Kathleen Cohen: Metamorphosis of a Death Symbol: Della Rovere Chapel (Santa Maria del Popolo), Basso Della Rovere Chapel (Santa Maria del Popolo), Montemirabile Chapel (Santa Maria del Popolo), Cybo-Soderini Chapel (Santa Maria del Popolo), Feoli and Cicada Chapels (Santa Maria del Popolo), Monuments in the Basilica of Santa Maria del Popolo, Francisco Javier de Cienfuegos y Jovellanos, http://www.vicariatusurbis.org/?page_id=188&ID=8, http://romeartlover.tripod.com/Popolo.html, SM del Popolo: A Multimedia Presentation of the church and its setting, Santa Maria del Popolo Video Introduction, Roman Catholic ecclesiastical province of Rome, Boncompagni Ludovisi Decorative Art Museum, Museo Storico Nazionale dell'Arte Sanitaria, https://en.wikipedia.org/w/index.php?title=Santa_Maria_del_Popolo&oldid=976928342, 11th-century Roman Catholic church buildings, Articles containing Italian-language text, Infobox mapframe without OSM relation ID on Wikidata, Wikipedia articles with MusicBrainz place identifiers, Creative Commons Attribution-ShareAlike License, Parish Basilica of Santa Maria del Popolo, This page was last edited on 5 September 2020, at 22:40. The funeral monument is a typical Late Baroque artwork with distinctly macabre details. This zone is emphasized by a strongly projecting stone cornice with acanthus modillions and varied rosettes. 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. These figures appear in several drawings of a sketchbook from his workshop but by 1655 Bernini changed his mind and placed statues of female saints on the cornices. The plaque of the epitaph is made of polished, colored stones in pietre dure. Basilica Santa Maria del Popolo, łac. Nel 2008 ha abbandonato la Capitale in favore della Sabina, e non se ne è pentito affatto. 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. The Cerasi Chapel holds two famous canvases painted by Caravaggio – Crucifixion of St. Peter and Conversion on the Way to Damascus (1600–01). and trans. Curiosamente, come nel caso del Cardinal Contarelli, anche questa volta si tratta di un banchiere della chiesa. (1655–1659), in: Römisches Jahrbuch der Bibliotheca Hertziana 1996, pp. 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. These are probably the most important works of art in the basilica. Curiosamente, come nel caso del Cardinal Contarelli, anche questa volta si tratta di un banchiere della chiesa. There is almost nothing on the painting indicating the flight to Egypt except a single palm tree in the background. Art historian Mark Weil suggested that the serene and well-composed ornament on the right was designed by Bernini, whereas the playful instability of the other is typical of Raggi's personal style.[39]. 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. Do il mio consenso affinché un cookie salvi i miei dati (nome, email, sito web) per il prossimo commento. Rione Rzymu – Campo Marzio przy Piazza del Popolo[1]. 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. Ottavio Panciroli: Tesori nascosti dell'alma citta' di Roma, Rome, Heredi di Alessandro Zannetti, 1625, p. 449. 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. Besides the tombs in the side chapels the most notable monuments are: The first monument as you enter the basilica is the wall tomb of Maria Eleonora I Boncompagni, the sovereign Princess of Piombino right by the door on the counterfaçade. The chapel is a hidden gem of Roman Mannerism and a major work painter and stuccoist Giulio Mazzoni. A richiedere le opere è infatti Tiberio Cerasi (1544-1601), tesoriere generale della Camera Apostolica. The semi-columns have Corintianesque capitals with a palmette ornament between the scrolls. The papal coat of arms of Alexander VII is seen in the middle flanked by two angel-like Victories holding palm branches who repose on rich garlands of flowers. This thin and light structure was built to create a suitable surface for the painted decoration at an unknown date. 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. [37] The tomb was eventually relocated to the sacristy corridor while the painting was sold by the Augustinians in 1787. Ritrovamenti e restauri, Bollettino d'Arte, 1912 - X, p. 383, Jennifer Montagu: Bernini Sculptures Not by Bernini, in: Irving Lavin (ed. Parte da qui una vicenda che ha un finale ben noto ma diverse versioni degli eventi accaduti. ): Tomba di Nerone. The most valuable works of art in the chapel are the aediculae of the baptismal font and the font of the holy oil. 87–88, Antonio Muñoz: Nelle chiese di Roma. 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. The first sketches for the four marble angels supporting the altars were drawn by the young Giovanni Battista Gaulli, and the sheets are still preserved in the collection of the Berlin State Museums. 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 statues of Jonah and Elijah were carved by Lorenzetto. The princess died in 1745 after visiting a hospital. The composition follows along the lines of the more famous painting of the same subject by Federico Barocci in the Chiesa Nuova (1583–86). 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). The funeral monument of Princess Maria Flaminia Odescalchi Chigi is sometimes dubbed the "last Baroque tomb in Rome". The chapel in the left transept was called Cappella della Santissima Pietà detta Salerna before the Berninian restructuring. The tomb of Cardinal Antoniotto Pallavicini on the left wall was made by the same workshop in 1501. 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. Southern Europe and Beyond, Routledge, 2016, p. 134, Katherine Walsh: The Obsevance: Sources for a History of the Observant Reform Movement in the Order of Augustinian Friars in the Fourteenth and Fifteenth Centuries, in: Rivista di storia della chiesa in Italia XXXI, 1977, Herder, Rome, pp. Giovanni Baglione in his description of the church states that it belonged to the same composition as the funeral monument of the bishop by Guglielmo della Porta. The architectural composition of the monument follows the models set by Andrea Bregno. The symbol of his family, a displayed eagle is set on an Italian escutcheon decorated with a cherub head and a cross. Pagina ufficiale della Basilica Santuario "Santa Maria del Fonte" presso Caravaggio, patrona della Diocesi di Cremona. Il collo e la manica della camicia del personaggio a cui appartengono (le mani) sono anch’esse grandi pennellate. Ma non perdete i piedi di San Pietro e le mani (perfette) che stringono la croce subito sotto di essi. Poi c’è il particolare di strada dei piedi neri del personaggio appena citato. It is set between a wooden booth and a stone half-column on the right side of the counterfaçade. Nikolaus Muffel: Beschreibung der Stadt Rom, herausg. 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]. Sanctae Mariae de Populo) – tytularna, rzymskokatolicka, bazylika mniejsza znajdująca się na północnym skraju Piazza del Popolo w Rzymie. The upper part of the monument is a stone plaque with a long inscription and the portrait of the deceased in a tondo which was painted by a Flemish portraitist, Jacob Ferdinand Voet. 7, p. 437, Anne Dunlop: Pinturicchio and the Pilgrims: Devotion and the Past at Santa Maria Del Popolo, Papers of the British School at Rome, 2003, p. 267, citing Oliger: 'De fratribus minoribus apud S. Mariae Populi Romae a.
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