tag:blogger.com,1999:blog-42795356451365562492024-02-19T06:28:09.985+01:00David Macchi's BlogMy point of view on the worldDavid Macchihttp://www.blogger.com/profile/03680152527192773532noreply@blogger.comBlogger17125tag:blogger.com,1999:blog-4279535645136556249.post-32347983062275937952013-09-17T22:52:00.001+02:002013-10-11T19:15:11.789+02:00NEW ROMAPEDIA BLOGMy new ROMAPEDIA blog with the most complete encyclopedia about the art and history of Rome and its surroundings is being published. New entries are being added everyday. Here is the link: <a href="http://www.romapedia.blogspot.it/">romapedia.blogspot.it</a>David Macchihttp://www.blogger.com/profile/03680152527192773532noreply@blogger.com1tag:blogger.com,1999:blog-4279535645136556249.post-43788824574062159982013-01-12T12:28:00.001+01:002014-01-24T19:37:29.202+01:00The Pantheon in Rome<br />
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<b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0px;">It is an encyclopedic dictionary with 1,329 entries, including 483 churches, 278 palaces, and 152 museums.</span></span></b></b></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"></span></b></b></span></b></b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="letter-spacing: 0px;">It also includes a profusion of artistically or historically relevant buildings, monuments, archaeological sites as well as 95 towns in the province of Rome, constituting one of the richest sources of information available in a single book about the art and history of the Eternal City.</span></span></b></b></span></b></b></span></b></b></span><br />
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<span style="font-size: large;"><br /></span><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="line-height: 20px;">My new ROMAPEDIA blog with the most complete encyclopedia about the art and history of Rome and its surroundings is being published. New entries are being added everyday. Here is the link: </span><a href="http://www.romapedia.blogspot.it/" style="color: #336699; line-height: 20px;">romapedia.blogspot.it</a></span></h3>
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<span style="letter-spacing: 0px;"><a href="http://www.davidmacchi.com/tourguide/Pantheon.html"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><b>PANTHEON</b><span style="letter-spacing: 0px;"><b></b></span></span></a></span><br />
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="https://maps.google.it/maps?q=41.899243,12.476757"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Piazza della Rotonda</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The original Pantheon, rectangular, smaller and corresponding to the site of the porch was built in the years 27/25 BC at the behest of Marcus VipsaniUS Agrippa, Augustus' son-in-law</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">It was restored after the fire of the year 80 AD by Domitian (81/96) and again by Trajan (98/117)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">According to ancient Roman tradition it was the <i>Palus Caprae</i>, the place where the apotheosis of Romulus happened, that is, his ascent to heaven carried by an eagle</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The name comes from the Greek and it means <i>all the gods</i>, indicating the kind of worship that used to be carried out here</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">It was completely rebuilt in the years 118/125 by Hadrian (117/138), who perhaps was directly involved in the architectural design and revisited the original inscription confusing the dating for archeologists until the excavations in 1892: the French architect Georges Chedanne found out that all the bricks, including the ones in the basement, have marks pinpointing the dating between 120 and 125 AD</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The works were completed in the period of Antoninus Pius (138/161)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">In 202 Septimius Severus (193/211) and his son Caracalla carried out restorations mentioned in the small relief of the pediment under the main one</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Many scholars since the fifteenth century consider the Pantheon as the <i>starting point and the most important work of all western architecture</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">"Notwithstanding the interpretation of the building as a sort of covered Forum where Adriano was holding court, the sacredness of the Pantheon seems unquestionable if the great oculus at the top of the vault has the function, typical of a templum, to maintain the relationship between heaven and earth. The interpretation of the building as a kind of microcosm on earth, in whose conception the Chaldean astrologer Dionysius of Miletus would have had part alongside Hadrian, has as its corollary the repeated and even authoritative modern attempts to interpret individual elements of the structure in an astral way: 7 exedras = 7 planets, 28 pilasters = 28 days of the lunar phases; 5 rows in the coffered vault = 5 planets except the sun and moon and so on" (Francesca de Caprariis and Fausto Zevi)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">'The Pantheon is primarily a dynastic shrine with a cosmic vocation. Dio Cassius says that Adrian loved to administrate justice in it, so that it also had the palatial function of a Royal Hall. It is the largest covered space without intermediate supports that have been implemented before the invention of reinforced concrete" (Andrea Carandini)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Among the statues of gods there was the famous "Diana of Nemi" with a crown adorned with twenty-topaz, eighty other precious stones, a tiara, nine earrings, eight necklaces, and bracelets with beryl and other gems of which there is a written catalog</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The statues in here would have been of course painted with bright colors, just like all the statues in antiquity originally were</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">In 608 it was given by the Emperor Phocas to Pope Boniface IV (608/615) and in 609 it was dedicated to the Virgin Mary and all the martyrs as <i>S. Maria ad Martyres </i>(St. Mary near the Martyrs)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">It is said that on this occasion Pope Boniface IV brought from the catacombs twenty-eight wagons full of bones of martyrs that were buried in the altar area</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The emperor of the Byzantium, Constantius II (641/668), in 663 stripped it of the gilded bronze covering of the roof which was redone in lead at the behest of Gregory III (731/741) in 735</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">It ended up becoming a palace with additional buildings around it and it was even used as a papal residence by Anastasius IV (1153/54)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">In 1625 Pope Urban VIII Barberini (1623/44) took the bronze coating the <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1930/DSCF1930.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">beams of the porch</span></a> (about 200 long tons - about 220 short tons) to make 80 cannons for Castel Sant'Angelo and the columns of the canopy of S. Peter's Basilica</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">He also had the column on the left corner replaced and had Gian Lorenzo Bernini (1598/1680) build in 1626/27 two bell-towers known as "donkey ears" who were destroyed in 1882</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The removal of the bronze by Urban VIII resulted in the famous lampoon written on the "talking statue" Pasquino: "In Rome, what the barbarians didn't do, the Barberini did"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Alexander VII Chigi (1655/67) replaced other two columns on the left side and had the level of the square lowered. It is the lowest point of Rome, 13.40 m (44 feet) above sea level</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Clement IX Rospigliosi (1667/69) in 1668 surrounded the porch with a fence to keep out the market that took place on the square</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Pius VII Chiaramonti (1800/23) began restorations and Pius IX Mastai-Ferretti (1846/78) continued the job renewing part of the interior floor</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">In 1870 it became the sanctuary of the kings of Italy</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">In the years 1881/83 it was restored by removing the fence, isolating the sides, digging around it and demolishing the two bell-towers</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">In 1906 the square was paved with wood from Argentina trees donated by the Italian emigrants "to surround with religious silence the venerated tombs of the first kings of Italy" Naturally, the wooden floor did not last long</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The Pantheon was for centuries the scene of actual staged events in the days of religious celebration of the Assumption of Mary and the Ascension of Christ: statues of Mary and Christ were raised to the sky through the large hole in the dome, creating an evocative dramatic effect</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">During the celebration of Pentecost, an impressive ceremony is still celebrated nowadays during which rose petals are thrown inside through the hole of the dome with the symbolic meaning of the descent of the Holy Spirit upon the faithful</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">At the beginning of the seventeenth century a the couple of butchers used to sell very successfully sausages of incredible and peculiar quality in Piazza della Rotonda</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Investigators of Urban VIII discovered that the incredible and peculiar quality was due to the fact that the sausages were made of human flesh: the couple used to draw the victims in the basement of their shop and there they would kill them and turn into sausages. They were sentenced to death and executed in 1638</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/George%20a%20Roma%20DSC_8351/George%20a%20Roma%20DSC_8351.jpg?disposition=download"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">PORCH</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">33 x 16 m (108 x 52 feet) with "Sixteen monolithic columns in Egyptian granite gray and pink" 13 m (43 feet) high</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The Egyptian origin of these huge columns would immediately be recognized in antiquity by the inhabitants of the Roman empire, unlike now, accustomed as we are to so many different types of materials</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Marble of this type does not exist in Italy or in Europe and the mere fact of having been able to bring the columns to Rome on barges all the way from Egyptian quarries that are even distant from the Nile, was a statement and a display of enormous power on the part of the Roman government</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The columns are surmounted by a <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1873/DSCF1873.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">pediment</span></a> on which there was a bronze relief representing an enormous crowned eagle, the eagle of the <i>apotheosis</i> of Romulus, the true symbol of Rome</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The big inscription reads: <i>Marcus Agrippa, son of Lucius did this during his third consulship</i></span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The small inscription reads: <i>Emperor Caesar Septimius Severus and Emperor Caesar Marcus Aurelius Antoninus restored with great care the Pantheon ruined by ancientness</i></span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The porch (<i>pronaos</i>) was preceded by a staircase which has recently been found and buried again. The illusion of being in front of a classic Greek style temple was also due to the fact that the dome could not be seen from the <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/Pantheon/Pantheon.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">large square surrounded by a portico</span></a> in front of the Pantheon</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Therefore Hadrian had obviously wanted to surprise those who would enter the building and find themselves surrounded by a spherical and modern interior</span></span></div>
<div style="color: #021eaa; margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1877/DSCF1877.jpg?disposition=download"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">DOORS</span></a></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The doors were restored at the time of Pius IV Medici (1559/65) but the structure is most likely the original, perhaps that of Augustus, kept as a sort of relic in the reconstruction of Hadrian</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">They are huge: 7.53 x 4.45 m (24.7 x 14.6 feet)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">On the sides of the doors there are two niches where there were maybe statues of Augustus and Agrippa</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">BRICK WALLS</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">They have the incredible thickness of 6.2 m (20.4 feet) and are marked by niches and arches to lighten the structure</span></span></div>
<div style="color: #021eaa; margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1881/DSCF1881.jpg?disposition=download"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">DOME</span></a></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Internal diameter of 43.30 m (142.06 feet) of height from the floor to the top</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The perfect proportions give the impression of walking into a huge ball</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">It was raised using a single extraordinary wooden hemisphere centering filled with a jet of conglomerate containing volcanic pumice to lighten it up</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The Romans invented concrete the use of which disappeared after the fall of the Roman Empire. It was rediscovered only a thousand years later and it began to be used extensively, as the Romans did, only from the end of the eighteenth century onward</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">This dome is one of the most extraordinary examples in the world of the capacity of human ingenuity</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The hole (oculus) has a diameter of about 9 m (29.52 feet) and is trimmed with bronze</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">It is still the dome with the largest diameter in Italy:</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The dome of the Basilica of St. Peter, albeit higher, has a diameter of 42.52 m (139.50 feet), the dome of Florence Cathedral has a real diameter of 41.47 m (136.05 feet), although the major diagonal of the octagon is 44.97 m (147.53)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Outside Italy, the Capitol Dome in Washington has a diameter of 29.26 m (96 feet) and the Cathedral of St. Paul's in London has a diameter of 31 m (102.10 feet)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">A greater dome without internal supports was only built in 1881 in England as part of the Devonshire Royal Hospital building: 44.20 m (145.01 feet)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Now the largest dome in the world is that of the Cowboys Stadium finished in 2009 and located in Arlington, Texas with a diameter of 275 m (902 feet)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The Pantheon is oriented with the façade to the north and it is said that every April 21, the birthday of Rome, at noon the light rays passing through the hole in the dome used to struck precisely on the big doors</span></span></div>
<div style="margin-bottom: 6px; margin-left: 25.5px; text-align: justify; text-indent: 28.5px;">
<span style="letter-spacing: 0.0px;"><i><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">"It is significant that the Pantheon is located exactly opposite the Mausoleum of Augustus, 500 steps (740 meters - 2,428 feet) away and maybe it used to be visually connected to the Mausoleum itself with a path that would open the view of the two obelisks at the sides. Now this correspondence, if it really existed, must have dated back to the Augustan system, because in the second century other buildings arose obstructing the view. So the world of cosmic references involved the whole system consisting of Pantheon, Mausoleum, Sundial and Ara Pacis: if we accept the identity of the site of the Pantheon and the Palus Caprae, the place of the apotheosis of Romulus, there is a clear correspondence between the apotheosis of the founder of Rome and that of Augustus" (Francesca de Caprariis and Fausto Zevi )</span></i></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">FOURTEEN monolithic fluted columns 8.9 m (29 feet) high in ancient yellow marble from Tunisia and pavonazzetto marble from Turkey</span></span></div>
<div style="color: #021eaa; margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1887/DSCF1887.jpg?disposition=download"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">attic above the entablature</span></a></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">Rebuilt in 1747 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Paolo Posi</span><span style="letter-spacing: 0.0px;"> (1708/76) for Benedict XIV Lambertini (1740/58)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">A restoration in 1930 has revived, over the last niche on the right, the original decoration with polychrome marble derived from Renaissance drawings</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1902/DSCF1902.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">floor</span></a> also made of polychrome marble, including porphyry from Egypt, is largely original</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">1st Aedicula on the RIGHT</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">Altarpiece "Madonna of the Girdle and St Nicholas of Bari" 1686 by an </span><span style="color: #ff2600; letter-spacing: 0.0px;">anonymous seventeenth-century artist</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">1st CHAPEL ON THE RIGHT</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;"><i>At the center:</i> <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1889/DSCF1889.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Annunciation"</span></a> maybe by Melozzo degli Ambrosi aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Melozzo da Forlì </span><span style="letter-spacing: 0.0px;">(1438/94)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><i><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">On the sides:</span></i></span></div>
<div style="color: #ff2600; margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="color: black; letter-spacing: 0.0px;">On the right <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1891/DSCF1891.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Incredulity of St. Thomas"</span></a> by </span><span style="letter-spacing: 0.0px;">Pietro Paolo Bonzi aka the Hunchback of Carracci</span><span style="color: black; letter-spacing: 0.0px;"> (about 1576/1636)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">On the left "Ss. Lorenzo and Agnes" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Clemente Maioli</span><span style="letter-spacing: 0.0px;"> (1634/73) from Ferrara, a painter influenced by Pietro da Cortona and close to the style of Giovanni Francesco Romanelli</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">On the sides there are also "Four marble busts of prelates" and "Two angels in marble" 1696 of </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini school</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">2nd AEDICULA ON THE RIGHT</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Fragmentary fresco <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1892/DSCF1892.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Coronation of the Virgin"</span></a> of the fourteenth century</span></span></div>
<div style="color: #021eaa; margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1893/DSCF1893.jpg?disposition=download"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">2nd CHAPEL ON THE RIGHT</span></a></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1894/DSCF1894.jpg?disposition=download">"Tomb of Victor Emmanuel II"</a></span><span style="letter-spacing: 0.0px;"> 1878 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Manfredo Manfredi</span><span style="letter-spacing: 0.0px;"> (1859/1627) sculpted by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Adolfo Laurenti</span><span style="letter-spacing: 0.0px;"> (1856/1944)</span></span></div>
<div style="margin-bottom: 6px; margin-left: 25.5px; text-align: justify; text-indent: 28.5px;">
<span style="letter-spacing: 0.0px;"><i><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">"The execution of the work(...) did not correspond precisely to the design of Manfredi, who had planned the placement of an altar of porphyry, never made, and a richer decoration of the frame of the large bronze plaque. The project, which effectively makes use of the most essential elements of the classical language, is well weighted according to the monumentality and the prestige of the architectural context" (Raffaella Catini - Dizionario Biografico degli Italiani Treccani)</span></i></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">The golden lamp hanging in front of the tomb is a symbolic reminder of Victor Emmanuel III who died in exile in Alexandria, Egypt in 1947</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">3rd AEDICULA ON THE RIGHT</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">Statue <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1895/DSCF1895.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"St. Anne and the Virgin Mary"</span></a> 1715/16 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Ottoni</span><span style="letter-spacing: 0.0px;"> (1648/1736)</span></span></div>
<div style="color: #021eaa; margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1896/DSCF1896.jpg?disposition=download"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">3rd CHAPEL ON THE RIGHT</span></a></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">Fresco <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1897/DSCF1897.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Madonna and Sts. Francis and John the Baptist"</span></a> XV sec. by an </span><span style="color: #ff2600; letter-spacing: 0.0px;">artist from Umbria or Lazio regions</span><span style="letter-spacing: 0.0px;">. It is known as <i>Our Lady of Mercy or of the Gate</i> because it was located until 1837 in a niche of the pronaos protected by a gate</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">On the right canvas "Consecration of the Pantheon" 1750</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">4th AEDICULA ON THE RIGHT</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">Statue <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1898/DSCF1898.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Rasio martyr"</span></a> in 1725 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernardino Cametti</span><span style="letter-spacing: 0.0px;"> (1669/1736)</span></span></div>
<div style="color: #021eaa; margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1899/DSCF1899.jpg?disposition=download"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">MAIN ALTAR</span></a></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">Rearranged at the beginning of the eighteenth century by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Alessandro Specchi</span><span style="letter-spacing: 0.0px;"> (1668/1729)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Copy of the Roman-Byzantine <a href="http://davidmacchi.blogspot.com/"><span style="color: #021eaa; letter-spacing: 0px;">"Madonna and Child"</span></a> of the seventh century coated in silver that had been placed on the altar during the consecration of the Pantheon to the Virgin Mary in the year 609. It replaced the original in the early twentieth century</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">During the refurbishment of Alessandro Specchi the relics of the saints Rasio and Anastasio were found and were put in a medieval bronze box. It is shown to the faithful during the most important celebrations</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Clement XI Albani (1700/21), who had wanted to carry out the work, commissioned then the statues of the two saints located in the aediculae to the right and to the left of the altar. He also commissioned the <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1926/DSCF1926.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">mosaic made</span></a> out of tiles of gold and lapis lazuli, which replaced a sixteenth century fresco by Giovanni Guerra</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Wooden Choir" 1840 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Poletti</span><span style="letter-spacing: 0.0px;"> (1792/1869)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">4th AEDICULA ON THE LEFT</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">Statue <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1903/DSCF1903.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Anastasio"</span></a> 1717 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Moderati</span><span style="letter-spacing: 0.0px;"> (about 1680/after 1724)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">3rd CHAPEL ON THE LEFT</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1904/DSCF1904.jpg?disposition=download">"Crucifix"</a></span><span style="letter-spacing: 0.0px;"> of the fifteenth century</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">On the left painting "Pentecost" 1790 by the Roman </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Labruzzi</span><span style="letter-spacing: 0.0px;"> (1738/1805) who was court painter to the king of Poland Stanislaw August</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">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 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bertel Thorvaldsen</span><span style="letter-spacing: 0.0px;"> (1770/1844)</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1905/DSCF1905.jpg?disposition=download"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">3rd AEDICULA ON THE LEFT</span></a></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">Statue <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1910/DSCF1910.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Virgin Mary of the Rock"</span></a> 1523/24 by Lorenzo Lotti aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzetto</span><span style="letter-spacing: 0.0px;"> (1490/1541) for Raffaello Sanzio (Raphael) (1483/1520) who had asked Lorenzetto to sculpt the statue to be located above his own <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1909/DSCF1909.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">tomb</span></a></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">On the right <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1907/DSCF1907.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Plaque in memory of Maria Bibbiena"</span></a>, 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</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Below is the inscription of the <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1906/DSCF1906.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomb of the immense Annibale Carracci (1560/1609)"</span></a> who wished to be buried here in 1609 alongside Raphael, his great inspiration</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">On the left <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1911/DSCF1911.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Bust of Raphael"</span></a> 1833 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe De Fabris</span><span style="letter-spacing: 0.0px;"> (1790/1860)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">"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)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">On the tomb of Raphael is engraved in Latin a couplet by Pietro Bembo, which translated into Italian reads: <i>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</i></span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1912/DSCF1912.jpg?disposition=download"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">2nd CHAPEL ON THE LEFT</span></a></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Tomb of Umberto I" (king of Italy 1878/1900) 1900 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Sacconi</span><span style="letter-spacing: 0.0px;"> (1854/1905), the same architect of the Victor Emmanuel Monument, with a slab of alabaster and reliefs at the sides with <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1915/DSCF1915.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">female allegorical figures</span></a> "Goodness" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Eugenio Maccagnani</span><span style="letter-spacing: 0.0px;"> (1852/1930) and "Bounty" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Arnaldo Zocchi</span><span style="letter-spacing: 0.0px;"> (1851/1922)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">"Tomb of Margherita of Savoy" 1926 wife and cousin of Umberto I</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">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</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">In front of the tombs <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1913/DSCF1913.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Altar of porphyry"</span></a> with the royal insignia by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Guido Cirilli</span><span style="letter-spacing: 0.0px;"> (1871/1954) who executed Sacconi's project of the tombs</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">2nd AEDICULA ON THE LEFT</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">Statue <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1927/DSCF1927.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"St. Agnes"</span></a> by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Vincenzo Felici</span><span style="letter-spacing: 0.0px;"> (active 1667/1702)</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="color: black; letter-spacing: 0.0px;">On the left <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1928/DSCF1928.jpg?disposition=download"><span style="letter-spacing: 0px;">"Funerary monument of Baldassare Peruzzi (1481/1536)"</span></a> 1921 made from a cast of </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Dupré</span><span style="color: black; letter-spacing: 0.0px;"> (1817/1882)</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1916/DSCF1916.jpg?disposition=download"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">1st CHAPEL ON THE LEFT - Chapel of the Virtuosi of the Pantheon or CHAPEL OF S. JOSEPH OF THE HOLY LAND</span></a></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">Marble group <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1917/DSCF1917.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"St. Joseph and the Child Jesus"</span></a> 1550/60 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Vincenzo De Rossi</span><span style="letter-spacing: 0.0px;"> (1525/87)</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;"><i>On the sides</i> oil paintings on the wall <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1919/DSCF1919.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Nativity"</span></a> and <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1917/DSCF1917.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Adoration of the Magi"</span></a> about 1660 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Cozza</span><span style="letter-spacing: 0.0px;"> (1605/82)</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;"><i>On the side walls</i> stuccos "Rest from the Flight into Egypt" 1728 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Monaldi</span><span style="letter-spacing: 0.0px;"> (about 1690/1760) and <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1923/DSCF1923.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Joseph's Dream" </span></a>1728 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Paolo Benaglia</span><span style="letter-spacing: 0.0px;"> (?/1739)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Above:</span></i></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Sibyl of Cuma" 1674 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ludovico Gimignani</span><span style="letter-spacing: 0.0px;"> (1643/97)</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1920/DSCF1920.jpg?disposition=download">"Moses"</a></span><span style="letter-spacing: 0.0px;"> 1674 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Rosa</span><span style="letter-spacing: 0.0px;"> (active since 1674/d. 1687)</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1920/DSCF1920.jpg?disposition=download">"Eternal Father"</a></span><span style="letter-spacing: 0.0px;"> 1674 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Peruzzini</span><span style="letter-spacing: 0.0px;"> (1629/94)</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1921/DSCF1921.jpg?disposition=download">"David"</a></span><span style="letter-spacing: 0.0px;"> 1674 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Garzi</span><span style="letter-spacing: 0.0px;"> (1638/1721)</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Sibyl from Eritrea" 1674 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Andrea Carlone aka Genovese</span><span style="letter-spacing: 0.0px;"> (1639/97)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Funerary epigraphs:</span></i></span></div>
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<span style="color: black; letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Tombstones of "virtuosi" Flaminio Vacca (1538/1605) 1605, <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1918/DSCF1918.jpg?disposition=download"><span style="letter-spacing: 0px;">Taddeo Zuccari (1529/66), Pietro Bonaccorsi aka Perin del Vaga (1501/47)</span></a> buried here</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Here are also buried the composer Arcangelo Corelli, and the architect Jacopo Barozzi aka Vignola (1507/73)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">"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)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">1st AEDUCULA ON THE LEFT</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0px;">Oil on canvas painting <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1924/DSCF1924.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Assumption of the Virgin"</span></a> 1638 by </span><span style="color: #ff2600; letter-spacing: 0px;">Andrea Camassei</span><span style="letter-spacing: 0px;"> (1602/49)</span></span></div>
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David Macchihttp://www.blogger.com/profile/03680152527192773532noreply@blogger.com0tag:blogger.com,1999:blog-4279535645136556249.post-981875284375981212013-01-12T12:25:00.001+01:002013-12-12T10:50:25.170+01:00Il Pantheon a Roma<br />
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<b><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><a href="http://2.bp.blogspot.com/-i9iScPrS50A/TWqJz2tG_CI/AAAAAAAAAH8/i1DBu7-ZOsc/s1600/Copertina%2BGuida%2Bdi%2BRoma%2Be%2Bprovincia%2Bgen11.jpg" style="color: #333333; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-size: 16px; font-weight: bold; text-decoration: none;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578422612402830370" src="http://2.bp.blogspot.com/-i9iScPrS50A/TWqJz2tG_CI/AAAAAAAAAH8/i1DBu7-ZOsc/s320/Copertina%2BGuida%2Bdi%2BRoma%2Be%2Bprovincia%2Bgen11.jpg" style="border: 1px solid rgb(204, 204, 204); cursor: pointer; float: right; height: 320px; margin: 0px 0px 10px 10px; padding: 4px; width: 226px;" /></a></span></b></b></h3>
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<span style="font-size: large;"><b style="letter-spacing: 0px; line-height: normal;"><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative"><b style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">Here's an</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">excerpt</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">from my</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">forthcoming</span> super comprehensive guide <span class="hps atn" title="Fai clic per visualizzare le traduzioni alternative">book about Rome</span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">.</span></span></b></span></span></b><b><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><div style="margin: 0px 0px 1px;">
<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">It will be called ROMAPEDIA.</span></span></b></span><br />
<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative"><br /></span></span></b></span><span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">The first edition was published in Italian as "Guida di Roma e provincia" in 2011 and the new enlarged edition is due to be released in 2014.</span></span></b></span><br />
<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">There will also be an edition in English available.</span></span></b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"></span></b></b><br /></span>
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<b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0px;">It is an encyclopedic dictionary with 1,329 entries, including 483 churches, 278 palaces, and 152 museums.</span></span></b></b></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="letter-spacing: 0px;">It also includes a profusion of artistically or historically relevant buildings, monuments, archaeological sites as well as 95 towns in the province of Rome, constituting one of the richest sources of information available in a single book about the art and history of the Eternal City.</span></span></b></b></span></b></b></span></b></b></span><br />
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<span style="letter-spacing: 0px;"><a href="http://www.davidmacchi.com/tourguide/Pantheon.html"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><b>PANTHEON</b><span style="letter-spacing: 0px;"><b></b></span></span></a></span><br />
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="https://maps.google.it/maps?q=41.899243,12.476757"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Piazza della Rotonda</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Il Pantheon originario, rettangolare, più piccolo e corrispondente al luogo dell'attuale pronao fu costruito negli anni 27/25 a.C. a cura di Marco Vipsanio Agrippa, genero di Augusto</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Fu restaurato dopo l'incendio dell'80 da Domiziano (81/96) e ancora da Traiano (98/117)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Secondo l'antica tradizione romana era il <i>Palus Caprae</i>, il<i> </i>luogo dov'era avvenuta l'apoteosi di Romolo, cioè la sua ascesa al cielo trasportato da un'aquila</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Il nome proviene dal greco e significa <i>tutti gli dei </i>indicandone la destinazione cultuale</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Fu totalmente ricostruito negli anni 118/125 da Adriano (117/138) che forse fu coinvolto direttamente nel progetto architettonico e che ripropose l'iscrizione originaria falsando la datazione fino agli scavi del 1892 quando l'architetto francese Georges Chedanne scoprì che tutti i mattoni, anche nelle fondamenta portano marchi databili tra il 120 e il 125</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">I lavori furono terminati nel periodo di Antonino Pio (138/161)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Nel 202 Settimio Severo (193/211) e il figlio Caracalla eseguirono dei restauri ricordati dalla piccola iscrizione sotto la principale</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Molti studiosi già dal quindicesimo secolo ritengono il Pantheon come <i>punto di partenza e opera più importante di tutta l'architettura occidentale</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">"Nonostante l'interpretazione dell'edificio come una sorta di foro coperto in cui Adriano teneva corte, la sacralità del Pantheon sembra indubbia se il grande oculus al sommo della volta ha la funzione, tipica di un templum, di mantenere la relazione tra cielo e terra. L'interpretazione dell'edificio come una sorta di microcosmo sulla terra, nella cui concezione avrebbe avuto parte accanto ad Adriano l'astrologo caldeo Dionisio di Mileto, ha come corollario i ripetuti e anche autorevoli tentativi moderni di interpretare in chiave astrale i singoli elementi della struttura: 7 esedre = 7 pianeti; 28 pilastri = 28 giorni delle fasi lunari; 5 file di cassettoni = 5 pianeti esclusi sole e luna ecc." (Francesca de Caprariis e Fausto Zevi)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">"Il Pantheon è soprattutto un santuario dinastico a vocazione cosmica. Dione Cassio racconta che Adriano amava amministrarvi la giustizia, per cui la Rotonda svolgeva anche funzione palaziale di aula Regia. Si tratta del più grande spazio coperto privo di sostegni intermedi che sia stato attuato prima dell'invenzione del cemento armato" (Andrea Carandini)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Tra le statue di dei c'era la famosa "Diana di Nemi" con una corona adornata con ventuno topazi, altre ottanta pietre preziose, un diadema, nove orecchini, otto collane, e braccialetti con berilli e altre gemme delle quale esiste un catalogo iscritto</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Le statue nel Pantheon erano naturalmente dipinte, così come lo erano originariamente tutte le statue nell'antichità </span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Nel 608 fu ceduto dall'imperatore Foca a Bonifacio IV (608/615) che lo dedicò nel 609 alla Madonna e a tutti i martiri come <i>S. Maria ad Martyres</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Si dice che in quest'occasione Bonifacio IV abbia fatto portare dalle catacombe ventotto carri pieni di ossa di martiri che furono sepolte nella zona dell'altare</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">L'imperatore d'oriente Costante II (641/668) lo spogliò nel 663 del manto in bronzo dorato del tetto che fu rifatto in piombo da Gregorio III (731/741) nel 735</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Fu dotato di un palazzo utilizzato addirittura come sede pontificia da Anastasio IV (1153/54)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Nel 1625 Urbano VIII Barberini (1623/44) tolse il rivestimento bronzeo delle <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1930/DSCF1930.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">travi del portico</span></a> (c. 200 tonnellate - c. 220 tons) per fare 80 cannoni per Castel Sant'Angelo e le colonne del baldacchino di S. Pietro</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Inoltre fece rimpiazzare la colonna d'angolo a sinistra e fece innalzare da Gian Lorenzo Bernini (1598/1680) nel 1626/27 due campanili le cosiddette "orecchie d'asino" che furono abbattuti nel 1882</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">La sottrazione del bronzo da parte di Urbano VIII provocò la famosa "pasquinata": "A Roma quello che non hanno fatto i barbari, hanno fatto i Barberini"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Alessandro VII Chigi (1655/67) sostituì altre due colonne sul lato sinistro e fece abbassare il livello della piazza che è il punto più basso di Roma, 13,40 m (44 feet) sul livello del mare</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Clemente IX Rospigliosi (1667/69) nel 1668 circondò il pronao con una cancellata per tenere fuori il mercato che si svolgeva sulla piazza</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Pio VII Chiaramonti (1800/23) avviò il risanamento e Pio IX Mastai-Ferretti (1846/78) lo continuò rinnovando in parte il pavimento interno</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Nel 1870 divenne sacrario dei re d'Italia</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Negli anni 1881/83 fu restaurato eliminando la cancellata, isolando i fianchi, scavando le adiacenze e demolendo i campanili</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Nel 1906 la piazza fu pavimentata con legno di alberi provenienti dall'Argentina donato dagli italiani emigrati lì, per "circondare di religioso silenzio le tombe venerate dei primi re d'Italia". Naturalmente la pavimentazione lignea non durò a lungo</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Il Pantheon fu nei secoli teatro di vere e proprie messe in scena religiose nei giorni di celebrazione dell'Assunzione di Maria e dell'Ascensione di Cristo: le statue di Maria e di Cristo venivano innalzate al cielo attraverso il grande buco della cupola creando un suggestivo effetto scenografico</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Durante la celebrazione della Pentecoste si svolge tuttora un'impressionante cerimonia durante la quale petali di rosa vengono gettati all'interno dal buco della cupola con il significato simbolico della discesa dello Spirito Santo sui fedeli</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">All'inizio del 1600 due coniugi norcini vendevano con gran successo delle salsicce dalla bontà incredibile e particolare in Piazza della Rotonda</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Gli investigatori di Urbano VIII scoprirono che l'incredibile e particolare bontà era dovuta al fatto che le salsicce erano fatte di carne umana: i due coniugi attiravano le vittime nella cantina della loro bottega e lì le uccidevano e trasformavano in salsicce. Vennero condannati a morte e uccisi nel 1638</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/George%20a%20Roma%20DSC_8351/George%20a%20Roma%20DSC_8351.jpg?disposition=download"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">PRONAO</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">33 x 16 m (108 x 52 feet) con "Sedici colonne monolitiche in granito egiziano grigio e rosa" alte 13 m (43 feet)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">L'origine egiziana di queste enormi colonne era immediatamente riconosciuta in antichità dagli abitanti dell'impero romano, a differenza di adesso, abituati come siamo a materiali di tanti tipi diversi</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Marmo di questo tipo non esiste in Italia o in Europa e il solo fatto di essere stati capaci di portare queste colonne a Roma su chiatte, da cave per di più lontane dal Nilo, era un'affermazione e uno sfoggio di potere enorme del governo romano </span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Le colonne sono sormontate da un <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1873/DSCF1873.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">frontone</span></a> su cui c'era un rilievo bronzeo rappresentante un'enorme aquila incoronata, l'aquila dell'<i>apoteosi </i>di Romolo, il vero simbolo di Roma</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">L'iscrizione grande recita: <i>Marco Agrippa figlio di Lucio fece durante il suo terzo consolato</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">L'iscrizione piccola recita: <i>L'imperatore Cesare Settimio Severo e l'imperatore Cesare Marco Aurelio Antonino restaurarono con ogni cura il Pantheon rovinato dalla vecchiaia</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Il pronao era preceduto da una scalinata che recentemente è stata trovata e sepolta di nuovo. L'illusione di trovarsi davanti a un classico tempio in stile greco era data anche dal fatto che la cupola non era visibile dalla <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/Pantheon/Pantheon.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">grande piazza circondata da un portico</span></a> antistante il Pantheon</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Adriano volle quindi dare un effetto sorpresa a chi entrava e si trovava in un ambiente sferico e modernissimo </span></span></div>
