cardinale cipriota Ludovico Podocataro e dei suoi eredi, in Cyprus and the Renaissance, 1450-1650, a cura di Evelien Chayes, Turnhout, Brepols, 2012, , pp. The monument was set up by his grieving husband, Carlo Balestra, and it was made by sculptor Luigi Simonetti who signed the executed work in 1834. 84-88, Gerald S. Davies: Renascence: The Sculptured Tombs of the Fifteenth Century in Rome, E.P. The central part with the inscription is flanked by composite pilasters and decorated with the symbol of death, a winged skull, carved from yellow stone. Often overlooked by tourists, the medieval Roman Church of Santa Maria del Popolo touts a remarkable original collection of works by Renaissance and Baroque masters. Marquess Virgilio Malvezzi served as representative of his hometown, Bologna in Rome for 7 years between 1683 and 1691 until his death at the age of 52. Vous y trouverez de nombreuses grandes enseignes : Zara, H&M, Mango qui côtoient des boutiques italiennes plus petites à prix raisonnables. The early Baroque funeral monument is composed of coloured marbles (white, black, yellow and brown). According to the inscription Balestra died in 1874 at the ripe old age of 94. The symbol of Death, the skull and crossbones rears under the plaque folding up the crest. The shape of the gleaming white marble sepulchre follows the curve of the half-column behind. The white marble cenotaph is the work of an unknown artist but attributed to Valsoldo (Giovanni Antonio Paracca). He lived nearby in Piazza di Spagna where his home became a favourite meeting place for young artists. The central part with the table of the inscription made of pietre dure is flanked by slim volutes. The late Renaissance aedicula was built of coloured marbles. The Neo-Classical monument for Carlo Balestra by the altar of the right transept was erected by himself during his lifetime. Celio was a Roman painter in the Baroque period who died in 1640 at the age of 69 years. Elle aurait été construite sur la tombe de l’empereur romain Néron et les rumeurs locales rapportent que son fantôme hanterait les lieux et perturberait le voisinage ! )[16] Remnants of paint and gilding are preserved on parts of the monument, especially on the halo of God and the coats-of-arms. proposta attributiva, in APPACuVI (Associazione Protezione Patrimonio Artistico e Culturale Valle Intelvi), Artisti dei laghi, II (2013), p. 295, Bentivoglio, Enzo; Valtieri, Simonetta: Santa Maria del Popolo a Roma. The tablet was placed on the wall by Colonel Hugon d'Augicourt, Chief of Staff of the French division in Rome, on 20 September 1855. The monument is a Renaissance wall tomb in the form of an aedicula. Catégorie:Basilique Santa Maria del Popolo Une page de Wikipédia, l'encyclopédie libre. The Pietà scene belongs to a third stylistic register and it is the work of an inexperienced sculptor under Michelangelesque influences. De nos jours, la place est entièrement piétonne et accueille de nombreux événements extérieurs tels que des concerts. Giovanni Battista Spada senior (1555-1623) was a prominent and respected jurist. Many of them are older than the present-day 17th century pavement, and due to the wear and tear of the centuries their surface lost its original features and their inscriptions became indecipherable. See. In the 19th century the monument was dismissed as tawdry. Pope Gregory IX had the church enlarged to thank our Blessed The tomb of Giovanni Battista Gisleni, an architect and stage designer who worked for the Polish royal court during 1630-1668, is another rather macabre funeral monument. [15] The bust of the cardinal is emerging sharply from the shallow oval niche that is flanked by voluted corbels. The flanking pillars are herms with veiled heads; their shafts are decorated with thick garlands of fruits. [21] The monument itself is a simple Renaissance wall tomb consisting of an epitaph, the carved coat-of-arms and the painted portrait of the deceased in an oval frame. The tablet is set in a white marble frame with a conch in the lower part and a gable at the top with a shell, two flaming torches and another winged skull. In the upper part of the tomb a white marble eagle and two angels are carrying the black and white marble portrait of deceased which is set in a richly decorated golden medaillon. The sepulchre is a typical Baroque tomb in the form of a tripartite aedicula. (A 17th-century drawing in the Royal Collection already