4th
AEDICULA ON THE LEFT
Statue “S. Anastasio” 1717 by Francesco
Moderati (about 1680/after 1724)
3rd
CHAPEL ON THE LEFT
“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
2nd
AEDICULA ON THE LEFT
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)
Above:
“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)
1st
AEDUCULA ON THE LEFT
Oil on
canvas painting “Assumption of the
Virgin Mary” 1638 by Andrea Camassei
(1602/49)
No comments:
Post a Comment