<div style="color: #021eaa; margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1877/DSCF1877.jpg?disposition=download"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">PORTE</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">I battenti furono restaurati al tempo di Pio IV Medici (1559/65) ma la struttura è molto probabilmente quella originale, forse quella dell'epoca di Augusto mantenuta come una sort di reliquia nella ricostruzione dell'epoca di Adriano</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Sono enormi: 7,53 x 4,45 m (24,7 x 14,6 feet)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Ai lati delle porte ci sono due nicchie dove c'erano forse le statue di Augusto e Agrippa</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">MURI IN LATERIZIO</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Hanno l'incredibile spessore di 6,2 m (20,4 feet) e sono scanditi da nicchie, volte e archi di scarico che alleggeriscono la struttura</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1881/DSCF1881.jpg?disposition=download"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">CUPOLA</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Diametro interno di 43,30 m (142,06 feet) pari all'altezza dal pavimento al suo colmo</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Le dimensioni perfette danno quindi l'impressione di camminare all'interno di una immensa sfera</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Fu voltata su un'unica straordinaria centina di legno emisferica con un getto di conglomerato contenente lapillo vulcanico per alleggerirlo</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">I romani inventarono il cemento il cui utilizzo scomparve dopo la caduta dell'impero romano d'occidente. Fu riscoperto solo più di mille anni dopo e utilizzato in maniera estensiva comparabile a quella dei romani solo dalla fine del XVIII sec. in poi</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Questa cupola è una delle più straordinarie testimonianze esistenti al mondo delle capacità dell'ingegno umano</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Il buco (<i>oculus</i>)<i> </i>ha il diametro di c. 9 m (29,52 feet) ed è orlato di bronzo</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">È tuttora la cupola con il diametro maggiore in Italia:</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">La cupola della Basilica di S. Pietro, pur essendo più alta, ha un diametro di 42,52 m (139,50 feet) e la cupola del Duomo di Firenze ha un diametro effettivo di 41,47 m (136,05 feet), anche se la diagonale maggiore dell'ottagono è 44,97 m (147,53)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Fuori d'Italia, la Capitol Dome a Washington ha un diametro di 29,26 m (96 feet) e la Cattedrale di S. Paolo a Londra ha un diametro di 31 m (102,10 feet)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Una cupola senza supporti interni più grande fu costruita solo nel 1881 in Inghilterra come parte del Devonshire Royal Hospital building: 44,20 m (145,01 feet)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Ora la cupola più grande al mondo è quella del Cowboys Stadium del 2009 situato ad Arlington in Texas con un diametro di ben 275 m (902 feet)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Il Pantheon è orientato con la facciata verso nord e ogni 21 aprile, giorno della nascita di Roma, a mezzogiorno il raggio del sole che passa attraverso il buco della cupola batteva precisamente sull'entrata</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">"Significativa appare la constatazione che il Pantheon è collocato esattamente dirimpetto al Mausoleo d'Augusto, distante 500 passi (740 m - 2.428 feet) forse a esso visivamente raccordato con un viale che guidava lo sguardo fino ai due obelischi ai lati dell'ingresso. Ora questa corrispondenza, se realmente esisteva, deve risalire all'impianto augusteo, anche perché nel II sec. erano sorti altri edifici che ostacolavano la prospettiva. Dunque il mondo di riferimenti cosmici coinvolgeva tutto insieme il sistema costituito da Pantheon, Mausoleo, orologio e Ara Pacis: se si accetta l'identità tra il sito del Pantheon e quello della Palus Caprae, luogo dell'apoteosi di Romolo, appare chiara la corrispondenza tra l'apoteosi del fondatore di Roma e quella di Augusto" (Francesca de Caprariis e Fausto Zevi)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">QUATTORDICI colonne scanalate monolitiche alte 8,9 m (29 feet) in giallo antico dalla Tunisia e pavonazzetto dalla Turchia</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1887/DSCF1887.jpg?disposition=download"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">attico sopra la trabeazione</span></a></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">Rifatto nel 1747 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Paolo Posi</span><span style="letter-spacing: 0.0px;"> (1708/76) per Benedetto XIV Lambertini (1740/58)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Un restauro del 1930 ha riproposto sopra l’ultimo nicchione a destra con marmi policromi la decorazione originaria desunta da disegni rinascimentali</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Il <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1902/DSCF1902.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">pavimento</span></a> anch'esso in marmi policromi, tra cui porfido dall'alto Egitto, è in buona parte originario</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">1° EDICOLA DESTRA</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">Pala d'altare "Madonna della Cintola e S. Nicola di Bari" 1686 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">anonimo seicentesco</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">1° CAPPELLA DESTRA</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;"><i>Al centro:</i> <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1889/DSCF1889.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Annunciazione"</span></a> forse Melozzo degli Ambrosi detto</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Melozzo da Forlì</span><span style="letter-spacing: 0.0px;"> (1438/94)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Ai lati:</span></i></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="color: black; letter-spacing: 0.0px;">A d. <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1891/DSCF1891.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Incredulità di S. Tommaso"</span></a> di </span><span style="letter-spacing: 0.0px;">Pietro Paolo Bonzi detto il Gobbo dei Carracci </span><span style="color: black; letter-spacing: 0.0px;">(c. 1576/1636)</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">A s. "Ss. Lorenzo e Agnese" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Clemente Maioli</span><span style="letter-spacing: 0.0px;"> (1634/73) ferrarese di cultura cortonesca vicino allo stile di Giovanni Francesco Romanelli</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">Ai lati ci sono anche "Quattro busti marmorei di prelati" e "Due angeli marmorei" 1696 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">scuola berniniana</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">2° EDICOLA DESTRA</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Affresco frammentario <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1892/DSCF1892.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Incoronazione della Vergine"</span></a> del XIV sec.</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1893/DSCF1893.jpg?disposition=download"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">2° CAPPELLA DESTRA</span></a></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1894/DSCF1894.jpg?disposition=download">"Tomba di Vittorio Emanuele II"</a></span><span style="letter-spacing: 0.0px;"> 1878 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Manfredo Manfredi</span><span style="letter-spacing: 0.0px;"> (1859/1627) scolpito da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Adolfo Laurenti</span><span style="letter-spacing: 0.0px;"> (1856/1944)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">"La realizzazione dell'opera (...) non corrispose fedelmente al progetto del Manfredi, il quale aveva previsto la collocazione di un'ara di porfido, non eseguita, e una più ricca decorazione della cornice della grande lapide bronzea; l'intervento, che si avvale efficacemente degli elementi più essenziali del linguaggio classico, appare ben ponderato in funzione della monumentalità e del prestigio del contesto architettonico" (Raffaella Catini - Dizionario Biografico degli Italiani Treccani)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">La lampada dorata appesa davanti alla tomba è un ricordo simbolico di Vittorio Emanuele III morto esule ad Alessandria d'Egitto nel 1947</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">3° EDICOLA DESTRA</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">Statua <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1895/DSCF1895.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Anna e la Vergine"</span></a> 1715/16 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Ottoni</span><span style="letter-spacing: 0.0px;"> (1648/1736)</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1896/DSCF1896.jpg?disposition=download"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">3° CAPPELLA DESTRA</span></a></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">Affresco <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1897/DSCF1897.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Madonna e i Ss. Francesco e Giovanni Battista"</span></a> XV sec. di </span><span style="color: #ff2600; letter-spacing: 0.0px;">scuola umbro-laziale</span><span style="letter-spacing: 0.0px;">. È conosciuto come <i>Madonna della Clemenza o della Cancellata </i>perché era fino al 1837 collocato in una nicchia del pronao protetto da un cancello</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">A d. tela "Consacrazione del Pantheon" 1750</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">4° EDICOLA DESTRA</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">Statua <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1898/DSCF1898.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Rasio martire"</span></a> 1725 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernardino Cametti </span><span style="letter-spacing: 0.0px;">(1669/1736)</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1899/DSCF1899.jpg?disposition=download"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">ALTARE MAGGIORE</span></a></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">Sistemato all'inizio del XVIII sec. da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Alessandro Specchi</span><span style="letter-spacing: 0.0px;"> (1668/1729)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Copia della <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1901/DSCF1901.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Madonna con Bambino"</span></a> del VII sec. romano-bizantina rivestita d’argento che era stata collocata sull'altare in occasione della consacrazione del Pantheon alla Vergine Maria nell'anno 609. Sostituì l'originale agli inizi del XX sec.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Durante i lavori di sistemazione di Alessandro Specchi si trovarono le reliquie dei santi Rasio e Anastasio che vennero messe in una cassetta medievale bronzea. Viene mostrata ai fedeli durante le celebrazioni più importanti</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Clemente XI Albani (1700/21) che aveva voluto far eseguire i lavori commissionò quindi le statue dei due santi collocate nelle edicole a destra e sinistra dell'altare. Commissionò anche il <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1926/DSCF1926.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">mosaico</span></a> in tessere d'oro e lapislazzuli che sostituì un affresco cinquecentesco di Giovanni Guerra</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Coro ligneo" 1840 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Poletti </span><span style="letter-spacing: 0.0px;">(1792/1869)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">4° EDICOLA SINISTRA</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">Statua <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1903/DSCF1903.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Anastasio"</span></a> 1717 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Moderati</span><span style="letter-spacing: 0.0px;"> (c. 1680/ dopo 1724)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">3° CAPPELLA SINISTRA</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1904/DSCF1904.jpg?disposition=download">"Crocifisso"</a></span><span style="letter-spacing: 0.0px;"> del XV sec.</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">A s. dipinto "Pentecoste" 1790 del romano </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Labruzzi </span><span style="letter-spacing: 0.0px;">(1738/1805) che fu pittore di corte del re di Polonia Stanislao Augusto</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">A d. "Monumento al Card. Ercole Consalvi" 1824 segretario di stato di Pio VII Chiaramonti (1800/23) che aveva firmato per il papa il concordato con Napoleone nel 1801 e bassorilievo "Restituzione a Pio VII delle province dello stato pontificio" opere del danese </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bertel Thorvaldsen </span><span style="letter-spacing: 0.0px;">(1770/1844) </span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1905/DSCF1905.jpg?disposition=download"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">3° EDICOLA SINISTRA</span></a></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">Statua <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1910/DSCF1910.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Madonna del Sasso"</span></a> 1523/24 di Lorenzo Lotti detto </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzetto</span><span style="letter-spacing: 0.0px;"> (1490/1541) commissionata per la propria sottostante <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1909/DSCF1909.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">tomba</span></a> dallo stesso Raffaello Sanzio (1483/1520)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">A d. <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1907/DSCF1907.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Lapide in ricordo di Maria Bibbiena"</span></a>, nipote del potente cardinale Bernardo da Bibbiena e "fidanzata" di Raffaello. In realtà dalle lettere dell'artista si evince che, nonostante le pressioni del cardinale, lui non fosse assolutamente intenzionato a sposarla</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Sotto c'è la lapide della <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1906/DSCF1906.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomba dell'immenso Annibale Carracci (1560/1609)"</span></a> che volle essere sepolto qui nel 1609 a fianco di Raffaello, suo grande ispiratore </span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">A s. <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1911/DSCF1911.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Busto di Raffaello"</span></a> 1833 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe De Fabris </span><span style="letter-spacing: 0.0px;">(1790/1860)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">"A Raffaello noi torniamo per le magnifiche forme che egli imprestò all'antichità come l'avevamo sognata; e finchè il mondo dei greci e dei romani resterà per noi (...) non solo un fatto culturale, ma un'aspirazione e un desiderio: fino allora, quando leggeremo i poeti greci e latini, noi investiremo le loro immagini in immagini raffaellesche, o derivate da queste; e vedremo quel mondo come Raffaello lo vide: un mondo nel quale gli augelli dell'aurora non cessarono mai il loro canto" (Bernard Berenson)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Sulla tomba di Raffaello è inciso un distico in latino di Pietro Bembo che, tradotto in italiano dice: <i>Qui giace quel Raffaello dal quale, vivo, la gran madre di tutte le cose, la Natura, temette di essere vinta e, lui morto, di morire</i></span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1912/DSCF1912.jpg?disposition=download"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">2° CAPPELLA SINISTRA</span></a></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Tomba di Umberto I" (re d'Italia 1878/1900) 1900 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Sacconi </span><span style="letter-spacing: 0.0px;">(1854/1905), lo stesso architetto del Vittoriano, con lastra di alabastro e rilievi ai lati con <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1915/DSCF1915.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">figure allegoriche femminili</span></a> "Bontà" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Eugenio Maccagnani</span><span style="letter-spacing: 0.0px;"> (1852/1930) e "Munificenza" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Arnaldo Zocchi</span><span style="letter-spacing: 0.0px;"> (1851/1922)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">"Tomba di Margherita di Savoia" 1926 moglie e cugina di Umberto I</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">In occasione di una visita della regina Margherita di Savoia a Napoli i pizzaioli napoletani inventarono la pizza margherita con i colori della bandiera italiana: mozzarella per il bianco, basilico per il verde e pomodoro per il rosso</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">Davanti alle tombe <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1913/DSCF1913.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Ara di porfido"</span></a> con le insegne reali di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Guido Cirilli</span><span style="letter-spacing: 0.0px;"> (1871/1954) che eseguì il progetto di Sacconi per le tombe</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">2° EDICOLA SINISTRA</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">Statua <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1927/DSCF1927.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Agnese"</span></a> di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Vincenzo Felici</span><span style="letter-spacing: 0.0px;"> (noto 1667/1702)</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="color: black; letter-spacing: 0.0px;">A s. <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1928/DSCF1928.jpg?disposition=download"><span style="letter-spacing: 0px;">"Monumento funerario di Baldassarre Peruzzi (1481/1536)"</span></a> 1921 ricavato da un gesso di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Duprè </span><span style="color: black; letter-spacing: 0.0px;">(1817/1882)</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1916/DSCF1916.jpg?disposition=download"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">1°s Cappella dei Virtuosi del Pantheon o CAPPELLA DI S. GIUSEPPE DI TERRASANTA</span></a></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">Gruppo marmoreo <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1917/DSCF1917.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Giuseppe e Gesù fanciullo"</span></a> 1550/60 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Vincenzo De Rossi </span><span style="letter-spacing: 0.0px;">(1525/87)</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;"><i>Ai lati</i> dipinti a olio su muro <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1919/DSCF1919.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Presepio"</span></a> e <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1917/DSCF1917.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Adorazione dei Magi"</span></a> c. 1660 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Cozza</span><span style="letter-spacing: 0.0px;"> (1605/82)</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;"><i>Sulle pareti laterali</i> stucchi "Riposo dalla fuga in Egitto" 1728 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Monaldi </span><span style="letter-spacing: 0.0px;">(c. 1690/1760) e <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1923/DSCF1923.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Il sogno di Giuseppe"</span></a> 1728 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Paolo Benaglia </span><span style="letter-spacing: 0.0px;">(?/1739)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">In alto:</span></i></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Sibilla Cumana" 1674 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ludovico Gimignani </span><span style="letter-spacing: 0.0px;">(1643/97)</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1920/DSCF1920.jpg?disposition=download">"Mosè"</a></span><span style="letter-spacing: 0.0px;"> 1674 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Rosa</span><span style="letter-spacing: 0.0px;"> (att. dal 1674/m. 1687)</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1920/DSCF1920.jpg?disposition=download">"Eterno Padre"</a></span><span style="letter-spacing: 0.0px;"> 1674 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Peruzzini </span><span style="letter-spacing: 0.0px;">(1629/94)</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1921/DSCF1921.jpg?disposition=download">"David"</a></span><span style="letter-spacing: 0.0px;"> 1674 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Garzi</span><span style="letter-spacing: 0.0px;"> (1638/1721)</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="color: black; letter-spacing: 0.0px;">"Sibilla Eritrea" 1674 di </span><span style="letter-spacing: 0.0px;">Giovanni Andrea Carlone detto il Genovese </span><span style="color: black; letter-spacing: 0.0px;">(1639/97)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Epigrafi funerarie:</span></i></span></div>
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<span style="color: black; letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Lapidi dei "virtuosi" Flaminio Vacca (1538/1605) 1605, <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1918/DSCF1918.jpg?disposition=download"><span style="letter-spacing: 0px;">Taddeo Zuccari (1529/66), Pietro Bonaccorsi detto Perin del Vaga (1501/47)</span></a> qui sepolti</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">Vi sono inoltre sepolti il compositore Arcangelo Corelli e l'architetto Jacopo Barozzi detto Vignola (1507/73)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">"La Congregazione dei Virtuosi del Pantheon fu istituita nel 1543 da Paolo III Farnese (1534/49). Era un sodalizio di pittori, scultori e architetti che festeggiavano la ricorrenza di S. Giuseppe con una mostra di opere d'arte nel portico del Pantheon, a cui nel XVII sec. parteciparono anche Velásquez e Salvator Rosa. Queste esposizioni sono storicamente molto significative, poiché si configurano come una delle prime attestazioni del libero mercato delle opere d'arte a Roma. La sede della Congregazione, con l'archivio storico e un'interessante raccolta di opere, è collocata nel Pantheon in alcuni locali all'interno dell'avancorpo" (Giovanni Belardi, Federico De Martino)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Georgia, Times New Roman, serif; font-size: large;">1°EDICOLA SINISTRA</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="letter-spacing: 0px;">Dipinto olio su tela <a href="http://www.davidmacchi.com/tourguide/Pantheon_files/Media/DSCF1924/DSCF1924.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Assunzione della Vergine"</span></a> 1638 di </span><span style="color: #ff2600; letter-spacing: 0px;">Andrea Camassei</span><span style="letter-spacing: 0px;"> (1602/49)</span></span></div>
<br />David Macchihttp://www.blogger.com/profile/03680152527192773532noreply@blogger.com0tag:blogger.com,1999:blog-4279535645136556249.post-86479898643707113012012-11-20T22:41:00.000+01:002013-12-12T10:49:10.010+01:00An extremely thorough description of St. Peter's Basilica in the Vatican<br />
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<a href="http://2.bp.blogspot.com/-i9iScPrS50A/TWqJz2tG_CI/AAAAAAAAAH8/i1DBu7-ZOsc/s1600/Copertina%2BGuida%2Bdi%2BRoma%2Be%2Bprovincia%2Bgen11.jpg" style="clear: right; color: #333333; float: right; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; font-weight: bold; margin-bottom: 1em; margin-left: 1em; text-decoration: none;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578422612402830370" src="http://2.bp.blogspot.com/-i9iScPrS50A/TWqJz2tG_CI/AAAAAAAAAH8/i1DBu7-ZOsc/s320/Copertina%2BGuida%2Bdi%2BRoma%2Be%2Bprovincia%2Bgen11.jpg" style="border: 1px solid rgb(204, 204, 204); float: right; height: 320px; margin: 0px 0px 10px 10px; padding: 4px; width: 226px;" /></a><span style="font-size: large;"><b style="letter-spacing: 0px; line-height: normal;"><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative"><b style="letter-spacing: 0px; line-height: normal;"><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">Here's an</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">excerpt</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">from my</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">forthcoming</span> super comprehensive guide <span class="hps atn" title="Fai clic per visualizzare le traduzioni alternative">book about Rome</span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">.</span></span></b><br />
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">It will be called ROMAPEDIA.</span></span></b></span><br />
<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative"><br /></span></span></b></span>
<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">The first edition was published in Italian as "Guida di Roma e provincia" in 2011 and the new enlarged edition is due to be released in 2014.</span></span></b></span><br />
<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">There will also be an edition in English available.</span></span></b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"></span></b></b><br />
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<b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">It is an encyclopedic dictionary with 1,329 entries, including 483 churches, 278 palaces, and 152 museums.</span></span></b></b></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="letter-spacing: 0.0px;">It also includes a profusion of artistically or historically relevant buildings, monuments, archaeological sites as well as 95 towns in the province of Rome, constituting one of the richest sources of information available in a single book about the art and history of the Eternal City.</span></span></b></b></span></b></b></span></b></b></span><br />
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<span style="font-size: large;"><br /></span><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="line-height: 20px;">My new ROMAPEDIA blog with the most complete encyclopedia about the art and history of Rome and its surroundings is being published. New entries are being added everyday. Here is the link: </span><a href="http://www.romapedia.blogspot.it/" style="color: #336699; line-height: 20px;">romapedia.blogspot.it</a></span></h3>
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<span style="letter-spacing: 0px;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio.html"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>BASILICA S. PIETRO</b><span style="letter-spacing: 0px;"><b></b></span></span></a></span><br />
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://maps.google.it/maps?q=41.902245,12.45723"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Piazza S. Pietro</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">VECCHIA BASILICA</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Iniziata c. 319/322, consacrata nell'anno 326 per Costantino (306/337) anche se fu completata intorno all'anno 349</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"L'origine della basilica vaticana è collegata al nome dell'imperatore Costantino. Sebbene non documentato, il suo ruolo di fondatore dell'edificio è storicamente probabile, anche se di recente è stata avanzata l'ipotesi che il committente sia stato il figlio Costante. Ciò non modifica comunque l'idea di base: il legame tra la tomba dell'apostolo e il potere universale dell'imperatore romano di cui l'edificio era testimonianza. La sua imponenza era tale da assumere, da sola, il carattere di fonte di legittimazione di una tradizione" (Christof Thoenes)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Vennero costruiti <i>muri di sostruzione giganteschi</i> (il più alto di 11,50 m - 37,8 feet) per livellare la collina sul pendio della quale era il luogo esatto della tomba di S. Pietro che doveva coincidere con l'altare della Basilica</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Quest'enorme sterro del pendio della collina potrebbe essere prova sufficiente a dimostrare che la tomba di S. Pietro sia effettivamente sotto l'altare, poiché gli architetti di Costantino avrebbero potuto comodamente costruire la Basilica su terreno pianeggiante a poca distanza</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Si interrò a valle la necropoli e parte dell'area originariamente occupata dal circo. Anche questo fatto poneva delle difficoltà: le tombe erano un 'locus religiosus', cioè sottoposto a vincoli di carattere giuridico-sacrale, e non potevano essere impunemente demolite o spostate. L'autorizzazione alle operazioni poteva essere data però dall'imperatore in quanto pontefice massimo, cioè detentore della massima carica sacerdotale pagana. In altre parole Costantino poté erigere la più famosa basilica cristiana di Roma solo in quanto sacerdote pagano" (Paolo Liverani)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La vecchia basilica era costituita da un'aula rettangolare di c. 90 x 60 m (295 x 197 feet) divisa in cinque navate da quattro file di ventidue colonne ciascuna</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0.0px;">Bernardo Rossellino</span><span style="letter-spacing: 0.0px;"> (1409/64) nel 1452 ne iniziò la ristrutturazione per Niccolò V Parentucelli (1447/55), ma poi ne venne decisa la distruzione, visto che dopo 1000 anni i pur notevoli lavori di fondazione costantiniani cominciavano a dare segni di cedimento </span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">NUOVA BASILICA</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Iniziata il <i>18 aprile 1506 </i>con la cerimonia della posa della prima pietra durante la quale vennero deposte in una scodella di terracotta dodici medaglie con da un lato l'effigie di Giulio II e dall'altro l'immagine della Basilica progettata da Donato Bramante</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Fu consacrata il <i>18 novembre 1626</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">TREDICI ARCHITETTI:</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0.0px;">Donato Bramante </span><span style="letter-spacing: 0.0px;">(1444/1514) per Giulio II Della Rovere (1503/13) - <i>8 anni 1506/14</i> </span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Alla base del primo progetto del Bramante c'è soprattutto la volontà di esprimere nella maniera più piena la filosofica religiosità dell'umanesimo. Seguendo la linea ideale che conduce da Leon Battista Alberti, a Giuliano da Sangallo, a Leonardo, a lui stesso, l'urbinate mira a realizzare nella completa organicità dell'edificio la corrispondenza con l'ordine armonico dell'universo, specchio della perfezione divina. Il tema prescelto è dunque quello prediletto dalla cultura umanistica per il suo valore assoluto, la pianta centrale, a cui la suggestione dei monumenti della classicità romana offre la grandiosa e magniloquente scala monumentale" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0.0px;">Raffaello Sanzio</span><span style="letter-spacing: 0.0px;"> (1483/1520) con </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fra' Giocondo</span><span style="letter-spacing: 0.0px;"> e Giuliano Giamberti detto</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Giuliano da Sangallo</span><span style="letter-spacing: 0.0px;"> (1445/1516) - <i>6 anni 1514/20</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Antonio Cordini detto </span><span style="color: #ff2600; letter-spacing: 0.0px;">Antonio da Sangallo il Giovane</span><span style="letter-spacing: 0.0px;"> (1483/1546) con </span><span style="color: #ff2600; letter-spacing: 0.0px;">Baldassarre Peruzzi</span><span style="letter-spacing: 0.0px;"> (1481/1536) fino al 1527 - <i>26 anni 1520/46</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Sangallo aveva individuato una soluzione di compromesso tra la pianta centrale di Bramante e quella longitudinale di Raffaello" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0.0px;">Michelangelo Buonarroti</span><span style="letter-spacing: 0.0px;"> (1475/1564) - <i>17 anni 1547/64</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Michelangelo, ricollegandosi alla concezione bramantesca, contrasse lo spazio interno della basilica in una unità semplice e organica, che sintetizzava i due motivi geometrici generatori della pianta, la croce greca e il quadrato, centrando l'una sull'altro. Inoltre, per dare omogeneità all'esterno, egli concepì la struttura muraria a un unico ordine gigante dalle colossali paraste corinzie, sormontato da un attico che, correndo lungo tutto il perimetro dell'edificio, lo configurò come una massa compatta" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0.0px;">Jacopo Barozzi detto</span><span style="letter-spacing: 0.0px;"> </span><span style="color: #ff2600; letter-spacing: 0.0px;">Vignola</span><span style="letter-spacing: 0.0px;"> (1507/73) e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pirro Ligorio</span><span style="letter-spacing: 0.0px;"> (c. 1513/83) - <i>9 anni 1564/73</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Della Porta</span><span style="letter-spacing: 0.0px;"> (1533/1602) con </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenico Fontana</span><span style="letter-spacing: 0.0px;"> (1543/1607) - <i>33 anni 1573/1607 - Della Porta fino al 1602</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maderno</span><span style="letter-spacing: 0.0px;"> (1556/1629) - <i>22 anni 1607/29</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Carlo Maderno si dimostrò progettista capace e versatile, ma i suoi disegni erano privi di un concetto proprio. Si era conclusa l'epoca dei grandi progetti, tutti più o meno tragicamente naufragati, e a Maderno si propose di terminare l'opera su una linea di compromesso tra ideale e realtà. L'unità della basilica, in senso sia storico che spaziale, divenne il nuovo tema. Maderno riuscì a far originare in modo coerente dal corpo centrale la navata (solo un occhio esperto nota il punto di giunzione), fornita degli auspicati spazi ausiliari" (Christof Thoenes)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Carlo Maderno commise un clamoroso errore di progettazione: il prolungamento della Basilica è storto e tende verso sud. Il maestro se ne accorse in corso d'opera e cercò di correggere l'errore ma non ci riuscì completamente. Se si guarda la facciata si nota che obelisco, balcone centrale e costolone centrale della cupola non sono in asse. All'interno della Basilica si può vedere che le lastra marmoree del pavimento non sono sempre perfettamente allineate</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0.0px;">Gian Lorenzo Bernini</span><span style="letter-spacing: 0.0px;"> (1598/1680) - <i>c. 50 anni 1629/80</i></span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8676/Basilica%20S.%20Pietro%20DSC_8676.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PIAZZA</span></i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1657/67 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Gian Lorenzo Bernini</span><span style="letter-spacing: 0.0px;"> per Alessandro VII Chigi (1655/67)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Elissi larga 240 m (790 feet), 52 m (170 feet) in più del Colosseo</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Lo spazio ovale è di 196 x 149 m (643 x 489 feet)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La capienza è di circa 200.000 persone</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Essendo la Chiesa di S. Pietro quasi matrice di tutte le altre doveva aver un portico che per l'appunto dimostrasse di ricevere a braccia aperte maternamente i cattolici per confermarli nella credenza, gli eretici per riunirli alla Chiesa e gli infedeli per illuminarli alla vera fede" (Gian Lorenzo Bernini)</span></i></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/DSCF0603%20-%202009-05-19%20at%2018-53-54/DSCF0603%20-%202009-05-19%20at%2018-53-54.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">284 COLONNE</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Le colonne isolate del Bernini, con trabeazione diritta sono elementi immensamente scultorei. Quando si attraversa la piazza la prospettiva sempre mutevole delle colonne visibili a quattro a quattro sembra rivelare una foresta di unità individuali: e l'accordo di tutte queste forme statuarie chiaramente definite, produce la sensazione di una massa e potenza irresistibili. Si esperimenta quasi fisicamente che ogni colonna sposta e assorbe un po' dell'infinità dello spazio, e quest'impressione è rafforzata dagli sprazzi di cielo fra le colonne. Nessun'altra struttura italiana del periodo postrinascimentale mostra una altrettanto profonda affinità con la Grecia. Come succede con la maggior parte delle idee nuove e vitali, dopo aspri attacchi iniziali, i colonnati divennero della massima importanza per la storia dell'architettura posteriore nel corso di più di 250 anni" (Rudolf Wittkower)</span></i></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/2003_0208AK/2003_0208AK.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">140 STATUE DI SANTI</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Alte 3,10 m (10,1 feet)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sul colonnato:</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1667/73 eseguite da molti scultori sotto la direzione di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span><span style="letter-spacing: 0.0px;"> anche se poche delle statue sul colonnato sono attribuite con sicurezza:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0.0px;">Lazzaro Morelli </span><span style="letter-spacing: 0.0px;">(1608/90)</span><span style="color: #ff2600; letter-spacing: 0.0px;"> </span><span style="letter-spacing: 0.0px;">a cui vengono attribuite la maggioranza delle statue tra cui S. Maria Egiziaca (24° da destra, la prima dopo lo stemma papale, protettrice delle prostitute pentite) e S. Caterina da Siena (24° da sinistra, la prima dopo lo stemma papale, santa patrona dell'Italia e dell'Europa)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Maria De Rossi</span><span style="letter-spacing: 0.0px;"> (c. 1636/m. dopo il 1670) a cui vengono attribuite tredici statue</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0.0px;">Agostino Cornacchini</span><span style="letter-spacing: 0.0px;"> (1683/1740) che fece S. Orsola 9° da destra, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Carcani </span><span style="letter-spacing: 0.0px;">(attivo 1670/91), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Andrea Baratta </span><span style="letter-spacing: 0.0px;">(c. 1595/1666), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Mari</span><span style="letter-spacing: 0.0px;"> e altri, molti dei quali ignoti</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>Sui bracci dritti</i> <i>verso la chiesa:</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">1702/03 a differenza di quelle sul colonnato, le statue sui bracci dritti sono attribuibili tutte con sicurezza a scultori epigoni del Bernini già inseriti nel periodo tardo barocco:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0.0px;">Jean-Baptiste Théodon </span><span style="letter-spacing: 0.0px;">(1646/1713)</span><span style="color: #ff2600; letter-spacing: 0.0px;"> </span><span style="letter-spacing: 0.0px;">che fece S. Cecilia e S. Francesca Romana, 1° e 2° nel braccio di destra, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Pincellotti</span><span style="letter-spacing: 0.0px;"> (c. 1672/1749), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Simone Giorgini</span><span style="letter-spacing: 0.0px;"> (attivo a Roma 1677/1712), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Maria Baratta</span><span style="letter-spacing: 0.0px;"> (noto dal 1644/m. dopo il 1679), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Ottoni</span><span style="letter-spacing: 0.0px;"> (1648/1736), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Campi</span><span style="letter-spacing: 0.0px;"> (noto 1702/40), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Marchionni</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michel Maille </span><span style="letter-spacing: 0.0px;">detto Michele Maglia</span><span style="color: #ff2600; letter-spacing: 0.0px;"> </span><span style="letter-spacing: 0.0px;">(attivo a Roma seconda metà del XVII sec.), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pierre-Étienne Monnot </span><span style="letter-spacing: 0.0px;">(1657/1733), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernardino Cametti </span><span style="letter-spacing: 0.0px;">(1669/1736) e altri</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Cuppolone%20DSC_2247/Cuppolone%20DSC_2247.jpg?disposition=download">"Sei enormi simboli araldici"</a></span><span style="color: black; letter-spacing: 0.0px;"> di Alessandro VII</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il colonnato era quasi completato alla morte di Alessandro VII nel 1667, mancando solo una parte della sezione sinistra. Il successore Clemente IX lo fece finire sbrigativamente e non volle far applicare il simbolo Chigi sul soffitto interno, la mancanza del quale indica esattamente tuttora la sezione completata dopo la morte di Alessando VII</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Una raffinata sensibilità spaziale e una esperienza decennale riguardo ai problemi ottici e dimensionali guidò la realizzazione della piazza. La scelta simbolica delle maestose braccia del colonnato che Bernini stesso paragonò alle materne braccia della Chiesa crea una spettacolare situazione urbanistica: l'ambiente aperto e percorribile funge da elemento di raccordo tra chiesa e città" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8679/Basilica%20S.%20Pietro%20DSC_8679.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Statua di S. Paolo"</span></a> 1838 dell'allievo di Canova </span><span style="color: #ff2600; letter-spacing: 0.0px;">Adamo Tadolini</span><span style="letter-spacing: 0.0px;"> (1788/1868)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Romapedia%201%20DSC_4233/Romapedia%201%20DSC_4233.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Statua di S. Pietro"</span></a> 1838 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe De Fabris </span><span style="letter-spacing: 0.0px;">(1790/1860)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Furono eseguite per la Basilica di S. Paolo e qui collocate nel 1847 al posto di due statue di uguale soggetto del 1462 di Paolo Taccone detto Paolo Romano (c. 1415/77) ora nella Biblioteca di Sisto IV</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Nel pavimento MERIDIANA<b> </b>con rosa dei venti 1817 dell'astronomo </span><span style="color: #ff2600; letter-spacing: 0.0px;">L. G. Gilij</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8944/Basilica%20S.%20Pietro%20DSC_8944.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Dischi con simboli"</span></a> vennero sostituiti negli anni 1852, c. 1878 e 1924</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Non sono quindi opera di Bernini come fa credere Dan Brown in <i>Angels and Demons: </i>un libro splendido, molto ben scritto e a cui i romani dovrebbero essere grati per aver promosso in maniera sostanziale il turismo a Roma, ma che è molto impreciso dal punto di vista fattuale, nonostante ciò che Dan Brown affermi nella nota iniziale</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/2003_0208AL/2003_0208AL.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">FONTANA DI DESTRA</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Costruita originariamente 1490 per Innocenzo VIII Cybo (1484/92) e rinnovata 1614 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maderno</span><span style="letter-spacing: 0.0px;"> (1556/1629)</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/DSCF0607%20-%202009-05-19%20at%2018-55-42/DSCF0607%20-%202009-05-19%20at%2018-55-42.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">FONTANA DI SINISTRA</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1675 (61 anni dopo) di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Fontana </span><span style="letter-spacing: 0.0px;">(1634/1714) sotto la direzione di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span><span style="letter-spacing: 0.0px;">. L'impianto idrico fu collegato solo nel 1677</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Le vasche centrali delle due fontane sono di granito orientale</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8943/Basilica%20S.%20Pietro%20DSC_8943.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">QUATTRO CANDELABRI</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1852 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Antonio Sarti</span><span style="letter-spacing: 0.0px;"> (1797/1880) per Pio IX Mastai-Ferretti (1846/78) accesi il 12 ottobre 1854, i primi con il nuovo sistema d'illuminazione a gas</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8678/Basilica%20S.%20Pietro%20DSC_8678.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SCALA REGIA</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Inizio 1500 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Antonio da Sangallo il Giovane</span><span style="letter-spacing: 0.0px;">. Modificata da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span><span style="letter-spacing: 0.0px;"> negli anni 1663/66</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"In aggiunta al suo uso della conoscenza prospettica, Bernini impiega di nuovo la luce naturale al servizio di scopi estetici. In questo caso per irrompere nella lunghezza simile a un tunnel delle scale, e alleviare la tendenza dell'architettura a creare un effetto telescopio" (Howard Hibbard)</span></i></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8942/Basilica%20S.%20Pietro%20DSC_8942.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">OBELISCO VATICANO</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">25,36 m (83 feet), 41 m (134 feet) incluso il basamento e fino alla croce</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Pesa c. 290 tonnellate (320 tons)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>È</i> <i>il secondo più alto tra gli otto originali obelischi egizi presenti a Roma</i>, e l'unico sempre rimasto eretto</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Secondo Plinio il Vecchio, fu originariamente eretto dal <i>faraone Nencoreo</i> (Nebkaure Amenemhet II) figlio di Sesotide (1992/1985 a.C.) a Heliopolis in onore del sole come voto per aver recuperato la vista</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sarebbe stato tagliato in due durante i lavori di allestimento romani del <i>Forum Iulium</i> ad Alessandria, compiuti nel 40 d.C. da Cornelio Gallo prefetto d'Egitto sotto Augusto</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">L'obelisco Vaticano risalirebbe dunque a c. 4.000 anni<i> </i>fa<i>, </i>anche se il fatto che sia anepigrafo fa pensare che sia stato fatto dai romani in Egitto</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Era alto in origine 52,50 m (172 feet)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il fusto superiore, l'attuale obelisco, fu <i>trasportato a Roma da Caligola (37/41)</i> nell'anno 37 d.C. con una nave enorme, usando lenticchia egiziana come zavorra. La nave fu poi affondata da Claudio (41/54) per fondarvi un molo del porto artificiale vicino Ostia</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ornava il circo privato di Caligola presso il Colle Vaticano con iscrizione dedicatoria, ancora visibile, a Cesare, Augusto e Tiberio</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">I "Quattro leoni bronzei" alla base sono di Prospero Antichi detto </span><span style="color: #ff2600; letter-spacing: 0.0px;">Prospero Bresciano </span><span style="letter-spacing: 0.0px;">(attivo dal 1580/m. dopo 1592) e aiuti</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Aquile bronzee" 1713 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Ottoni</span><span style="letter-spacing: 0.0px;"> (1648/1736) per Innocenzo XIII Conti (1721/24)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>È sempre stato eretto sul lato sinistro della Basilica </i>a fianco dell'attuale Sagrestia dove una lapide sul pavimento ricorda il luogo esatto</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;"><i>Fu spostato al centro della piazza </i>per Sisto V Peretti (1585/90) da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenico Fontana</span><span style="letter-spacing: 0.0px;"> (1543/1607) in 13 mesi dal settembre 1585 al settembre 1586, operazione che gli valse il titolo di <i>Cavaliere della Guglia</i>. Nel colossale lavoro vennero impiegati 40 giganteschi argani, 907 uomini e 75 cavalli</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Le quattro EPIGRAFI così recitano:</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>NORD</i></span></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>Sixtus V Pont(ifex) Max(imus) Cruci Invictae Obeliscum Vaticanum Ab Impura Superstitione Expiatum Iustius Et Felicius Consecravit Anno MDLXXXVI Pont(ificatus) II = </i>Sisto V Pontefice Massimo l’obelisco Vaticano, purificato dall’impura superstizione, consacrò in modo più giusto e felice alla Croce invitta, nell’anno 1586, II del (suo) pontificato</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>OVEST</i></span></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>Christus Vincit Christus Regnat Christus Imperat Christus Ab Omni Malo Plebem Suam Defendat</i> = Cristo vince, Cristo regna, Cristo impera. Cristo difenda il suo popolo da ogni male</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>EST</i></span></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>Ecce Crux Domini Fugite Partes Adversae Vicit Leo De Tribu Iuda</i> =<i> </i>Ecco la Croce del Signore. Fuggite, parti nemiche. Vince il leone della tribù di Giuda</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>SUD</i></span></span><br />