shows the monument in its present form. Dutton, New York, 1916, p. 166, Katarzyna Mikocka-Rachubowa: Canova: Jego krąg i Polacy, około 1780-1850, Tom 1, p. 194, 2001, Tadeusz Chrzanowski, Marian Kornecki: Monumenta Poloniae in Italia, 1994, p. 30, Thom. The base is decorated with a garland of leaves and flowers and a head with three faces, a probably a rare representation of the Holy Trinity. The sepulchre was erected by the late protonotary's brother, Lorenzo Bernardini. The lower part is decorated with the Bernardini coat-of-arms, carved in white marble, and two skulls-and-crossbones in pietre dure. The Baroque monument is shaped like an aedicula and it was composed of coloured marbles. There is a small winged angel above the niche, and the base is decorated with another winged head and shrouds. A tablet on the counterfaçade serves as a memorial to another Frenchman, Philibert Hugonet, the Cardinal of Mâcon, who was a prominent member in the court of Burgundy and the Roman Curia in the 1470s. Cardinal Gian Girolamo Albani, protonotary apostolic was an influential politician, jurist, scholar and diplomat in the papal court during the last decades of the 16th century. The design and construction was attributed to Domenico Poggini by Grisebach but the authorship remains uncertain.[4]. 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. The high number of tombs and monuments makes the basilica a whole museum of sculpture as Jacob Burckhardt phrased it in his famous guide of Italian art in 1855. Giovanni Battista Pallavicino died prematurely at the age of 44. The church of St. Mary of the People has a long history. The epitaph mentions that he was a trusted confidant of Cardinal Marco Sittico Altemps, and he served with distinction under Popes Urban VII and Gregory XIV. His small monument is hidden in the corner of the counterfaçade near the wooden entrance booth. The noble lady died in 1682 at the age of 68. The Baroque aedicula was built of white and coloured marbles. The location of these tombs is unfavourable, and Giovanni Battista Spada's memorial was vandalized: the bust of the deceased is missing and the oval niche was filled with plaster. The epitaph claims that "her premature death was caused not by serious illness but by someone's neglect of his art". The simple stele is crowned with a scallop niche and framed by two inverted torches, there are branches of oil trees on the base carved in fine relief. A gnarled bronze oak tree (Chigi) grows from the mountain with a huge red marble robe hanging on its branches. The early history of the church remains relatively unknown, as very few of its documents from before 1500 survived. There is another inscription on the base with the symbol of two crossbones under the guard of a winged angel. Un peu d’histoire sur Santa Maria del Popolo. The monument shows the influence of Bernini's memorial to Maria Raggi in Santa Maria sopra Minerva. During the centuries several monuments were demolished and others were relocated to give place to newer ones. The relief on the back wall of the central niche depict the resurrection of Christ among sleeping soldiers at the tomb. Another group was responsible for the coats-of-arms and the panels with the symbols of the Passion and also the antique motifs. There are several tombstones set into the floor of the basilica. On this tomb the skeleton is not the personification of Death as in other Baroque tombs but a representation of the deceased (the transi image) on his way towards the resurrection and due to this "death became a symbol for life". The fine Neo-Classical stele on the same pillar is the memorial of Caterina Marini, a noblewoman who died in 1827 at the age of 33. Calme et détente garantis ! [10] He died in Rome in 1613 at the age of 60 years. Augustinus Vairani: Cremonensium monumenta Rome extantia, Generosus Salomonius, 1778, p. 196, http://romeartlover.tripod.com/Popolo.html, http://catalogo.fondazionezeri.unibo.it/scheda.jsp?decorator=layout_S2+&apply=true&tipo_scheda=OA&id=80795&titolo=Paracca+Giovanni+Antonio%0A%09%09%09%0A%09%09%09+(Valsoldo)%0A%09%09%09%0A%09%09+++++%2C+Busto+di+Giovanni+Battista+Pallavicini+%3B+Putti, https://www.royalcollection.org.uk/collection/911739, https://en.wikipedia.org/w/index.php?title=Monuments_in_the_Basilica_of_Santa_Maria_del_Popolo&oldid=935312330, Creative Commons Attribution-ShareAlike License, This page was last edited on 11 January 2020, at 