Monday, December 18, 2017

PANTHEON (third part)

Statue “S. Anastasio” 1717 by Francesco Moderati (about 1680/after 1724)
“Crucifix” of the fifteenth century
On the left painting “Pentecost” 1790 by the Roman Pietro Labruzzi (1738/1805) who was court painter to the king of Poland Stanislaw August
On the right “Monument to Cardinal Ercole Consalvi” 1824 Secretary of State of Pius VII Chiaramonti (1800/23) who had signed for the pope in the agreement with Napoleon in 1,801 and relief “Returning to Pius VII of the provinces of the Papal States” works by the Danish Bertel Thorvaldsen (1770/1844)
Statue “Virgin Mary of the Rock” 1523/24 by Lorenzo Lotti aka Lorenzetto (1490/1541) for Raffaello Sanzio (Raphael) (1483/1520) who had asked Lorenzetto to sculpt the statue to be located above his own tomb
On the right “Plaque in memory of Maria Bibbiena”, nephew of the powerful Cardinal Bernard Bibbiena and “girlfriend” of Raphael. In fact, the artist's letters show that, despite the pressure of the cardinal, he was absolutely determined not to get married
Below is the inscription of the “Tomb of the immense Annibale Carracci (1560/1609)” who wished to be buried here in 1609 alongside Raphael, his great inspiration
On the left “Bust of Raphael” 1833 by Giuseppe De Fabris (1790/1860)
“To Raphael we return for the beautiful forms he lent to antiquity as we had dreamed them, and as long as the world of the Greeks and the Romans will be for us (...) not just a cultural thing, but an aspiration and a desire, until then, when we will read the Greek and Latin poets, we will picture their images as Raphaelite images, or derived from these, and we will see that world as Raphael saw it: a world in which the birds at dawn never cease their singing” (Bernard Berenson)
On the tomb of Raphael is engraved in Latin a couplet by Pietro Bembo, which translated into Italian reads: Here lies Raphael the one by whom, the great mother of all things, Nature, feared to be won and, once he died, she feared to die herself
“Tomb of Umberto I” (king of Italy 1878/1900) 1900 by Giuseppe Sacconi (1854/1905), the same architect of the Victor Emmanuel Monument, with a slab of alabaster and reliefs at the sides with female allegorical figures “Goodness” by Eugenio Maccagnani (1852/1930) and “Bounty” by Arnaldo Zocchi (1851/1922)
“Tomb of Margherita of Savoy” 1926 wife and cousin of Umberto I
On the occasion of a visit of Queen Margherita of Savoy in Naples, the Neapolitan pizza makers invented PIZZA MARGHERITA with the colors of the Italian flag: mozzarella for white, tomato for red and basil for green
In front of the tombs “Altar of porphyry” with the royal insignia by Guido Cirilli (1871/1954) who executed Sacconi's project of the tombs
Statue “St. Agnes” by Vincenzo Felici (active 1667/1702)
On the left “Funerary monument of Baldassare Peruzzi (1481/1536)” 1921 made from a cast of Giovanni Dupré (1817/1882)
Marble group “St. Joseph and the Child Jesus” 1550/60 by Vincenzo De Rossi (1525/87)
On the sides:
Oil paintings on the wall “Nativity” and “Adoration of the Magi” about 1660 by Francesco Cozza (1605/82)
On the side walls:
Stuccos “Rest from the Flight into Egypt” 1728 by Carlo Monaldi (about 1690/1760) and “Joseph's Dream” 1728 by Paolo Benaglia (?/1739)
“Sibyl of Cuma” 1674 by Ludovico Gimignani (1643/97)
“Moses” 1674 by Francesco Rosa (active since 1674/d. 1687)
“Eternal Father” 1674 by G.B. Peruzzini (1629/94)
“David” 1674 by Luigi Garzi (1638/1721)
“Sibyl from Eritrea” 1674 by Giovanni Andrea Carlone aka Genovese (1639/97)
Funerary epigraphs:
Tombstones of “virtuosi” Flaminio Vacca (1538/1605) 1605, Taddeo Zuccari (1529/66), Pietro Bonaccorsi aka Perin del Vaga (1501/47) buried here
Here are also buried the composer Arcangelo Corelli, and the architect Jacopo Barozzi aka Vignola (1507/73)
“The Congregation of the Virtuosi of the Pantheon was established in 1543 by Pope Paul III (1534/49). It was an association of painters, sculptors and architects who were celebrating the feast of St. Joseph with an exhibition of works of art in the portico of the Pantheon, to which, in the seventeenth century, participated also Velásquez and Salvator Rosa. These exhibitions are historically significant because they constitute one of the first signs of a free market for works of art in Rome. Offices of the Congregation, with the historical archive and an interesting collection of works, is located in the Pantheon in some rooms within the porch” (Giovanni Belardi, Federico De Martino)
Oil on canvas painting “Assumption of the Virgin Mary” 1638 by Andrea Camassei (1602/49)

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