<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>Sixtus V Pont Max Obeliscum Vaticanum Di(i)s Gentium Impio Culto Dicatum Ad Apostolorum Limina Operoso Labore Transtulit Anno MDLXXXVI Pont II =</i> Sisto V Pontefice Massimo, l’obelisco Vaticano, (già) dedicato con empio culto agli Dei dei popoli (pagani), trasferì con faticosa opera nella sede degli Apostoli l’anno 1586, II del (suo) pontificato</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel medioevo si credeva che nella sfera sulla cima ci fossero le ceneri di Giulio Cesare</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sisto V nel 1586 sostituì la sfera con una nuova (la vecchia è ora nei Musei Capitolini con ancora i buchi causati dalle pallottole dei lanzichenecchi durante il Sacco di Roma del 1527), e aggiunse la croce e i tre monti del suo stemma, oltre ai leoni</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ora nella sfera ci sono reliquie credute parte della croce di Gesù</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">DIMENSIONI DELLA BASILICA</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Lunghezza</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">186,30 m (610 feet). Compresi muri e portico è lunga 218,7 m (718 feet)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Facciata</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Larga 114,69 m (376 feet) alta 47,3 m (155 feet) un metro più alta della Statua della Libertà a New York senza piedistallo. Dimensioni più o meno simili a quelle di un campo di football americano (360 x 160 feet)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Cupola</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Diametro interno 42,56 m (139 feet); esterno 58,90 m (193 feet). Incredibilmente non è la cupola più grande di Roma: la cupola del Pantheon ha infatti un diametro interno di 43,30 m (142 feet)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>Lunghezza</i> <i>transetto</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">137,85 m (452 feet)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Altezza interna</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Da pavimento a lanterna 117,57 m (386 feet) sufficiente a farci entrare il Colosseo due volte con una ventina di metri di avanzo. L'altezza interna delle quattro cupole minori è di 42 m (138 feet)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Altezza esterna</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Fino alla croce 136,57 m (448 feet)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Area totale</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">22.067 m² (5,5 acri!)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Dal 1989 è diventata la seconda chiesa più grande del mondo, superata nel Guinness dei primati dalla Basilique de Notre Dame de la Paix a Yamoussoukro, in Costa d'Avorio che ha un'altezza di 158 m (518 feet) e una superficie di 30.000 m² non però tutta coperta, determinando una capienza interna notevolmente inferiore di 7.000 persone</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Si è calcolato che la Basilica può contenere al massimo <i>fino a 55.000 persone sedute e fino a 95.000 in piedi</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il fregio con le scritte è largo 3 m (10 feet) come una strada a senso unico e lungo 593 m (1.950 feet)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La penna di S. Marco sul pilastro della cupola è di 1,50 m (5 feet)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">L'apertura alare della colomba è 1,75 m (5,75 feet)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Le colonne sono c. 500, gli altari 46 e le finestre 233</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/DSCF5609/DSCF5609.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CUPOLA</span></i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0.0px;">Michelangelo Buonarroti</span><span style="letter-spacing: 0.0px;"> (1475/1564) la progettò e vi lavorò fino alla morte nel 1564 quando era arrivata solo al piano del tamburo</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Fu poi completata <i>24 anni dopo</i> da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Della Porta</span><span style="letter-spacing: 0.0px;"> (1533/1602) assistito da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenico Fontana</span><span style="letter-spacing: 0.0px;"> (1543/1607) in soli 22 mesi 1588/90 e fu finita il 14 maggio 1590</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Il peso stimato è di 14.000 tonnellate (15.400 tons)</span><span style="letter-spacing: 0px;"><i> </i></span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Nell'idearla, Michelangelo ha certamente pensato alla cupola del Brunelleschi per S. Maria del Fiore che, come diceva l'Alberti, era ampia da coprire con la sua ombra tutti i popoli toscani; la sua sarà ampia da coprire tutti i popoli cristiani. È come una ruota dentata che morda nello spazio libero del cielo. Al di sopra, la curva della calotta esprime a un tempo il peso della massa e il suo rianimarsi e tradursi in spinta verso l'alto con la tensione dei costoloni" (Giulio Carlo Argan)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Lavoro per palla e croce di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Sebastiano Torrigiani </span><span style="letter-spacing: 0.0px;">(noto da c. 1573/m. 1596) finito il 18 novembre 1593</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La PALLA ha un diametro di 2,47 m (8,10 feet), è vuota all'interno e può contenere fino a 16 persone</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Per arrivare in cima ci sono 537 scalini ma se si usa l'ascensore fino alla base della cupola gli scalini sono 323</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">Le due CUPOLE MINORI sono di </span><span style="letter-spacing: 0.0px;">Jacopo Barozzi detto Vignola</span><span style="color: black; letter-spacing: 0.0px;">, finite da </span><span style="letter-spacing: 0.0px;">Giacomo Della Porta</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8680/Basilica%20S.%20Pietro%20DSC_8680.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">FACCIATA</span></i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1607/14 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maderno</span><span style="letter-spacing: 0.0px;"> (1556/1629) per Paolo V Borghese (1605/21) anche se nel fregio c'è la data 1612</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">È larga 114,69 m (376 feet) e alta 47,3 m (155 feet)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Le due colonne che fiancheggiano l'entrata centrale sono di marmo africano ed erano state utilizzate anche nell'antica basilica. Nel XVI erano considerate simbolo degli apostoli Pietro e Paolo, le colonne della Chiesa</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">L'iscrizione sulla facciata tradotta dal latino dice: <i>Paolo V Pontefice Massimo romano della famiglia Borghese fece costruire (questa facciata) in onore del Principe degli Apostoli nel 1612, settimo anno del suo pontificato</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">È sicuramente interessante e non casuale il fatto che tra tutte le parole dell'iscrizione quella che prende il posto d'onore al centro, proprio sopra al balcone dal quale ogni nuovo papa eletto appare, sia "Borghese", il nome della famiglia</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Passeggiata%20DSC_2760/Passeggiata%20DSC_2760.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SCALINATA</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A tre ripiani del tempo di Sisto V Peretti (1585/90) che fece utilizzare marmo preso dal Colosseo. Fu ristrutturata nel 1667 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8682/Basilica%20S.%20Pietro%20DSC_8682.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">TREDICI STATUE SULLA BALAUSTRA</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Gesù, Battista e apostoli tranne S. Pietro e S. Paolo" (hanno le statue in piazza) 1612/14 vari artisti sotto la direzione di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ambrogio Buonvicino</span><span style="letter-spacing: 0.0px;"> (c. 1552/1622)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Alte da 5,50 m (18 feet) (S. Giacomo Maggiore 5° da destra) a 7,50 m (24,6 feet) (Cristo al centro)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Da sinistra:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"S. Taddeo" </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Fancelli</span><span style="letter-spacing: 0.0px;">, "S. Matteo" </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernardo Cennini,</span><span style="letter-spacing: 0.0px;"> "S. Filippo" e "S. Tommaso" </span><span style="color: #ff2600; letter-spacing: 0.0px;">Siméon Drouin</span><span style="letter-spacing: 0.0px;">, "S. Giacomo Maggiore" </span><span style="color: #ff2600; letter-spacing: 0.0px;">Egidio Moretti</span><span style="letter-spacing: 0.0px;">, "S. Giovanni Battista" </span><span style="color: #ff2600; letter-spacing: 0.0px;">Siméon Drouin</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Cristo Redentore" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cristoforo Stati</span><span style="letter-spacing: 0.0px;"> (1556/1619) completata da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Siméon Drouin</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"S. Andrea" </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Fancelli</span><span style="letter-spacing: 0.0px;">, "S. Giovanni Evangelista" Giovanni Antonio Paracca il Giovane detto il </span><span style="color: #ff2600; letter-spacing: 0.0px;">Valsoldino</span><span style="letter-spacing: 0.0px;"> con </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernardo Cennini</span><span style="letter-spacing: 0.0px;">, "S. Giacomo Minore" </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cristoforo Stati </span><span style="letter-spacing: 0.0px;">completata da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Fontana</span><span style="letter-spacing: 0.0px;">, "S. Bartolomeo" </span><span style="color: #ff2600; letter-spacing: 0.0px;">Egidio Moretti</span><span style="letter-spacing: 0.0px;">, "S. Simone" </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernardo Cennini</span><span style="letter-spacing: 0.0px;"> e "S. Mattia" </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Fontana</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8684/Basilica%20S.%20Pietro%20DSC_8684.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">ALTORILIEVO SOTTO IL BALCONE</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Consegna delle chiavi" 1612/14 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ambrogio Buonvicino</span><span style="letter-spacing: 0.0px;"> (c. 1552/1622)</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8681/Basilica%20S.%20Pietro%20DSC_8681.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">DUE OROLOGI</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1786/90 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Valadier</span><span style="letter-spacing: 0.0px;"><b> </b>(1762/1839) con quadranti in mosaico: a sinistra "Orologio oltremontano" con fuso orario medio europeo, a destra "Orologio italiano" con ora di Roma</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il diametro degli orologi è di c. 4 m (13 feet)</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Romapedia%201%20DSC_4234/Romapedia%201%20DSC_4234.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SEI CAMPANE</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sono collocate sotto l'orologio di sinistra</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">La più grande, il <i>campanone</i>, rifatta da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Valadier</span><span style="letter-spacing: 0.0px;"> (1726/85) (si suicidò gettandosi nel Tevere per le malignità e le gelosie) e completata 1786 dal figlio </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Valadier</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il peso del <i>campanone</i> è di c. 10 tonnellate (11 tons) e la circonferenza 7,5 m (24.6 feet)</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8685/Basilica%20S.%20Pietro%20DSC_8685.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PORTICO</span></i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1608/12 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maderno</span><span style="letter-spacing: 0.0px;"> (1556/1629)</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8701/Basilica%20S.%20Pietro%20DSC_8701.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PAVIMENTO IN MARMO</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">c. 1655/75 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Gli stemmi papali inseriti nel pavimento sono, a sinistra, di Clemente X Altieri (1670/76) che regnava quando fu completato, a destra, di Leone XIII Pecci (1878/1903) che lo fece restaurare nel 1888 e, al centro, di Giovanni XXIII Roncalli (1958/63) che lo fece ulteriormente restaurare nel 1962 </span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">STATUE EQUESTRI NEI LATI CORTI</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8709/Basilica%20S.%20Pietro%20DSC_8709.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Statua di Costantino"</span></a> iniziata nel 1654 e completata nel 1670 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Nelle nicchie statue in travertino "Chiesa e tre virtù teologali Fede, Speranza e Carità" 1728/38 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Frascari</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. De Rossi</span><span style="letter-spacing: 0.0px;">,</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Giuseppe Lironi</span><span style="letter-spacing: 0.0px;"> (1689/1749) e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernardino Ludovisi</span><span style="letter-spacing: 0.0px;"> (c. 1713/49)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"L'opera venne collocata sul pianerottolo della Scala Regia, sull'asse del portico di S. Pietro. Bernini ha progettato l'alto arco contenente il monumento equestre e il monumento stesso con il suo immenso drappeggio di stucco colorato, come punto focale dell'asse del portico. Gli espedienti d'inquadratura ci collocano esattamente nel punto di vista giusto. Tali espedienti d'inquadratura sono particolarmente significativi, poiché si guarda, attraverso la delimitazione delle scure porte di bronzo, entro la zona brillantemente illuminata del pianerottolo" (Rudolf Wittkower)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/93px-Charlemagne_Agostino_Cornacchini_Vatican_2/93px-Charlemagne_Agostino_Cornacchini_Vatican_2.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Statua di Carlo Magno"</span></a> 1725 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Agostino Cornacchini</span><span style="letter-spacing: 0.0px;"> (1683/1740) scolpita in un unico blocco di marmo di Carrara. Il tendaggio dietro la statua è in marmo giallo antico della Tunisia</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Nelle nicchie statue in travertino "Quattro virtù cardinali Fortezza, Giustizia, Speranza e Carità" 1721/31 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Ottoni</span><span style="letter-spacing: 0.0px;"> (1648/1736), </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. De Rossi</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Lironi</span><span style="letter-spacing: 0.0px;"> (1689/1749)</span><span style="color: #ff2600; letter-spacing: 0.0px;"> </span><span style="letter-spacing: 0.0px;">e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Raffaelli</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8700/Basilica%20S.%20Pietro%20DSC_8700.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">VOLTA</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">c. 3.500 m² (c. 38.000 square feet) stucchi e trentadue riquadri con "Atti degli Apostoli" e trentuno statue di "Papi martiri" 1618/19 su cartoni di </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Ricci</span><span style="letter-spacing: 0.0px;"> (c. 1550/1624)</span><span style="color: #ff2600; letter-spacing: 0.0px;"> </span><span style="letter-spacing: 0.0px;">di Novara eseguiti da una squadra di sei stuccatori ticinesi</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Poiché le eleganti e ricche decorazioni in stucco costituivano l'unico campo in cui i manieristi romani sotto Gregorio XIII Boncompagni (1572/85) e Sisto V Peretti (1585/90) avevano mostrato vera inventiva e originalità, Ricci attinse qui a una tradizione viva e vigorosa e creò un'opera la cui magnificenza è sempre stata elogiata" (Rudolf Wittkower)</span></i></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8694/Basilica%20S.%20Pietro%20DSC_8694.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PORTA MEDIANA</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1439/45 Rilievi bronzei <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8697/Basilica%20S.%20Pietro%20DSC_8697.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Cristo Pantocrator, Annunciazione, "Ss. Pietro e Paolo"</span></a>, <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8695/Basilica%20S.%20Pietro%20DSC_8695.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Martirio di S. Pietro"</span></a> e <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8696/Basilica%20S.%20Pietro%20DSC_8696.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Martirio di S. Paolo"</span></a> di Antonio Averlino detto </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filarete</span><span style="letter-spacing: 0.0px;"> (c. 1400/c. 1469) per Eugenio IV Coldumer (1431/47) storie del quale sono rappresentate nei quattro rilievi più piccoli collocati tra i sei pannelli</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In un pannello sul retro della porta, nella parte in basso a destra, c'è una rappresentazione del Filarete stesso che festeggia danzando con i suoi collaboratori in occasione della fine dei lavori per la porta</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La porta era anche la porta principale della vecchia basilica</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SOPRA LA PORTA MEDIANA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">Rilievo marmoreo <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8699/Basilica%20S.%20Pietro%20DSC_8699.jpg?disposition=download"><span style="letter-spacing: 0px;">"Gesù affida a S. Pietro il gregge cristiano"</span></a> 1646 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span><span style="color: black; letter-spacing: 0.0px;"> e aiuti</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">DI FRONTE AL RILIEVO</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8698/Basilica%20S.%20Pietro%20DSC_8698.jpg?disposition=download">"Mosaico della navicella"</a></span><span style="letter-spacing: 0.0px;"><b> </b>1675, rifacimento maldestro di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Vincenzo Manenti</span><span style="letter-spacing: 0.0px;"> (1600/74) dall'originale di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giotto</span><span style="letter-spacing: 0.0px;"> (c. 1267/1337) per il Card. Jacopo Stefaneschi, del quale solo pochissimi particolari (bordo dorato della nave, vela e ritratto di qualche apostolo) sono originali</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Era originariamente situato nella facciata interna del quadriportico davanti alla vecchia basilica</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">LE ALTRE PORTE</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A destra della mediana <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8703/Basilica%20S.%20Pietro%20DSC_8703.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Porta dei Sacramenti"</span></a> 1965 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Venanzo Crocetti</span><span style="letter-spacing: 0.0px;"> (1913/2003), inaugurata da Paolo VI Montini (1963/78) in occasione della riapertura del Concilio Vaticano II </span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Più a destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8686/Basilica%20S.%20Pietro%20DSC_8686.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Porta Santa"</span></a> 1949 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Vico Consorti</span><span style="letter-spacing: 0.0px;"> (1902/79) per il Giubileo del 1950</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nei pannelli "Storie dell'Antico e del Nuovo Testamento" e, tra i pannelli, stemmi dei papi che hanno aperto la porta nei 26 Anni Santi ordinari che sono stati finora celebrati</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Donata dal vescovo svizzero Francesco Von Streng perché la Svizzera era stata risparmiata dalla II guerra mondiale. L'entrata fino al 1950 fu chiusa da un muro</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Gli stipiti sono in marmo proveniente dall'isola greca di Chios. L'utilizzo di questo tipo di marmo in questo luogo così importante l'ha fatto definire come <i>marmo di portasanta</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8693/Basilica%20S.%20Pietro%20DSC_8693.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Porta del bene e del male"</span></a> 1975/77 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luciano Minguzzi</span><span style="letter-spacing: 0.0px;"> (1911/2004), in occasione dell'ottantesimo compleanno di Paolo VI</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel battente di sinistra è rappresentato il bene, in quello di destra il male</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nella rappresentazione del male c'è un'immagine di martiri associata a una strage di partigiani nel 1943 a Casalecchio sul Reno durante la II guerra mondiale</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Più a sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8691/Basilica%20S.%20Pietro%20DSC_8691.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Porta della morte"</span></a> 1947/58 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Manzù </span><span style="letter-spacing: 0.0px;">(1908/91), così detta perché da qui entravano i cortei funebri con le salme dei papi</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Papa Giovanni XXIII Roncalli (1958/63) bergamasco come Manzù eletto nel 1958 sbloccò subito i lavori per la porta che avevano trovato opposizioni tra i cardinali. Manzù lo rappresentò nei battenti interni mentre <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8940/Basilica%20S.%20Pietro%20DSC_8940.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">accoglie il vescovo Laurean Rugambwe, primo cardinale di colore in assoluto</span></a> da lui creato</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Manzù firmò il suo lavoro sul retro della porta, nell'impronta della mano aperta</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Nei timpani delle porte <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8702/Basilica%20S.%20Pietro%20DSC_8702.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Cherubini"</span></a> alcuni dei quali eseguiti da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Borromini</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">TRE ISCRIZIONI</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Incastonate tra le porte e provenienti dalla vecchia Basilica. Da s.:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8689/Basilica%20S.%20Pietro%20DSC_8689.jpg?disposition=download">"Donazione di 56 uliveti"</a></span><span style="letter-spacing: 0.0px;"> di Gregorio II (715/731) per l'olio delle lampade che dovevano essere sempre accese attorno al sepolcro di S. Pietro</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8688/Basilica%20S.%20Pietro%20DSC_8688.jpg?disposition=download">"Epitaffio di Adriano I (772/795)"</a></span><span style="letter-spacing: 0.0px;"> dedicato da Carlo Magno al papa per la sua morte. È in marmo nero del Belgio</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8687/Basilica%20S.%20Pietro%20DSC_8687.jpg?disposition=download"><i>"Bolla Antiquorum habet fida relatio"</i></a></span><span style="letter-spacing: 0.0px;"> con la quale Bonifacio VIII (1294/1303) indisse il primo Giubileo del 1300</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside.html"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">NAVATA MEDIANA</span></i></a></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8707/Basilica%20S.%20Pietro%20DSC_8707.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">VOLTA</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Alta 44 m (142 feet), decorazione 1780 sotto Pio VI Braschi (1775/99) con suo stemma al centro</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8757/Basilica%20S.%20Pietro%20DSC_8757.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PAVIMENTO IN MARMO</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1649 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span><span style="letter-spacing: 0.0px;">, restaurato negli anni trenta del 1900 per Pio XI Ratti (1922/39), quando si lasciarono in bianco i bordi dell'intarsio al centro della navata per nascondere l'errore di progettazione di Carlo Maderno</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Davanti alla porta centrale "Rota porfiretica" in porfido egizio, già collocata presso l'altare della vecchia Basilica, su cui venne eletto Carlo Magno nel giorno di Natale dell'anno 800. È l'unica rimasta delle sei della vecchia Basilica</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nella navata centrale marchi delle <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8735/Basilica%20S.%20Pietro%20DSC_8735.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">LUNGHEZZE DI 28 CHIESE</span></a> tra cui:</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">(2°) <i>St. Paul's Cathedral </i>Londra (28,2 m - 92,5 feet - più corta della Basilica di S. Pietro), (3°) <i>S. Maria del Fiore </i>Firenze, (4°) <i>Basilica del Sacro Cuore </i>Bruxelles, (5°) <i>Immacolata Concezione</i> Washington, (6°) <i>Cattedrale </i>Reims, (7°) <i>Cattedrale </i>Colonia, (8°) <i>Duomo </i>Milano, (9°) <i>Cattedrale </i>Spira, (10°) <i>Basilica di S. Petronio </i>Bologna, (11°) <i>Cattedrale </i>Siviglia, (12°) <i>Notre Dame </i>Parigi, (13°) <i>S. Paolo Fuori le Mura</i> Roma...</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">...(23°) <i>St. Mary's Cathedral</i> Sydney,<i> </i>(24°) <i>Cattedrale di S. Paolo del Brasile, </i>(25°) <i>Westminster Abbey </i>Londra, (26°) <i>Santa Sofia </i>Istanbul, (27°) <i>Cattedrale di S. Croce</i> Boston, (28°) <i>Basilica di S. Maria</i> Danzica e (29°) <i>Cattedrale di S. Patrizio</i> New York</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PILASTRI</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Coperti da stucchi e marmi colorati negli anni 1646/49 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini </span><span style="letter-spacing: 0.0px;">con l'aiuto di 41 artisti tra cui </span><span style="color: #ff2600; letter-spacing: 0.0px;">Andrea Bolgi</span><span style="letter-spacing: 0.0px;"> (1606/56), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ercole Ferrata</span><span style="letter-spacing: 0.0px;"> (1610/86), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ercole Antonio Raggi</span><span style="letter-spacing: 0.0px;"> (1624/86), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Orfeo Boselli </span><span style="letter-spacing: 0.0px;">(c. 1600/67), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cosimo Fanzago </span><span style="letter-spacing: 0.0px;">(1591/1678), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lazzaro Morelli </span><span style="letter-spacing: 0.0px;">(1608/90) e altri</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8761/Basilica%20S.%20Pietro%20DSC_8761.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"56 medaglioni di papi da S. Pietro a Benedetto I (575/579), 192 cherubini e 104 colombe con rami d'ulivo nel becco"</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Si privilegiarono i colori rosso e verde e si scelsero le colombe con i rami d'ulivo in quanto rispettivamente colori e simboli araldici di Innocenzo X Pamphilj (1644/55)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Lo sfondo in marmo rosso "cottanello" ha venature naturali che vennero assecondate e integrate dagli artisti per ottenere una superficie che, pure se tratta dalla natura, mostra connotazioni creativamente artificiali</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">NEI RINFIANCHI DEI GRANDI ARCHI</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Cuppolone%20DSC_2226/Cuppolone%20DSC_2226.jpg?disposition=download">"Sedici Virtù"</a></span><span style="letter-spacing: 0.0px;"> alte 6 m (20 feet) 1647/49 dodici delle quali disegnate da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span><span style="letter-spacing: 0.0px;"> ed eseguite da quattordici artisti</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Le quattro virtù nei prospetti delle cappelle Gregoriana e Clementina erano già state eseguite negli anni 1599/1600</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sul lato destro:</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8736/Basilica%20S.%20Pietro%20DSC_8736.jpg?disposition=download">"Fortezza"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1647 di </span><span style="letter-spacing: 0.0px;">Giovanni Francesco De Rossi </span><span style="color: black; letter-spacing: 0.0px;">(attivo 1640/77)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8737/Basilica%20S.%20Pietro%20DSC_8737.jpg?disposition=download">"Misericordia"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1647 di </span><span style="letter-spacing: 0.0px;">Giovanni Francesco De Rossi </span><span style="color: black; letter-spacing: 0.0px;">con il padre </span><span style="letter-spacing: 0.0px;">Domenico De Rossi</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8738/Basilica%20S.%20Pietro%20DSC_8738.jpg?disposition=download">"Costanza"</a></span><span style="letter-spacing: 0.0px;"> e <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8739/Basilica%20S.%20Pietro%20DSC_8739.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Clemenza"</span></a> 1647 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Antonio Fancelli </span><span style="letter-spacing: 0.0px;">(1619/71) autore della statua del Nilo nella Fontana dei Fiumi a Piazza Navona e del fratello </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cosimo Fancelli </span><span style="letter-spacing: 0.0px;">(1620/88)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8740/Basilica%20S.%20Pietro%20DSC_8740.jpg?disposition=download">"Pace"</a></span><span style="letter-spacing: 0.0px;"> 1647 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lazzaro Morelli </span><span style="letter-spacing: 0.0px;">(1608/90)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8741/Basilica%20S.%20Pietro%20DSC_8741.jpg?disposition=download">"Innocenza"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1647 di </span><span style="letter-spacing: 0.0px;">G.B. Morelli</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8742/Basilica%20S.%20Pietro%20DSC_8742.jpg?disposition=download">"Fede"</a></span><span style="letter-spacing: 0.0px;"> e <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8743/Basilica%20S.%20Pietro%20DSC_8743.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Carità"</span></a> 1599 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ruggero Bescapè </span><span style="letter-spacing: 0.0px;">(?/c. 1600). Aveva lavorato alle sculture del Teatro Olimpico di Vicenza</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sul lato sinistro:</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8746/Basilica%20S.%20Pietro%20DSC_8746.jpg?disposition=download">"Fortezza"</a></span><span style="letter-spacing: 0.0px;"> e <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8748/Basilica%20S.%20Pietro%20DSC_8748.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Giustizia"</span></a> 1599/1600 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ambrogio Buonvicino</span><span style="letter-spacing: 0.0px;"> (c. 1552/1622)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8749/Basilica%20S.%20Pietro%20DSC_8749.jpg?disposition=download">"Pazienza"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1647 di </span><span style="letter-spacing: 0.0px;">Domenico Prestinaro</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8750/Basilica%20S.%20Pietro%20DSC_8750.jpg?disposition=download">"Umiltà"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1647 di </span><span style="letter-spacing: 0.0px;">Bartolomeo Cennini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8751/Basilica%20S.%20Pietro%20DSC_8751.jpg?disposition=download">"Obbedienza"</a></span><span style="letter-spacing: 0.0px;"> e <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8752/Basilica%20S.%20Pietro%20DSC_8752.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Verginità"</span></a> 1647/49 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Niccolò Menghini </span><span style="letter-spacing: 0.0px;">(c. 1610/55)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8753/Basilica%20S.%20Pietro%20DSC_8753.jpg?disposition=download">"Giustizia divina"</a></span><span style="color: black; letter-spacing: 0.0px;"> e <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8754/Basilica%20S.%20Pietro%20DSC_8754.jpg?disposition=download"><span style="letter-spacing: 0px;">"Autorità ecclesiastica"</span></a> 1647/48 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Andrea Bolgi</span><span style="color: black; letter-spacing: 0.0px;"> (1606/56)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Queste due virtù di Bolgi non piacquero a Innocenzo X Pamphilj (1644/55) e nel 1649 le fece modificare da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Marco Antonio Inverno</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">ARCATE DEI TRANSETTI E DEI PASSAGGI NELLA TRIBUNA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">1714/18 <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8803/Basilica%20S.%20Pietro%20DSC_8803.jpg?disposition=download"><span style="letter-spacing: 0px;">"Dodici figure allegoriche"</span></a> di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Ottoni </span><span style="color: black; letter-spacing: 0.0px;">(1648/1736)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">DECORAZIONE A MOSAICO DELLA BASILICA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Iniziò nel 1578 con la Cappella Gregoriana e proseguì fino a inizio 1800 sotto le direzioni successive di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Girolamo Muziano</span><span style="letter-spacing: 0.0px;"> (1532/92), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Paolo Rossetti</span><span style="letter-spacing: 0.0px;"> (?/1621),</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Marcello Provenzale </span><span style="letter-spacing: 0.0px;">(1575/1639),</span><span style="color: #ff2600; letter-spacing: 0.0px;"> G.B. Calandra</span><span style="letter-spacing: 0.0px;">,</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Fabio Cristofari </span><span style="letter-spacing: 0.0px;">(c. 1615/89) e</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Pietro Paolo Cristofari </span><span style="letter-spacing: 0.0px;">(1685/1743) che nel 1727 fondò l'istituzione nota come <i>Studio del mosaico al Vaticano</i><b> </b>ancora oggi operante</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La superficie totale dei mosaici nella Basilica è di c. 10.000 m² (2,5 acres)</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8708/Basilica%20S.%20Pietro%20DSC_8708.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">FREGIO IN MOSAICO CON ISCRIZIONE</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Completata al tempo di Pio IX Mastai-Ferretti (1846/78) con brani estratti dal Vangelo</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">è largo 3 m (10 feet) come una strada a senso unico e lungo 593 m (1.950 feet)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nella tribuna la scritta è ripetuta anche in greco a simboleggiare la continuità con il passato, essendo il greco la lingua delle prime comunità cristiane: <i>O Pastore della Chiesa tu pasci gli agnelli, tu pascoli le pecorelle di Cristo</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nella cupola: <i>Tu sei Pietro e su questa pietra costruirò la mia Chiesa e ti darò le chiavi del regno dei cieli, Mt 16,18-19</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Navata centrale, lato sinistro: <i>Io ho pregato per te, Pietro, affinché non venga meno la tua fede e tu, una volta ravveduto, conferma i tuoi fratelli, Lc 22,32</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Navata centrale, lato destro: <i>Tutto ciò che avrai legato sulla terra sarà legato anche nei cieli; e tutto ciò che avrai sciolto sulla terra sarà sciolto anche nei cieli, Mt 16,19</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Transetto di destra:<i> O Pietro, hai detto: Tu sei il Cristo, il Figlio del Dio vivente. Gesù rispose: Beato sei tu, Simone figlio di Giona, perché questo non ti è stato rivelato né dalla carne né dal sangue, Mt 16, 16-17</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Transetto di sinistra:<i> Gesù dice per tre volte a te, o Pietro: mi ami? A lui per tre volte, o eletto, tu rispondi: o Signore tu conosci tutto e sai che ti amo, Gv 21,17</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Facce interne dei piloni: <i>Da qui una sola fede risplende nel mondo, da qui sgorga l'unità del sacerdozio</i></span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8756/Basilica%20S.%20Pietro%20DSC_8756.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CONTROFACCIATA</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Due orologi 1787/90 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Valadier</span><span style="letter-spacing: 0.0px;"> (1762/1839):</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A sinistra <i>orologio alla francese o</i> <i>ultramontano </i>con inizio conto ore da mezzanotte</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A destra <i>orologio all'italiana </i>con inizio conto ore dal tramonto con quattro giri completi della lancetta al giorno. Era un bizzarro sistema di misurare il tempo usato a Roma fino al 1846</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8929/Basilica%20S.%20Pietro%20DSC_8929.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">ACQUASANTIERE</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1722/25 disegnate da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Agostino Cornacchini</span><span style="letter-spacing: 0.0px;"> (1683/1740) con enormi putti scolpiti da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Moderati</span><span style="letter-spacing: 0.0px;"> (c. 1680/ dopo 1724) a sinistra e </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. De Rossi </span><span style="letter-spacing: 0.0px;">a destra</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">STATUE NELLE NICCHIE DELL'ORDINE INFERIORE</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Fondatori di ordini religiosi:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1°d <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8712/Basilica%20S.%20Pietro%20DSC_8712.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Teresa di Gesù"</span></a> 1754 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Della Valle</span><span style="letter-spacing: 0.0px;"> (1698/1768)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">2°d <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8715/Basilica%20S.%20Pietro%20DSC_8715.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Vincenzo de' Paoli"</span></a> 1754 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Bracci</span><span style="letter-spacing: 0.0px;"> (1700/73)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">3°d <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8718/Basilica%20S.%20Pietro%20DSC_8718.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Filippo Neri"</span></a> 1737 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Maini</span><span style="letter-spacing: 0.0px;"> (1690/1752)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8728/Basilica%20S.%20Pietro%20DSC_8728.jpg?disposition=download">"Statua di S. Pietro"</a></span><span style="letter-spacing: 0.0px;"> c. 1296/98 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Arnolfo di Cambio</span><span style="letter-spacing: 0.0px;"> (c. 1245/1302) o sua bottega</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Cattedra marmorea del 1757. Due "Torciere bronzee con storie dei Ss. Pietro e Paolo" 1972 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Egidio Giaroli</span><span style="letter-spacing: 0.0px;"> (1912/2000). Medaglione in mosaico con "Pio IX Mastai-Ferretti (1846/78)" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Ubizi </span><span style="letter-spacing: 0.0px;">da dipinto originale di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Grandi</span><span style="letter-spacing: 0.0px;"> (1831/91)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">4°s <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8725/Basilica%20S.%20Pietro%20DSC_8725.jpg?disposition=download"><span style="letter-spacing: 0px;">"S. Francesco di Paola"</span></a> 1732 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Maini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">3°s <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8729/Basilica%20S.%20Pietro%20DSC_8729.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Ignazio"</span></a> 1733 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Camillo Rusconi</span><span style="letter-spacing: 0.0px;"> (1658/1728) finita dall'allievo </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Rusconi</span><span style="letter-spacing: 0.0px;"> (1688/1758) che aveva lo stesso cognome di Camillo ma non ne era parente</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">2°s <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8731/Basilica%20S.%20Pietro%20DSC_8731.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Camillo"</span></a> 1753 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Pacilli </span><span style="letter-spacing: 0.0px;">(1716/dopo 1769)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">1°s <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8733/Basilica%20S.%20Pietro%20DSC_8733.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Pietro d'Alcantara"</span></a> 1753 di </span><span style="letter-spacing: 0.0px;">Francisco Vergara y Bartual il Giovane </span><span style="color: black; letter-spacing: 0.0px;">(1681/1753)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">STATUE NELLE NICCHIE DELL'ORDINE SUPERIORE</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Fondatori di ordini religiosi e congregazioni:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">1°d <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8719/Basilica%20S.%20Pietro%20DSC_8719.jpg?disposition=download"><span style="letter-spacing: 0px;">"S. Maddalena Sofia Barat"</span></a> 1934 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Enrico Quattrini</span><span style="color: black; letter-spacing: 0.0px;"> (1863/1950)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">2°d <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8721/Basilica%20S.%20Pietro%20DSC_8721.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Giovanni Eudes"</span></a> 1932 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Silvio Silva</span><span style="letter-spacing: 0.0px;"> (1890/1955)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">3°d <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8722/Basilica%20S.%20Pietro%20DSC_8722.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. G.B. de la Salle"</span></a> 1904 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cesare Aureli</span><span style="letter-spacing: 0.0px;"> (1843/1923)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">4°d <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8724/Basilica%20S.%20Pietro%20DSC_8724.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Giovanni Bosco"</span></a> 1936 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Canonica</span><span style="letter-spacing: 0.0px;"> (1869/1959)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">4°s <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8727/Basilica%20S.%20Pietro%20DSC_8727.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Pietro Fourier"</span></a> 1899 dello </span><span style="letter-spacing: 0.0px;">Studio Nicoli di Carrara</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">3°s <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8730/Basilica%20S.%20Pietro%20DSC_8730.jpg?disposition=download"><span style="letter-spacing: 0px;">"S. Antonio Maria Zaccaria"</span></a> 1909 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cesare Aureli</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">2°s <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8732/Basilica%20S.%20Pietro%20DSC_8732.jpg?disposition=download"><span style="letter-spacing: 0px;">"S. Luigi Maria Grignion de Montort"</span></a> 1948 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Parisini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">1°s <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8734/Basilica%20S.%20Pietro%20DSC_8734.jpg?disposition=download"><span style="letter-spacing: 0px;">"S. Lucia Filippini"</span></a> 1949 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Silvio Silva</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nelle NICCHIE ALL'ESTERNO DELLA BASILICA dal 1999 al 2011 sono state collocate diciotto nuove statue di fondatori di ordini religiosi e congregazioni per volere di Giovanni Paolo II (1978/2005) e Benedetto XVI (2005/13) </span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8824/Basilica%20S.%20Pietro%20DSC_8824.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CUPOLA INTERNA</span></i></a></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"All'interno il ripetersi delle coppie di pilastri piatti del tamburo suggerisce un movimento rotatorio, centrifugo che dà alla cavità della calotta la continuità di un perenne girare intorno al centro prospettico-luminoso della lanterna. È precisamente, ma proiettata in altezza, la stessa idea spaziale che si esprimeva, più drammaticamente nel Giudizio; ma, appunto il dramma è più vicino alla conclusione, alla catarsi finale. La cupola è la catarsi del dramma dell'opera mai finita, la tomba di Giulio II. Sorge nello stesso sito, il monumento simbolico dell'ecumene cristiano" (Giulio Carlo Argan)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PENNACCHI</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaici con Evangelisti <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8839/Basilica%20S.%20Pietro%20DSC_8839.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Marco"</span></a> e <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8841/Basilica%20S.%20Pietro%20DSC_8841.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Matteo"</span></a> 1599 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cesare Nebbia </span><span style="letter-spacing: 0.0px;">(1536/1614) e <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8842/Basilica%20S.%20Pietro%20DSC_8842.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Giovanni"</span></a> e <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8840/Basilica%20S.%20Pietro%20DSC_8840.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Luca"</span></a> 1599 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni De Vecchi </span><span style="letter-spacing: 0.0px;">(c. 1537/1615)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Angeli" nei triangoli superiori 1600 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cristoforo Roncalli detto Pomarancio</span><span style="letter-spacing: 0.0px;"> (1552/1626)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Sia gli Evangelisti che gli angeli sono stati messi in opera negli anni 1599/1601 dai mosaicisti </span><span style="color: #ff2600; letter-spacing: 0.0px;">Paolo Rossetti</span><span style="letter-spacing: 0.0px;"> (?/1621), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lodovico Martinelli</span><span style="letter-spacing: 0.0px;"> e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Marcello Provenzale </span><span style="letter-spacing: 0.0px;">(1575/1639)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Le penne degli evangelisti sono lunghe 1,50 m (5 feet)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SEDICI COSTOLONI</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaici con <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Cuppolone%20DSC_2197/Cuppolone%20DSC_2197.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Angeli"</span></a> 1603/13 di Giuseppe Cesari detto </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cavalier d'Arpino</span><span style="letter-spacing: 0.0px;"> (1568/1640) e stuolo di mosaicisti diretti da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Marcello Provenzale </span><span style="letter-spacing: 0.0px;">(1575/1639)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Dall'alto "Serafini" in stucco con teste dorate, ognuna circondata da sei ali bianche, "Cherubini" in mosaico con teste dorate, ognuna circondata da sei ali alternativamente bianco e azzurre, "Cristo", "S. Giovanni Battista", "Madonna", "S. Paolo e gli Apostoli". Più sotto nelle lunette "Patriarchi e Vescovi"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">LANTERNINO</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Dio Padre" nella sommità eseguito in mosaico negli anni 1603/04 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ranuccio Semprevivo</span><span style="letter-spacing: 0.0px;">. L'altezza del lanternino è, incredibilmente, ben 18 m (59 feet)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">QUATTRO PILONI</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">71 m (233 feet) di perimetro</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Edificati da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bramante</span><span style="letter-spacing: 0.0px;">, completati da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michelangelo</span><span style="letter-spacing: 0.0px;"> e attrezzati da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span><span style="letter-spacing: 0.0px;"> 1928/39 per ospitare le più importanti reliquie della cristianità</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">QUATTRO STATUE</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nelle nicchie alla base dei piloni alte 5 m (16,4 feet):</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8833/Basilica%20S.%20Pietro%20DSC_8833.jpg?disposition=download">"S. Longino"</a></span><span style="letter-spacing: 0.0px;"> 1635/38 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Dopo la S. Bibiana, il Longino è il passo decisivo seguente nella conquista del corpo mediante il drappeggio drammaticamente concepito. Tre giri di pieghe si irradiano da un nodo sotto il braccio sinistro verso l'ampia cascata verticale del drappeggio guidando lo sguardo verso l'immagine marmorea della sacra lancia. Così il corpo del Longino è quasi soppresso sotto il peso del mantello che sembra seguire leggi proprie. È rappresentato nell'atto emozionante della conversione, momento culminante di drammaticità, mentre, guardando la Croce, esclama: veramente questo fu il figlio di Dio!" (Rudolf Wittkower)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Espresse l'immediatezza prescritta da S. Ignazio nei suoi Esercizi spirituali (...) con un'empatia che per la prima volta identificava le personali aspirazioni religiose di un cattolico con un eroe spirituale della prima cristianità. Longino non è che il primo di una grande successione di peccatori la cui vita fu illuminata dalla rivelazione della divinità di Cristo" (Howard Hibbard)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8827/Basilica%20S.%20Pietro%20DSC_8827.jpg?disposition=download">"S. Elena"</a></span><span style="letter-spacing: 0.0px;"> 1629/39 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Andrea Bolgi</span><span style="letter-spacing: 0.0px;"> (1606/56)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Lo stile del Bolgi mostra notevoli affinità con l'opera del Bernini in questo periodo. La S. Elena è infatti così vicina alla Contessa Matilde del Bernini, che quest'ultima fu spesso attribuita al Bolgi. Durante gli anni trenta Bernini stesso fece delle concessioni agli ideali classici sostenuti dalla cerchia Poussin-Sacchi. È perciò comprensibile che in quel periodo egli considerasse Bolgi come uno dei suoi assistenti più fidati" (Rudolf Wittkower)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8830/Basilica%20S.%20Pietro%20DSC_8830.jpg?disposition=download">"S. Veronica"</a></span><span style="letter-spacing: 0.0px;"> 1629/39 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Mochi</span><span style="letter-spacing: 0.0px;"> (1580/1654) che la eseguì lentamente per "sigillare la vecchiaia con opera memorabile"<i>,</i> come soleva dire</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Le opere del toscano suscitarono non poca meraviglia fra i contemporanei e degna considerazione da parte del giovane Bernini. Allievo di Santi di Tito, Mochi rivelò nuove componenti stilistiche di intensa dinamicità" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"La S. Veronica, la sua opera più spettacolare, sembra precipitare fuori della nicchia sospinta da un incontrollabile pathos rivelando una particolare veemenza e tensione nervosa. Straniero nel mutato clima di Roma, superato dal genio del Bernini e deluso, egli protestò invano contro l'ondata del gusto dominante" (Rudolf Wittkower)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Bernini aveva fatto delle modifiche ai piloni aprendo le nicchie e scavando scale interne che si diceva avessero fatto aprire delle crepe. Mochi ebbe quindi buon gioco nel rispondere alla critica del Bernini che si lamentava dello svolazzamento eccessivo del panneggio della Veronica: "Colpa degli spifferi che passano attraverso le vostre crepe, maestro!". Forse fu una coincidenza, ma Mochi venne da allora emarginato</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8832/Basilica%20S.%20Pietro%20DSC_8832.jpg?disposition=download">"S. Andrea"</a></span><span style="letter-spacing: 0.0px;"> 1629/39 </span><span style="color: #ff2600; letter-spacing: 0.0px;">François Duquesnoy</span><span style="letter-spacing: 0.0px;"> (1597/1643)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Duquesnoy, Sacchi, Poussin e Algardi difendevano non una continuazione diretta del classicismo bolognese, ma una versione riveduta, influenzata fino a un certo punto dai grandi maestri (...). Confrontato con il classicismo del primo barocco, il nuovo classicismo fu dapprima piuttosto impetuoso e pittoresco; ha una fisionomia sua propria ed è questo stile che a buon diritto può essere denominato il classicismo del barocco" (Rudolf Wittkower)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">BALCONATE CON RELIQUIE</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1633/41 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span><span style="letter-spacing: 0.0px;"> con vari collaboratori tra cui </span><span style="color: #ff2600; letter-spacing: 0.0px;">Guidobaldo Abbatini </span><span style="letter-spacing: 0.0px;">(1600/56) che disegnò i cartoni e fece le rifiniture pittoriche, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Pellegrini</span><span style="letter-spacing: 0.0px;"> (1605/49), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Matteo Bonarelli</span><span style="letter-spacing: 0.0px;"> (marito di Costanza, amante del Bernini), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Stefano Speranza</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Niccolò Menghini</span><span style="letter-spacing: 0.0px;"> (c. 1610/55), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Bernini</span><span style="letter-spacing: 0.0px;"> (1612/81) e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenico De Rossi</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Otto colonne tortili" in marmo pario (dall'isola greca di Paros) dalla vecchia Basilica meravigliosamente riverberate dalle simili ma gigantesche colonne nere del baldacchino berniniano</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Appartenevano al gruppo di dodici colonne che sostenevano la <i>pergula</i> nell'area della confessione di S. Pietro: sei furono donate da Costantino e le altre sei vennero donate a Gregorio III (731/741) dall'esarca Eutìchio di Ravenna</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Si credeva provenissero dal Tempio di Salomone a Gerusalemme</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ce ne sono altre due nella Cappella del Sacramento, un'altra nel Museo della Basilica mentre la dodicesima è scomparsa</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8838/Basilica%20S.%20Pietro%20DSC_8838.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;"><i>Testa di S. Andrea</i></span></a>, fratello di S. Pietro, fu donata nel 1966 da Paolo VI Montini (1963/78) alla città di Patrasso, dove S. Andrea era morto</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8835/Basilica%20S.%20Pietro%20DSC_8835.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;"><i>Lancia</i></span></a> fu donata a Innocenzo VIII Cybo (1484/92) da Bajazet figlio del sultano Maometto II</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8837/Basilica%20S.%20Pietro%20DSC_8837.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;"><i>Volto Santo</i></span></a> è la reliquia più venerata ed è considerata in tutto l'occidente la più importante immagine di Cristo; è noto anche come <i>Vera Ikon </i>- vera icona - da cui prese il nome S. Veronica che in realtà si chiamava <i>Berenike</i>, ed è testimoniato dall'VIII sec.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8834/Basilica%20S.%20Pietro%20DSC_8834.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;"><i>Legno della Croce e i Chiodi della Crocifissione</i></span></a> furono portati a Roma da S. Elena. Dopo la donazione di vari frammenti a varie chiese, la reliquia fu ricostituita da Urbano VIII con altri frammenti da S. Anastasia e da S. Croce in Gerusalemme</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Durante la costruzione della nuova basilica le reliquie vennero collocate in una cappella all'interno del pilone della Veronica e le tre rimanenti sono tuttora lì. Vengono mostrate dal balcone della Veronica durante la Settimana Santa</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8825/Basilica%20S.%20Pietro%20DSC_8825.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">BALDACCHINO</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1624/36 (fu inaugurato incompleto nel 1633) prima grande impresa di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini </span><span style="letter-spacing: 0.0px;">appena ventiseienne per Urbano VIII Barberini (1623/44)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Alto 29 m (95 feet), pesante 93 tonnellate (102 tons)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Bernini scelse l'immagine del baldacchino mobile usato nelle processioni fossilizzato come un ciborio di bronzo</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">Ebbe la collaborazione di: </span><span style="letter-spacing: 0.0px;">François Duquesnoy</span><span style="color: black; letter-spacing: 0.0px;">, </span><span style="letter-spacing: 0.0px;">Stefano Maderno</span><span style="color: black; letter-spacing: 0.0px;"> (1560/1636), </span><span style="letter-spacing: 0.0px;">Giacomo Antonio Fancelli</span><span style="color: black; letter-spacing: 0.0px;">, </span><span style="letter-spacing: 0.0px;">Giuliano Finelli</span><span style="color: black; letter-spacing: 0.0px;"> (1602/53) e </span><span style="letter-spacing: 0.0px;">Francesco Borromini </span><span style="color: black; letter-spacing: 0.0px;">(1599/1667) che forse progettò le <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8896/Basilica%20S.