21:59. C’est rues sont les plus chères de la ville avec de nombreuses boutiques de luxe ! The monument was probably commissioned by the cardinal between 1497, when he made a donation to the Augustinian church, and 1504, his death. Her delicate relief portrait in profile above the funerary inscription is surrounded by an ouroboros. The white marble aedicula was erected sometime after the death of Spada in 1563. His monument was designed by a fellow German sculptor, Julius Troschel. His tomb is similar to an earlier Spada tomb in the left-hand corner of the counterfaçade, the memorial of Stefano Spada. Another Renaissance monument on the same pillar is composed of a single table of inscription set in a coloured marble aedicula which is crowned by an arched pediment. The monument was erected by "his comrades whose hearts were filled with pain at his premature death", according to the French inscription. The Mellini or Saint Nicholas of Tolentino Chapel (Italian: Cappella Mellini, Cappella di San Niccolò da Tolentino) is the third chapel on the left-hand side of the nave in the Church of Santa Maria del Popolo in Rome.The chapel contains several funeral monuments of the members of the Mellini family among them the works of Alessandro Algardi and Pierre-Étienne Monnot The sarcophagus rests on lion's paws and it is decorated with floral ornaments, grotesques and a satyr mask on the front. The wall tomb of Cardinal Ludovico Podocataro is a monumental work of Roman Renaissance sculpture. Irregular Corinthian pillars hold the architrave (decorated with little cherubs) and the triangular pediment with the figure of God, the father. Auteur d’autres « Bonjour » pour: – visiter Porto – visiter Lisbonne, Copyright © 2020 Bonjourrome.fr. Later he lived in the court of Popes Adrian VI and Clement VII. The bases of the pillars are decorated with the cardinal's coats-of-arms and two panels with sphinxes, vases, masks and cornucopias. The Late Renaissance monument is one of the main works of Giovanni Antonio Paracca (also known as Il Valsoldo). En remontant la via del Corso vers le nord, proche de la Piazza del Popolo, vous passerez devant trois rues appelées le Trident. The memorial was designed and installed by the architect himself in 1670 two years before his death. C., p. 95, Vincenzo Giuliani: Memorie storiche politiche, ecclesiastiche della citta di Vieste, Naples, 1768, p. 136, Paola di Giammaria: Giovanni Antonio Paracca il Valsoldo: nuove notizie sulla biografia e una The expressivity of the bust bears witness to the artistic power of the sculptor. The funeral monument of Olimpia Mangoni is located on the pillar next to the entrance of the Cerasi Chapel. There are two enigmatic inscriptions on the upper and lower part of the monument: Neque hic vivus and Neque illic mortuus ("Neither living here, nor dead there"). The sepulchre was built in the form of an aedicula with irregular Corinthian pilasters holding the architrave and the semicircular pediment with the figure of God, the father. The top is decorated with the coat-of-arms of the Spada family (two crossed swords). The lateral pillars are decorated with four statues in shell-headed niches: Saint John the Evangelist, Saint Jerome, a saint bishop and Saint John the Baptist. The aisles are filled with funerary art, and there are many tombstones set in the floor of the church, though many are now illegible from centuries of being walked on. Lonati was buried solemnly in the basilica with the participation of the Roman Brotherhood of St. Ambrose of the Lombards. The exquisitely carved bust with the sad, dreaming expression is an excellent example of Renaissance portraiture. Stendhal called it an "outburst of the execrable taste of the 18th century" in his 1827 Promenades dans Rome.[6]. Location . Les champs obligatoires sont indiqués avec *. His funeral monument is on the pillar to the left of the Chapel of Saint Thomas of Villanova. There is a smaller 19th century monument for Maria Luisa Placchesi Ceccareli on the same pillar with the relief portraits of her and her husband. The Baroque aedicula is composed of coloured (white, black and brown) marbles. We depend on ad revenue to craft and curate stories about the world’s hidden wonders. The central part of the monument with the oval niche of the bust is flanked with Corinthian half-columns; the lower part of their shafts is richly decorated. The epitaph mentions his noble intention to leave