Thursday, January 4, 2018


Built in the years 133/134 as Pons Aelius for Hadrian (117/138) maybe by Demetrianus
Built in peperino tuff and covered with travertine marble
Originally it had three arches and it was connected with ramps to the banks
The ramps were in turn supported by three smaller arches on the left side and two on the right bank, toward the mausoleum of Hadrian, which were partially destroyed and partially buried in 1893 during the construction of the embankments and replaced by two modern arches
It is 130 m (426 feet) long and 9 m (30 feet) wide
In 1534 Clement VII Medici (1523/34) wanted to add the statues of “St. Peter” by Lorenzo Lotti aka Lorenzetto (1490/1541) on the left and “St. Paul” 1463/64 by Paolo Taccone aka Paolo Romano (about 1415/77) on the right, moved here from the loggia of the blessings of the ancient Basilica of St. Peter
The area in front of the bridge in Piazza Sant'Angelo was one of those destined for public executions by beheading
Paul III Farnese (1534/49) wanted to outline the SMALL TRIDENT consisting of the current Via Paola, Via del Banco di Santo Spirito and Via di Panico
In the years 1668/71 Clement IX Rospigliosi (1667/69) ordered the construction of a new parapet, designed by Gian Lorenzo Bernini (1598/1680), who wanted the iron gratings to allow the view of the water, element of inspiration for many works of Bernini
Above the parapet were placed ten statues of angels with the instruments of the Passion of Christ, sculpted by Bernini's followers under his direction
From the South End:
“Column” by Ercole Antonio Raggi (1624/86)
“Flagella” by Lazzaro Morelli (1608/90)
“Crown of Thorns”: the original sculpture by Gian Lorenzo Bernini and his son Paolo was never put in place and was moved in 1729 in the church of S. Andrea delle Fratte
The sculpture on the bridge is a copy by Pietro Paolo Naldini (1619/91)
The two angels sculpted by Bernini (this and the one with the Titulus Crucis) were donated to S. Andrea delle Fratte by Prospero Bernini, grandson of the master, who bought them from the heirs of Pope Clement IX who had replaced them with copies on Ponte Sant'Angelo, not to save them from the elements, as it is commonly said, but to have them shipped to Pistoia, his hometown
“Shroud or Holy Face” by Cosimo Fancelli (1620/88). The base of the inscription was hit by a cannon ball during the fall of Rome in 1870
“This angel shows in his quite voluptuous forms and in the type of head how much Fancelli owed to Cortona, while at the same time, he was quoting the current Bernini style. Unequal in his works he often tried to combine the styles of Cortona and Bernini with an emphatic simplicity of form which he shared with Ferrata, his collaborator on more than one occasion. Therefore it is often difficult to make a distinction between their works” (Rudolf Wittkower)
“Robe and Dice” by Pietro Paolo Naldini
“Nails” by Girolamo Lucenti (?/1698)
“Cross” by Ercole Ferrata (1610/86)
“Well inserted within the commissions of the Roman art scene, Ferrata worked a lot for Bernini, but also for Pietro Berrettini or for Rainaldi. Perhaps conscious of his difficulty with 'inventions', he often preferred, especially in the beginning, to execute works from designs of others and also he frequently used graphic ideas of his pupils” (Gerardo Casale - Dizionario Biografico degli Italiani Treccani)
“Titulus Crucis with INRI inscription” the original sculpture by Gian Lorenzo Bernini and his son Paolo was never put in place and was moved in 1729 in the church of S. Andrea delle Fratte
The angel on the bridge is a copy of Bernini himself, done with the help of Giulio Cartari (active 1665/78)
“The drapery of Bernini angels expresses an abstract comment on the emotional state of mourning of the angels themselves. During these years increasingly Bernini relied upon the drapery as agents of his feelings. Instead of being a simple cover made of cotton or linen, drapery becomes a chiaroscuro repetition related to a highly loaded inner feeling, the expression of which apparently exceeds the expressive potential power of faces and bodies” (Howard Hibbard)
“Sponge” by Antonio Giorgetti (active since 1660/d. 1669)
“Spear” by Domenico Guidi (1625/1701)
“Going back for a moment from these statues to the ones placed forty years before under the dome of St. Peter's, we realize that, unlike the previous works highly personal and subjective, here we are dealing with products of followers among whom Bernini looks like a solitary giant. His intense baroque not only had a leveling influence on most of these masters of the younger generation, but also reduced their ability of self-expression, and perhaps even their desire to reach it” (Rudolf Wittkower)

No comments:

Post a Comment