%20Pietro%20DSC_8896.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">volute a dorso di delfino</span></a></span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Resto convinto che Borromini ebbe un importante ruolo creativo nella configurazione delle volute: quelle membrature a dorso di delfino di indubbia derivazione lombarda, che l'architetto ripeté poi in molte delle sue opere mentre non riappaiono mai nel repertorio berniniano. (...) Anche per quanto riguarda il coronamento quadriconcavo che sostiene la croce, prima apparizione a Roma del motivo che ritroveremo poi nelle lanterne di S. Carlino e S. Ivo" (Paolo Portoghesi)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Inoltre fu aiutato da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Andrea Bolgi</span><span style="letter-spacing: 0.0px;"> (1606/56) che fece quattro angeli sul tetto, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Bernini </span><span style="letter-spacing: 0.0px;">(1562/1629), il padre e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Bernini</span><span style="letter-spacing: 0.0px;"> (1612/81), il fratello</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Il baldacchino svolgeva una triplice funzione di mediazione: estetica, in quanto costituiva un elemento intermedio tra il celebrante e l'immensità dello spazio circostante; storica, in quanto rievocava l'allestimento costantiniano della tomba; iconografica, in quanto coronava la tomba di Pietro con la croce di Cristo (nella versione originaria con la figura del Cristo risorto), ricollegandola alla tematica cristocentrico-escatologica dei mosaici della cupola. Tutto il vano centrale divenne così luogo di resurrezione e il 'pathos' dell'architettura bramantesca, in origine assoluto, fu messo al servizio di uno specifico messaggio teologico" (Christof Thoenes)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il bronzo utilizzato fu preso dai costoloni della cupola, da Venezia e da Livorno. Quando si verificò che il bronzo non era ancora sufficiente Urbano VIII autorizzò la fusione del bronzo antico tolto dal soffitto del pronao del Pantheon</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il bronzo in eccesso venne utilizzato a quel punto per fare ottanta cannoni per Castel Sant'Angelo</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il fatto di aver utilizzato parte delle 200 tonnellate di bronzo (220 tons) del Pantheon provocò la famosa pasquinata "A Roma quello che non hanno fatto i barbari l'hanno fatto i Barberini"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Per le dorature venne usato oro zecchino battuto a martellate tra due lastre di cuoio in fogli finissimi di c. 4 millesimi di millimetro </span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Gli stemmi Barberini nei plinti delle quattro colonne celano la rappresentazione di un parto con il volto di una giovane donna prima rilassato, poi contratto e infine sostituito dal volto di un bimbo: sembra che ciò sia dovuto al voto fatto da Urbano VIII di far costruire il baldacchino se una sua cara nipote, che rischiava di morire durante il parto, avesse partorito felicemente</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Fu un'idea brillante quella di ripetere nelle colonne giganti del Baldacchino, la forma delle colonne a spirale tardo-antiche ora nelle edicole sopra le balconate dei pilastri. Così le colonne a spirale bronzee trovano una quadruplice eco e non solo danno prova della continuità della tradizione, ma con le loro dimensioni gigantesche esprimono anche simbolicamente il cambiamento dalla semplicità dei primi cristiani allo splendore della chiesa della controriforma, con la sottintesa vittoria del cristianesimo sul mondo pagano. Le loro misure sono accuratamente rapportate all'architettura della chiesa, ma invece di creare una rivalità pericolosa, stabiliscono un contrasto drammatico con i pilastri diritti scanalati degli stipiti come pure con gli altri elementi strutturali in marmo bianco della costruzione" (Rudolf Wittkower)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Durante la costruzione si trovò un sarcofago sul cui coperchio era la statua di un gentile, <a href="http://www.imamuseum.org/sites/default/files/mars/03/036ce74c-0125-4e39-b201-132a76f078bb.jpg"><span style="color: #021eaa; letter-spacing: 0px;">"Flavio Agricola da Tivoli"</span></a> c. 160 d.C., che fu collocata prima a Palazzo Barberini e che ora è esposta nell'Indianapolis Museum of Arts negli USA</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Il canonico di S. Pietro Ugo Ubaldi non accenna neppure allo 'scandaloso' epitaffio di Flavio Agricola che esorta gli amici ad abbandonarsi ai piaceri di una vita epicurea; versi che vengono 'occultati e taciuti per le pene severissime e rigorosissima scomunica, ed orribilissime minacce del pontefice imposte e fatte a chi di tali versi avesse osato parlare'. Certo deve essere stato complicato giustificare l'imbarazzante e pericolosa contiguità tra il libertino pagano e i resti mortali di Pietro; è come se si fosse materializzato un curioso ossimoro che vede le fondazioni del baldacchino minare le fondamenta stesse dell'orbe cristiano" (Maria Grazia D'Amelio -Tra ossa, polveri e ceneri: il 'fuoriasse' del baldacchino di S. Pietro a Roma - Annali di Architettura - www.cisapalladio.org)</span></i></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8826/Basilica%20S.%20Pietro%20DSC_8826.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">ALTARE PAPALE</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">1594 per Clemente VIII Aldobrandini (1592/1605) con mensa in marmo pario e quattro lati in pavonazzetto, marmi presi dal Tempio di Minerva nel Foro di Nerva</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Solo il papa può celebrare messa su quest'altare</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/DSCF3135/DSCF3135.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CONFESSIONE</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1615/18 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maderno</span><span style="letter-spacing: 0.0px;"> (1556/1629)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">89 fiammelle in cornucopie bronzee dorate di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Mattia De Rossi</span><span style="letter-spacing: 0.0px;"> (1637/95)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nella <i>Nicchia dei Pallii </i>insegne liturgiche d'onore fatte di fasce di lana bianca larghe 4/6 cm - 1,5/2 inches - con sei croci di seta nera</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Mosaico "Cristo benedicente" del tempo di Leone IV (847/855)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Nel sottarco tre affreschi con "Storie della tomba e della Basilica" 1615 </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Ricci</span><span style="letter-spacing: 0.0px;"> (c. 1550/1624). Sono gli unici dipinti in tutta la Basilica con quelli nella Cappella del SS. Sacramento e nella Cappella della Pietà</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">OTTO SALE OTTAGONE</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Otto sale di c. 110 m² (1.184 square feet) l'una, ricavate nei quattro enormi piloni della cupola a c. 24 m (79 feet) d'altezza. Non sono aperte al pubblico</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">DUE SALE OTTAGONE DELLA MADONNA DELLA COLONNA (<i>Ottagono dello Storpio</i> e <i>Ottagono di Simon Mago</i>)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Documenti dell'Archivio Storico Generale della Fabbrica di S. Pietro in c. 2.000 m (6.560 feet) di scaffalatura, tra cui carte firmate da Antonio da Sangallo, Michelangelo, Bernini, Vanvitelli e Valadier</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.atlantedellarteitaliana.it/immagine/00020/13294OP868AU21180.jpg">"Rilievi dal vecchio ciborio di S. Pietro"</a></span><span style="letter-spacing: 0.0px;"> 1471/78 forse di Maestro fiorentino vicino ad Antonio Rossellino o Maestro romano vicino a Mino da Fiesole o Paolo Taccone detto Paolo Romano per il Card. G.B. Mellini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Dipinti di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ugo da Carpi</span><span style="letter-spacing: 0.0px;"> (c. 1480/1532), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Zoboli</span><span style="letter-spacing: 0.0px;"> (1681/1767), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Trevisani</span><span style="letter-spacing: 0.0px;"> (1656/1746), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Agostino Ciampelli</span><span style="letter-spacing: 0.0px;"> (1565/1630)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">DUE SALE OTTAGONE DEI Ss. MICHELE E PETRONILLA</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Depositi per materiali legati alle necessità liturgiche della basilica</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">DUE SALE OTTAGONE DELLA CAPPELLA GREGORIANA</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ottagono di S. Basilio</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Rilievi marmorei del monumento funerario di Paolo II Barbo (1464/71) 1475/77 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Mino da Fiesole</span><span style="letter-spacing: 0.0px;"> (1429/84) e Giovanni Duknovich detto </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Dalmata</span><span style="letter-spacing: 0.0px;"> (c. 1440/1510)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il monumento era originariamente collocato nell'antica basilica e aveva un'altezza di c. 11 m (36 feet)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Modello ligneo in scala 1:15 della cupola di S. Pietro" eseguito da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michelangelo Buonarroti</span><span style="letter-spacing: 0.0px;"> (1475/1564) e restaurato da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Vanvitelli</span><span style="letter-spacing: 0.0px;"> (1700/73)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ottagono di S. Girolamo</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Modello della Basilica di S. Pietro" 1539/46 secondo il progetto di Antonio da Sangallo il Giovane in scala 1:29 apribile e accessibile all'interno</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Modelli di statue in gesso" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Antonio Canova</span><span style="letter-spacing: 0.0px;"> (1757/1822) e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bertel Thorvaldsen </span><span style="letter-spacing: 0.0px;">(1770/1844)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">DUE SALE OTTAGONE DELLA CAPPELLA CLEMENTINA (<i>Ottagono della Trasfigurazione </i>e <i>Ottagono della Bugia</i>)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Modelli lignei per la costruzione della Sagrestia del 1715" tra cui quelli di Filippo Juvarra e Nicola Michetti</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Pala d'altare dipinta a olio su lavagna "Caduta di Simon Mago" 1603 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Vanni</span><span style="letter-spacing: 0.0px;"> (c. 1563/1610)</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro.html"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">NAVATA DESTRA</span></i></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel 1727 molte pale d'altare vennero sostituite con mosaici</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Sopra la Porta Santa, mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8758/Basilica%20S.%20Pietro%20DSC_8758.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Pietro"</span></a> 1675 forse di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ciro Ferri</span><span style="letter-spacing: 0.0px;"> (1634/89) o di </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Ricci</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CUPOLA DEL VESTIBOLO DELLA PRIMA CAPPELLA A DESTRA <i>(Dedicata alla Passione di Cristo)</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaico nella CUPOLA <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8760/Basilica%20S.%20Pietro%20DSC_8760.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Scena apocalittica di angeli che segnano la fronte degli eletti con il segno del Dio vivente"</span></a> disegnato nel 1668 da Pietro Berrettini detto </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro da Cortona </span><span style="letter-spacing: 0.0px;">(1597/1669) e dal suo allievo </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ciro Ferri </span><span style="letter-spacing: 0.0px;">(1634/89) che completò l'opera dal 1669 al 1671, dopo la morte del suo maestro</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nei PENNACCHI mosaici con importanti figure dell'Antico Testamento:</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Noè con l'arca"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Sacrificio di Isacco"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Mosè con le tavole della Legge"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Profeta Geremia"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1669/71 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ciro Ferri</span><span style="letter-spacing: 0.0px;">, tradotti in mosaico negli anni 1680/81 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fabio Cristofari</span><span style="letter-spacing: 0.0px;"> (c. 1615/89)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nelle LUNETTE mosaici con sibille e profeti minori che hanno vaticinato la Passione:</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Sibilla Frigia"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Sibilla Cumana"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Profeta Amos"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Profeta Zaccaria"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Profeta Osea"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Profeta Isaia"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1669/71 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ciro Ferri</span><span style="letter-spacing: 0.0px;">, tradotti in mosaico negli anni 1677/79 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fabio Cristofari</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Nel TAMBURO quattro statue in stucco "Angeli con simboli della Passione" 1712 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Ottoni </span><span style="letter-spacing: 0.0px;">(1648/1736)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PRIMA CAPPELLA A DESTRA (<i>della Pietà</i>)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Celeberrima <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Cuppolone%20DSC_2243/Cuppolone%20DSC_2243.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Pietà"</span></a> agosto 1498/agosto 1499 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michelangelo Buonarroti</span><span style="letter-spacing: 0.0px;"> ventitreenne per il Card. Jean de Bilhères de Lagraulas ambasciatore di Carlo VIII re di Francia</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">Il <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8763/Basilica%20S.%20Pietro%20DSC_8763.jpg?disposition=download"><span style="letter-spacing: 0px;">piedistallo della statua</span></a> è di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Borromini</span><span style="color: black; letter-spacing: 0.0px;"> (1599/1667)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Viene considerata universalmente come la statua più significativa e più bella al mondo</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Fu collocata qui nel 1749. Era precedentemente collocata nella Cappella del Coro</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Fu oggetto di un attentato nel 1972 da parte dello squilibrato austro-ungherese Laszlo Toth: urlando "Sono Gesù Cristo rinato dai morti" diede 15 martellate alla statua prima di essere fermato. Fu ricoverato per due anni in un ospedale italiano e dopo il rilascio andò in Australia dove tuttora risiede</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Durante il restauro si scoprì una M disegnata dalle linee della mano destra della Vergine</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Michelangelo aveva ascoltato non riconosciuto alcuni ammiratori della Pietà dubitare che fosse di sua mano essendo troppo giovane, attribuendola più plausibilmente a qualche scultore milanese. Egli allora entrò di notte nella Basilica e incise sulla fascia del vestito della Madonna <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Cuppolone%20DSC_2245/Cuppolone%20DSC_2245.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;"><i>Michael Angelus Bonarotus Florent Faciebat</i></span></a><i>: </i>è l'unica opera che egli firmò in tutta la sua vita</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"La Madonna tiene in grembo Cristo morto, come se fosse un bambino dormiente; ed è giovane come quando Cristo era bambino. Forse la statua vuole essere proprio questo: una visione o, piuttosto, la previsione o prefigurazione che la Vergine ha della Passione del Figlio. Alla previsione si lega subito il rimpianto: il gesto dimostrativo della mano della Madonna dice che la previsione si è purtroppo avverata. È un arco di tempo dal passato al futuro che esclude il momento del presente, della realtà del fatto. La composizione è chiusa in una piramide, quasi a indicare che tutto ciò rientra in un concetto divino, che trascende il dolore, la pietà umana" (Giulio Carlo Argan)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Michelangelo accentuò volutamente la giovinezza della Madonna discostandosi nettamente dalla consueta tradizione figurativa che voleva Maria rappresentata in età avanzata. Così ella viene a incarnare il simbolo della vite eterna. La Madonna, contemporaneamente Vergine e Madre, conserva l'immacolata giovinezza del volto, pur lasciando trasparire, dal suo assorto silenzio, tutto il dolore per la morte del Figlio, che appare dolcemente adagiato sul suo grembo, quasi senza peso. La figura di Cristo non ha la rigidità di un cadavere né mostra i segni delle ferite, come volevano raffigurarlo i realisti: è l'umanità perfetta del Dio-Uomo, non deformata dalla morte e non deturpata dai supplizi subiti" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Si riallaccia a una tipologia di raffigurazione derivata dalla religiosità popolare e dalla mistica tardomedievale, e diffusa fin dal XIV sec. soprattutto nell'Europa settentrionale con il nome di Vesperbild. La raffigurazione della Pietà era particolarmente idonea a richiamare visivamente il nesso tra l'incarnazione di Cristo, il suo farsi uomo, e il sacrificio eucaristico, la sua immolazione. Infatti la teologia medievale associava la Madonna sia alla nascita del Salvatore, sia all'altare sul quale veniva ripetuto il sacrificio di Cristo durante la messa. Il corpo di Cristo raffigurato disteso in grembo alla madre equivaleva dunque all'ostia che il prete sollevava durante l'eucarestia" (Frank Zöllner)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"È la sua opera più accuratamente rifinita. Deve aver speso un tempo sterminato a passarvi sopra abrasivi, finché la figura del Cristo non assunse un aspetto di politura quasi lucente, smaltato. Non si troveranno fori di trapano, ma studiando la testa di Cristo non potrà sfuggire che i capelli sono stati lavorati ampiamente a trapano" (Rudolf Wittkower)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Nella volta al centro affreschi <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Cuppolone%20DSC_2244/Cuppolone%20DSC_2244.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Trionfo della Croce"</span></a>, ai lati "Episodi della Passione" </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Lanfranco</span><span style="letter-spacing: 0.0px;"> (1582/1647): unici dipinti in tutta la Basilica insieme con quelli nella Cappella del SS. Sacramento e nella Confessione</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PRIMO PASSAGGIO</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8766/Basilica%20S.%20Pietro%20DSC_8766.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monumento alla regina Cristina di Svezia (1626/89)"</span></a> 1691/1702 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Fontana</span><span style="letter-spacing: 0.0px;"><b> </b>(1634/1714) con bassorilievo "Abiura al protestantesimo di Cristina di Svezia a Innsbruck nel 1655" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Jean-Baptiste Théodon </span><span style="letter-spacing: 0.0px;">(1646/1713) e "Angeli" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Ottoni </span><span style="letter-spacing: 0.0px;">(1648/1736)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La regina fu sepolta nelle Grotte della Basilica</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Divenuta regina di Svezia a 6 anni nel 1632, visse in maniera anticonformista, rifiutò di sposarsi e si convertì segretamente al cattolicesimo. Nel 1654 abdicò a favore del cugino e si recò a Roma dove visse fino alla sua morte nel 1689. È diventata una delle più celebri icone gay</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8764/Basilica%20S.%20Pietro%20DSC_8764.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Statua di Leone XII Sermattei (1823/29)"</span></a> con allegorie sopra la nicchia di "Religione" a sinistra e "Giustizia" a destra 1836 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe De Fabris </span><span style="letter-spacing: 0.0px;">(1790/1860)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Leone XII è in realtà sepolto nella Cappella della Madonna della Colonna </span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Nel 1825 Leone XII aveva celebrato il giubileo del 1825 e l'evento è ricordato nel monumento con il papa, stante e benedicente, attorniato, in un fuori scala di ascendenza neomedievale, dai cardinali Cappellari (futuro Gregorio XVI), Pacca, Odescalchi e Zurla" (Roberto Cassanelli)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CAPPELLA DELLE RELIQUIE <i>(sotto la statua di Leone XII)</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Originariamente era un magazzino e fu trasformato in cappella c. 1664/71 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Decorata c. 1750 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Vanvitelli</span><span style="letter-spacing: 0.0px;"> (1700/73) e restaurata 1887 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Andrea Busiri Vici</span><span style="letter-spacing: 0.0px;"> (1818/1911)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Sull'altare di fondo <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8769/Basilica%20S.%20Pietro%20DSC_8769.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Crocifisso ligneo"</span></a> forse Pietro de' Cerroni detto </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Cavallini</span><span style="letter-spacing: 0.0px;"> (c. 1240/1325) già nella prima cappella a destra e spostato qui nel 1749 quando dovette far posto alla "Pietà" di Michelangelo</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Altare a sinistra con pala in mosaico "S. Nicola" 1680 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fabio Cristofari</span><span style="letter-spacing: 0.0px;"> (c. 1615/89)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Altare a destra con pala in mosaico "S. Giuseppe col Bambino Gesù" 1892 da un dipinto di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Grandi</span><span style="letter-spacing: 0.0px;"> (1831/91)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sei grossi armadi settecenteschi per conservare le reliquie</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Al centro della cappella c'è un minuscolo ascensore installato durante il pontificato di Pio XI Ratti (1922/39) che collega la Basilica con il Palazzo Apostolico</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CUPOLA DEL VESTIBOLO DELLA SECONDA CAPPELLA A DESTRA <i>(Dedicata ai martiri)</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">Mosaico nella CUPOLA <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8777/Basilica%20S.%20Pietro%20DSC_8777.jpg?disposition=download"><span style="letter-spacing: 0px;">"Scena apocalittica con schiera di martiri che procede con la palma del martirio verso l'Eterno in trono vicino all'Agnello"</span></a> disegnato 1652/62 da Pietro Berrettini detto </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro da Cortona </span><span style="color: black; letter-spacing: 0.0px;">(1597/1669) e dal suo allievo </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ciro Ferri</span><span style="color: black; letter-spacing: 0.0px;"> (1634/89)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Qui Pietro da Cortona, assistito da Ciro Ferri, mostra una significativa testimonianza di decorazione barocca, dove il dinamismo e la scioltezza pittorica dell'invenzione sono esaltati dalle sue capacità prospettiche e compositive" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nei PENNACCHI mosaici con:</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Abele offre un agnello in sacrificio"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Profeta Isaia con la sega strumento del martirio"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Profeta Ezechiele (o Geremia)"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Profeta Zaccaria"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nelle LUNETTE mosaici con martiri dell'Antico Testamento:</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Martirio dei sette fratelli Maccabei e della loro madre"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Mattatia uccide l'ebreo apostata"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Angelo reca le palme del martirio sopra i corpi delle due madri ebree e dei loro figli"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Vecchio Eleàzaro condannato a morte da Antioco perché si è rifiutato di mangiare la carne proibita"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Daniele nella fossa dei leoni"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"I tre fanciulli Sadràc, Mesàch e Abdènego condannati da Nabucodonosor a bruciare vivi nella fornace di Babilonia"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1652/62 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro da Cortona</span><span style="letter-spacing: 0.0px;"> e 1659/63 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Raffaele Vanni</span><span style="letter-spacing: 0.0px;"> (1587/1673) tradotti in mosaico negli anni 1654/60 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Matteo Piccioni</span><span style="letter-spacing: 0.0px;">,</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Guidobaldo Abbatini </span><span style="letter-spacing: 0.0px;">(1600/56), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fabio Cristofari</span><span style="letter-spacing: 0.0px;"> (c. 1615/89) e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Orazio Manenti</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Nel TAMBURO quattro statue in stucco "Angeli con simboli del martirio" 1713 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Ottoni </span><span style="letter-spacing: 0.0px;">(1648/1736)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SECONDA CAPPELLA A DESTRA (<i>di S. Sebastiano</i>)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Copia in mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8770/Basilica%20S.%20Pietro%20DSC_8770.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Morte di S. Sebastiano"</span></a> 1736 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0.0px;">(1685/1743) dall'originale del 1614 di Domenico Zampieri detto </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenichino</span><span style="letter-spacing: 0.0px;"> (1581/1641) nella Pinacoteca Vaticana</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Il contrasto tra Vita e Morte gioca un ruolo formidabile nell'iconografia barocca, e una delle più caratteristiche innovazioni del periodo è quella che possiamo definire la "morte felicissima" - vale a dire, una scena nella quale l'agonia dell'essere umano morente e il lutto dei sopravvissuti si mescolano con un sentimento di suprema liberazione" (Erwin Panofsky)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sotto l'altare fino a maggio 2011 c'era <i>corpo di Innocenzo XI</i><b> </b><i>Odescalchi (1676/89)</i> che però ha il monumento nella navata sinistra</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel maggio 2011 il corpo di Innocenzo XI fu spostato nella Cappella Clementina e vi si pose la <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8773/Basilica%20S.%20Pietro%20DSC_8773.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomba di Giovanni Paolo II"</span></a> Wojtyla (1978/2005)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8772/Basilica%20S.%20Pietro%20DSC_8772.jpg?disposition=download"><span style="letter-spacing: 0px;">"Monumento di Pio XI Ratti (1922/39)"</span></a> 1965 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Nagni</span><span style="color: black; letter-spacing: 0.0px;"> (1897/1977)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il libro che tiene aperto con la mano è una citazione per l'attenzione mostrata da Pio XI per le biblioteche Ambrosiana e vaticana</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La statua sostituì il precedente monumento del 1949 di Pietro Canonica (1869/1959) che non era stato molto apprezzato e che fu spostato nel Palazzo del Laterano</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Pio XI firmò il Concordato tra Stato Italiano e Chiesa del 1929 pur avversando molti aspetti del fascismo. Si batté contro il nazismo scrivendo anche un'enciclica in tedesco "Con viva preoccupazione" condannando l'ideologia nazista. Quando Hitler visitò Roma, si recò a Castelgandolfo e fece chiudere i Musei Vaticani e fece spegnere tutte le luci del Vaticano</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8774/Basilica%20S.%20Pietro%20DSC_8774.jpg?disposition=download"><span style="letter-spacing: 0px;">"Monumento di Pio XII Pacelli (1939/58)"</span></a> 1961/64 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Messina</span><span style="color: black; letter-spacing: 0.0px;"> (1900/95)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Messina rappresentò il papa con la mitra, il copricapo dei vescovi, invece che con la tiara, il copricapo dei papi, a sottolineare l'importante e drammatico ruolo di vescovo di Roma che Pio XII ebbe durante la tragica seconda guerra mondiale</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Pio XII fu una figura controversa e criticata per la sua reazione più moderata al nazismo rispetto a quella del predecessore Pio XI</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Proseguendo la sua ricerca di forme naturali dal modellato solido e vibrante, realizzò la monumentale statua in marmo di S. Caterina da Siena nei giardini di Lungotevere Castello e per la Basilica di S. Pietro concepì il Monumento a Pio XII: una grande scultura pensata per rendere appieno, nella verticalità dei volumi e nella vitalità cromatica della superficie, la statura ecclesiastica del pontefice benedicente" (Rosanna Ruscio - Dizionario Biografico degli Italiani Treccani)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SECONDO PASSAGGIO</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8779/Basilica%20S.%20Pietro%20DSC_8779.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Sepolcro di Innocenzo XII"</span></a> Pignatelli (1691/1700) progettato da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ferdinando Fuga</span><span style="letter-spacing: 0.0px;"> (1699/1782)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Sculture <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8780/Basilica%20S.%20Pietro%20DSC_8780.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Papa"</span></a> tra "Carità" e "Giustizia" 1746 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Della Valle</span><span style="letter-spacing: 0.0px;"> (1698/1768)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Nel corso del 1600 l'influenza politica del pontefice era andata gradualmente sfumando e ciò si riflette nei monumenti papali del periodo. Già il Clemente IX del Guidi in S. Maria Maggiore - 1675 - e il Clemente X del Ferrata in S. Pietro - c. 1685 - avevano dimostrato un notevolmente indebolito gesto benedicente e una diminuzione di volume; questo processo proseguì finché Filippo Della Valle fece del suo Innocenzo XII un fragile vecchio piuttosto che il capo simbolico della cristianità" (Rudolf Wittkower)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"L'intera composizione è una piccola gemma per l'impiego di marmi antichi e rari (giallo antico, verde antico, breccia di Sciro o di Settebassi). Le due allegorie, nonostante l'impostazione ancora classica, si animano e si completano con uno spirito tutto rococò, anche grazie alla presenza di vivaci e graziosi puttini. I personaggi femminili non presentano gli accenti naturalistici che si riscontrano nelle opere di Bernini, ma rimangono figure idealizzate, costruite con elegantissima morbidezza pittorica, nella pur solida struttura" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8781/Basilica%20S.%20Pietro%20DSC_8781.jpg?disposition=download"><span style="letter-spacing: 0px;">"Monumento della Contessa Matilde di Canossa"</span></a> 1634/37 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8782/Basilica%20S.%20Pietro%20DSC_8782.jpg?disposition=download">Putti reggicartiglio</a></span><span style="letter-spacing: 0.0px;"> sul sarcofago: a destra di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Bernini</span><span style="letter-spacing: 0.0px;"> (1612/81), fratello di Gian Lorenzo, a sinistra di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Andrea Bolgi</span><span style="letter-spacing: 0.0px;"> (1606/56)</span><span style="color: #ff2600; letter-spacing: 0.0px;"> </span><span style="letter-spacing: 0.0px;">autore anche del cartiglio</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Rilievo sul sarcofago con "Perdono concesso da Gregorio VII (1073/85) all'imperatore Enrico IV nel 1077 a Canossa, alla presenza della contessa Matilde, di suo figlio Amadeo e dell'abate Ugo di Cluny" 1634/36 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Stefano Speranza</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Putti in cima all'arco e stemma araldico di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Matteo Bonarelli</span><span style="letter-spacing: 0.0px;"> (marito di Costanza, amante del Bernini),</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Andrea Bolgi </span><span style="letter-spacing: 0.0px;">e</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Lorenzo Flori</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Matilde nacque nel 1046 e si trovò a possedere a 30 anni un territorio che andava dal Lazio al Lago di Garda. Sostenne Gregorio VII nella lotta per le investiture contro l'imperatore tedesco Enrico IV</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CUPOLA DEL VESTIBOLO DELLA TERZA CAPPELLA A DESTRA <i>(Dedicata all'Eucaristia)</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">Mosaico nella CUPOLA <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8785/Basilica%20S.%20Pietro%20DSC_8785.jpg?disposition=download"><span style="letter-spacing: 0px;">"Scena apocalittica con al centro altare d'oro degli olocausti, simbolo del sacrificio eucaristico, cosparso con incenso dagli angeli e con aromi profumati dai santi"</span></a> disegnato 1652/62 da Pietro Berrettini detto </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro da Cortona </span><span style="color: black; letter-spacing: 0.0px;">(1597/1669)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Il progetto di decorazione era stato inizialmente affidato, nel 1640, a Niccolò Tornioli. Nel 1562 la Congregazione della Reverenda Fabbrica decise di trasferire l'incarico a Pietro da Cortona (...). Il tema iconografico dominante è il Mistero Eucaristico, una volontaria sottolineatura di un soggetto a quel tempo contestato dai protestanti e illustrato con grandi scene che riecheggiano le lotte religiose" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nei PENNACCHI mosaici con personaggi che hanno annunziato il sacrificio eucaristico:</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Melchisedek, re di Salem, offre il pane"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Elia nutrito da un angelo"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Un sacerdote distribuisce il pane cerimoniale"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Aronne riempie un vaso con la manna"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">1653/63 di </span><span style="letter-spacing: 0.0px;">Ciro Ferri</span><span style="color: black; letter-spacing: 0.0px;"> (1634/89), </span><span style="letter-spacing: 0.0px;">Matteo Piccioni</span><span style="color: black; letter-spacing: 0.0px;">,</span><span style="letter-spacing: 0.0px;"> Guidobaldo Abbatini </span><span style="color: black; letter-spacing: 0.0px;">(1600/56), </span><span style="letter-spacing: 0.0px;">Fabio Cristofari</span><span style="color: black; letter-spacing: 0.0px;"> (c. 1615/89) e </span><span style="letter-spacing: 0.0px;">Orazio Manenti</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nelle LUNETTE mosaici con episodi di castigo per chi si ciba indegnamente dell'Eucarestia:</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Sommo sacerdote offre le primizie del grano"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Due dei dodici esploratori inviati da Mosè nel paese di Canaa ritornano con il grappolo d'uva"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Uzzà muore per aver toccato indegnamente l'Arca"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Un serafino purifica le labbra di Isaia con un carbone ardente"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Gionata, figlio di Saul, si nutre con un favo di miele"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"L'idolo di Dagon distrutto dall'Arca di Dio"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1659/63 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Raffaele Vanni</span><span style="letter-spacing: 0.0px;"> (1587/1673) tradotte in mosaico da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Orazio Manenti</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Nel TAMBURO quattro statue in stucco "Angeli con simboli eucaristici" 1713 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Ottoni </span><span style="letter-spacing: 0.0px;">(1648/1736)</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/DSCF3076/DSCF3076.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CAPPELLA DEL SS. SACRAMENTO</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/DSCF3076/DSCF3076.jpg?disposition=download">Cancello di bronzo</a></span><span style="letter-spacing: 0.0px;"> 1629/30 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Borromini </span><span style="letter-spacing: 0.0px;">che progettò anche i due portali di marmo ai lati dell'altare della cappella</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Quattordici bassorilievi in stucco sulla volta e sette sulle pareti con "Storie del Vecchio e Nuovo Testamento" 1623/27 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Ricci</span><span style="letter-spacing: 0.0px;"> (c. 1550/1624)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Altare e <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8784/Basilica%20S.%20Pietro%20DSC_8784.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Ciborio"</span></a> di bronzo dorato e lapislazzuli<b> </b>1674 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span><span style="letter-spacing: 0.0px;"> commissionato quasi cinquant'anni prima da Urbano VIII</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Marmi colorati, bronzo dorato e lapislazzuli si combinano in un quadro di sublime bellezza che esprime simbolicamente la perfezione immateriale del mondo angelico e lo splendore di Dio. Con il suo modo rivoluzionario di trattare colore e luce, il Bernini diede l'avvio a uno sviluppo di immense conseguenze" (Rudolf Wittkower)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Versione barocca di un tema familiare; sembra probabile che la sua fonte di ispirazione sia stato un rilievo forse di Andrea Sansovino in S. Croce in Gerusalemme, che lui sicuramente conosceva (...). La piangente e umana adorazione degli angeli in contrasto con l'architettura senza tempo dell'edificio è tipica del tardo stile di Bernini. Nei suoi ultimi anni sembra che abbia trovato nelle inesorabili leggi dell'architettura una commovente antitesi al nostro transitorio stato umano" (Howard Hibbard)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Sull'altare olio su lavagna "Trinità" 1628/32 di Pietro Berrettini detto </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro da Cortona</span><span style="letter-spacing: 0.0px;"> unica pala d'altare non in mosaico in tutta la Basilica</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Nel 1627 la Congregazione della Reverenda Fabbrica aveva deciso di affidare l'esecuzione dell'opera per questa cappella a Guido Reni. A causa di opinioni divergenti (...) la trattativa fallì e in seguito all'improvvisa e polemica partenza del pittore per Bologna, nel febbraio dell'anno successivo la commissione passò al Cortona, grazie anche all'appoggio del cardinale Francesco Barberini. Tipica composizione barocca, dinamica, animata da molte figure ma allo stesso tempo armoniosamente raccolta, è diventata un modello iconografico ammirato a suo tempo e ripreso nel secolo successivo" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Ai muri tele "Angeli" 1742 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Zoboli</span><span style="letter-spacing: 0.0px;"> (1681/1767)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A destra "Due colonne tortili" dalla vecchia Basilica con al centro copia in mosaico di "S. Francesco stigmatizzato" di Domenichino in S. Maria della Concezione</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A sinistra organo del 1582</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">TERZO PASSAGGIO</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">L'ingresso al passaggio è sormontato da sculture "Fama regge lo stemma di Innocenzo X Pamphilj (1644/55)" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Bernini</span><span style="letter-spacing: 0.0px;"> (1612/81) su disegno del fratello </span><span style="color: #ff2600; letter-spacing: 0.0px;">Gian Lorenzo Bernini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8786/Basilica%20S.%20Pietro%20DSC_8786.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monumento di Gregorio XIII"</span></a><b> </b>Boncompagni (1572/85) 1720/23 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Camillo Rusconi</span><span style="letter-spacing: 0.0px;"> (1658/1728) per il Card. Giacomo Boncompagni pronipote del papa</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Statue di allegorie: a sinistra "Religione" con tavole della Legge e libro dei Vangeli, a destra "Magnificenza nelle vesti di Minerva" appoggiata a scudo con firma di Camillo Rusconi</span></span></div>
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<span style="color: black; letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel rilievo sul sarcofago scena con la <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8788/Basilica%20S.%20Pietro%20DSC_8788.jpg?disposition=download"><span style="letter-spacing: 0px;">"Proclamazione della riforma Gregoriana del calendario del 1582"</span></a></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Dal 4 ottobre 1582 si passò direttamente al 15 ottobre, cancellando 10 giorni, per ovviare allo sfasamento di 11 minuti e 14 secondi l'anno accumulatisi di tempi della riforma del calendario voluta da Giulio Cesare. I popoli cattolici l'adottarono immediatamente, i protestanti nel XVIII sec. e gli ortodossi più tardi</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Pur essendo profondamente legato alla concezione scultorea del Bernini, il Rusconi mescolò elementi dal Leone XI dell'Algardi (allegorie) e dall'Innocenzo XI del Monnot (bianchezza del monumento, sarcofago trapezoidale con rilievo e idea di collocare il papa seduto sul sarcofago) ma non fu una semplice ripetizione. Il suo monumento è sistemato asimmetricamente: il papa non è seduto sull'asse centrale, né le allegorie seguono la consueta disposizione araldica. La tomba fu composta per essere vista da una sola parte e anche il drappeggio del Coraggio, visto da sinistra, crea una diagonale predominante che lega l'allegoria alla figura del papa. La tomba è una rara sintesi delle tendenze classicheggianti e barocche dell'Algardi e del Bernini, compiuta con successo nell'eroico tardo barocco di Rusconi" (Rudolf Wittkower)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8789/Basilica%20S.%20Pietro%20DSC_8789.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomba di Gregorio XIV"</span></a><b> </b>Sfondrati (1590/91) con statue in stucco a sinistra "Religione" e a destra "Giustizia" di Prospero Antichi detto </span><span style="color: #ff2600; letter-spacing: 0.0px;">Prospero Bresciano </span><span style="letter-spacing: 0.0px;">(attivo dal 1580/m. dopo il 1592)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Gregorio XIV fu papa per solo 10 mesi</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Le due statue sono modelli in stucco, appartenevano alla tomba provvisoria di Gregorio XIII che era originariamente collocata qui e avrebbero dovuto essere realizzati in marmo o bronzo. Il monumento di Gregorio XIV non fu mai completato ed è l'unico nella Basilica senza la statua del papa</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Anche l'urna era in stucco e quella attuale in marmo fu fatta solo nel 1842</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I tre affreschi a monocromo fanno riferimento alla vita di Gregorio XIII</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8794/Basilica%20S.%20Pietro%20DSC_8794.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CAPPELLA GREGORIANA</span></i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1583 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Della Porta</span><span style="letter-spacing: 0.0px;"> (1533/1602) per Gregorio XIII Boncompagni (1572/85)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Fu la prima cappella a essere utilizzata per la liturgia nella nuova basilica e la prima a essere decorata con mosaici:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Nella <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8796/Basilica%20S.%20Pietro%20DSC_8796.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">CUPOLA</span></a> della cappella mosaici "Simboli mariani sostenuti da angeli tratti dalle Litanie Lauretane" eseguiti 1772/75 su disegni del siciliano </span><span style="color: #ff2600; letter-spacing: 0.0px;">Salvatore Monosilio </span><span style="letter-spacing: 0.0px;">(noto dal 1744/m. 1776)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nei <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8796/Basilica%20S.%20Pietro%20DSC_8796.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">PENNACCHI</span></a> mosaici con "S. Gregorio Magno", "S. Girolamo", "S. Gregorio Nazianzeno" e "S. Basilio"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nelle LUNETTE mosaici con "Maria Annunziata", "Arcangelo Gabriele", "Ezechiele" e "Isaia"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Furono eseguiti negli anni 1578/79 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">artisti veneziani</span><span style="letter-spacing: 0.0px;"> su modelli di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Girolamo Muziano</span><span style="letter-spacing: 0.0px;"> (1532/92). Furono restaurati negli anni 1758/79</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Il rivestimento delle pareti e delle volte con marmi policromi, stucchi e mosaici seguì la tradizione delle cappelle private romane, inaugurata da Raffaello nella Cappella Chigi in S. Maria del Popolo. Progressivamente i medesimi schemi decorativi si diffusero in tutta la basilica" (Christof Thoenes)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SULL'ALTARE</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Madonna del Soccorso" risalente, secondo la tradizione, ai tempi di Pasquale II (1099/1118), già nella vecchia basilica. È la più antica e venerata immagine mariana della basilica</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SOTTO L'ALTARE</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>Sepolcro di S. Gregorio Nazianzeno</i> che dà il nome alla cappella, assieme a Gregorio XIII che ne fece traslare qui le spoglie nel 1580 dalla chiesa di S. Maria in Campo Marzio</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A DESTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8792/Basilica%20S.%20Pietro%20DSC_8792.jpg?disposition=download">"Tomba di Gregorio XVI"</a></span><span style="letter-spacing: 0.0px;"> Cappellari (1831/46) 1854 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Amici</span><span style="letter-spacing: 0.0px;"> (1817/97) in un piuttosto freddo stile purista. Il ritratto del pontefice è però effettivamente molto dignitoso e ricco di pathos</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Statue di allegorie: a sinistra "Sapienza" e a destra "Prudenza"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel bassorilievo sul sarcofago "Attività per le missioni cattoliche del Card. Cappellari come prefetto della Congregazione di Propaganda Fide"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Gli stipiti della porta del monumento sono di alabastro provenente dall'Egitto</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ai lati del monumento "Due colonne di marmo bigio africano" provenienti dal Tempio della Dea Roma nei pressi del Colosseo</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A SINISTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8791/Basilica%20S.%20Pietro%20DSC_8791.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Comunione di S. Girolamo"</span></a> da originale di Domenico Zampieri detto </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenichino</span><span style="letter-spacing: 0.0px;"> (1581/1641) ora nella Pinacoteca Vaticana. Fu eseguito nel 1730 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Cristofari</span><span style="letter-spacing: 0.0px;"> (1685/1743) con ritocchi di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Alessandro Cocchi</span><span style="letter-spacing: 0.0px;"> e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Ottaviani</span></span></div>