most of his fortune to the artists in need. To learn more or withdraw consent, please visit our cookie policy. II. There is another funerary monument on the other side of the Cerasi Chapel, high on the pillar, dedicated to Margarita Arcangeli by her husband, Tommaso Martini and her daughter, Maria Anna. To the right of the entrance, on the counterfacade, is the wall tomb of Maria Eleonora I Boncompagni, the sovereign Princess of Piombino. In the lower part of the monument a white marble Odescalchi lion is climbing a mountain of the Chigi; to the right a smoking incense burner alludes to the Odescalchis again. The oil painting, which is work of Francesco Ragusa, is set in a voluted stucco frame. His funeral monument was designed by Domenico Guidi, probably the most prolific sculptor of seicento Rome. A simple marble stele near the Podocataro monument serves as a memorial for Giuseppe Seffer, a chemist and refugee of Turkish persecutions, according to the inscription. All rights reserved. The marble coat-of-arms of the Duglioli family rest on top of the lintel. This large, circular tomb is the final resting place of the first emperor of Rome. His head is uncovered, his ecclesiastical garment plain, and his features are stern and melancholic. His tomb was erected by his heirs in 1638. The finely carved Neo-Classical monument on the pillar between the Cybo and the Basso Della Rovere Chapel belongs to a Roman noblewoman, Adele Julien (1820-1860) whose bust is attributed to Pietro Tenerani,[9] the leading Roman artist of the purist movement. Pallavicino was a renowned jurist and the Bishop of Cavaillon who served as an apostolic secretary under the Medici pope, Leo X, and participated in the Fifth Council of the Lateran. The original icon of Santa Maria del Popolo (St. Mary of the People) is displayed in the "Piazza del Popolo" in Rome. Follow us on Twitter to get the latest on the world's hidden wonders. Sign up for our newsletter and enter to win the second edition of our book. [8] He died in 1856 at the age of 78 years and left his estate to a foundation which he had set up to help young German and Italian artists in the city. New Evidence for the Discovery of the Domus Aurea’, Journal of the Warburg and Courtauld Institutes, 2000, LXIII, pp. This towering church is home to a world-famous organ and a treasure trove of medieval art. The inscription claims that the cenotaph was built by his grateful nephews in 1596. It was erected by the youngster's grieving father, Baldassare Bonadies. 20, No. The left one shows a tree with its branches cut but sprouting new shoots and containing a caterpillar spinning its cocoon, while the right one shows the metamorphosis of the caterpillar into a moth. Perhaps this explains the absence of any allusion to the patron in the epigraph. Belle église de la Renaissance, elle renferme de beaux trésors! Around 1603 he served as a Vice-Legate in Perugia substituting the Cardinal. He served as an advisor to four successive popes until his death in 1591 at the age of 81 years. La star de cette place est un magnifique obélisque datant de l’époque de Ramsès II ! The tomb is crowned with an arched pediment, the coat-of-arms of the Cardinal and two flaming urns. The inscription tells that this Spanish nobleman of great probity, frugality and piety bequeathed 12'000 scudi to the Hospital of San Giacomo degli Incurabili. History of Santa Maria del Popolo . [13] Philipp Zitzlsperger calls this a particularly instructive example of the separation of the body and the tomb which increasingly came to be the norm in Rome from the second half of the 16th century because the location of the cardinal's corpse has not been established but the transferral of the remains was reason enough to the relatives to erect a cenotaph in the church itself.[14]. The “Sistine Chapel” of the Middle Ages merges 11th-century science and religion in wondrous hues. Bernardino Lonati was not a very important personality in the Borgia court in his own right. The marquise, who moved in the highest circles of the Roman society, established a famous art collection in her palace. The lower part of the monument is decorated with the cardinal's coats-of-arms between two flat volutes. A l’origine, il était placé au cirque Maximus et fut déplacé au centre de la place. The relief portrait of Mostowski is surrounded by an ouroboros, a symbol of infinity.
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