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<span style="color: black; letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sotto il mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8797/Basilica%20S.%20Pietro%20DSC_8797.jpg?disposition=download"><span style="letter-spacing: 0px;"><i>corpo di Giovanni XXIII</i><b> </b><i>Roncalli (1958/63)</i></span></a></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Giovanni XXIII volle il Concilio Vaticano II che aggiornò la chiesa cattolica ai tempi e cambiò la liturgia. Conosciuto affettuosamente come "Il papa buono" e "Il più amato papa nella storia" è stato dichiarato Beato da Giovanni Paolo II il 3 settembre 2000, penultimo passo sulla strada della santità</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PASSAGGIO AL TRANSETTO DESTRO</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8795/Basilica%20S.%20Pietro%20DSC_8795.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomba di Benedetto XIV"</span></a> Lambertini (1740/58) 1769 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Bracci</span><span style="letter-spacing: 0.0px;"> (1700/73) con figure allegoriche: a sinistra "Sapienza sacra" e a destra "Disinteresse" che rifiuta le ricchezze offerte da un putto con le ali di pipistrello. La figura del Disinteresse fu eseguite da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Gaspare Sibilla</span><span style="letter-spacing: 0.0px;"> (c. 1723/82), allievo del Bracci </span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Il Bracci fece un gran numero di tombe fra le quali quelle di Benedetto XIII in S. Maria sopra Minerva e questa di Benedetto XIV, oltre a molti ritratti a mezzo busto con fine penetrazione psicologica e un vibrante e magistrale modo di trattare la superficie. Ancora dipendente dall'idioma del Bernini, egli lo trasformò in uno stile settecentesco tenero e lirico, perfino qualche volta sentimentaleggiante" (Rudolf Wittkower)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"L'idea di rappresentare il papa in piedi, rompendo con la tradizione precedente, compare in un disegno di Paolo Posi al quale Bracci potrebbe aver collaborato e che risale probabilmente al 1760" (Jennifer Montagu)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A sinistra mosaico "L'ultima messa di S. Basilio nell'anno 372 alla presenza dell'imperatore Valente" 1748/51 di quattro mosaicisti diretti da Luigi Vanvitelli da originale 1743/47 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pierre Subleyras</span><span style="letter-spacing: 0.0px;"> (1699/1749) ora nella Basilica S. Maria degli Angeli e dei Martiri</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sotto <i>corpo di S. Giosafat</i><b> </b>qui traslato nel 1963, fondatore nel 1617 dell'Ordine Basiliano</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8799/Basilica%20S.%20Pietro%20DSC_8799.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">TRANSETTO DESTRO</span></i></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">ALTARE CENTRALE</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8806/Basilica%20S.%20Pietro%20DSC_8806.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Martirio dei Ss. Processo e Martiniano"</span></a> 1737 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0.0px;">(1685/1743) dal dipinto originale del 1630 di Jean Valentin detto anche </span><span style="color: #ff2600; letter-spacing: 0.0px;">Valentin de Boulogne</span><span style="letter-spacing: 0.0px;"> (c. 1591/1632) nella Pinacoteca Vaticana</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>Reliquie dei Ss. Processo e Martiniano</i> dalla vecchia Basilica nella quale erano state portate da Pasquale I (817/824): secondo la tradizione erano i carcerieri di S. Pietro nel carcere mamertino</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ai lati dell'altare centrale "Due colonne monolitiche di giallo antico" da Chemtou in Tunisia, che con le altre due nel transetto opposto sono considerate uniche al mondo per grandezza e lavorazione</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ovali ai lati con ritratti in mosaico "S. Antonio Maria Claret" e "S. Gioacchina de Vedruna" del XIX sec.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Stucchi nella semicalotta della nicchia "Episodi della vita di S. Paolo" 1597/99</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A destra ALTARE DI S. VENCESLAO DI BOEMIA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8807/Basilica%20S.%20Pietro%20DSC_8807.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Venceslao di Boemia"</span></a> 1739/40 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0.0px;">(1685/1743) e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Ottaviani </span><span style="letter-spacing: 0.0px;">dal dipinto originale del 1632 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Angelo Caroselli</span><span style="letter-spacing: 0.0px;"> (1585/1652) al Kunsthistorisches Museum di Vienna</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel quadro è stato inserito un quadro da Caroselli con l'episodio del martirio di S. Venceslao: era il giovane re della Boemia nel X sec. e fu ucciso dal fratello minore mentre pregava. Il suo corpo è venerato nel Duomo di S. Vito a Praga da lui fondato</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ovali ai lati con ritratti in mosaico con "S. Cirillo" e "S. Metodio" del XIX sec.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Stucchi nella semicalotta della nicchia "Episodi della vita di S. Tommaso" 1597/99</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A sinistra ALTARE DI S. ERASMO</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaico 1737/39 <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8808/Basilica%20S.%20Pietro%20DSC_8808.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Martirio di S. Erasmo"</span></a> di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0.0px;">(1685/1743) e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Ottaviani </span><span style="letter-spacing: 0.0px;">dal dipinto originale 1628/29 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Nicolas Poussin</span><span style="letter-spacing: 0.0px;"> (1594/1665) nella Pinacoteca Vaticana</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ovali ai lati con ritratti in mosaico con "S. Vladimiro" e "S. Olga" del XIX sec.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Stucchi nella semicalotta della nicchia "Episodi della vita di S. Giacomo Maggiore" 1597/99</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8815/Basilica%20S.%20Pietro%20DSC_8815.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CATINO ABSIDALE</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Stucchi 1749 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Vanvitelli</span><span style="letter-spacing: 0.0px;"> (1700/73) e tre medaglioni "Storie di Ss. Pietro e Paolo" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Maini</span><span style="letter-spacing: 0.0px;"> (1690/1752)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Statue nelle nicchie DELL'ORDINE INFERIORE</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A DESTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8801/Basilica%20S.%20Pietro%20DSC_8801.jpg?disposition=download">"S. Gaetano da Thiene"</a></span><span style="letter-spacing: 0.0px;"> 1738 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Monaldi </span><span style="letter-spacing: 0.0px;">(c. 1690/1760</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8804/Basilica%20S.%20Pietro%20DSC_8804.jpg?disposition=download">"S. Girolamo Emiliani"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1757 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Bracci</span><span style="color: black; letter-spacing: 0.0px;"> (1700/73)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A SINISTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8809/Basilica%20S.%20Pietro%20DSC_8809.jpg?disposition=download">"S. Brunone"</a></span><span style="letter-spacing: 0.0px;"> 1744 del francese </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michelangelo Slodtz</span><span style="letter-spacing: 0.0px;"> (1705/64) che visse a Roma per 17 anni</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Un avvenimento drammatico sostituì, dovunque era possibile, la semplice interpretazione della devozione e della visione. Slodtz scelse di rappresentare il drammatico rifiuto del santo della mitra e del pastorale. L'interesse per l'episodio sembra indebolire il contenuto superpersonale. Una simile figura illustra estremamente bene l'elegante tendenza del rococò francese nella scultura romana verso la metà del Settecento" (Rudolf Wittkower)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8811/Basilica%20S.%20Pietro%20DSC_8811.jpg?disposition=download">"S. Giuseppe Calasanzio"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1755 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Innocenzo Spinazzi </span><span style="color: black; letter-spacing: 0.0px;">(1718/98)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Allievo di G.B. Maini, volse la tradizione barocca verso soluzioni più asciutte, in un delicato equilibrio tra classicismo, naturalismo e grazia settecentesca, ancor più evidente nella sua successiva produzione" (Enciclopedia Treccani)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">STATUE NELLE NICCHIE DELL'ORDINE SUPERIORE</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A DESTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8802/Basilica%20S.%20Pietro%20DSC_8802.jpg?disposition=download">"S. Francesca Saverio Cabrini"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1947 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Enrico Tadolini </span><span style="color: black; letter-spacing: 0.0px;">(1884/1967)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nata nel 1850 andò in America a 40 anni, prese la cittadinanza americana nel 1909, fu la prima a essere canonizzata, nel 1946, dei sette santi americani, la prima missionaria donna ed è la patrona degli emigranti. Morì nel 1917</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8805/Basilica%20S.%20Pietro%20DSC_8805.jpg?disposition=download">"S. Giovanna Antida Thouret"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1949 di </span><span style="letter-spacing: 0.0px;">Carlo Quattrini</span><span style="color: black; letter-spacing: 0.0px;"> ed </span><span style="letter-spacing: 0.0px;">Enrico Quattrini</span><span style="color: black; letter-spacing: 0.0px;"> (1863/1950)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A SINISTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8810/Basilica%20S.%20Pietro%20DSC_8810.jpg?disposition=download">"S. Paolo della Croce"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1876 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ignazio Jacometti </span><span style="color: black; letter-spacing: 0.0px;">(1819/83)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8812/Basilica%20S.%20Pietro%20DSC_8812.jpg?disposition=download">"S. Bonfiglio Monaldi"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1906 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cesare Aureli</span><span style="color: black; letter-spacing: 0.0px;"> (1843/1923)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PASSAGGIO ALLA CAPPELLA DEI SS. MICHELE E PETRONILLA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8813/Basilica%20S.%20Pietro%20DSC_8813.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monumento di Clemente XIII"</span></a><b> </b>Rezzonico (1758/69) 1784/92 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Antonio Canova</span><span style="letter-spacing: 0.0px;"> (1757/1822) con figure allegoriche: a sinistra "Religione" e a destra "Genio della Morte"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Canova andò a Caserta per disegnare dal vero i "Leoni" nel Giardino Reale della Reggia. Quello a destra rappresenta la Forza sempre sveglia, quello a sinistra la Mansuetudine che modera la forza</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Il solenne e impegnativo monumento è impostato su una composizione regolare ed equilibrata e il tema della morte vi è affrontato con serena meditazione. Le cupe allegorie barocche sulla morte si trasformano qui nell'immagine simbolica della religione cristiana e del genio funebre, con la fiaccola rovesciata, tenera allusione alla fugacità della vita terrena" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Con la purezza delle superfici e la semplicità delle linee compositive, quest'opera introduce nella Basilica Vaticana lo stile neoclassico. Il complesso scultoreo, eseguito in marmo di Carrara, ad eccezione delle basi in lumachella e dei due leoni in travertino, (...) ha come vertice il ritratto del papa in ginocchio, dal volto realisticamente animato. (...) Con grande minuzia Canova affrontò il virtuosistico lavoro di rifinitura del prezioso piviale: un riferimento ben appropriato perché questo pontefice (...) è ricordato nella storia dell'arte tessile per la preziosità e la ricchezza dei paramenti indossati" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A sinistra mosaico "Navicella degli apostoli" copia in mosaico di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0.0px;">(1685/1743) del 1721 da originale 1627/28 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Lanfranco</span><span style="letter-spacing: 0.0px;"> (1582/1647) ora nella loggia delle benedizioni</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Il mosaico aveva a sua volta rimpiazzato un affresco del 1605 dell'egregio pittore genovese </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernardo Castello </span><span style="letter-spacing: 0.0px;">(c. 1557/1629). Per lui questo lavoro era il picco della sua carriera ma non fu ben ricevuto. Quando seppe della decisione di sostituire il dipinto nel 1626, ebbe un esaurimento nervoso che lo portò alla morte tre anni dopo </span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8814/Basilica%20S.%20Pietro%20DSC_8814.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CAPPELLA DEI Ss. MICHELE E PETRONILLA</span></i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">La CUPOLA è l'unica della basilica ad alternare mosaici a figure in stucco eseguite nel 1725 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Ottoni </span><span style="letter-spacing: 0.0px;">(1648/1736). Nei mosaici "Gloria angelica" 1726/29 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fattori</span><span style="letter-spacing: 0.0px;">,</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Gossoni</span><span style="letter-spacing: 0.0px;">,</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Fiani</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Clori</span><span style="letter-spacing: 0.0px;">,</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Enuò </span><span style="letter-spacing: 0.0px;">e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cocchi </span><span style="letter-spacing: 0.0px;">da disegni di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Nicolò Ricciolini </span><span style="letter-spacing: 0.0px;">(1687/1772) degli anni 1721/26</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nelle LUNETTE mosaici con "Angeli e vita di S. Petronilla"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Nei PENNACCHI mosaici con dottori e padri della chiesa greca e latina che hanno scritto opere sugli angeli: "Leone Magno" e "Dionigi l'Aeropagita" da dipinti di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Andrea Sacchi</span><span style="letter-spacing: 0.0px;"> (1599/1661), "S. Bernardo" da un dipinto di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Pellegrini</span><span style="letter-spacing: 0.0px;"> (1605/49) e "S. Gregorio Taumaturgo" da un dipinto di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Francesco Romanelli </span><span style="letter-spacing: 0.0px;">(1610/62)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"La cappella può essere considerata la testimonianza della devozione dei re di Francia e del loro popolo per la Chiesa cristiana e per la basilica in particolare. Essa sostituisce la rotonda imperiale, già sita sul lato sinistro dell'antico S. Pietro, dove Paolo I (757/767) aveva sistemato i resti di S. Petronilla dopo la loro esumazione dalla Catacomba di S. Domitilla. (...) Nel 781 Carlo Magno battezzò nella rotonda il figlio Carlomanno e per i secoli seguenti i sovrani francesi, dai Carolingi sino ai Valois, la elessero loro chiesa nazionale, restaurandola e arricchendola di doni fino alla distruzione, decretata da Giulio II per far posto alla nuova basilica" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SULL'ALTARE</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/DSCF3941/DSCF3941.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Michele Arcangelo"</span></a> 1758 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernardino Regoli </span><span style="letter-spacing: 0.0px;">e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovan Francesco Fiani </span><span style="letter-spacing: 0.0px;">dall'originale del 1635 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Guido Reni</span><span style="letter-spacing: 0.0px;"> (1575/1642) in S. Maria della Concezione</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Celeberrimo dipinto del quale ci sono centinaia di copie sparse per il mondo. Fu un omaggio di Reni al dipinto di Raffaello di uguale soggetto ora al Louvre: il volto del diavolo è quello di nientemeno che il Card. G.B. Pamphilj il quale nove anni dopo sarebbe diventato papa Innocenzo X e che aveva maltrattato lo stesso Reni e la famiglia Barberini, protettrice dell'artista</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A SINISTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Guercino_petronilla/Guercino_petronilla.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Seppellimento e gloria di S. Petronilla"</span></a> 1728/30 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0.0px;">(1685/1743), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Cocchi</span><span style="letter-spacing: 0.0px;"> e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Ottaviani </span><span style="letter-spacing: 0.0px;">dal dipinto originale del 1623 di Giovanni Francesco Barbieri detto </span><span style="color: #ff2600; letter-spacing: 0.0px;">Guercino</span><span style="letter-spacing: 0.0px;"> (1591/1666)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Anche se è uno dei primi mosaici eseguiti nella basilica, rimane il capolavoro dell'intera serie per l'alto valore artistico del dipinto riprodotto e per la sensibile capacità dei mosaicisti di mantenere fedelmente i rapporti cromatici e plastici dell'originale" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sotto l'altare <i>reliquie di S. Petronilla</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sul PAVIMENTO lastra marmorea con <i>tomba dei due papi Della Rovere: Sisto IV (1471/84) e suo nipote Giulio II (1503/13)</i> qui traslati nel 1926 dalla Cappella del Coro assieme ai due parenti cardinali Galeotto Della Rovere e Fazio Santoro</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La famosissima tomba di Giulio II progettata da Michelangelo in S. Pietro in Vincoli è quindi vuota</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Al centro del pavimento "Stemma di S. Pio X Sarto (1903/14)" 1908 in marmi preziosi, eseguito in occasione del cinquantenario del suo sacerdozio</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PASSAGGIO ALL'ABSIDE</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8816/Basilica%20S.%20Pietro%20DSC_8816.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomba di Clemente X"</span></a><b> </b>Altieri (1670/76) 1684 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Mattia De Rossi</span><span style="letter-spacing: 0.0px;"><b> </b>(1637/95) per il Card. Paluzzo Paluzzi degli Albertoni nipote di Clemente X, eseguito da ex collaboratori di Bernini:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Statua del papa" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ercole Ferrata</span><span style="letter-spacing: 0.0px;"> (1610/86)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A sinistra "Clemenza" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Mazzuoli </span><span style="letter-spacing: 0.0px;">(1644/1725)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A destra "Benignità" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lazzaro Morelli </span><span style="letter-spacing: 0.0px;">(1608/90)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Bassorilievo "Apertura della Porta santa nel 1675" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Leonardo Retti </span><span style="letter-spacing: 0.0px;">(attivo 1670/1709)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Putti" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Carcani </span><span style="letter-spacing: 0.0px;">(attivo 1670/91)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Agli angoli del sarcofago "Teschi con parrucche" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Aprile </span><span style="letter-spacing: 0.0px;">(?/1685)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel 1962 fu oggetto di un attentato con una bomba a orologeria che esplose dopo la chiusura e che fortunatamente provocò pochi danni</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A sinistra mosaico "S. Pietro risuscita la fanciulla Tàbita" 1758/60 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fiani</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ottaviani</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Regoli </span><span style="letter-spacing: 0.0px;">e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Paleat </span><span style="letter-spacing: 0.0px;">da originale 1736/40 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Placido Costanzi</span><span style="letter-spacing: 0.0px;"> (1702/59) in S. Maria degli Angeli e dei Martiri</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Coprì un affresco rovinato con lo stesso soggetto del 1606 di Giovanni Baglione: gli aveva valso il titolo onorifico del Cavalierato di Cristo ma era stato molto criticato da Caravaggio che l'aveva pubblicamente sbeffeggiato</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8817/Basilica%20S.%20Pietro%20DSC_8817.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">ABSIDE</span></i></a></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8819/Basilica%20S.%20Pietro%20DSC_8819.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CATINO ABSIDALE</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Stucchi 1749 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Vanvitelli</span><span style="letter-spacing: 0.0px;"> (1700/73) e tre medaglioni "Storie di Ss. Pietro e Paolo" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Maini</span><span style="letter-spacing: 0.0px;"> (1690/1752)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8821/Basilica%20S.%20Pietro%20DSC_8821.jpg?disposition=download">"Cattedra di S. Pietro"</a></span><span style="letter-spacing: 0.0px;"> 1656/65 straordinario capolavoro di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span><span style="letter-spacing: 0.0px;"> per Alessandro VII Chigi (1655/67)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sul dossale rilievi bronzei "Cristo affida a Pietro la guida della Chiesa", sul fianco sinistro "Consegna delle chiavi", sul fianco destro "Lavanda dei piedi"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Bernini ebbe 35 collaboratori tra cui </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ercole Ferrata</span><span style="letter-spacing: 0.0px;"> (1610/86), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ercole Antonio Raggi </span><span style="letter-spacing: 0.0px;">(1624/86) e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lazzaro Morelli </span><span style="letter-spacing: 0.0px;">(1608/90)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La sedia lignea è in realtà un trono dell'anno 875 regalata da Carlo il Calvo a Giovanni VIII (872/882) in occasione della sua incoronazione qui</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Enormi statue bronzee di Dottori della Chiesa:</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Davanti a destra "S. Agostino", a sinistra "S. Ambrogio" (Chiesa latina)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Dietro a sinistra "S. Atanasio", a destra "S. Giovanni Crisostomo" (Chiesa greca)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La struttura pesa 74 tonnellate (81,5 tons) di bronzo per un'altezza di 14,74 m (48,3 feet). Le statue dei Dottori della Chiesa sono alte 5,35 m (17,5 feet)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Finestra con vetro dipinto <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8818/Basilica%20S.%20Pietro%20DSC_8818.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Colomba dello Spirito Santo"</span></a> 1911 del vetraio tedesco</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Hagle</span><span style="letter-spacing: 0.0px;"> dal disegno originale di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Paolo Schor</span><span style="letter-spacing: 0.0px;"> (1615/74)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"La Cattedra come altri suoi lavori è stata progettata per una veduta principale inquadrata; fu concepita come quadro scolpito, pieno di colore di dimensioni enormi. Il principio compositivo che si cela qui dietro l'uso del colore è ovvio: il colore illumina, e diventa tanto più visionario, quanto più i personaggi e gli oggetti sono vicini alla regione celeste. La policromia ha quindi un significato soprannaturale" (Rudolf Wittkower)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"I quattro Dottori della Chiesa in bronzo, con le espressioni cariche di pathos, con i gesti impetuosi, rivelano ancora un lontano richiamo alla grande pittura di Rubens, mentre la Gloria del Paradiso in stucco dorato, bronzo e vetro si pone a coronamento di ricerche figurative, sul tema dell'apparizione celeste e dello spazio incommensurabile, che avevano interessato, da Correggio in poi, gli artisti italiani da più di un secolo" (Alessandro Angelini)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Il vetro dipinto, al centro della composizione, è insieme luce e immagine pittorica senza che, in virtù della perfetta regia, l'occhio dell'osservatore sia turbato dal contrasto di toni" (Paolo Portoghesi)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">ALTARE bronzeo 1975 dello statunitense </span><span style="color: #ff2600; letter-spacing: 0.0px;">Albert Friscia </span><span style="letter-spacing: 0.0px;">(1911/89) coperto dall'altare mobile del 1907 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Costantino Annecher</span><span style="letter-spacing: 0.0px;"> decorato da un medaglione con busti di S. Pietro e S. Paolo </span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A DESTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8822/Basilica%20S.%20Pietro%20DSC_8822.jpg?disposition=download">"Monumento di Urbano VIII"</a></span><span style="letter-spacing: 0.0px;"><b> </b>Barberini (1623/44) 1627/47 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Statua a sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8864/Basilica%20S.%20Pietro%20DSC_8864.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Carità"</span></a> con le sembianze di <i>Costanza Bonarelli</i><b> </b>moglie di un collaboratore di Bernini e sua amante, fatta da lui sfregiare dopo aver saputo che era stata anche l'amante di suo fratello a sua volta punito con una bastonatura</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La statua aveva originariamente il seno nudo che fu coperto a fine 1800</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Statua a destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8864/Basilica%20S.%20Pietro%20DSC_8864.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Giustizia"</span></a></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Prima affermazione della tipologia di tomba barocca erede delle Tombe Medici di Michelangelo</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sopra il sarcofago raffigurazione di uno scheletro che scrive l'epitaffio come <i>memento mori</i>. Si notano nei fogli anche le iniziali dei papi precedenti Urbano VIII: la G di Gregorio XV Ludovisi (1621/23) e la P di Paolo V Borghese (1605/21)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"La morte che scrive è un modo vivo e pulsante di sostituire il banale cartiglio epigrafico" (Maurizio Fagiolo Dell'Arco)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Il contrasto di materiali è significativo: tutto ciò che è in diretto contatto con il defunto, il sarcofago, la Morte, la statua papale stessa è realizzato in bronzo scuro, le allegorie delle Virtù invece sono in splendente marmo bianco: esse con le loro qualità umane, particolarmente la Carità, si pongono come mediatrici fra l'osservatore e il papa. Bernini, superando il compassato classicismo dei monumenti sepolcrali cinquecenteschi, infonde al tema funebre vitalità e nuova dinamicità spettacolare: crea l'archetipo della tomba barocca" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A SINISTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8823/Basilica%20S.%20Pietro%20DSC_8823.jpg?disposition=download">"Monumento di Paolo III"</a></span><span style="letter-spacing: 0.0px;"><b> </b>Farnese (1534/49) 1551/75 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Guglielmo Della Porta</span><span style="letter-spacing: 0.0px;"> (1515/77) per il Card. Alessandro Farnese</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il basamento era originariamente la tomba del vescovo di Bagnoregio Francesco de Solis (m. 1545)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;"><i>Statua a sinistra</i> <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8857/Basilica%20S.%20Pietro%20DSC_8857.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Giustizia"</span></a> con le sembianze di Giulia Farnese, sorella di Paolo III, coperta nel 1595 con veste di metallo dipinta di bianco da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Teodoro Della Porta</span><span style="letter-spacing: 0.0px;"> (1567/1638) figlio di Guglielmo</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>Statua a destra</i> <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8858/Basilica%20S.%20Pietro%20DSC_8858.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Prudenza"</span></a> con le sembianze di Giovannella Caetani, madre di Paolo III</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Originariamente facevano parte del monumento anche "Abbondanza" e "Pace" ora a Palazzo Farnese</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Tra le due statue preziosa <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8856/Basilica%20S.%20Pietro%20DSC_8856.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Maschera"</span></a> in raro marmo nero portoro dagli Orti Farnesiani sul Palatino</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Fu la prima tomba papale monumentale a essere eretta nella Basilica</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Fu spostata dal pilone di S. Andrea a questa posizione nel 1628 da Bernini</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>Giulia Farnese</i> era nota come <i>Giulia Bella. </i>Aveva occhi corvini, capelli lunghissimi tinti di biondo e la carnagione candida che sembra lei amasse far risaltare dormendo solo su lenzuola di seta nera. Dall'età di 15 anni fu per cinque anni amante dell'allora cinquantottenne Card. Rodrigo Borgia poi divenuto papa Alessandro VI (1492/1503), nonostante si fosse appena sposata con Orso Orsini che era affetto da foruncolosi e orbo a un occhio</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Divenne la concubina ufficiale del papa e fece diventare cardinale il fratellino Alessandro soprannominato <i>cardinale della gonnella</i>. In seguito il fratellino diventerà a sua volta papa con il nome di Paolo III</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Gioacchino Belli in un sonetto descrive il motivo per la censura della statua della Giustizia: un <i>signore ingrese</i> (o forse un seminarista spagnolo) era stato sorpreso a masturbarsi di fronte al seducente nudo</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Si vuole che Guglielmo abbia eseguito l'opera sotto la direzione di Michelangelo. Al di là della conferma storica, michelangiolesca è la concezione della statua seduta del defunto e ancor più quella delle due allegorie distese sulle volute sottostanti, nitido richiamo alle Tombe Medicee nella Sagrestia Nuova di S. Lorenzo a Firenze" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Era inevitabile che la Cattedra venisse posta nell'abside centrale tra le tombe dei due papi i cui pontificati incorniciano il periodo attivo della Controriforma. Niente simboleggia la nuova Ecclesia Triumphans più chiaramente di questo" (Howard Hibbard)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">STATUE NELLE NICCHIE DELL'ORDINE INFERIORE</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A DESTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8844/Basilica%20S.%20Pietro%20DSC_8844.jpg?disposition=download">"Profeta Elia"</a></span><span style="letter-spacing: 0.0px;"> 1727 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Agostino Cornacchini</span><span style="letter-spacing: 0.0px;"> (1683/1740)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8850/Basilica%20S.%20Pietro%20DSC_8850.jpg?disposition=download">"S. Domenico"</a></span><span style="letter-spacing: 0.0px;"> 1706 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pierre Legros </span><span style="letter-spacing: 0.0px;">(1666/1719)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A SINISTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8845/Basilica%20S.%20Pietro%20DSC_8845.jpg?disposition=download">"S. Benedetto"</a></span><span style="letter-spacing: 0.0px;"> 1735 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Antonio Montauti</span><span style="letter-spacing: 0.0px;"> (1685/1740)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8852/Basilica%20S.%20Pietro%20DSC_8852.jpg?disposition=download">"S. Francesco"</a></span><span style="letter-spacing: 0.0px;"> 1727 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Monaldi </span><span style="letter-spacing: 0.0px;">(c. 1690/1760)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sotto la statua "Lapide a ricordo della proclamazione del dogma dell'Immacolata Concezione" l'8 dicembre 1854</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">STATUE ELLE NICCHIE DELL'ORDINE SUPERIORE</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A DESTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8848/Basilica%20S.%20Pietro%20DSC_8848.jpg?disposition=download">"S. Francesco di Sales"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1845 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Adamo Tadolini</span><span style="color: black; letter-spacing: 0.0px;"> (1788/1868)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8851/Basilica%20S.%20Pietro%20DSC_8851.jpg?disposition=download">"S. Francesco Caracciolo"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1834 di </span><span style="letter-spacing: 0.0px;">Francesco Massimiliano Laboureur</span><span style="color: black; letter-spacing: 0.0px;"> (1767/1831) e </span><span style="letter-spacing: 0.0px;">Innocenzo Fraccaroli</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A SINISTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8846/Basilica%20S.%20Pietro%20DSC_8846.jpg?disposition=download">"S. Francesca Romana"</a></span><span style="letter-spacing: 0.0px;"> 1850 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Galli</span><span style="letter-spacing: 0.0px;"> (1804/77) allievo di Bertel Thorvaldsen</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8853/Basilica%20S.%20Pietro%20DSC_8853.jpg?disposition=download">"S. Alfonso Maria de' Liguori"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1839 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Tenerani</span><span style="color: black; letter-spacing: 0.0px;"> (1789/1869)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PASSAGGIO ALL'ABSIDE</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8861/Basilica%20S.%20Pietro%20DSC_8861.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomba di Alessandro VIII"</span></a> Ottoboni (1689/91) 1725 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Arrigo di San Martino </span><span style="letter-spacing: 0.0px;">per il pronipote del papa il Card. Pietro Ottoboni</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Bassorilievo "Consegna dei doni durante la canonizzazione del 1690 di vari santi tra cui S. Giovanni da Dio, Pasquale Baylon, Giovanni da S. Facondo e Lorenzo Giustiniani" del genovese </span><span style="color: #ff2600; letter-spacing: 0.0px;">Angelo De Rossi</span><span style="letter-spacing: 0.0px;"> (1671/1715) che aveva disegnato e modellato in stucco anche le statue del papa e le allegorie eseguite dopo la sua morte da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Bertosi</span><span style="letter-spacing: 0.0px;"> (papa) e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Raffaelli</span><span style="letter-spacing: 0.0px;"> (a sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8867/Basilica%20S.%20Pietro%20DSC_8867.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Religione"</span></a> e a destra "Prudenza")</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Dietro alla tomba di Alessandro VIII c'è la piccola SAGRESTIA OTTOBONI recentemente restaurata con "Rilievi bronzei" e "Crocifisso" 1972 di</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Francesco Messina</span><span style="letter-spacing: 0.0px;"> (1900/95) e due tele seicentesche di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Perugini da Sermoneta</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A sinistra mosaico "Ss. Pietro e Giovanni risanano un paralitico" 1751/58 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ottaviani</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cocchi</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Enuò </span><span style="letter-spacing: 0.0px;">e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Paleat </span><span style="letter-spacing: 0.0px;">degli anni 1746/49 dal dipinto originale di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Mancini </span><span style="letter-spacing: 0.0px;">(1679/1758) ora nella Sala delle Benedizioni</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8870/Basilica%20S.%20Pietro%20DSC_8870.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CAPPELLA DELLA MADONNA DELLA COLONNA</span></i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Iniziata da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Jacopo Barozzi detto Vignola</span><span style="letter-spacing: 0.0px;"> (1507/73) e completata da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Della Porta</span><span style="letter-spacing: 0.0px;"> (1533/1602)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Nella <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8871/Basilica%20S.%20Pietro%20DSC_8871.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">CUPOLA</span></a> della cappella mosaici "Allegorie e simboli della Vergine" 1751/57 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fattori</span><span style="letter-spacing: 0.0px;">,</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Gossoni</span><span style="letter-spacing: 0.0px;">,</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Regoli</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Paleat</span><span style="letter-spacing: 0.0px;">,</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Ottaviani</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Polverelli </span><span style="letter-spacing: 0.0px;">e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Volpini </span><span style="letter-spacing: 0.0px;">da disegni del 1742 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Zoboli</span><span style="letter-spacing: 0.0px;"> (1681/1767)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Nelle LUNETTE mosaici con "Re David", "Re Salomone", "Vergine Maria con il Bambino Gesù" e "Sogno di Giuseppe" 1643/44 del viterbese </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Francesco Romanelli </span><span style="letter-spacing: 0.0px;">(1610/62) allievo di Pietro da Cortona, eseguite in mosaico 1645/47 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Calandra </span><span style="letter-spacing: 0.0px;">e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Guidobaldo Abbatini </span><span style="letter-spacing: 0.0px;">(1600/56)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Nei PENNACCHI mosaici con quattro dottori della Chiesa: "S. Germano" e "S. Bonaventura" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Lanfranco</span><span style="letter-spacing: 0.0px;"> (1582/1647) ; "S. Giovanni Damasceno" e "S. Tommaso d'Aquino" di</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Andrea Sacchi</span><span style="letter-spacing: 0.0px;"> (1599/1661) eseguiti in mosaico negli anni 1630/36 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Calandra</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SULL'ALTARE</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Venerata "Madonna" del XV sec. su un tronco di colonna di marmo portasanta già nella navata centrale della vecchia Basilica. La splendida cornice marmorea fu disegnata nel 1581 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Della Porta </span><span style="letter-spacing: 0.0px;">(1533/1602)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Una copia di quest'immagine fu fatta collocare in mosaico al posto di una finestra del Palazzo Apostolico prospiciente Piazza S. Pietro per volere di Giovanni Paolo II in seguito all'attentato del 13 maggio 1981</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SOTTO L'ALTARE</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Sarcofago cristiano" del IV sec. con <i>spoglie dei papi Leone II (682/683), Leone III (795/816) </i>e<i> Leone IV (847/855)</i> raccolte da Pasquale II (1099/1118)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A DESTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Altare con <i>reliquie di S. Leone Magno (440/461)</i> con decorazioni di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Borromini </span><span style="letter-spacing: 0.0px;">e pala marmorea (unica nella Basilica) <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8869/Basilica%20S.%20Pietro%20DSC_8869.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Leone Magno che incontra Attila"</span></a> 1646/50 capolavoro di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Alessandro Algardi</span><span style="letter-spacing: 0.0px;"> (1598/1654) eseguito assieme all'allievo </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenico Guidi</span><span style="letter-spacing: 0.0px;"> (1625/1701)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il corpo di S. Leone Magno fu ritrovato integro nel 1607 nelle Grotte Vaticane, lì dove era stato originariamente sepolto</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"L'interpretazione dell'avvenimento è semplice e convincente: come nell'esempio di Raffaello, solo il papa e il re scorgono la miracolosa apparizione degli apostoli e la divisione in tre parti (sinistra, destra e zona superiore) è mantenuta rigorosamente. Non si può non ammirare la logica compositiva e la chiarezza psicologica. La dimensione insolita (oltre 7 m di altezza) ha spesso indotto a credere erroneamente che il suo stile non abbia precedenti; ma in effetti la storia del rilievo illusionista risale ai primi giorni del rinascimento, a Donatello e a Ghiberti. In contrasto, però, con il rilievo stacciato del rinascimento Algardi rinunciò a creare un coerente spazio ottico e usò soprattutto gradazioni nella proiezione delle figure per produrre l'illusione di profondità. In modo più effettivo che la pittura illusionista il rilievo pittorico soddisfaceva il desiderio barocco di cancellare la linea di confine fra vita e arte, spettatore e figura" (Rudolf Wittkower)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel pavimento cerchio di marmo con <i>tomba di Leone XII Sermattei (1823/29)</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PASSAGGIO ALLA CAPPELLA DELLA COLONNA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8883/Basilica%20S.%20Pietro%20DSC_8883.jpg?disposition=download"><span style="letter-spacing: 0px;">"Apparizione del Sacro Cuore di Gesù a S. Margherita Maria Alacoque"</span></a> 1921/24 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Muccioli </span><span style="color: black; letter-spacing: 0.0px;">(1857/1931)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Fu l'ultima grande impresa musiva del 1900 che sostituì il dipinto su lavagna "Caduta di Simon Mago" di Francesco Vanni. Avrebbe dovuto essere sostituita da quella di uguale soggetto di Pompeo Batoni, che però non fu mai qui messa in opera e che ora è nella Basilica di S. Maria degli Angeli e dei Martiri; fu temporaneamente sostituita da una copia del dipinto del Vanni eseguita da Pierre Charles Tremollière che ora si trova pure nella Basilica degli Angeli e dei Martiri</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A destra spettacolare <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8879/Basilica%20S.%20Pietro%20DSC_8879.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomba di Alessandro VII"</span></a> Chigi (1655/67) 1671/78 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span><span style="letter-spacing: 0.0px;"> con collaboratori per il Card. Flavio Chigi, nipote del papa:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8876/Basilica%20S.%20Pietro%20DSC_8876.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Carità"</span></a> 1673/75 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Mazzuoli </span><span style="letter-spacing: 0.0px;">(1644/1725)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Dietro la Carità "Busto della Prudenza" 1675/77 iniziato da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Baratta</span><span style="letter-spacing: 0.0px;"> e finito da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giulio Cartari </span><span style="letter-spacing: 0.0px;">(attivo 1665/78)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8873/Basilica%20S.%20Pietro%20DSC_8873.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Verità"</span></a> 1673/77 iniziata da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lazzaro Morelli </span><span style="letter-spacing: 0.0px;">(1608/90) e finita da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giulio Cartari</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sicuramente non è una coincidenza il fatto che l'allegoria della <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8882/Basilica%20S.%20Pietro%20DSC_8882.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">Verità calpesti con il piede sinistro l'Inghilterra protestante</span></a> odiata dalla cattolica Roma</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Dietro la Verità <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8875/Basilica%20S.%20Pietro%20DSC_8875.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Busto della Giustizia"</span></a> 1676 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giulio Cartari</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8878/Basilica%20S.%20Pietro%20DSC_8878.jpg?disposition=download">"Alessandro VII"</a></span><span style="letter-spacing: 0.0px;"> 1675/76 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michel Maille </span><span style="letter-spacing: 0.0px;">detto Michele Maglia</span><span style="color: #ff2600; letter-spacing: 0.0px;"> </span><span style="letter-spacing: 0.0px;">(attivo a Roma seconda metà del XVII sec.) rifinito 1677 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giulio Cartari</span><span style="letter-spacing: 0.0px;"> e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenico Basadonna</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Le <i>parti in bronzo</i> sono di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Girolamo Lucenti</span><span style="letter-spacing: 0.0px;"> (?/1698) che fece con </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Carcani </span><span style="letter-spacing: 0.0px;">(attivo 1670/91) anche la veste bronzea della "Verità" nel 1678 dopo che Innocenzo XI Odescalchi (1676/89) aveva protestato per la nudità</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">L'<i>eccezionale drappo rosa</i> è di travertino eseguito da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lazzaro Morelli </span><span style="letter-spacing: 0.0px;">e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michel Maille </span><span style="letter-spacing: 0.0px;">rivestito in diaspro di Sicilia da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Gabriele Renzi</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il<i> basamento in marmo di Portovenere</i> ha venature naturali che vengono assecondate e integrate a mosaico dall'artista per ottenere un materiale che, pure se tratto dalla natura, mostra connotazioni creativamente artificiali</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Alessandro VII teneva a tal punto presente la morte incombente da dormire con la sua futura cassa da morto di piombo sotto il letto</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Nella tarda tomba di Alessandro VII il Bernini mise in risalto il contrasto fra la precarietà della vita (Morte con clessidra) e l'imperturbabile fede del papa che prega. Ma quest'idea, che corrispondeva così bene alle convinzioni del Bernini stesso sulla soglia della morte, era troppo personale per trovare molto seguito. Quando fu ripresa durante il 1700, il concetto era cambiato: la Morte non era più controbilanciata dalla certezza di salvarsi mediante la fede e non riservava altro che terrore a coloro che minacciava di eterna distruzione" (Rudolf Wittkower)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Il passaggio sotto al monumento di Alessandro VII conduce all'uscita sud della basilica con la "Porta della Preghiera" 1972 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lello Scorzelli </span><span style="letter-spacing: 0.0px;">(1921/1997)</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/DSCF3113/DSCF3113.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">TRANSETTO SINISTRO</span></i></a></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"È questa la prima parte della basilica conclusa mentre Michelangelo era ancora in vita. Il rivestimento interno dell'abside di questo transetto fu eseguito nel 1558 sotto la direzione dell'artista toscano, e seppur modificato nell'attico tra il 1605 e il 1610, negli anni seguenti venne utilizzato come modello di decorazione architettonica per l'intero edificio" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">ALTARE CENTRALE</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaico 1963 <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8884/Basilica%20S.%20Pietro%20DSC_8884.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Giuseppe con Gesù Bambino"</span></a> da originale a tempera 1962 di</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Achille Funi</span><span style="letter-spacing: 0.0px;"> (1890/1972)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>Reliquie degli apostoli Ss. Simone e Giuda</i><b> </b>in un "Sarcofago" del IV sec. dal Mausoleo di S. Costanza</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Ovali ai lati con ritratti in mosaico "S. Simone" e "S. Giuda" 1858 da dipinti originali del 1822 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Vincenzo Camuccini</span><span style="letter-spacing: 0.0px;"> (1771/1844)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Le colonne dell'edicola in porfido rosso provengono dal ciborio del XV sec. dell'antica basilica</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ai lati dell'altare centrale "Due colonne monolitiche di giallo antico" che con le altre due nel transetto opposto sono considerate uniche al mondo per grandezza ed esecuzione</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A destra ALTARE DI S. TOMMASO</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaico 1806/22 <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8886/Basilica%20S.%20Pietro%20DSC_8886.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Incredulità di S. Tommaso"</span></a> da originale di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Vincenzo Camuccini</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sotto l'altare <i>reliquie di S. Bonifacio IV (608/615)</i>, il papa che consacrò il Pantheon al culto cristiano</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ovali ai lati con ritratti in mosaico "S. Maria Domenica Mazzarello" e "S. Maddalena Gabriella di Canossa" del XIX sec.</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A sinistra ALTARE DI S. PIETRO</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Tradizionalmente considerato il luogo della crocifissione a testa in giù di S. Pietro e della sua morte</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8885/Basilica%20S.%20Pietro%20DSC_8885.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Crocifissione di S. Pietro"</span></a> da originale 1604/05 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Guido Reni</span><span style="letter-spacing: 0.0px;"> (1575/1642) nella Pinacoteca Vaticana, originariamente dipinta per S. Paolo alle Tre Fontane</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sotto l'altare <i>corpo di S. Leone IX (1049/54)</i><b> </b>in un sarcofago strigilato in marmo bianco</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ovali ai lati con ritratti in mosaico "S. Lorenzo Ruiz" e "S. Antonio Maria Gianelli" del XIX sec.</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8815/Basilica%20S.%20Pietro%20DSC_8815.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CATINO ABSIDALE</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Stucchi 1749 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Vanvitelli</span><span style="letter-spacing: 0.0px;"> (1700/73) e tre medaglioni "Storie di Ss. Pietro e Paolo" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Maini</span><span style="letter-spacing: 0.0px;"> (1690/1752)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Statue nelle nicchie DELL'ORDINE INFERIORE</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A DESTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8887/Basilica%20S.%20Pietro%20DSC_8887.jpg?disposition=download">"S. Giuliana Falconieri"</a></span><span style="letter-spacing: 0.0px;"> 1740 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Campi</span><span style="letter-spacing: 0.0px;"> (noto 1702/40)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8890/Basilica%20S.%20Pietro%20DSC_8890.jpg?disposition=download">"S. Norberto"</a></span><span style="letter-spacing: 0.0px;"> 1767 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Bracci </span><span style="letter-spacing: 0.0px;">(1700/73)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A SINISTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8892/Basilica%20S.%20Pietro%20DSC_8892.jpg?disposition=download">"S. Giovanni di Dio"</a></span><span style="letter-spacing: 0.0px;"> 1745 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Della Valle</span><span style="letter-spacing: 0.0px;"> (1698/1768)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8894/Basilica%20S.%20Pietro%20DSC_8894.jpg?disposition=download">"S. Pietro Nolasco"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1742 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Campi</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">STATUE nelle nicchie DELL'ORDINE SUPERIORE</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A DESTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8888/Basilica%20S.%20Pietro%20DSC_8888.jpg?disposition=download">"S. Angela Merici"</a></span><span style="letter-spacing: 0.0px;"> 1866 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Galli</span><span style="letter-spacing: 0.0px;"> (1804/77)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8891/Basilica%20S.%20Pietro%20DSC_8891.jpg?disposition=download">"S. Guglielmo di Vercelli"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1878 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Prinzi</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A SINISTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8893/Basilica%20S.%20Pietro%20DSC_8893.jpg?disposition=download">"S. Maria di S. Eufrasia Pellettier"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1942 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Nicolini </span><span style="color: black; letter-spacing: 0.0px;">(1872/1956)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8895/Basilica%20S.%20Pietro%20DSC_8895.jpg?disposition=download">"S. Luisa de Marillac"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1954 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Antonio Berti </span><span style="color: black; letter-spacing: 0.0px;">(1904/90)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PASSAGGIO PER LA CAPPELLA CLEMENTINA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8897/Basilica%20S.%20Pietro%20DSC_8897.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monumento di Pio VIII"</span></a><b> </b>Castiglioni (1829/30) 1853/66 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Tenerani</span><span style="letter-spacing: 0.0px;"> (1789/1869) per il Card. Giuseppe Albani, con sotto entrata alla sagrestia affiancata da rilievi sempre del Tenerani: a destra "Prudenza" e a sinistra "Giustizia"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Pio VIII volle abolire il nepotismo dei papi, lo spionaggio del Vaticano e condannò le associazioni segrete. Regnò solo venti mesi e quando morì a 69 anni ci furono voci di un suo avvelenamento</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A sinistra mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8898/Basilica%20S.%20Pietro%20DSC_8898.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Castigo dei coniugi Anania e Saffira"</span></a> 1721/28 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Adami</span><span style="letter-spacing: 0.0px;"> da originale del 1606 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cristoforo Roncalli detto Pomarancio </span><span style="letter-spacing: 0.0px;">(1552/1626) ora in S. Maria degli Angeli e dei Martiri</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">L'altare è chiamato <i>Altare della Bugia </i>per la storia di Anania e Saffira che, dopo aver venduto un podere, avevano consegnato agli apostoli solo una parte del ricavato, affermando mendacemente di aver consegnato l'intera somma: per questa bugia furono uccisi da Dio</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Il modo in cui qui venne sviluppato il racconto drammatico, attraverso poche figure relativamente tranquille ma potenti, senza lo stuolo di persone usato dagli imitatori degli Zuccari, sembrò indicare una nuova strada anche alla pala di soggetto storico che era arrivata a un punto morto sia tra i seguaci degli Zuccari che tra gli imitatori del Barocci. È significativo che la pittura romana, poco prima che a Roma si conoscesse il fenomeno dei Carracci, generasse da sola simili fenomeni" (Hermann Voss)</span></i></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8902/Basilica%20S.%20Pietro%20DSC_8902.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CAPPELLA CLEMENTINA</span></i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1592/1605 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Della Porta</span><span style="letter-spacing: 0.0px;"> (1533/1602) per Clemente VIII Aldobrandini (1592/1605)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Nella <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8905/Basilica%20S.%20Pietro%20DSC_8905.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">CUPOLA</span></a> della cappella mosaici "Angeli, festoni e imprese che alludono alla dignità del papato e della famiglia Aldobrandini" 1599/1602 di quattordici mosaicisti</span><span style="color: #ff2600; letter-spacing: 0.0px;"> </span><span style="letter-spacing: 0.0px;">da disegni di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cristoforo Roncalli detto Pomarancio </span><span style="letter-spacing: 0.0px;">(1552/1626)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Nelle LUNETTE mosaici con "Profeta Malachia assistito da un angelo" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Rossetti </span><span style="letter-spacing: 0.0px;">e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Marcello Provenzale</span><span style="letter-spacing: 0.0px;">, "Profeta Daniele nella fossa dei leoni" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Rossetti </span><span style="letter-spacing: 0.0px;">e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Marcello Provenzale</span><span style="letter-spacing: 0.0px;">, "Vergine Maria e S. Giuseppe" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Marcello Provenzale </span><span style="letter-spacing: 0.0px;">e "S. Elisabetta" di</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Ludovico Martinelli</span><span style="letter-spacing: 0.0px;"> 1599/1603 da disegni di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cristoforo Roncalli detto Pomarancio</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Nei PENNACCHI mosaici con quattro dottori della Chiesa greca e latina rappresentati anche nella cattedra di S. Pietro: "S. Ambrogio", "S. Agostino", "S. Giovanni Crisostomo" e "S. Atanasio" 1599/1602 di quattordici mosaicisti</span><span style="color: #ff2600; letter-spacing: 0.0px;"> </span><span style="letter-spacing: 0.0px;">da disegni di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cristoforo Roncalli detto Pomarancio </span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Sopra l'altare a destra mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8902/Basilica%20S.%20Pietro%20DSC_8902.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Miracolo di S. Gregorio Magno (590/604)"</span></a> 1770/72 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Alessandro Cocchi</span><span style="letter-spacing: 0.0px;">, il figlio </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Cocchi </span><span style="letter-spacing: 0.0px;">e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Vincenzo Castellini </span><span style="letter-spacing: 0.0px;">da originale degli anni 1625/27 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Andrea Sacchi </span><span style="letter-spacing: 0.0px;">(1599/1661)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">L'episodio è in realtà originariamente attribuito dalla tradizione cristiana a S. Leone Magno: alcuni principi avevano considerato poco preziosa una reliquia di un frammento di dalmatica di S. Giovanni Evangelista e S. Gregorio Magno l'avrebbe tagliato con un coltello facendone sgorgare sangue per dimostrarne l'importanza e la veridicità</span></span></div>
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<span style="color: black; letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sotto l'altare <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/DSCF3137/DSCF3137.jpg?disposition=download"><span style="letter-spacing: 0px;"><i>tomba di S. Gregorio Magno </i></span></a></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Dal 1725 al 1784 nella cappella c'erano tre grandi tele di Pier Leone Ghezzi con "Storie di S. Clemente" tolte quando fu costruita la Sagrestia. Una delle tre "L'annegamento di S. Clemente" è esposta nella Pinacoteca Vaticana</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Di fronte <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8903/Basilica%20S.%20Pietro%20DSC_8903.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomba di Pio VII"</span></a><b> </b>Chiaramonti (1800/23)<b> </b>con in alto statue alate rappresentanti a destra "Il Tempo" e a sinistra "La Storia"; le statue grandi rappresentano a destra "Sapienza Celeste" e a sinistra "Forza Divina" 1823/31 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bertel Thorvaldsen </span><span style="letter-spacing: 0.0px;">(1770/1844) per il Card. Ercole Consalvi</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Il progetto architettonico fu di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Valadier</span><span style="letter-spacing: 0.0px;"> (1762/1839)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La scelta del danese Thorvaldsen, che era l'unico artista protestante che abbia mai lavorato in S. Pietro, provocò molte critiche anche per la controversa scelta iconografica: la <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8904/Basilica%20S.%20Pietro%20DSC_8904.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">Sapienza Celeste che legge la Bibbia</span></a> e che con sembra stia meditando, come suggerirebbe il gesto del dito, è sicuramente più vicina a una visione protestante che non cattolica</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Lo spiritualismo esangue del danese, il suo sottile arcaismo, che più tardi avrà dei punti in comune con le tendenze puristiche introdotte a Roma dai Nazareni, sembravano corrispondere alle esigenze poste dai più rigorosi teorici del bello ideale, a quella aspirazione verso una bellezza della quale (come scrisse Winckelmann) si potesse dire come dell'acqua presa da una sorgente che, quanto meno è saporosa, vale a dire priva d'ogni particella straniera, tanto più si stima salubre" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A sinistra mosaico "Trasfigurazione" 1757/67 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Alessandro Cocchi </span><span style="letter-spacing: 0.0px;">assistito da otto mosaicisti dall'originale incompiuto degli anni 1517/20 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Raffaello Sanzio</span><span style="letter-spacing: 0.0px;"> (1483/1520). Per eseguire il mosaico venne fatta nel 1757 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Stefano Pozzi </span><span style="letter-spacing: 0.0px;">(1699/1768) una copia dipinta del capolavoro di Raffaello</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sotto l'altare della Trasfigurazione c'è dal 2011 l'urna di cristallo con il <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8907/Basilica%20S.%20Pietro%20DSC_8907.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;"><i>corpo del beato Innocenzo XI Odescalchi (1676/89)</i></span></a>. Era stato riesumato dal suo monumento nel 1956 in occasione della sua cerimonia di beatificazione e collocato sotto l'altare di S. Sebastiano ora occupato dalla tomba di Giovanni Paolo II</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Cuppolone%20DSC_2227/Cuppolone%20DSC_2227.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">NAVATA SINISTRA</span></i></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">TERZO PASSAGGIO</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">L'ingresso al passaggio è sormontato da sculture "Fama regge lo stemma di Innocenzo X Pamphilj (1644/55)" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Bernini</span><span style="letter-spacing: 0.0px;"> (1612/81) su disegno del fratello </span><span style="color: #ff2600; letter-spacing: 0.0px;">Gian Lorenzo Bernini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8909/Basilica%20S.%20Pietro%20DSC_8909.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monumento di Leone XI"</span></a><b> </b>Medici (aprile 1605) 1634/44, esposto al pubblico solo nel 1652, di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Alessandro Algardi</span><span style="letter-spacing: 0.0px;"> (1598/1654) per il Card. Roberto Ubaldini, nipote del papa</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel bassorilievo del sarcofago <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8913/Basilica%20S.%20Pietro%20DSC_8913.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">a destra "Re Enrico IV abbraccia la fede cattolica" e a sinistra "Ratifica della pace di Vervins del 1598"</span></a> episodi nei quali il futuro papa, all'epoca ancora Card. Alessandro d'Ottaviano de' Medici nunzio apostolico in Francia, ebbe un ruolo rilevante</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A sinistra del monumento statua "Magnanimità" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ercole Ferrata</span><span style="letter-spacing: 0.0px;"> (1610/86) e a destra "Liberalità" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Peroni </span><span style="letter-spacing: 0.0px;">(c. 1626/63) per il Card. Roberto Ubaldini nipote di Leone XI</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Le <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8914/Basilica%20S.%20Pietro%20DSC_8914.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">quattordici rose scolpite a rilievo</span></a> rappresenterebbero il numero di giorni in cui fu effettivamente papa, anche se il suo pontificato durò in totale ventisette giorni</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Di indubbia derivazione compositiva dalla tomba di Urbano VIII, concepita da Bernini sei anni prima, il monumento funebre di Algardi esprime però in modo autonomo le sue convinzioni estetico-formali. Algardi evitò l'uso di marmi policromi e adottò interamente il marmo bianco di carrara levigatissimo nelle superfici e uniforme e freddo negli incarnati; inoltre, invece di soffermarsi sul concetto della transitorietà della vita, rilevabile nella interpretazione berniniana, preferì conferire alle figure allegoriche e al papa stesso una condizione morale ideale permanente, espressa mediante la compostezza dei gesti e delle espressioni. Le dimensioni preponderanti delle figure rispetto alla struttura indicano la preferenza stilistica classica nei confronti della statuaria" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8912/Basilica%20S.%20Pietro%20DSC_8912.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monumento al Beato Innocenzo XI"</span></a> Odescalchi (1676/89) 1697/1701 disegnato da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maratta</span><span style="letter-spacing: 0.0px;"> (1625/1713) ed eseguito, forse reinterpretando idee del Maratta, da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pierre-Étienne Monnot </span><span style="letter-spacing: 0.0px;">(1657/1733) per il nipote del papa Livio Odescalchi</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A destra "Fortezza" e a sinistra "Religione"</span></span></div>
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<span style="color: black; letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Bassorilievo <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8915/Basilica%20S.%20Pietro%20DSC_8915.jpg?disposition=download"><span style="letter-spacing: 0px;">"Liberazione di Vienna dai Turchi nel 1683 da parte del re polacco Giovanni Sobieski"</span></a> voluta e sostenuta da Innocenzo XI</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8907/Basilica%20S.%20Pietro%20DSC_8907.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">corpo del papa</span></a> è visibile nella Cappella Clementina sotto la Trasfigurazione</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Elementi che derivano sia dal Bernini che dall'Algardi sono qui riuniti: la tomba di Urbano VIII servì da modello per il trattamento policromo, ma per i tipi delle allegorie e il rilievo narrativo Monnot seguì la tomba di Leone XI. Egli però mise il rilievo non sul sarcofago vero e proprio, ma sul piedistallo della statua del papa. L'inserimento di questo piedistallo rese necessario ridurre considerevolmente le dimensioni della figura del papa in confronto a quella dell'Algardi. L'aumentata importanza degli elementi decorativi a spese delle figure fa luce sul cambiamento stilistico dal barocco al tardo barocco" (Rudolf Wittkower)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8916/Basilica%20S.%20Pietro%20DSC_8916.jpg?disposition=download">CUPOLA DEL VESTIBOLO DELLA TERZA CAPPELLA A SINISTRA</a></span><span style="color: black; letter-spacing: 0.0px;"> <i>(Dedicata alla glorificazione musicale di Dio)</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaico nella CUPOLA "Visione dell'Apocalisse con gli Angeli, gli Eletti e i quattro animali del tetramorfo che circondano adoranti il trono dell'Eterno" 1712/16 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cocchi</span><span style="letter-spacing: 0.0px;">,</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Adami</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fattori</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ottaviani</span><span style="letter-spacing: 0.0px;"> e </span><span style="color: #ff2600; letter-spacing: 0.0px;">De Rossi</span><span style="letter-spacing: 0.0px;"> da originale disegnato prima da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ciro Ferri</span><span style="letter-spacing: 0.0px;"> (1634/89), poi, negli anni 1699/1711, da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maratta</span><span style="letter-spacing: 0.0px;"> (1625/1713) e infine negli anni 1711/16 dal bolognese </span><span style="color: #ff2600; letter-spacing: 0.0px;">Marcantonio Franceschini </span><span style="letter-spacing: 0.0px;">(1648/1729)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Nei PENNACCHI mosaici con quattro cantori delle glorie divine 1699/1703 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Conti</span><span style="letter-spacing: 0.0px;">:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Daniele circondato dai leoni mentre scrive" e "Abacuc e l'angelo" da cartone di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maratta</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"David" e "Giona" da cartone di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ciro Ferri</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Nelle LUNETTE mosaici con cantici di lodi, vittorie e pianti dell'Antico Testamento 1719/23 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Ottaviani </span><span style="letter-spacing: 0.0px;">e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Prospero Glori</span><span style="letter-spacing: 0.0px;">:</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Mosè in preghiera sul Sinai sostenuto da Aronne e Cur"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Il sacerdote Azaria rimprovera il re Ozia" da cartoni di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Nicolò Ricciolini</span><span style="letter-spacing: 0.0px;"> (1687/1772)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Giuditta consegna la testa di Oloferne per appenderla sulle mura"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"La profetessa Debora manda a chiamare Barak"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Geremia piangente sulla città santa"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Debora e Barak" da cartoni di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Marcantonio Franceschini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Nel TAMBURO quattro statue in stucco "Angeli con simboli eucaristici" 1713 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Ottoni </span><span style="letter-spacing: 0.0px;">(1648/1736)</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8918/Basilica%20S.%20Pietro%20DSC_8918.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CAPPELLA DEL CORO</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Progettata da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maderno</span><span style="letter-spacing: 0.0px;"> (1556/1629)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">L'area di questa cappella nella vecchia basilica era nota come la <i>Cappella Sistina di S. Pietro</i> perché Sisto IV Della Rovere (1471/84) l'aveva fatta costruire nel 1477 e fatta dipingere da Pietro Perugino. La sua grandiosa tomba, eseguita da Antonio e Pietro Pollaiolo, rimase qui fino al 1635 </span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Cancellata in ferro, bronzo e cristalli 1758/60 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Giardoni</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Urna in granito" antica con <i>reliquie di S. Giovanni Crisostomo (m.407)</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel 2004 Giovanni Paolo II donò parte delle reliquie al patriarca di Costantinopoli</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Stucchi 1626 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Ricci</span><span style="letter-spacing: 0.0px;"> (c. 1550/1624) e forse di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maratta </span><span style="letter-spacing: 0.0px;">(1625/1713)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaico "Immacolata Concezione assieme ai Ss. Francesco d'Assisi, Antonio da Padova e Giovanni Crisostomo" 1744/47 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ottaviani</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Onofri</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Enuò </span><span style="letter-spacing: 0.0px;">e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Paleat </span><span style="letter-spacing: 0.0px;">da originale del 1740 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Bianchi detto il Creatura </span><span style="letter-spacing: 0.0px;">(1694/1740), allievo romano di Benedetto Luti e del Baciccio, ora in S. Maria degli Angeli e dei Martiri</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">La parte inferiore del dipinto era stata completata nel 1744 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Gaetano Sardi </span><span style="letter-spacing: 0.0px;">allievo del Bianchi che non aveva completato l'opera. Era rimasta esposta incompleta poiché la parte inferiore del dipinto non era comunque all'epoca molto visibile essendovi esposta davanti la Pietà di Michelangelo</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">L'immagine della Madonna fu incoronata l'8 dicembre 1854 da Pio IX in occasione della promulgazione del dogma dell'Immacolata Concezione. Nel 1904 furono aggiunte attorno alla corona le nove stelle formate da preziosissimi brillanti donate da un comitato internazionale di dame facoltose</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Alle pareti "Pitture in monocromo con episodi dell'Antico e del Nuovo Testamento dalla Creazione al Battesimo di Cristo" 1762 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Angeloni</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Stefano Pozzi </span><span style="letter-spacing: 0.0px;">(1699/1768) e del fratello </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Pozzi</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sotto il pavimento <i>tomba di Clemente XI Albani (1700/21)</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Splendido <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8919/Basilica%20S.%20Pietro%20DSC_8919.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Coro ligneo"</span></a> intarsiato di </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Soria</span><span style="letter-spacing: 0.0px;"> (1581/1651) e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bartolomeo De Rossi</span><span style="letter-spacing: 0.0px;">. I piani del coro sono tre così come sono tre gli ordini del clero Vaticano: Canonici, Beneficiati e Chierici beneficiati </span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">L'organo è del 1626 rifatto dalla </span><span style="color: #ff2600; letter-spacing: 0.0px;">ditta Walker </span><span style="letter-spacing: 0.0px;">di Ludwigsburg</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SECONDO PASSAGGIO</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8924/Basilica%20S.%20Pietro%20DSC_8924.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monumento di S. Pio X"</span></a> Sarto (1903/14) 1923 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Florestano Di Fausto</span><span style="letter-spacing: 0.0px;"> (1890/1965) con statua di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pier Enrico Astorri </span><span style="letter-spacing: 0.0px;">(1882/1926)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Sulla porta sottostante bassorilievi con "Storie di S. Pio X" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pier Enrico Astorri </span><span style="letter-spacing: 0.0px;">che fece anche i grandi rilievi bronzei ai lati della porta: a destra "Accettazione della dottrina della Chiesa contro l'eccessivo modernismo da parte dei dotti" e a sinistra "Comunione dei fanciulli". Pio X promosse la pratica della Comunione ed era noto come il <i>Papa dell'Eucarestia</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Fu canonizzato nel 1954, ultimo papa a essere proclamato santo</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8922/Basilica%20S.%20Pietro%20DSC_8922.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomba di Innocenzo VIII"</span></a> Cybo (1484/92) 1498 di Antonio Benci detto </span><span style="color: #ff2600; letter-spacing: 0.0px;">Antonio del Pollaiolo</span><span style="letter-spacing: 0.0px;"> (c. 1432/98) per il Card. Lorenzo Cybo, nipote del papa</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ai lati del trono bassorilievi bronzei con "Virtù cardinali: Giustizia e Fortezza a sinistra e Temperanza e Prudenza a destra. Nella lunetta "Virtù teologali: Carità al centro, Fede a sinistra e Speranza a destra</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Prima del 1621 il sarcofago era collocato sopra la mensola nella parte superiore del monumento</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">L'iscrizione in pietra nera sotto al monumento risale alla sistemazione del 1621 e descrive erroneamente la scoperta dell'America come avvenuta durante il suo regno. In realtà Innocenzo VIII morì otto giorni dopo la partenza di Cristoforo Colombo</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Nella destra tiene la sacra lancia, importante reliquia recuperata ai turchi. Questo modello tombale, per il suo potente impatto visivo, ebbe un grandissimo successo in ambito papale sino all'inizio del 1800" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Considera la figura come un nucleo di massima intensità entro un alone luminoso. Il movimento ha la funzione di disarticolare la figura, di organizzare la luce secondo ritmi rapidi e discontinui. Proprio perché la linea non può più avere una continuità di segno agisce liberamente a tutti i livelli, facendo levitare e ribollire la materia nella luce" (Giulio Carlo Argan)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8926/Basilica%20S.%20Pietro%20DSC_8926.jpg?disposition=download">CUPOLA DEL VESTIBOLO DELLA SECONDA CAPPELLA A SINISTRA</a></span><span style="color: black; letter-spacing: 0.0px;"> <i>(Dedicata alla Vergine Maria)</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaico nella CUPOLA "Sconfitta di Lucifero e Incoronazione di Maria sopra i cori degli angeli" 1686/89 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fabio Cristofari </span><span style="letter-spacing: 0.0px;">(c. 1615/89) che lasciò il lavoro incompleto alla sua morte</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Fu continuato negli anni 1704/17 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Conti</span><span style="letter-spacing: 0.0px;"> e negli anni 1717/25</span><span style="color: #ff2600; letter-spacing: 0.0px;"> </span><span style="letter-spacing: 0.0px;">da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Del Pozzo</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Gossoni</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ottaviani</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Moretti</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Clori</span><span style="letter-spacing: 0.0px;"> e </span><span style="color: #ff2600; letter-spacing: 0.0px;">De Rossi</span><span style="letter-spacing: 0.0px;"> da originale disegnato negli anni 1675/86 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maratta</span><span style="letter-spacing: 0.0px;"> (1625/1713) e dal suo allievo prediletto </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Chiari</span><span style="letter-spacing: 0.0px;"> (1654/1727) che fece La Sconfitta di Lucifero</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Nei PENNACCHI mosaici con quattro profeti che prefigurarono la Madonna di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fabio Cristofari </span><span style="letter-spacing: 0.0px;">e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Conti</span><span style="letter-spacing: 0.0px;"> da cartoni di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maratta</span><span style="letter-spacing: 0.0px;">:</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Noè con l'arca e la colomba della pace"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Aronne incensa la comunità d'Israele"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Balaam che mostra la stella di Giacobbe"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Gedeone col mistico vello bagnato dalla rugiada"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Nelle LUNETTE mosaici con eventi dell'Antico Testamento interpretati come premonitori della Vergine Maria di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fabio Cristofari </span><span style="letter-spacing: 0.0px;">e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Conti</span><span style="letter-spacing: 0.0px;"> da cartoni di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maratta</span><span style="letter-spacing: 0.0px;"> e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Chiari</span><span style="letter-spacing: 0.0px;">:</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Giuditta con la testa di Oloferne"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Giaele, moglie di Eber, trafigge Sisara, capo dell'esercito di Iabin"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Giosuè ferma il sole"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"La profetessa Maria, sorella di Aronne, canta la liberazione degli israeliti"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Mosè si scioglie i sandali davanti al roveto ardente"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Isaia invoca la nuvola perché lasci piovere giustizia"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Nel TAMBURO quattro statue in stucco "Angeli con simboli mariani" 1687 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Carcani</span><span style="letter-spacing: 0.0px;"> (attivo 1670/91)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SECONDA CAPPELLA A SINISTRA (<i>della Presentazione della Vergine)</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Sopra l'altare mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8925/Basilica%20S.%20Pietro%20DSC_8925.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Presentazione di Maria al Tempio"</span></a> da originale 1642 del viterbese </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Francesco Romanelli </span><span style="letter-spacing: 0.0px;">(1610/62) allievo di Pietro da Cortona, ora nella chiesa di S. Marco a Milano, eseguito negli anni 1726/28 dal mosaicista </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0.0px;">(1685/1743) da cartone di Luigi Vanvitelli (1700/73)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Sotto l'altare <i>corpo di S. Pio X Sarto (1903/14)</i> in un'urna di bronzo dorato del 1952 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Nagni</span><span style="letter-spacing: 0.0px;"> (1897/1977)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8932/Basilica%20S.%20Pietro%20DSC_8932.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monumento di Giovanni XXIII"</span></a> Roncalli (1958/63) 1967 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Emilio Greco </span><span style="letter-spacing: 0.0px;">(1913/95)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Semplice ed essenziale nell'impostazione, il monumento è caratterizzato dall'alto bassorilievo bronzeo sul quale sono narrati, in maniera contratta e nervosa, i momenti più importanti del pontificato di papa Giovanni, sia pastorali che umani. La zona superiore è animata da una Gloria di angeli, mentre quella inferiore richiama la presenza del papa tra i sofferenti, i malati, i carcerati. Sul fondo le sagome delle mitrie e le figure appena tracciate dei vescovi ricordano l'evento del Concilio Vaticano II" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8933/Basilica%20S.%20Pietro%20DSC_8933.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monumento di Benedetto XV"</span></a> Della Chiesa (1914/22) 1928 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luca Beltrami</span><span style="letter-spacing: 0.0px;"> (1854/1933), architetto della Pinacoteca Vaticana, con statua di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Canonica</span><span style="letter-spacing: 0.0px;"> (1869/1959)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"L'artista, rifiutando una rappresentazione celebrativa, ha voluto sottolineare l'aspetto umano di Benedetto XV, richiamando l'opera di condanna per la guerra ripetuta invano durante gli anni del suo pontificato. Modellato con finezza e volutamente privo dei paramenti solenni, il papa è raffigurato in atteggiamento di preghiera mentre implora la Regina Pacis contro gli orrori della guerra" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Al centro del pavimento "Stemma di Giovanni Paolo II (1978/2005)" 1998 in occasione del restauro dell'intero pavimento</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PRIMO PASSAGGIO</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8927/Basilica%20S.%20Pietro%20DSC_8927.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monumento di Maria Clementina Sobieski"</span></a> moglie di Giacomo III Stuart re d'Inghilterra e nipote di Giovanni II re di Polonia morta a trent'anni anni nel 1735 (il cuore è nella Basilica dei Ss. Apostoli) 1742 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Barigioni</span><span style="letter-spacing: 0.0px;"> (c. 1680/1753) allievo di Carlo Fontana</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Sculture in marmo "Carità" e "Angioletti" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Bracci</span><span style="letter-spacing: 0.0px;"> (1700/73)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Parti in metallo di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Giardini </span><span style="letter-spacing: 0.0px;">(1646/1721)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaico di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0.0px;">(1685/1743) da originale di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ludovico Stern</span><span style="letter-spacing: 0.0px;"> (1709/77) nella Galleria Nazionale dei Ritratti a Edimburgo</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Maria Clementina Sobieski fu la terza e ultima donna a essere sepolta nella basilica</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8930/Basilica%20S.%20Pietro%20DSC_8930.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monumento degli ultimi Stuart"</span></a> con ritratti di Giacomo III (1688/1766), Carlo Edoardo Conte di Albany ed Enrico Duca di York e Vescovo di Frascati 1817/19 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Antonio Canova</span><span style="letter-spacing: 0.0px;"> (1757/1822) per Giorgio V re d'Inghilterra che, come commentò Stendhal, pagò il sepolcro di questi principi che avrebbe probabilmente decapitato se fossero caduti nelle sue mani</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La tomba vera e propria è nelle Grotte Vaticane commissionata nel 1939 dal re britannico Giorgio VI</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Canova infuse all'ispirazione neoclassica, caratterizzata da sfumature di carattere pagano, un vitalizzante lirismo cristiano. La morbidezza della patinatura della superficie in marmo lega i vari elementi della composizione, dai busti dei tre Stuart alle due figure di geni che, con le fiaccole rovesciate, spengono la fiamma della vita (...) simboleggiando la serena rassegnazione cristiana di fronte alla morte" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il padre di Giacomo III, Giacomo II, fu duca di York prima di essere re d'Inghilterra, Scozia e Irlanda e, come duca di York, fu comandante della Marina reale. Nel 1644 gli inglesi conquistarono il territorio olandese della Nuova Olanda e in suo onore ribattezzarono la città più importante, che si chiamava originariamente Nuova Amsterdam, in New York</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel 1850 i due angeli nudi scolpiti sulla tomba vennero forniti di calzoni metallici da Pietro Galli (1804/77) allievo di Bertel Thorvaldsen, essendo considerati troppo scandalosi. I calzoni vennero in seguito tolti</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Nel 1850 Pietro Galli fu nominato scultore della Reverenda Fabbrica di S. Pietro, dove si conservano le sue statue in marmo di S. Francesca Romana e di S. Angela Merici. Nello stesso anno il Galli compì in Vaticano un lavoro di 'purificazione', coprendo quelle figure che potevano 'fare onta alla naturale onestà'. Furono ritenute meritevoli di 'copertura' le statue della Carità dei sepolcri monumentali berniniani di Urbano VIII e di Alessandro VII; il Genio del sepolcro canoviano di Clemente XIII; i Geni del cenotafio eretto, sempre dal Canova, per gli ultimi esponenti della regia famiglia Stuart; i putti sostenenti i medaglioni con i ritratti dei pontefici sui pilastri voluti da Innocenzo X" (Emanuela Bianchi - Dizionario Biografico degli Italiani Treccani)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8938/Basilica%20S.%20Pietro%20DSC_8938.jpg?disposition=download">CUPOLA DEL VESTIBOLO DELLA PRIMA CAPPELLA A SINISTRA</a></span><span style="letter-spacing: 0.0px;"> <i>(Dedicata al Battesimo come porta di salvezza per l'umanità)</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaico nella CUPOLA "Dio Padre e Adamo ed Eva" 1738, "Battesimo di Desiderio del popolo che anela al battesimo purificatore" 1738/39, "Battesimo di Sangue da parte dei martiri" 1740/43, "Battesimo d'Acqua di S. Giovanni Battista" 1743 e "Gloria di angeli" 1744/45 eseguiti dai mosaicisti </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fattori</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Gossoni</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fiani</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cardoni</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Clori</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cocchi</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Enuò </span><span style="letter-spacing: 0.0px;">e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Onofri </span><span style="letter-spacing: 0.0px;">sotto la direzione di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pier Leone Ghezzi</span><span style="letter-spacing: 0.0px;"> (1674/1755) e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0.0px;">(1685/1743) da originali iniziati da </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Gaulli detto Baciccio</span><span style="letter-spacing: 0.0px;"> (1639/1709) ma disegnati dopo la sua morte negli anni 1713/45 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Trevisani</span><span style="letter-spacing: 0.0px;"> (1656/1746). I cartoni originali sono in S. Maria degli Angeli e dei Martiri</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nei PENNACCHI mosaici con quattro continenti:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Europa col triregno" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Ottaviani</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"America cinta di penne e con la faretra" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Ottaviani</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Africa con elefante" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Liborio Fattori</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Asia con il turibolo" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Brughi</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nelle LUNETTE mosaici con eventi dell'Antico e del Nuovo Testamento simboleggianti o rappresentanti il battesimo:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Noè contempla l'arcobaleno dopo il diluvio" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Nicola Onofri </span><span style="letter-spacing: 0.0px;">e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernardino Regoli</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Mosè fa scaturire l'acqua dalla roccia" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Alessandro Cocchi </span><span style="letter-spacing: 0.0px;">e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernardino Regoli</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Cristo battezza S. Pietro" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Alessandro Cocchi </span><span style="letter-spacing: 0.0px;">e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Fiani</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"S. Pietro battezza il centurione Cornelio" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Nicola Onofri </span><span style="letter-spacing: 0.0px;">e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenico Gossoni</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"S. Filippo battezza l'eunuco della regina Candàce" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Liborio Fattori </span><span style="letter-spacing: 0.0px;">e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Cardoni</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"S. Silvestro battezza l'imperatore Costantino" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Enrico Enuò </span><span style="letter-spacing: 0.0px;">e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Silverio de Lellys</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Nel TAMBURO quattro statue in stucco "Angeli" 1712 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Ottoni</span><span style="letter-spacing: 0.0px;"> (1648/1736)</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8934/Basilica%20S.%20Pietro%20DSC_8934.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">BATTISTERO</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8936/Basilica%20S.%20Pietro%20DSC_8936.jpg?disposition=download">"Coperchio in bronzo dorato con Trinità e Agnus Dei"</a></span><span style="letter-spacing: 0.0px;"> di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Fontana</span><span style="letter-spacing: 0.0px;"> (1634/1714) eseguito da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Ottoni</span><span style="letter-spacing: 0.0px;"> (1648/1736) per il "Sarcofago" in porfido rosso egiziano forse dell'imperatore Adriano, poi usato come tomba dell'imperatore Ottone II e qui sistemato nel 1697</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Teste di cherubini" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pierre-Étienne Monnot </span><span style="letter-spacing: 0.0px;">(1657/1733)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Carlo Fontana vinse la commissione nel 1692 dopo una gara d'appalto a cui avevano partecipato più di venti artisti. Il lavoro durò cinque anni prima a causa del rifiuto del suo primo progetto respinto per le dimensioni e i costi eccessivi e poi per un incidente durante il trasporto: la conca di porfido si ruppe e dovette essere riparata</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Carlo Fontana incolpò il rivale Mattia De Rossi (1637/95) allora architetto soprastante della basilica ma che era stato uno degli artisti sconfitti dal Fontana nella gara d'appalto per il battistero </span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La struttura è inserita in una conca voluta da Benedetto XIII Orsini (1724/30) nel 1725 a ricordare l'antica tradizione cristiana collegata al simbolismo dell'immersione</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Al centro mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8937/Basilica%20S.%20Pietro%20DSC_8937.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Battesimo di Cristo"</span></a> 1730 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Brughi </span><span style="letter-spacing: 0.0px;">(1660/1730) e 1731/34 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0.0px;">(1685/1743) con l'aiuto di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Ottaviani </span><span style="letter-spacing: 0.0px;">dall'originale degli anni 1696/98 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maratta</span><span style="letter-spacing: 0.0px;"> (1625/1713) in S. Maria degli Angeli e dei Martiri</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A destra mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8935/Basilica%20S.%20Pietro%20DSC_8935.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Battesimo dei Ss. Processo e Martiniano"</span></a> iniziato nel 1726 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Brughi</span><span style="letter-spacing: 0.0px;"> e completato nel 1737 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0.0px;">dall'originale degli anni 1710/11 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Passeri </span><span style="letter-spacing: 0.0px;">(1654/1714) l'allievo più amato da Carlo Maratta</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">A sinistra "S. Pietro battezza il centurione Cornelio" 1730/37 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Cristofari</span><span style="letter-spacing: 0.0px;"> e del fratello </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Cristofari</span><span style="letter-spacing: 0.0px;"> da originale del 1710 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Andrea Procaccini </span><span style="letter-spacing: 0.0px;">(1671/1734) altro allievo di Maratta</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Nel CUPOLINO stucchi con "Dio Padre benedicente" 1699 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Giorgio Roncati</span><span style="letter-spacing: 0.0px;"> e dipinti in monocromo con "Angeli con candelabri" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Paolo Albertoni</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8901/Basilica%20S.%20Pietro%20DSC_8901.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SAGRESTIA</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1776/84 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Marchionni</span><span style="letter-spacing: 0.0px;"><b> </b>(1702/86)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Per costruirla fu demolita l'antica chiesa <i>S. Maria della Febbre</i> cosiddetta per un'immagine sacra che veniva considerata protettrice contro la febbre malarica. L'edificio della chiesa era uno dei due mausolei funebri del IV sec. d.C. costruiti sul fianco della basilica ed era noto anche come <i>Rotonda di S. Andrea</i>. L'altro mausoleo era la <i>ROTONDA DI S. PETRONILLA</i></span></span></div>
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<span style="color: black; letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel vestibolo <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8900/Basilica%20S.%20Pietro%20DSC_8900.jpg?disposition=download"><span style="letter-spacing: 0px;">elenco dei 148 papi sepolti in Basilica</span></a></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nella sagrestia comune (non visitabile) dipinti di </span><span style="color: #ff2600; letter-spacing: 0px;">Federico Zuccari</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Giovanni Francesco Penni</span><span style="letter-spacing: 0px;"> (c. 1496/1528), </span><span style="color: #ff2600; letter-spacing: 0px;">Giulio Romano</span><span style="letter-spacing: 0px;"> (1499/1546) e </span><span style="color: #ff2600; letter-spacing: 0px;">Andrea Sacchi</span></span></div>
David Macchihttp://www.blogger.com/profile/03680152527192773532noreply@blogger.com0tag:blogger.com,1999:blog-4279535645136556249.post-4653651267410300442012-02-28T02:33:00.011+01:002012-03-02T19:31:40.305+01:00ROMAPEDIA<span style="font-family: Georgia, serif; font-size: 100%; line-height: normal; ">Pubblicherò il mio libro ROMAPEDIA sia in italiano che in inglese qui</span><span ><span style="font-size: 20px; line-height: 25px; -webkit-text-size-adjust: none;">:</span></span><div><span style="font-family: Georgia, serif; line-height: normal; font-size: 100%; "><a href="http://www.davidmacchi.com/Romapedia">www.davidmacchi.com/Romapedia</a> </span></div><div><span style="font-family: Georgia, serif; line-height: normal; font-size: 100%; ">Ci si potrà trovare tutto su Roma e provincia.</span></div>David Macchihttp://www.blogger.com/profile/03680152527192773532noreply@blogger.com0tag:blogger.com,1999:blog-4279535645136556249.post-29035943893689999772012-01-20T18:56:00.005+01:002013-12-12T10:51:33.284+01:00Capitoline Museums - In Depth Description<div class="p1">
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<b><b><span class="Apple-style-span" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large; font-weight: normal; line-height: normal;"><a href="http://2.bp.blogspot.com/-i9iScPrS50A/TWqJz2tG_CI/AAAAAAAAAH8/i1DBu7-ZOsc/s1600/Copertina%2BGuida%2Bdi%2BRoma%2Be%2Bprovincia%2Bgen11.jpg" style="color: #333333; font-weight: bold; text-decoration: none;"><br class="Apple-interchange-newline" /><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578422612402830370" src="http://2.bp.blogspot.com/-i9iScPrS50A/TWqJz2tG_CI/AAAAAAAAAH8/i1DBu7-ZOsc/s320/Copertina%2BGuida%2Bdi%2BRoma%2Be%2Bprovincia%2Bgen11.jpg" style="border-bottom-color: rgb(204, 204, 204); border-bottom-style: solid; border-bottom-width: 1px; border-image: initial; border-left-color: rgb(204, 204, 204); border-left-style: solid; border-left-width: 1px; border-right-color: rgb(204, 204, 204); border-right-style: solid; border-right-width: 1px; border-top-color: rgb(204, 204, 204); border-top-style: solid; border-top-width: 1px; cursor: pointer; float: right; height: 320px; margin-bottom: 10px; margin-left: 10px; margin-right: 0px; margin-top: 0px; padding-bottom: 4px; padding-left: 4px; padding-right: 4px; padding-top: 4px; width: 226px;" /></a></span></b></b></h3>
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<span style="font-size: large;"><b style="letter-spacing: 0px; line-height: normal;"><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative"><b style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">Here's an</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">excerpt</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">from my</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">forthcoming</span> super comprehensive guide <span class="hps atn" title="Fai clic per visualizzare le traduzioni alternative">book about Rome</span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">.</span></span></b></span></span></b><b><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><div style="margin: 0px 0px 1px;">
<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">It will be called ROMAPEDIA.</span></span></b></span><br />
<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative"><br /></span></span></b></span><span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">The first edition was published in Italian as "Guida di Roma e provincia" in 2011 and the new enlarged edition is due to be released in 2014.</span></span></b></span><br />
<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">There will also be an edition in English available.</span></span></b></span></div>
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-weight: normal;"><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">It is</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">a</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">work</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">synthesis</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">and</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">anthology</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of the</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">most authoritative </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">sources</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of facts and </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">reliable information</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">about</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">the art</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">Rome </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">and </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">its Province.</span></span></b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"></span></b></b><br /></span>
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<b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0px;">It is an encyclopedic dictionary with 1,329 entries, including 483 churches, 278 palaces, and 152 museums.</span></span></b></b></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"></span></b></b></span></b></b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="letter-spacing: 0px;">It also includes a profusion of artistically or historically relevant buildings, monuments, archaeological sites as well as 95 towns in the province of Rome, constituting one of the richest sources of information available in a single book about the art and history of the Eternal City.</span></span></b></b></span></b></b></span></b></b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="letter-spacing: 0px;"><br /></span></span></b></b></span></b></b></span></b></b></span></div>
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">You can <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">check out</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">for free</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">the</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">first</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">63</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">pages</span> of the first edition <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">with this link</span><span class="" title="Fai clic per visualizzare le traduzioni alternative">:</span></span></span></b></span></div>
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="" title="Fai clic per visualizzare le traduzioni alternative"><span class="" title="Fai clic per visualizzare le traduzioni alternative"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="" title="Fai clic per visualizzare le traduzioni alternative"><span class="Apple-style-span" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; line-height: 30px;"><b></b></span></span></span></b></span></span></span></b></span></div>
<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="" title="Fai clic per visualizzare le traduzioni alternative"><span class="" title="Fai clic per visualizzare le traduzioni alternative"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="" title="Fai clic per visualizzare le traduzioni alternative"><b><div style="display: inline !important; line-height: 1.3em; margin: 0px 0px 0.75em;">
<a href="http://ilmiolibro.kataweb.it/schedalibro.asp?id=571797" style="color: #336699; letter-spacing: 0px; line-height: 18px; text-decoration: none;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">http://ilmiolibro.kataweb.it/schedalibro.asp?id=57179</span></a><span class="Apple-style-span" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; line-height: 23px;"></span></div>
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<span style="font-size: large;"><br /></span><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="line-height: 20px;">My new ROMAPEDIA blog with the most complete encyclopedia about the art and history of Rome and its surroundings is being published. New entries are being added everyday. Here is the link: </span><a href="http://www.romapedia.blogspot.it/" style="color: #336699; line-height: 20px;">romapedia.blogspot.it</a></span></h3>
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<span style="letter-spacing: 0px;"><a href="http://www.davidmacchi.com/tourguide/Musei_Capitolini_files/Media/DSCF8317%20-%202008-10-07%20at%2012-00-56/DSCF8317%20-%202008-10-07%20at%2012-00-56.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><b>MUSEI CAPITOLINI</b><span style="letter-spacing: 0px;"><b></b></span></span></a></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Capitoline Museums</span></i></b></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://maps.google.it/maps?q=41.893165,12.48284"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Piazza del Campidoglio</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Since 1471, the oldest museum in the world open to the public</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It was an idea of Pope Sixtus IV della Rovere (1471/84) who donated to the people four bronze statues and displayed them publicly. So the modern concept of "museum" was born</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The museum expanded with Leo X Medici (1513/21) and Pius V Ghislieri (1566/72)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Clement XII Corsini (1730/40) in 1734 inaugurated the <i>Palazzo Nuovo </i>(New Palace) <i>built specifically as a museum</i>, another new thing: it was the first time a building was built to house works of art visible to everyone, not just to the private owners of the building and their guests</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It was expanded again with Benedict XIV Lambertini (1740/58) and between 1748 and 1750 the Pinacoteca Capitolina (Art Gallery) was opened, the oldest public collection of paintings in the world. The British Museum in London was opened in 1753 and the Louvre in Paris only in 1793</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">There were other additions after 1870 when Rome became the capital of Italy</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">In 2005 the last renovation called "Grande Campidoglio" (Great Capitol Hill) was completed. It lasted nearly a decade and was designed by the </span><span style="color: #ff2600; letter-spacing: 0.0px;">Dardi and Einaudi Studios</span><span style="letter-spacing: 0.0px;">, and, for the Roman Garden, by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Aymonino</span><span style="letter-spacing: 0.0px;"> (1926/2010)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">A very articulated museum was therefore created, with the acquisition of new exhibition spaces, the reorganization of some areas and the reopening of closed sections with new exhibitions</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The museum was also enlarged with the public opening of the <i>Tabularium</i>, connected to the other buildings through the <i>Gallery Junction</i>, the restoration of <i>Palazzo Caffarelli</i> and the acquisition of <i>Palazzo Clementino</i>, formerly used for offices</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">With the latest additions the museum cover an area of about 10,000 m² (108,000 square feet)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In 2008 it was visited by 452,232 people, still too few for one of the most beautiful and exciting museums in the whole world</span></span></div>
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<span style="letter-spacing: 0px;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori.html"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><b>Palazzo dei Conservatori</b><span style="letter-spacing: 0.0px;"><b></b></span></span></a></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Palace of the Conservatives</span></i></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Maybe XII century, rebuilt in mid-1400</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">From 1563 restoration of </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michelangelo Buonarroti</span><span style="letter-spacing: 0.0px;"> (1475/1564) which was continued in 1564 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Guidetto Guidetti</span><span style="letter-spacing: 0.0px;"> (about 1498/1564) and then by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Della Porta</span><span style="letter-spacing: 0.0px;"> (1533/1602) until 1568</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">COURTYARD</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">In 1720 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Alessandro Specchi</span><span style="letter-spacing: 0.0px;"> (1668/1729) worked on the porch</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The now embedded pointed arches still visible on the right side gave access to a large room, the <i>statuario </i>(statuary), the first nucleus of the museum of ancient art</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">On the right end side <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8286%20-%202008-10-07%20at%2011-46-28/DSCF8286%20-%202008-10-07%20at%2011-46-28.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Colossal Head of Constantine"</span></a> (306/337) found in 1486 with the other eight fragments of the body visible in the courtyard (one <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8293%20-%202008-10-07%20at%2011-48-18/DSCF8293%20-%202008-10-07%20at%2011-48-18.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">hand</span></a>, two feet, parts of the arms) in the small apse on the west side of the Basilica of Maxentius</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It was reshaped from an older portrait, maybe of the deified Hadrian in the Temple of Venus and Rome or of his rival Maxentius and it was part of a acrolith 12 m (40 feet) high</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">An acrolith was a massive statue with the trunk of the figure made of wood, and the head, hands, and feet made of marble. The wood was concealed either by drapery or by gilding and only the marble parts were exposed to view. Just like all of the statues of antiquity it was painted with bright colors</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"The colossal dimension confirm the willingness to spread the image of a superhuman power, distant and unreachable, the details, even realistic, stiffen in a forced symmetry and the expression, the attitude is frozen in an immobility inert, almost hieratic , which recalls the ancient stillness of Eastern portraiture" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Under the portico <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8290%20-%202008-10-07%20at%2011-47-32/DSCF8290%20-%202008-10-07%20at%2011-47-32.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Statue of Rome"</span></a> also known as <i>Roma Cesi </i>between <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8292%20-%202008-10-07%20at%2011-47-56/DSCF8292%20-%202008-10-07%20at%2011-47-56.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Barbarian kings prisoners"</span></a> in grey <i>morato</i> marble dating back to the Hadrian period (117/138) from the Cesi collection, purchased for the museum by Clement XI Albani (1700/21)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8287%20-%202008-10-07%20at%2011-46-52/DSCF8287%20-%202008-10-07%20at%2011-46-52.jpg?disposition=download">"Reliefs of the provinces subject to Rome"</a></span><span style="color: black; letter-spacing: 0.0px;"> from the cell of the Temple of Hadrian</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Behind the reliefs of provinces <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/02102007103/02102007103.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Hand with finger pointing up"</span></a> similar to the one on the opposite side of the courtyard. It was found near the church of S. Maria della Consolazione and Filippo Coarelli believes it to be part of the acrolith of Augustus (27 BC/14 AD) in the temple dedicated to him. It is a right hand like that of Constantine with finer workmanship and it would be therefore the original imitated three hundred years later for Constantine's acrolith</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Embedded in the wall <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8289%20-%202008-10-07%20at%2011-47-20/DSCF8289%20-%202008-10-07%20at%2011-47-20.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Dedicatory inscription of the Arch of Claudius"</span></a> (41/54) originally on Via del Corso, which celebrates the conquest of Britain</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">STAIRCASE</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Stuccos on the ceiling with panels "Stories of Rome" and "Stories of the Old and New testament"1575 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luzio Luzi</span><span style="letter-spacing: 0.0px;"> (about 1509/77) pupil of Perin del Vaga</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In the first landing</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Two statues of muses: "Urania" muse of astronomy and geometry and "Talia" muse of comedy of the Augustan period from originals of the third century BC</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Portrait of a man" of the Hadrian period (117/138)</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/02102007109/02102007109.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Bust of Hadrian with breastplate"</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Bust of Athena" from an original of the fourth century BC</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Reliefs embedded in the years 1572/73:</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8294%20-%202008-10-07%20at%2011-49-48/DSCF8294%20-%202008-10-07%20at%2011-49-48.jpg?disposition=download">"Three reliefs of Marcus Aurelius"</a></span><span style="letter-spacing: 0.0px;"><b> </b>(161/180) about 176/180. They probably come from an official monument, maybe an arch dedicated to Marcus Aurelius. Eight other reliefs from the same monument were reused for the Arch of Constantine. From left:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8296%20-%202008-10-07%20at%2011-50-14/DSCF8296%20-%202008-10-07%20at%2011-50-14.jpg?disposition=download">"Mercy"</a></span><span style="letter-spacing: 0.0px;"> with a gesture of appeasement identical to that of the famous bronze monument</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/02102007108/02102007108.jpg?disposition=download">"Victory"</a></span><span style="letter-spacing: 0.0px;"> with a woman representing Victory crowning him and the Temple of Fortuna. There's an empty space beside him on the chariot due to the cancellation of the image of his son Commodus, who was emperor associated with his father at the time but, after his death, would receive the <i>damnatio memoriae</i> or deletion of all his images</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/Musei%20Capitolini%20DSC_3563/Musei%20Capitolini%20DSC_3563.jpg?disposition=download">"Religiosity"</a></span><span style="letter-spacing: 0.0px;"> religious ceremony at the end of the triumph in front of the Temple of Jupiter Capitolinus. On the left the man with the beard is the Genius of the Senate and on the right the building represented is maybe the <i>Tensarium</i> or"garage" for the <i>tensae</i>, a kind of sacred rickshaws used in religious ceremonies</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8295%20-%202008-10-07%20at%2011-50-02/DSCF8295%20-%202008-10-07%20at%2011-50-02.jpg?disposition=download">"Entrance of Hadrian in Rome"</a></span><span style="letter-spacing: 0.0px;"> one of the "Three reliefs of Hadrian" from the Arch of Portugal on Via del Corso. Two of these three reliefs were definitely reused for the Arch of Portugal, and maybe originally came from the arch near the entrance to the Temple of Hadrian, from which the third one definitely came</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The other two reliefs of Hadrian are in the second landing, <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8301%20-%202008-10-07%20at%2011-54-26/DSCF8301%20-%202008-10-07%20at%2011-54-26.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Address by Hadrian in the Forum"</span></a> and, in the <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/02102007187/02102007187.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">THIRD landing</span></a>, <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8519%20-%202008-10-07%20at%2014-52-20/DSCF8519%20-%202008-10-07%20at%2014-52-20.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Apotheosis of Sabina"</span></a></span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Also in the third landing:</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8522%20-%202008-10-07%20at%2014-52-52/DSCF8522%20-%202008-10-07%20at%2014-52-52.jpg?disposition=download">"Two inlaid marble panels with tigers"</a></span><span style="letter-spacing: 0.0px;"><b> </b>of 331 in <i>opus sectile</i> (inlaid marble) from the Basilica of Junius Bassus</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/02102007184/02102007184.jpg?disposition=download">"Youth Male Torso"</a></span><span style="letter-spacing: 0.0px;"> in red marble from an original of the fifth century BC</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Sarcophagus with marine thiasos (Bacchus parade) and inscription of Promotus" first half of the third century AD</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Inscription" IV/V century AD</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM OF THE MIDDLE AGES</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">To the right of the entrance to the room "Inscription of Sixtus IV" Della Rovere (1471/84) with the act of foundation of the Capitoline Museums in 1471</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/1978OP71AU3166/1978OP71AU3166.jpg?disposition=download">"Monument to Charles of Anjou"</a></span><span style="letter-spacing: 0.0px;"><b> </b>about 1277 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Arnolfo di Cambio</span><span style="letter-spacing: 0.0px;"> (about 1245/1302) part of a complex architectural structure, perhaps an honorary monument</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Worked as a relief and originally painted with bright colors and decorated with gilding, it was anchored to the wall about two meters (6,5 feet) off the ground, framed by a trefoil arch flanked by two figures in relief of trumpeters</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Another fragment of the monument is in the room. Charles of Anjou sits on a <i>faldistorio</i>, a foldable throne without back and with lion heads</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"The compact structure of volumes indicates the limit of assimilation of ancient culture by the artist, who comes to a noble archaic form, not separated by a tangible sense of concreteness" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Four "Measures for wine, oil and grains" (called "congi") of the thirteenth century. They were found in Piazza del Campidoglio and they were originally used in the market that used to be held in the square</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">At the center of the room <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8358%20-%202008-10-07%20at%2012-21-32/DSCF8358%20-%202008-10-07%20at%2012-21-32.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Table with scenes from the life of Achilles"</span></a> reused in the cosmatesque decoration of a pulpit of the church of St. Maria dell'Aracoeli: table of the fourth century AD, cosmatesque panel of the thirteenth century maybe by Lorenzo di Tebaldo with his son Jacopo</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Colossal head of Constantius II (337/361) or Constans" beginning of the fourth century. They were the sons of Costantine</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8308%20-%202008-10-07%20at%2011-58-04/DSCF8308%20-%202008-10-07%20at%2011-58-04.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">HALL OF Horatii and Curiatii</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">First and most important of the boardrooms of the so-called Appartamento dei Conservatori (Conservatives' Apartment) for the judiciary of the Conservatives that had a central role in the municipal structure since mid-1300s</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Here meetings were held of the Public Council and of the Secret Council</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In this room on March 25, 1957 the Treaty of Rome, the Treaty establishing the European Community, was signed by representatives from Italy, France, West Germany, Belgium, Netherlands and Luxembourg. It was the founding act of the European Union</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In this room on October 29, 2004 the Constitution for Europe was also signed by representatives of 25 countries, abandoned in 2009 after the referendums in France and the Netherlands that have rejected it</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Door with panels richly carved in 1643 with <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8305%20-%202008-10-07%20at%2011-57-34/DSCF8305%20-%202008-10-07%20at%2011-57-34.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Scenes of the foundation of Rome"</span></a> by </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Olivieri </span><span style="letter-spacing: 0.0px;">and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Maria Giorgetti</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Frescoes "Episodes of the beginnings of Rome":</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8313%20-%202008-10-07%20at%2011-59-06/DSCF8313%20-%202008-10-07%20at%2011-59-06.jpg?disposition=download">"Finding of the wolf"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1595/96,<a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8315%20-%202008-10-07%20at%2011-59-34/DSCF8315%20-%202008-10-07%20at%2011-59-34.jpg?disposition=download"><span style="letter-spacing: 0px;"> "Battle against Veii and Fidenae"</span></a> 1598/1601, <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8316%20-%202008-10-07%20at%2011-59-56/DSCF8316%20-%202008-10-07%20at%2011-59-56.jpg?disposition=download"><span style="letter-spacing: 0px;">"Fighting between Horatii and Curiatii"</span></a> 1612/13 and, after a break of 33 years, <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8310%20-%202008-10-07%20at%2011-58-26/DSCF8310%20-%202008-10-07%20at%2011-58-26.jpg?disposition=download"><span style="letter-spacing: 0px;">"Rape of the Sabine Women"</span></a>, <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8311%20-%202008-10-07%20at%2011-58-38/DSCF8311%20-%202008-10-07%20at%2011-58-38.jpg?disposition=download"><span style="letter-spacing: 0px;">"Numa Pompilius establishing the cult of the Vestal Virgins"</span></a> and <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8312%20-%202008-10-07%20at%2011-59-00/DSCF8312%20-%202008-10-07%20at%2011-59-00.jpg?disposition=download"><span style="letter-spacing: 0px;">"Romulus plowing the furrow of the square town"</span></a> 1636/40 all works by Giuseppe Cesari aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cavalier d'Arpino</span><span style="color: black; letter-spacing: 0.0px;"> (1568/1640)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">They were designed as imitations of tapestries with in the lower part of the wall, monochrome medallions painted in faux marble representating "Stories of Rome" in connection with the frescoes above</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"His painting, in its lovely and erotic-sentimental tendency is between Mannerism and Baroque, and at the same time, exemplary of the ceremonial-representative art at the time of Clement VIII Aldobrandini (1592/1605)" (Herwarth Roettgen - Dizionario Biografico degli Italiani Treccani)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Marble <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8304%20-%202008-10-07%20at%2011-56-42/DSCF8304%20-%202008-10-07%20at%2011-56-42.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Statue of Urban VIII"</span></a> Barberini (1623/44) 1635/39 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Gian Lorenzo Bernini</span><span style="letter-spacing: 0.0px;"> (1598/1680) and assistants</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"It was designed by making some significant variations to the model of the great bronze statue of the pontiff made, between 1628 and 1631, for the tomb in the Basilica of St. Peter. If the busy draping of the cope and the robe edged with lace recalls the bronze in the Vatican, the larger gesture with the ample movement of arms and hands, combined with the slight turn of the head, softens the peremptory gesture, returning the marble effigy to a warm aura of urbanity" (Guide to the Capitoline Museums - 2007 Electa)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Bronze <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8314%20-%202008-10-07%20at%2011-59-16/DSCF8314%20-%202008-10-07%20at%2011-59-16.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Statue of Innocent X"</span></a> Pamphilj (1644/55) 1645/50 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Alessandro Algardi</span><span style="letter-spacing: 0.0px;"> (1598/1654)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Instead of suppressing the detailed features as Bernini did, his pope was represented with meticulous care and it is, indeed, a masterpiece of portraiture. Algardi did not accept the hieratic frontality Bernini's Urban VIII. He turned the statue in a more benevolent attitude towards the left; he subsided considerably the long diagonal of the papal hood and turned an energetic and imperious gesture in a movement of countenance and rest. He weakened the power of the blessing arm with the decorative and linear folds of the mantle, while Bernini emphasized the gesture of blessing pushing the arm forward in the space of the spectator" (Rudolf Wittkower)</span></i></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8319%20-%202008-10-07%20at%2012-04-36/DSCF8319%20-%202008-10-07%20at%2012-04-36.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM OF THE CAPTAINS</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Coffered ceiling with painted canvas representing "Episodes of the poem La Gerusalemme Liberata (Jerusalem Delivered)" maybe by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Allegrini </span><span style="letter-spacing: 0.0px;">(1587/1663). They were transferred here after 1930 from Palazzo Mattei Paganica before the destruction of the wing where they were originally located</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In the center of the room "Basin of fountain" dating back to the imperial period in red marble from the Esquiline Hill</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Frescoes on the walls with "Episodes of the Roman Republic":</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8329%20-%202008-10-07%20at%2012-06-18/DSCF8329%20-%202008-10-07%20at%2012-06-18.jpg?disposition=download">"Justice of Brutus"</a></span><span style="letter-spacing: 0.0px;">, <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8330%20-%202008-10-07%20at%2012-06-30/DSCF8330%20-%202008-10-07%20at%2012-06-30.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Horatius Cocles at the Sublicius Bridge"</span></a>, <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8327%20-%202008-10-07%20at%2012-05-56/DSCF8327%20-%202008-10-07%20at%2012-05-56.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Muzio Scaevola before Porsena"</span></a> and <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8328%20-%202008-10-07%20at%2012-06-10/DSCF8328%20-%202008-10-07%20at%2012-06-10.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Battle of Lake Regillo"</span></a> 1587/94 by the Sicilian </span><span style="color: #ff2600; letter-spacing: 0.0px;">Tommaso Laureti</span><span style="letter-spacing: 0.0px;"> (about 1530/1602) pupil of Sebastiano del Piombo who also conceived with Giambologna, the Fountain of Neptune in Bologna</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Laureti composed here vast scenes inspired by theater, drawing on both the Raphael Rooms and the work of Giulio Romano and increasing the dynamism of the images with bold foreshortening and intense chromaticism. In 1593 the Laureti was among the artists who founded together with Federico Zuccari the Academy of St. Luke and he even succeeded in 1594 to Zuccari as the prince of the Academy. His teaching focused mainly on the tecnique of perspective" (Monica Grasso - Dizionario Biografico degli Italiani Treccani)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8325%20-%202008-10-07%20at%2012-05-36/DSCF8325%20-%202008-10-07%20at%2012-05-36.jpg?disposition=download">"Female Bust"</a></span><span style="letter-spacing: 0.0px;"> about 390 AD</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8331%20-%202008-10-07%20at%2012-08-44/DSCF8331%20-%202008-10-07%20at%2012-08-44.jpg?disposition=download">"Funerary Memorial of Virginio Cesarini"</a></span><span style="letter-spacing: 0.0px;"> 1624 with a beautiful portrait attributed to Bernini or François Duquesnoy</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Five statues of Captains of the Church:</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8321%20-%202008-10-07%20at%2012-04-58/DSCF8321%20-%202008-10-07%20at%2012-04-58.jpg?disposition=download">"Marco Antonio Colonna"</a></span><span style="letter-spacing: 0.0px;"> ancient statue restored in 1595 with the appearance of the winner of the Battle of Lepanto in 1571</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8326%20-%202008-10-07%20at%2012-05-48/DSCF8326%20-%202008-10-07%20at%2012-05-48.jpg?disposition=download">"Alessandro Farnese"</a></span><span style="letter-spacing: 0.0px;"> 1593 with head sculpted by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ippolito Buzio</span><span style="letter-spacing: 0.0px;"> (1578/1659) and ancient body</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8323%20-%202008-10-07%20at%2012-05-12/DSCF8323%20-%202008-10-07%20at%2012-05-12.jpg?disposition=download">"Gianfrancesco Aldobrandini"</a></span><span style="color: black; letter-spacing: 0.0px;"> and <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8322%20-%202008-10-07%20at%2012-05-06/DSCF8322%20-%202008-10-07%20at%2012-05-06.jpg?disposition=download"><span style="letter-spacing: 0px;">"Tommaso Rospigliosi"</span></a> by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ercole Ferrata</span><span style="color: black; letter-spacing: 0.0px;"> (1610/86)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8324%20-%202008-10-07%20at%2012-05-24/DSCF8324%20-%202008-10-07%20at%2012-05-24.jpg?disposition=download">"Carlo Barberini"</a></span><span style="letter-spacing: 0.0px;"> 1630 with head sculpted by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span><span style="letter-spacing: 0.0px;">, arms and legs by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Algardi</span><span style="letter-spacing: 0.0px;"> and ancient torso</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM OF THE TRIUMPHS</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: black; letter-spacing: 0.0px;">Ceiling 1568 by </span><span style="letter-spacing: 0.0px;">Flaminio Bolonger</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Frieze <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8344%20-%202008-10-07%20at%2012-15-46/DSCF8344%20-%202008-10-07%20at%2012-15-46.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Triumph of the consul Lucius Aemilius Paulus over Perseus king of Macedonia in 167 BC"</span></a> as described by Plutarch about 1570 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michele Alberti</span><span style="letter-spacing: 0.0px;"> (active 1535/82) and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Jacopo Rocchetti</span><span style="letter-spacing: 0.0px;"> pupils of Daniele da Volterra</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">A magnificent procession accompanying the winner to the Capitol Hill, where, instead of the Temple of Jupiter where traditionally triumphal processions ended at, it is recognizable the new façade of the Palace of the Conservatives that it was being built in those years</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8336%20-%202008-10-07%20at%2012-14-28/DSCF8336%20-%202008-10-07%20at%2012-14-28.jpg?disposition=download">"Portrait of a Man"</a></span><span style="letter-spacing: 0.0px;"> fourth or third century BC, believed to be Junius Brutus the founder of the Roman Republic in 509 BC. Spectacular example of Roman portraiture, featuring marvellous and intense expressionism</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/02102007121/02102007121.jpg?disposition=download">"Camillus"</a></span><span style="letter-spacing: 0.0px;"> classical work of the Augustan age, representing a young man employed during devotional rites<i> (Camillus)</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8335%20-%202008-10-07%20at%2012-14-12/DSCF8335%20-%202008-10-07%20at%2012-14-12.jpg?disposition=download">"Spinario"</a></span><span style="letter-spacing: 0.0px;"> first century BC maybe representing Martius, a shepherd from Vitorchiano, who walked 90 km (56 miles) to warn the Romans of the arrival of an enemy army. A thorn stuck in his foot and after he raised the alarm, he died of the wound. This is maybe the oldest copy of the various existing (Uffizi, Louvre, British Museum, Pushkin Museum), whose head is probably not relevant and it was united to the body in the first century BC, as one would think looking at the hair defying the laws of gravity</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">On the walls:</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/02102007124/02102007124.jpg?disposition=download"><b>"</b>Victory of Alexander the Great over Darius"</a></span><span style="color: black; letter-spacing: 0.0px;"><b> </b>1635 by Pietro Berrettini aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro da Cortona</span><span style="color: black; letter-spacing: 0.0px;"> (1597/1669)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8341%20-%202008-10-07%20at%2012-15-18/DSCF8341%20-%202008-10-07%20at%2012-15-18.jpg?disposition=download">"St. Frances of Rome"</a></span><span style="letter-spacing: 0.0px;"> 1638 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Francesco Romanelli</span><span style="letter-spacing: 0.0px;"> (1610/62) from Viterbo, a pupil of Pietro da Cortona</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8340%20-%202008-10-07%20at%2012-15-10/DSCF8340%20-%202008-10-07%20at%2012-15-10.jpg?disposition=download">"St. Francis adoring the dead Christ"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1641 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Paolo Piazza </span><span style="color: black; letter-spacing: 0.0px;">(1557/1621)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8338%20-%202008-10-07%20at%2012-14-50/DSCF8338%20-%202008-10-07%20at%2012-14-50.jpg?disposition=download">"Front of sarcophagus"</a></span><span style="letter-spacing: 0.0px;"> of the third century AD</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">At the center of the room:</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8337%20-%202008-10-07%20at%2012-14-44/DSCF8337%20-%202008-10-07%20at%2012-14-44.jpg?disposition=download">"Bronze Crater of Mithridates VI Eupator"</a></span><span style="letter-spacing: 0.0px;"> 120/63 BC found the Villa of Nero at Anzio in 1740, part of the spoils from the war against Mithridates in Turkey</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8346%20-%202008-10-07%20at%2012-16-22/DSCF8346%20-%202008-10-07%20at%2012-16-22.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM OF THE SHE-WOLF</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Coffered wooden ceiling of 1865</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Mosaic Floor" of the first century AD found in 1893 in Via Nazionale</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: black; letter-spacing: 0.0px;">Frescoes on the left <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8347%20-%202008-10-07%20at%2012-16-36/DSCF8347%20-%202008-10-07%20at%2012-16-36.jpg?disposition=download"><span style="letter-spacing: 0px;">"Triumph of Aemilius Paulus"</span></a> and on the right <a href="http://livepage.apple.com/"><span style="letter-spacing: 0px;">"Campaign against the Tolostobogi"</span></a> 1508/13 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">artists from the workshop of Jacopo Ripanda</span></span></div>
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<span style="color: black; letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Two plaques in honor of <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8352%20-%202008-10-07%20at%2012-19-50/DSCF8352%20-%202008-10-07%20at%2012-19-50.jpg?disposition=download"><span style="letter-spacing: 0px;">Alessandro Farnese</span></a> and <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8350%20-%202008-10-07%20at%2012-19-32/DSCF8350%20-%202008-10-07%20at%2012-19-32.jpg?disposition=download"><span style="letter-spacing: 0px;">Marcantonio Colonna</span></a>"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Until the seventeenth century the room was an open loggia and certainly by the sixteenth century there was the bronze statue <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/Romapedia%201%20DSC_4006/Romapedia%201%20DSC_4006.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Capitoline She-Wolf"</span></a> believed until recently to have come from Magna Grecia (Southern Italy ruled by Greek) and to be dating back to the V century BC. It is certainly NOT Roman</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The scholars that have restored it believe, on the other hand, with good evidence that it is a medieval statue, probably of the XII century AD: not only for the fact that a single casting of bronze, as this piece is made, was not practiced in ancient times (it was used the lost wax casting of various pieces of the statue assembled later) or that the position of the muzzle in all other iconographic representations is always turned backward, but also, and above all, for the analysis using carbon-14 in 2011 that convinced even the skeptics</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The twins were added only in the fifteenth century maybe by the Florentine Antonio Benci aka Antonio del Pollaiuolo (about 1432/98)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The documentary evidence tell us that the true symbol of ancient Rome was the EAGLE and in the Middle Ages the symbol became the lion. Only by the end of 1400s the she-wolf became the symbol of Rome</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">The walls enclosing architecture of </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michelangelo Buonarroti</span><span style="letter-spacing: 0.0px;"> <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8349%20-%202008-10-07%20at%2012-16-52/DSCF8349%20-%202008-10-07%20at%2012-16-52.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Fragments of consular and triumphal pomp"</span></a> engraved in the disappeared Parthian Arch of Augustus of 19 BC in the Forum with a list of Consuls from 483 to 19 BC in the panels and a list of Triumphs from 753 to 19 BC in the pilasters</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It is a document of inestimable importance for the reconstruction of the history of ancient Rome and it can be considered the most important Latin inscription in the world</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Michelangelo had placed it in the courtyard of the palace and it was moved here in 1586</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8355%20-%202008-10-07%20at%2012-21-04/DSCF8355%20-%202008-10-07%20at%2012-21-04.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM OF THE GEESE</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Ceiling and frieze of the time of Paul III Farnese (1534/49) with <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8359%20-%202008-10-07%20at%2012-21-46/DSCF8359%20-%202008-10-07%20at%2012-21-46.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Trophies of arms, flowers and fruit, and grotesque decorations" alternate with "Small scenes of ancient Roman games"</span></a> set in landscapes sometimes real, sometimes fantastic. In one of these the Capitoline Hill Piazza before Michelangelo's modifications is visible with S. Maria in Ara Coeli in the background</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/02102007127/02102007127.jpg?disposition=download">"Head of Medusa"</a></span><span style="letter-spacing: 0.0px;"> by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Gian Lorenzo Bernini</span><span style="letter-spacing: 0.0px;"> (1598/1680). The dating of this masterpiece is debated and it is has been inserted sometime between the years 1630 and 1648 </span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"The classical myth is revisited in the light of a poem by G.B. Marino: Medusa is looking at her reflection into an imaginary mirror, and she is caught in the moment when, with pain and anguish, she becomes aware of the horrible trick and physically, before our eyes, she turns into marble. Medusa, in Bernini's idea, is a fine Baroque metaphor for sculpture and the power of the sculptor who can leave 'petrified' in amazement those who admire the extraordinary ability of his chisel" (Guide to the Capitoline Museums - 2007 Electa)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"In an essay reworked by Irving Lavin (...) the scholar (...), with unpublished reflections, establishes a closer link between the bust of Constanza Bonarelli, sculpted between 1636 and 1638, and that of Medusa, maybes designed by Bernini as a moral counterpart of the first, both anyway designed as a personal reflection of the artist, and both later donated or sold to others by Bernini himself. According to this new hypothesis the dating of the Bust of Medusa might be slightly predated to the end of the thirties of the seventeenth century" (Web site of the Capitoline Museums - www.museicapitolini.org)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8363%20-%202008-10-07%20at%2012-25-06/DSCF8363%20-%202008-10-07%20at%2012-25-06.jpg?disposition=download">"Bust of Michelangelo Buonarroti"</a></span><span style="letter-spacing: 0.0px;"> copy of the one by Daniele da Volterra (1509/66) in the National Museum of Florence, a bronze bust of <i>bigio</i> marble</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8364%20-%202008-10-07%20at%2012-25-16/DSCF8364%20-%202008-10-07%20at%2012-25-16.jpg?disposition=download">"Vase-shaped bronze bust of Isis between two ducks"</a></span><span style="color: black; letter-spacing: 0.0px;"> III century AD</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8365%20-%202008-10-07%20at%2012-25-46/DSCF8365%20-%202008-10-07%20at%2012-25-46.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM OF THE EAGLES</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Ceiling mid-1500s and frieze in panels and medallions about 1544 maybe by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cristofano Gherardi</span><span style="letter-spacing: 0.0px;"> (1508/56) with interesting <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8369%20-%202008-10-07%20at%2012-26-26/DSCF8369%20-%202008-10-07%20at%2012-26-26.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Scenes of Rome's monuments"</span></a> including a view of the Capitol Square with the statue of Marcus Aurelius moved there in 1538</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8367%20-%202008-10-07%20at%2012-26-10/DSCF8367%20-%202008-10-07%20at%2012-26-10.jpg?disposition=download">"Statue in marble and bronze of Artemis of Ephesus"</a></span><span style="letter-spacing: 0.0px;"> from an original of the second century BC: symbol of fruitful nature even though, according to Filippo Coarelli, the breasts are in reality scrotums of bulls</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Statuette of Athena Velletri type" Roman copy of the original of the fifth century BC</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8366%20-%202008-10-07%20at%2012-26-00/DSCF8366%20-%202008-10-07%20at%2012-26-00.jpg?disposition=download">"Statuette of an eagle"</a></span><span style="color: black; letter-spacing: 0.0px;"> early imperial period</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8368%20-%202008-10-07%20at%2012-26-18/DSCF8368%20-%202008-10-07%20at%2012-26-18.jpg?disposition=download">"Herm of Socrates"</a></span><span style="letter-spacing: 0.0px;"> first century AD from the original by Lysippus</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM OF THE TAPESTRIES</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Ceiling mid-1500s and frieze in panels about 1544 with <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8395%20-%202008-10-07%20at%2012-57-34/DSCF8395%20-%202008-10-07%20at%2012-57-34.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Stories of Scipio Africanus" and "Monochromes of famous ancient sculptures"</span></a> including the Laocoon, Apollo Belvedere, and Hercules in gilded bronze</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In 1770 the room was renovated to house the papal throne</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Tapestries with "Stories from the History of Rome":</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8393%20-%202008-10-07%20at%2012-57-22/DSCF8393%20-%202008-10-07%20at%2012-57-22.jpg?disposition=download">"Romulus and Remus as painted by Rubens"</a></span><span style="letter-spacing: 0.0px;"> from the painting in the Capitoline's Museums art gallery, "Roma Cesi" from the statue kept in the courtyard of the Palace of the Conservatives, <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8397%20-%202008-10-07%20at%2012-57-58/DSCF8397%20-%202008-10-07%20at%2012-57-58.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Vestal Tuccia"</span></a> and <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8394%20-%202008-10-07%20at%2012-57-28/DSCF8394%20-%202008-10-07%20at%2012-57-28.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Bad Teacher of Falerii"</span></a> 1764/68 from cartons by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenico Corvi</span><span style="letter-spacing: 0.0px;"> (1721/1803) from Viterbo woven in the factory of the Hospice of St. Michael</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8400%20-%202008-10-07%20at%2013-01-14/DSCF8400%20-%202008-10-07%20at%2013-01-14.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM OF HANNIBAL</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It is the only room of the fifteenth century apartment that wasn't changed or modified</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Wooden ceiling 1516/19, the oldest of the Palace, with in the center "She-wolf suckling the twins" used as a decorative element and, for the first time, as a symbolic reference to the origins of the city</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Frescoes <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8398%20-%202008-10-07%20at%2013-00-54/DSCF8398%20-%202008-10-07%20at%2013-00-54.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Stories of the Punic Wars"</span></a> first decade of the 1500s traditionally attributed to </span><span style="color: #ff2600; letter-spacing: 0.0px;">Jacopo Ripanda </span><span style="letter-spacing: 0.0px;">(about 1465/1516) and assistants, but the attribution is quite disputed among scholars</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"> These frescoes are the only ones surviving from the first complete decorative cycle of the building, which was also present in the other rooms of the apartment</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8401%20-%202008-10-07%20at%2013-01-22/DSCF8401%20-%202008-10-07%20at%2013-01-22.jpg?disposition=download">"Bronze Horse from Vicolo delle Palme"</a></span><span style="letter-spacing: 0.0px;"> discovered in 1849 during an excavation in Trastevere during which the Apoxyòmenos now in the Vatican Museums was found as well</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Recently restored after having been neglected for a long time. It is considered by some to be a Roman copy from an original of the fourth century BC, by others an extraordinary Greek original of the fourth century BC</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Filippo Coarelli deemed it part of the "Turma Alexandri" an original work by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lysippus</span><span style="letter-spacing: 0.0px;"> (about 370/300) who had represented Alexander the Great and twenty-five ethers (barons and small local rulers who ruled the mountainous areas of the ancient Kingdom of Macedonia) on horseback, died during the battle of the Granicus in 334 BC. The group was made for the sanctuary of Dion in Macedonia and was brought to Rome by Quintus Caecilius Metellus Macedonicus after his conquest of 146 BC in Macedonia</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It is one of the rare examples of ancient large bronze statues still extant. Magnificent natural dynamism and tension for an incredible ancient masterpiece full of epic and Homeric suggestions</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8404%20-%202008-10-07%20at%2013-02-18/DSCF8404%20-%202008-10-07%20at%2013-02-18.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">CHAPEL</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It was deconsecrated and closed at the end of 1800s</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It was renovated and rebuilt in 2000. It is dedicated to the Virgin and the Sts. Peter and Paul, patrons of Rome</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">In the vault stuccos and frescos <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8408%20-%202008-10-07%20at%2013-02-50/DSCF8408%20-%202008-10-07%20at%2013-02-50.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Stories of Sts. Peter and Paul"</span></a> 1575/78 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michele Alberti</span><span style="letter-spacing: 0.0px;"> (active 1535/82) e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Jacopo Rocchetti </span><span style="letter-spacing: 0.0px;">pupils of Daniele da Volterra</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: black; letter-spacing: 0.0px;">Altar <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8407%20-%202008-10-07%20at%2013-02-44/DSCF8407%20-%202008-10-07%20at%2013-02-44.jpg?disposition=download"><span style="letter-spacing: 0px;">"Sts. Peter and Paul ask Our Lady to protect the city of Rome"</span></a> on a blackboard 1578 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Marcello Venusti </span><span style="color: black; letter-spacing: 0.0px;">(1510/79)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8413%20-%202008-10-07%20at%2013-06-48/DSCF8413%20-%202008-10-07%20at%2013-06-48.jpg?disposition=download">"Frontal of the altar"</a></span><span style="letter-spacing: 0.0px;"> elaborately inlaid with precious marbles with bees of Urban VIII Barberini (1623/44)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">On either side frescoes of saints: "Evangelists" and "Cecilia", "Alexis", <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8410%20-%202008-10-07%20at%2013-04-12/DSCF8410%20-%202008-10-07%20at%2013-04-12.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Eustachius"</span></a> and "Blessed Ludovica Albertoni" 1645/48 maybe by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Francesco Romanelli</span><span style="letter-spacing: 0.0px;"> (1610/62)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">On the long wall opposite the window, to cover a golden grating formerly communicating with the adjacent Room of the Captains, fresco <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8412%20-%202008-10-07%20at%2013-04-46/DSCF8412%20-%202008-10-07%20at%2013-04-46.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Madonna and Child"</span></a> maybe by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Andrea di Assisi</span><span style="letter-spacing: 0.0px;"> or </span><span style="color: #ff2600; letter-spacing: 0.0px;">Antonio da Viterbo</span><span style="letter-spacing: 0.0px;">, from the fifteenth century loggia of the palace</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8374%20-%202008-10-07%20at%2012-33-34/DSCF8374%20-%202008-10-07%20at%2012-33-34.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">CASTELLANI ROOMS</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Some 700 artifacts from Etruria, Latium and Magna Graecia dating from the eighth to the fourth century BC donated in 1867 and in 1876 by Augusto Castellani (1829/1914) goldsmith, collector and director of the Capitoline Museums since 1873</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM I</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Red-figure Attic kylix with athlete who draws water from a well" first three decades of the fifth century BC in the style of the Painter of Onesimos. The kylix was a cup to drink wine just like we do now from glasses</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Red-figure Attic kylix with pentathlete seen from behind" first three decades of the fifth century BC in the style of the painter of Onesimos</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM II</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Production of Etruscan Latium region including objects from the so-called Castellani Tomb of Palestrina not really coming, however, from a single tomb: "Biconical bronze" and "Reconstruction of cyst" in silver last thirty years of the eighth century BC</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Oenochoe of Tragliatella" (wine jug) Etruscan-Corinthian, last thirty years of the seventh century BC, found near Lake Bracciano. The polychrome paintings on the oenochoe represent men, women and animals with meanings not entirely clarified, maybe connected to the myth of Theseus and Ariadne</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8378%20-%202008-10-07%20at%2012-35-22/DSCF8378%20-%202008-10-07%20at%2012-35-22.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM III</span></i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Greek manufacturing objects, including terracotta <a href="http://foto.museiincomuneroma.it/watermark.php?i=4414"><span style="color: #021eaa; letter-spacing: 0px;">"Crater with blinding of Polyphemus and naval battle"</span></a> about seventh century BC signed by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Aristonothos</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"The intense westward diaspora of families fleeing the Eastern Assyrian pressure had created the conditions for new techniques and iconographic languages were learned directly from Greek masters from the East. The assimilation is not naturally free of trauma and lacerations, the order of the Geometric age is overwhelmed by the furious Eastern trend of narrative matrix, whose more violent and dark contents are, however, gradually exorcised, smoothed and eventually rejected. The clash between figurative Greek order and Eastern monstrosities is expressed clearly in the Greek stories of struggle" (Claudia Lambrugo)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Terracotta statuette of a seated dignitary" second half of the seventh century BC from the Tomb of the five chairs in Cerveteri</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Huge <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/02102007141/02102007141.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Fragment of a bronze bull"</span></a> found in 1849 during an excavation in Trastevere together with the Apoxyòmenos of the Vatican Museums and the bronze horse from Vicolo delle Palme in the Hall of Hannibal. This is probably an original Greek piece of the fourth century BC just like the horse</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8377%20-%202008-10-07%20at%2012-35-00/DSCF8377%20-%202008-10-07%20at%2012-35-00.jpg?disposition=download">"Bas-reliefs from the tomb of dogs in Tolfa"</a></span><span style="letter-spacing: 0.0px;"> in gray tuff, first half of the sixth century BC</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8382%20-%202008-10-07%20at%2012-36-24/DSCF8382%20-%202008-10-07%20at%2012-36-24.jpg?disposition=download">"Reconstruction of a tensa"</a></span><span style="letter-spacing: 0.0px;"> with stories of Achilles in the relief, maybe of the fourth century AD. It was rebuilt by Castellani, who made very subjective reconstructive choices believing it to be a chariot. It was actually a <i>tensa</i>, a kind of rickshaw used during sacred processions in antiquity, so that near the Temple of Jupiter Capitolinus there was a building known as <i>Tensarium</i> used as a "garage" for these vehicles</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Objects from the archaeological section of about 300 objects from the <i>Collection of the Museum of Industrial Art </i>dispersed in the 50s of the twentieth century among various museums: figurative ceramics of Greek production, buccheri, terracotta statuettes, antefixes from Campania region and silver objects from Boscoreale</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8385%20-%202008-10-07%20at%2012-50-34/DSCF8385%20-%202008-10-07%20at%2012-50-34.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOMS OF MODERN POMP</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Embedded in the walls inscriptions with the names of the civic magistrates in Rome from 1640 until today</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM I</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Two <a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8384%20-%202008-10-07%20at%2012-50-22/DSCF8384%20-%202008-10-07%20at%2012-50-22.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Athletes of Velletri"</span></a> from originals of the second half of the fifth century BC, found in a villa in Arriano, near Velletri</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Erma of Apollo" from original of the fifth century BC</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM II</span></i></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8390%20-%202008-10-07%20at%2012-52-16/DSCF8390%20-%202008-10-07%20at%2012-52-16.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Sarcophagus with Dionysian scenes"</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Fluted column" of marine alabaster</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Statue of an old shepherd" from the Esquiline Hill</span></span></div>
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<span style="letter-spacing: 0px;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti.html"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><b>Galleria degli Horti</b><span style="letter-spacing: 0.0px;"><b></b></span></span></a></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Gallery of the Gardens</span></i></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Findings from the Quirinal, Viminal and Esquiline hills during the construction work for the expansion of Rome at the end of 1800s</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The archeologists found, among other things, 192 marble statues, 266 busts and heads, 54 polychrome mosaics, 36,679 pieces of gold, silver and bronze 705 amphora with inscriptions, 405 works of art in bronze, 711 gems, engraved stones and cameos</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Many of the statues were found inserted in pieces in late ancient walls, used as construction material</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8417%20-%202008-10-07%20at%2013-15-26/DSCF8417%20-%202008-10-07%20at%2013-15-26.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">THREE ROOMS of the Horti Lamiani</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Lamian Gardens</span></i></b></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Between Piazza Vittorio, Viale Manzoni and Via Merulana</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Property of Lucius Aelius Lamia consol in 3 AD and friend of Tiberius (14/37)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">They became imperial property and were inhabited by Caligula (37/41)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The Lancellotti Discobolus, now at the Palazzo Massimo, was also found here as well as the Aldobrandini Wedding painting, now in the Vatican Museums, one of the most beautiful and best preserved ancient paintings</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">room I</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Very valuable <i>original Greek pieces</i> of the fourth century BC found in 1907 in Piazza Dante:</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Two Greek funerary stelae, one with <a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8420%20-%202008-10-07%20at%2013-16-40/DSCF8420%20-%202008-10-07%20at%2013-16-40.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Woman Sitting Down"</span></a> and one with <a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8421%20-%202008-10-07%20at%2013-18-02/DSCF8421%20-%202008-10-07%20at%2013-18-02.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Woman Standing"</span></a></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/Musei%20Capitolini%20DSC_3569/Musei%20Capitolini%20DSC_3569.jpg?disposition=download">"Group of the Ephedrismòs"</a></span><span style="letter-spacing: 0.0px;"> with two girls, one on the shoulders of the other during a game of leapfrog, </span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The group dell'<i>Ephedrismòs</i> is a masterpiece of Hellenistic sculpture of a piercing beauty and sensuality, so full of dynamism and with drapery rendered in such a way to be able to compete in virtuosic beauty, if not in size, with the "Nike of Samothrace" the great icon of Hellenistic sculpture in the Louvre in Paris</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Although the original colors are lost the virtuosistic treatment of the marble, however, manages to distinguish the heavier draped garnments from the lighter ones of the two admittedly skimpy dressed young girls</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The group was probably originally used as acroterion, a element placed on roof of buildings. According to an interesting hypothesis by Georgios Despinis it was brought to Rome as war booty from the city of Tegea in Greece</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The <i>Ephedrismòs </i>game consisted in hitting with a ball a rock stuck in the ground: those who had not succeeded had to take on their shoulders the winners who would cover the losers' eyes until the latter had not reached the stone</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Room II</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Part of the extraordinary <a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8422%20-%202008-10-07%20at%2013-18-28/DSCF8422%20-%202008-10-07%20at%2013-18-28.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Floor of alabaster"</span></a> from the disappeared Villa Palombara, which at the time of the discovery appeared about 80 m (260 feet) long</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8425%20-%202008-10-07%20at%2013-19-04/DSCF8425%20-%202008-10-07%20at%2013-19-04.jpg?disposition=download">"Fragments of precious furniture"</a></span><span style="letter-spacing: 0.0px;">: gems, crystals and gold plated metal sheets</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Room III</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/Musei%20Capitolini%20DSC_3575/Musei%20Capitolini%20DSC_3575.jpg?disposition=download">"Esquiline Venus"</a></span><span style="letter-spacing: 0.0px;"> first century AD, maybe a portrait of Cleopatra or Isis-Aphrodite product of religious syncretism of Hellenistic Egypt. Extraordinary sensuality on the movement of the legs and lateral torsion of the body mitigated, however, by the classicist style used for the impassive face</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8434%20-%202008-10-07%20at%2013-25-00/DSCF8434%20-%202008-10-07%20at%2013-25-00.jpg?disposition=download">"Diadoumenos"</a></span><span style="letter-spacing: 0.0px;"> from an original of about 430 BC by Polykleitos of Argos (about 490/425 BC)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Here Polykleitos exacerbates the characteristics of the Doryphorus: the center of gravity is no longer on one leg but in the middle between the two, the modeling is more subtle, the rhythms are more complex and an idea of marble coloring is present in the face and especially in the hair" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/Romapedia%201%20DSC_4013/Romapedia%201%20DSC_4013.jpg?disposition=download">"Head of a satyr"</a></span><span style="letter-spacing: 0.0px;"> believed by some scholars to be dating back tothe Tiberian period (14/37), and by others, like Filippo Coarelli, an original of early second century BC by an artist of the school of Pargamum. The marble is Asian and it wouldn't have made sense to use this kind of marble in the first century AD in Rome where there were far better kind of marble available. Bernini never saw this statue which surpasses even his most flamboyant works for its outstanding baroque expressionism</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"The almost animalistic features of the face rendered with extraordinary effectiveness, the study exaggerated in the rendering of the features expressively tormented, are similar characteristics to the ones visible in the heads of the group of Polyphemus at Sperlonga, especially that of Ulysses. Maybe the same patron presided over the creation of this group of works, created with a declared similarity to Hellenistic art from Rhodes and Pergamum: Tiberius, owner of the villa at Sperlonga and heir of the Aelii Lamiae property" (Guide to the Capitoline Museums - 2007 Electa)</span></i></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/02102007146/02102007146.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Torso of Dionysos lying"</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8437%20-%202008-10-07%20at%2013-25-30/DSCF8437%20-%202008-10-07%20at%2013-25-30.jpg?disposition=download">"Group of Commodus as Hercules with two tritons" </a></span><span style="color: black; letter-spacing: 0.0px;">about 188/189</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"If Adrian with the theme of contrast between light and smooth parts of the face and the chiaroscuro of the animated short beard and hair is balanced by the strong classical matrix, with Marcus Aurelius and even more with Commodus, the almost frenetic pace of the masses of hair and beard, longer and longer, becomes the dominant feature, which wants to convey the idea of strength and vigor of the monarch, represented, not surprisingly as Hercules" (Gian Luca Grassigli - TMG)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8442%20-%202008-10-07%20at%2013-26-32/DSCF8442%20-%202008-10-07%20at%2013-26-32.jpg?disposition=download">"Statue of woman with chiton"</a></span><span style="letter-spacing: 0.0px;"> in marble from Paros inspired to the early Hellenistic style</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">THREE ROOMS of the HORTI TAURIANI E VETTIANI</span></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Taurian and Vettian Gardens</span></i></b></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Via Labicana, Viale Manzoni</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Property of senator Statilius Taurus</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">They became imperial property in 53 at the time of Claudius (41/54)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In 368 they became eventually property of the <i>Praefectus Urbi </i>(Superintendent of the city) Vettius Agorius Praetextatus</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM IV</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/Musei%20Capitolini%20DSC_3583/Musei%20Capitolini%20DSC_3583.jpg?disposition=download">"Statue maybe of Igea"</a></span><span style="letter-spacing: 0.0px;"> first century BC with bracelet and beautiful armilla on the left arm</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8448%20-%202008-10-07%20at%2013-31-36/DSCF8448%20-%202008-10-07%20at%2013-31-36.jpg?disposition=download">"Bust of a goddess"</a></span><span style="letter-spacing: 0.0px;"> maybe Artemis from an original of the fourth century BC by Kephisodotos</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8450%20-%202008-10-07%20at%2013-31-52/DSCF8450%20-%202008-10-07%20at%2013-31-52.jpg?disposition=download">"Sarcophagus with the myth of the Caledonian Boar"</a></span><span style="color: black; letter-spacing: 0.0px;"> from Vicovaro in Proconnesian marble</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM V</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8452%20-%202008-10-07%20at%2013-34-48/DSCF8452%20-%202008-10-07%20at%2013-34-48.jpg?disposition=download">"Statue of cow"</a></span><span style="letter-spacing: 0.0px;"> maybe a copy from the famous original of Myron from Eleutere (about 500/440 BC) for the Acropolis in Athens and brought to Rome at the time of Vespasian (69/79)</span></span></div>
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<span style="color: black; letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Three neo-Attic reliefs: <a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8453%20-%202008-10-07%20at%2013-35-06/DSCF8453%20-%202008-10-07%20at%2013-35-06.jpg?disposition=download"><span style="letter-spacing: 0px;">"Landscape with a sanctuary"</span></a> <a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8455%20-%202008-10-07%20at%2013-35-22/DSCF8455%20-%202008-10-07%20at%2013-35-22.jpg?disposition=download"><span style="letter-spacing: 0px;">"Quadriga of Helios"</span></a> and <a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8454%20-%202008-10-07%20at%2013-35-16/DSCF8454%20-%202008-10-07%20at%2013-35-16.jpg?disposition=download"><span style="letter-spacing: 0px;">"Quadriga of Selene"</span></a> running after each other</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8456%20-%202008-10-07%20at%2013-35-40/DSCF8456%20-%202008-10-07%20at%2013-35-40.jpg?disposition=download">"Draped female statue"</a></span><span style="letter-spacing: 0.0px;"> second century BC in pentelic marble, an <i>original Greek</i> statue from the Magna Graecia (Southern Italy)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>ROOM VI -</i> <i>Gallery</i></span></span></div>
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<span style="color: black; letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Two craters" with <a href="http://livepage.apple.com/"><span style="letter-spacing: 0px;">"Dionysian Scenes"</span></a> and <a href="http://livepage.apple.com/"><span style="letter-spacing: 0px;">"The Marriage of Paris and Helen"</span></a></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Genius of Domitian" in marble of Thasos</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Female Statue with a different head of the Faustina the Elder type"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8481%20-%202008-10-07%20at%2013-45-12/DSCF8481%20-%202008-10-07%20at%2013-45-12.jpg?disposition=download">"Legs of a Roman soldier"</a></span><span style="letter-spacing: 0.0px;"> beginning of first century AD in pentelic marble</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Relief with Eros" without head in Synnada marble from Hadrian's period</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Base with four Greyhounds" in Luni (Carrara) marble maybe for a bronze decorative element</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Portraits:</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Portrait of Man" first half of the III century with bust in alabaster not original</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Portrait of Child" in Greek marble</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Portrait of Woman" Severian period (193/235) in Luni marble with typical hairdo fashionable at that time</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Imperial portraits:</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/02102007180/02102007180.jpg?disposition=download">"Adrian"</a></span><span style="letter-spacing: 0.0px;"> (117/138)" between his wife <a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8488%20-%202008-10-07%20at%2013-46-44/DSCF8488%20-%202008-10-07%20at%2013-46-44.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Sabina"</span></a> and his mother in law "Matidia" whom he transformed onto a goddess</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Faustina the Elder"</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8486%20-%202008-10-07%20at%2013-46-16/DSCF8486%20-%202008-10-07%20at%2013-46-16.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Gordian III (238/244)"</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8485%20-%202008-10-07%20at%2013-46-00/DSCF8485%20-%202008-10-07%20at%2013-46-00.jpg?disposition=download">"Constantine or one of his children"</a></span><span style="color: black; letter-spacing: 0.0px;"> before 330</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/Romapedia%201%20DSC_4014/Romapedia%201%20DSC_4014.jpg?disposition=download">"Domitian"</a></span><span style="letter-spacing: 0.0px;"> (81/96) perhaps the finest extant portrait of this emperor who reigned for 15 years and who had, after hisdeath, the <i>damnatio memoriae</i>, or the cancellation of his images. This is why his portraits are quite rare and ruined like this one</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">THREE ROOMS of the HORTI OF MAECENAS</span></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Maecenas Gardens</span></i></b></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Via Merulana, Via Buonarroti</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The area was reclaimed and became the sumptuous home of Maecenas in 40 BC. He was the first to colonize the Esquiline Hill as the place for luxury homes</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It used to be the site of an ancient cemetery</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The villa became imperial property by the first decade AD</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Of all the structure only the so-called <i>Auditorium</i> in Via Merulana still exists today</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM VII</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8459%20-%202008-10-07%20at%2013-38-10/DSCF8459%20-%202008-10-07%20at%2013-38-10.jpg?disposition=download">"Hermes"</a></span><span style="letter-spacing: 0.0px;"> with portraits of writers</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8464%20-%202008-10-07%20at%2013-39-30/DSCF8464%20-%202008-10-07%20at%2013-39-30.jpg?disposition=download">"Rhytòn shaped Fountain"</a></span><span style="letter-spacing: 0.0px;"> (a <i>Rhytòn</i> was a cone shaped container for drinking) end of the first century BC, signed by the Greek </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pontios</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8466%20-%202008-10-07%20at%2013-39-52/DSCF8466%20-%202008-10-07%20at%2013-39-52.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Relief with dancing maenad"</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8467%20-%202008-10-07%20at%2013-40-02/DSCF8467%20-%202008-10-07%20at%2013-40-02.jpg?disposition=download">"Head of an Amazon"</a></span><span style="letter-spacing: 0.0px;"> from the original of the fifth century BC by Polykleitos</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8465%20-%202008-10-07%20at%2013-39-40/DSCF8465%20-%202008-10-07%20at%2013-39-40.jpg?disposition=download">"Statue of Marsyas"</a></span><span style="letter-spacing: 0.0px;"> from an original of the second century BC in pavonazzetto marble in order to imitate the flayed skin</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8468%20-%202008-10-07%20at%2013-40-16/DSCF8468%20-%202008-10-07%20at%2013-40-16.jpg?disposition=download">"Mosaic of Orestes and Iphigenia"</a></span><span style="color: black; letter-spacing: 0.0px;"> II/III century AD</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Relief with Dionysian initiation scene" from an original of the second century BC</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM VIII</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Group of <a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8469%20-%202008-10-07%20at%2013-41-26/DSCF8469%20-%202008-10-07%20at%2013-41-26.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Charioteer and horse"</span></a> Roman reinterpretation of Greek stylistic features from the fifth century BC</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8472%20-%202008-10-07%20at%2013-42-14/DSCF8472%20-%202008-10-07%20at%2013-42-14.jpg?disposition=download">Three fragmentary statues</a></span><span style="letter-spacing: 0.0px;"> identifiable as Muse from Hellenistic originals including "Calliope" (muse of epic poetry) and "Melpomene" (muse of tragedy)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"The special position of the body creates an elegant design of the heavy drapery of fabric arranged in a refined pattern of curved lines. The waist is encircled by a Nebrid, the goat skin typical of Dionysian characters, which is a clear reference to the origin of tragedy invented in honor of Dionysus" (Guide to the Capitoline Museums - 2007 Electa)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8470%20-%202008-10-07%20at%2013-41-44/DSCF8470%20-%202008-10-07%20at%2013-41-44.jpg?disposition=download">"Dog"</a></span><span style="letter-spacing: 0.0px;"> of Egyptian green marble</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8471%20-%202008-10-07%20at%2013-41-56/DSCF8471%20-%202008-10-07%20at%2013-41-56.jpg?disposition=download">"Four herms of caryatids"</a></span><span style="letter-spacing: 0.0px;"> in the archaic style of the Augustan age</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM IX</span></i></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8479%20-%202008-10-07%20at%2013-44-02/DSCF8479%20-%202008-10-07%20at%2013-44-02.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Girl with drapery"</span></a></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8477%20-%202008-10-07%20at%2013-43-30/DSCF8477%20-%202008-10-07%20at%2013-43-30.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Colossal statue of Demeter"</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Igea" in pentelic marble from the original of 290 BC</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8478%20-%202008-10-07%20at%2013-43-38/DSCF8478%20-%202008-10-07%20at%2013-43-38.jpg?disposition=download">"Eros Thanatos"</a></span><span style="letter-spacing: 0.0px;"> second century AD from the original of the fourth century BC</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8475%20-%202008-10-07%20at%2013-43-04/DSCF8475%20-%202008-10-07%20at%2013-43-04.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Hercules fighter"</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8474%20-%202008-10-07%20at%2013-42-36/DSCF8474%20-%202008-10-07%20at%2013-42-36.jpg?disposition=download">"Archaic Attic funerary stele with dove"</a></span><span style="color: black; letter-spacing: 0.0px;"><b> </b><i>Greek original</i> about 480 BC</span></span></div>
<div style="margin-bottom: 6px; margin-left: 25.5px; text-align: justify; text-indent: 28.5px;">
<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"The production of dense folds still has an archaic taste, but the smoothness of the drapery and the effect of transparency reveal that attention towards the human figure, animated and alive, typical of the Severe style of 480/450" (Marina Castoldi)</span></i></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/Romapedia%201%20DSC_4011/Romapedia%201%20DSC_4011.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ESEDRA DI MARCO AURELIO</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Exedra of Marcus Aurelius</span></i></b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Architecture by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Aymonino</span><span style="letter-spacing: 0.0px;"> (1926/2010) on the area of the <i>Giardino Romano </i>(Roman Garden) between the properties of the Conservatives and the Caffarelli family</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In 1876 Virginio Vespignani had built an octagonal pavilion to preserve the works of art</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/Musei%20Capitolini%20DSC_3579/Musei%20Capitolini%20DSC_3579.jpg?disposition=download">"Equestrian Statue of Marcus Aurelius"</a></span><span style="letter-spacing: 0.0px;"> (161/180) about 176 AD, the only ancient equestrian bronze statue to reach our times of the many that were in Rome: a late imperial description lists no less than twenty-two <i>Equi Magni</i> (big horses)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It was saved from melting and recycling only because mistakenly believed to be the representation of Constantine the emperor who legalized Christianity in 313</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The original location is debated. It was moved from the Lateran Square to the center of the Piazza del Campidoglio in 1538 by order of Paul III Farnese (1534/49) and placed on a pedestal designed by Michelangelo Buonarroti</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In 1979 it was damaged by a bomb during a terrorist attack that didn't cause a massacre only because a storm had broke out and Piazza del Campidoglio was empty</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It was restored in the years 1981/90</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In 1997 a copy was placed in the center of Piazza del Campidoglio</span></span></div>
<div style="color: #021eaa; margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/Musei%20Capitolini%20DSC_3590/Musei%20Capitolini%20DSC_3590.jpg?disposition=download">"Statue of Hercules in gilded bronze"</a></span><span style="color: black; letter-spacing: 0.0px;"> about 142 BC</span></span></div>
<div style="margin-bottom: 6px; margin-left: 25.5px; text-align: justify; text-indent: 28.5px;">
<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"From the Aedes Aemiliana Herculis in the Forum Boarium probably dedicated in 142 BC during the censorship of Scipio Aemilian from an archetype dating from about 320/300 BC recognized in the Lenbach type Hercules similar, on stylistic grounds, to works of Lysippus or his school, to which refer features such as the smallness of the head (not without echoes of Skopas) or the pronounced twisting of the trunk" (Lucio Fiorini - TMG)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/Musei%20Capitolini%20DSC_3572/Musei%20Capitolini%20DSC_3572.jpg?disposition=download">"Head"</a></span><span style="letter-spacing: 0.0px;">, <a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/02102007150/02102007150.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Hand"</span><span style="color: #021eaa; letter-spacing: 0.0px;"> and </span><span style="color: #021eaa; letter-spacing: 0px;">"Orb"</span></a> in bronze of Constantine (306/337) or his son Costatius II (337/361) believed to be part of the same statue</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_dei_Conservatori_files/Media/DSCF8303%20-%202008-10-07%20at%2011-56-06/DSCF8303%20-%202008-10-07%20at%2011-56-06.jpg?disposition=download">"Orb"</a></span><span style="letter-spacing: 0.0px;"><b> </b>originally placed on top of the Vatican Obelisk, removed in 1586 by Domenico Fontana. According to an ancient tradition it was believed to be the <i>tomb of Julius Caesar</i>, but Fontana only found rust. It was transferred to the Capitoline Museum in 1589</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The holes in the orb were made by bullets from guns of mercenaries during the sack of Rome in 1527. They are the only tangible evidence of that tragic event, along with the holes in the Belvedere bronze Pine Cone and in the bronze peacocks, originally located near the Pine Cone in the atrium of the Basilica of St. Peter</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8499%20-%202008-10-07%20at%2013-51-20/DSCF8499%20-%202008-10-07%20at%2013-51-20.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Tempio di Giove Capitolino</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Temple of Jupiter Capitolinus</span></i></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Also known as <i>TEMPLE OF JUPITER OPTIMUS MAXIMUS </i>the Roman version of the Greek Zeus<i>. </i>Temple of the <i>Capitoline Triad</i>, Jupiter, Juno and Minerva founded, according to legend, by Tarquinius Priscus (616/579 BC), the fifth king of Rome who wanted to dedicated it to Jupiter Optimus Maximus in exchange for victory over the Sabines</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Maybe it was also built to emphasize the new religious as well as political importance of Rome over other cities of the Latin League who previously gravitated around Alba Longa and the Temple of Jupiter Latiaris on Mons Albanus, now Monte Cavo</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Tarquinius Priscus' son, Tarquin the Proud, continued the construction but it was dedicated only in the first year of the Roman Republic, on September 13, 509 BC by the consul Horace Pulvilli</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The legend says that during the construction a skull was found, which gave its name to the <i>Capitolium </i>hill (head in Latin is <i>caput</i>)<i>,</i> hinting that that was where the center of power in Rome would have been in the future</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It measured about 62 x 54 m (203 x 177 feet)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It suffered fires in 83 BC, AD 69 and AD 80 and it was always rebuilt with the same dimensions. Only part of the foundations in <i>cappellaccio</i> stone remains</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/02102007159/02102007159.jpg?disposition=download"><i>Three parallel cellAE</i></a></span><span style="letter-spacing: 0.0px;"> separated by walls, under the same roof with the simulacra of worship inside: on the left Juno, in the center Jupiter and on the right Minerva</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Rites took place in the Temple before wars and triumphal processions ended here. The <i>Sibylline Books </i>(books to predict the future) were kept here, it was a symbol of Rome and it was reproduced in all the newly founded cities</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The huge <i>statue of JUPITER</i> with a thunderbolt in his right hand was made by the Greek Apollonios, perhaps the same Apollonios Nestor's son who signed the Belvedere Torso in the Vatican Museums</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">On the roof there was a <i>chariot made of terracotta</i> by Vulca, the only Etruscan sculptor known to us</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The legend says that during the baking the oven that contained it cracked, another harbinger of the greatness of Rome</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In 296 BC the terracotta chariot was replaced with a bronze one by the Ogulnii brothers the <i>aedilii</i> of that year, the same ones that had made the bronze she-wolf of the Lupercal</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In front of the temple there was a square, the <i>Area Capitolina</i>, full of statues and monuments:</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">A square foundation remains on either side of Via del Tempio di Giove, maybe part of the <i>Altar to Jupiter CustoDIAN</i> <i>(Ara Juppiter Conservator)</i> erected by Domitian to thank the god for the narrow escape during the siege of the Capitol ine Hill by Vitellius' party, when he had hidden in the Capitoline Temple of Isis disguised as a priest of Isis, as represented on the altar</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">More likely, the square foundation is the nucleus of the <i>ALTAR of the Gens Julia </i>maybe identifiable with the <i>Ara Pietatis Augustae</i> dedicated by Claudius in 43 AD but voted by the Senate in 22 for a serious illness of Livia. The reliefs included in the rear façade of the Villa Medici probably belonged to this altar</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The TEMPLE OF CAPITOLINE ISIS dated at least to 58 BC, when it is mentioned for the first time by the sources. It was located in the area where the church of S. Maria in Aracoeli is now. Maybe the Celimontano Obelisk dating back to about 1250 BC at the time of Ramses II (1297/1213 BC) belonged to temple. It was moved in 1582 to Villa Celimontana</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">On the south side of the Temple there was the <i>Temple of Fides </i>(trust), the divinity guardian of the treaties and diplomatic relations, the remains of which crashed in the area of S. Omobono</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Among these materials, fragments of a black marble base with victories and trophies in relief were also found, maybe the base of the bronze group with the scene of the surrender of Jugurtha donated by the king Bocco of Mauretania to Sulla and a statue of Aristogeiton one of the tyrannicides (along with Harmodius) copy of the group of Critias and Nesiote formerly made by Antenor in 476 BC to be erected in the agora of Athens, now in the Museum of the Central Montemartini: the event represented temporally coincided with the expulsion of Tarquin the Proud and the beginning of the Roman Republic </span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">On the Clivus Capitolinus (the road to the hill) maybe at the entrance of the Area Capitolina there was the <i>Arch of Triumph of Scipio Africanus</i> built in 190 BC, one of the oldest in Rome</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">According to ancient tradition the <i>village on the Capitoline hill </i>was the oldest of the ones on the hills of future Rome. It would have been founded by the god Saturn himself. Archaeological excavations made it possible to date the origin of the village of the Capitoline Hill to the fourteenth or thirteenth century BC</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The Capitoline Hill is the smallest among the hills of Rome: it measures only 460 x 180 m (1,510 x 590 feet) and it is 46 m (150 feet) high above sea level, but the slope was much steeper in the past than now and it was protected from possible enemies</span></span></div>
<div style="color: #021eaa; margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/02102007166/02102007166.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Temple of Mater Matuta</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Remains of the decoration of an ancient temple from the sixth century BC found in the Sacred Area of S. Omobono in the Forum Boarium</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The decoration of the pediment of the Corinthian type is the oldest example of a closed pediment of the Etruscan and Italic architecture in the archaic period</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/02102007166/02102007166.jpg?disposition=download">"Fragmented acroterial group with Hercules and Athena"</a></span><span style="letter-spacing: 0.0px;"><b> </b>second half of the sixth century BC. "Polychrome antefix (roof decoration) with female head" end of the sixth century BC</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Coating clay slab with a parade of chariots" second half of the sixth century BC. The temple was located at the point of beginning of the triumphal procession. The figure of Hercules was traditionally linked to the triumph as a man transformed into a god and he represented the consecration of power</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Laconic cup with roosters facing each other" sixth century BC</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8508%20-%202008-10-07%20at%2013-57-50/DSCF8508%20-%202008-10-07%20at%2013-57-50.jpg?disposition=download">"Miniature pots and pans in bucchero"</a></span><span style="letter-spacing: 0.0px;"> used for small offerings to the gods</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8505%20-%202008-10-07%20at%2013-57-14/DSCF8505%20-%202008-10-07%20at%2013-57-14.jpg?disposition=download">"Ivory plaque in the shape of a feline"</a></span><span style="letter-spacing: 0.0px;"> with Etruscan inscription of the beginning of the sixth century BC, maybe used as a pass, symbol of mutual hospitality, the so-called <i>tessera hospitales</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Galleria_degli_Horti_files/Media/DSCF8504%20-%202008-10-07%20at%2013-52-50/DSCF8504%20-%202008-10-07%20at%2013-52-50.jpg?disposition=download">"Fragment of Amazon"</a></span><span style="letter-spacing: 0.0px;"> in terracotta still polychrome, early fifth century BC. It was found outside the Esquiline Gate (now Arch of Gallienus) and maybe it was part of the decoration of the temple of the goddess Libitina, the goddess of deaths linked to the funeral rites</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Reconstruction of the discovery of a "Girl's grave" dating to the tenth or ninth century BC found on the Capitoline Hill to prove the ancient human presence of the hill, which, judging from ceramics found in the S. Omobono area, was inhabited at least since the fourteenth or thirteenth century BC</span></span></div>
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<span style="letter-spacing: 0px;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Clementino_Caffarelli.html"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><b>Palazzo Clementino Caffarelli</b><span style="letter-spacing: 0.0px;"><b></b></span></span></a></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Clementino Caffarelli Palace</span></i></b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">1576/38 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Gregorio Canonico</span><span style="letter-spacing: 0.0px;"> pupil of Jacopo Barozzi aka Vignola for Ascanio Caffarelli and his son Gian Pietro II</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It has undergone many transformations that have altered its original appearance</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Some remaining parts of the frescoed vaults are preserved in the Museum of Rome at Palazzo Braschi</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">From the beginning of 1800s to the end of World War I it was occupied by the Embassy of Prussia</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In 1918 it was recovered by the City of Rome and partially demolished: instead of the upper floors of the east wing the great <i>Terrazza Caffarelli </i>(Caffarelli Terrace) was built. The ground floor, partly dismantled for the excavation of the Temple of Jupiter Capitolinus, was set up as a new section of the Capitoline Museum, the <i>Museo Mussolini</i>, later known as <i>Museo Nuovo</i> (New Museum)</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Clementino_Caffarelli_files/Media/DSCF8514%20-%202008-10-07%20at%2014-32-30/DSCF8514%20-%202008-10-07%20at%2014-32-30.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">MEDAGLIERE CAPITOLINO</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Capitoline coins and medals collection</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Incredible heritage of about 50,000 coins, medals and jewels</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The collection began in 1872 with the <i>Castellani Donation</i> of 9,074 coins, when Augusto Castellani was Director of the Capitoline Museums. The collection was enlarged with:</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>Stanzani Donation</i> of 9,251 coins and 681 precious stones of the architect Ludovico Stanzani</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>Bignami Collection</i> of 2,225 coins collected by Giulio Bignami</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>Campana Collection</i> of 456 gold coins</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Gems, jewelry and coins from the <i>Archaeological Municipal Commission</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>Treasury of Via Alessandrina</i> 2,529 gold coins and 81 gold objects, all ancient Roman pieces, the secret treasure of a Roman antiquarian, found accidentally in 1933 in the now disappeared Via Alessandrina during the construction of Via dei Fori Imperiali</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>Treasury of the Capitoline Hill</i> 77 ancient silver coins found in the Tabularium</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>Orsini Collection</i> 93 pieces dating back between 1300s and 1800s</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Clementino_Caffarelli_files/Media/DSCF8509%20-%202008-10-07%20at%2014-27-32/DSCF8509%20-%202008-10-07%20at%2014-27-32.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM OF THE PEDIMENT</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Reconstruction of a brightly polychrome terracotta pediment of the Hellenistic period from a <i>late Republican TEMPLE in via di S. Gregorio</i> maybe the <i>Temple of Fortuna Respiciens</i> on Palatine Hill or a <i>Temple of Mars</i> on Celium Hill</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It is the only pediment of a Hellenistic temple ever found in Rome</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Filippo Coarelli deemed it part of the Temple of Fortune Respiciens originally built in the sixth century BC at the time of Servius Tullius and rebuilt by Lucius Aemilius Paullus Macedonicus perhaps in 166 BC (he was censor in that year), the time to which the beautiful pieces on display should date back</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">At the center is Mars and on his sides two fortunes of which the one on the right is the <i>Fortuna Respiciens</i> or "Fortuna looking back", negative Fortune. The temple was located, perhaps not coincidentally in the middle of the triumph itinerary during which the winner was told: "Look back, remember that you are a man!"</span></span></div>
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<span style="letter-spacing: 0px;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina.html"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><b>Pinacoteca Capitolina</b><span style="letter-spacing: 0.0px;"><b></b></span></span></a></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Capitoline Art Gallery</span></i></b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">The oldest public collection of paintings in the world founded in 1748 by Benedict XIV Lambertini (1740/58), adviced by the cardinal Silvio Valenti Gonzaga, with the <i>Collection Sacchetti </i>of 187 paintings and expanded in 1750 with the <i>Collection Pio di Savoia</i> of 126 paintings in the new rooms especially built by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ferdinando Fuga</span><span style="letter-spacing: 0.0px;"> (1699/1782) in 1749</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Other acquisitions in late 1800s and early 1900s</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM I</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Central Italy from the Middle Ages to the Renaissance</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8526%20-%202008-10-07%20at%2014-55-16/DSCF8526%20-%202008-10-07%20at%2014-55-16.jpg?disposition=download">"Death and Assumption of the Virgin"</a></span><span style="letter-spacing: 0.0px;"> about 1515 by Nicola Filotesio aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cola dell'Amatrice </span><span style="letter-spacing: 0.0px;">(about 1480/1547) from the church of S. Domenico in Ascoli Piceno</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Even here Filotesio boasts a style based on mixing the art of Raphael, Leonardo and Pedro Fernandez, with results that have been defined anticlassical (Zeri, 1971) or carriers of heterodox instances anyway (Cannatà 1991). Worthy of note is the landscape in the back of the painting characterized by 'the more mysterious and powerful neoprospectic landscape paintings from those years' (Volpe 1984)" (Roberto Cannatà - Dizionario Biografico degli Italiani Treccani)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8524%20-%202008-10-07%20at%2014-54-40/DSCF8524%20-%202008-10-07%20at%2014-54-40.jpg?disposition=download">"Trinity"</a></span><span style="letter-spacing: 0.0px;"> by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Niccolò di Pietro Gerini</span><span style="letter-spacing: 0.0px;"> (news in the years 1368/1416) in the lower part of the painting it also represented the buyer Francesco Datini, wealthy merchant of Prato, with his wife and daughter</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Five panels with "Episodes of the infancy of Christ" 1378 by the </span><span style="color: #ff2600; letter-spacing: 0.0px;">Maestro di Campli</span><span style="letter-spacing: 0.0px;"> painter active between Abruzzo and Lazio regions, indicative of the spread of Giotto's art even in smaller towns</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Two half-length figures of saints "St. Bartholomew" and "St. Magdalene" about 1530 by the painter from Siena </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bartolomeo Bulgarini</span><span style="letter-spacing: 0.0px;"> (news in the years 1337/78)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8523%20-%202008-10-07%20at%2014-54-12/DSCF8523%20-%202008-10-07%20at%2014-54-12.jpg?disposition=download">"Presentation in the Temple"</a></span><span style="color: black; letter-spacing: 0.0px;"><b> </b>started by </span><span style="letter-spacing: 0.0px;">Francesco Raibolini aka Francia</span><span style="color: black; letter-spacing: 0.0px;"> (1450/1517) and finished by </span><span style="letter-spacing: 0.0px;">Bartolomeo Passerotti </span><span style="color: black; letter-spacing: 0.0px;">(1529/92)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"The work was originally destined for the church of S. Domenico in Reggio Emilia and the artist from Bologna Francesco Francia had begun to paint in 1514. The work was soon interrupted and resumed several years later by another painter from Bologna, Bartolomeo Passerotti, who completed the picture with some modifications, including the original figure of the buyer who was on his knees transformed into a St. Jerome" (Web site of the Capitoline Museums - www.museicapitolini.org)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Large oil painting <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/Musei%20Capitolini%20DSC_3591/Musei%20Capitolini%20DSC_3591.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Madonna with Child and Saints"</span></a> 1513 by the Lucchese </span><span style="color: #ff2600; letter-spacing: 0.0px;">Agostino Marti</span><span style="letter-spacing: 0.0px;"> (about 1482/1540) for Alberico Malaspina lord of Carrara</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Oil on panel <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/Musei%20Capitolini%20DSC_3593/Musei%20Capitolini%20DSC_3593.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Madonna and Child with Saints Nicholas of Bari and Martin of Tours" </span></a>about 1496 by Gian Giacomo Alladio aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Macrino d'Alba </span><span style="letter-spacing: 0.0px;">from</span><span style="color: #ff2600; letter-spacing: 0.0px;"> </span><span style="letter-spacing: 0.0px;">Piedmont (about 1470/1528). Probably painted during a short stay in Rome, which is represented in an imaginative landscape in the background</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM II</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The sixteenth century in Ferrara</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Because of its geographical location - in the northeastern part of the Emilia-Romagna, a short distance from the sea - the city had of course close cultural relations with Venice, Padua and Bologna and in the fifteenth century it had become one of the main centers of Italian art. The painters of Ferrara, in particular in the first half of the sixteenth century, gather in their style proposals from both Venetian painting (in particular the use of color) and from Bolognese painting, from which they absorb formal elegance. Following the conquest by the State of the Church in 1598 the artistic heritage of Ferrara was literally ransacked and numerous paintings from the Este collections became part of the Roman collections" (Web site of the Capitoline Museums - www.museicapitolini.org)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8532%20-%202008-10-07%20at%2014-57-02/DSCF8532%20-%202008-10-07%20at%2014-57-02.jpg?disposition=download">"Annunciation"</a></span><span style="letter-spacing: 0.0px;"> 1528 and <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8533%20-%202008-10-07%20at%2014-57-16/DSCF8533%20-%202008-10-07%20at%2014-57-16.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Madonna with Child in Glory"</span></a> 1512/13 by Benvenuto Tisi aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Garofalo</span><span style="letter-spacing: 0.0px;"> (about 1481/1559)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8531%20-%202008-10-07%20at%2014-56-42/DSCF8531%20-%202008-10-07%20at%2014-56-42.jpg?disposition=download">"Holy Family"</a></span><span style="letter-spacing: 0.0px;"> about 1527 by the brilliant Giovanni Luteri aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Dosso Dossi</span><span style="letter-spacing: 0.0px;"> (about 1486/1542)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8529%20-%202008-10-07%20at%2014-55-58/DSCF8529%20-%202008-10-07%20at%2014-55-58.jpg?disposition=download">"Flight into Egypt"</a></span><span style="letter-spacing: 0.0px;"> about 1594 and <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8527%20-%202008-10-07%20at%2014-55-40/DSCF8527%20-%202008-10-07%20at%2014-55-40.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Adoration of the Magi"</span></a> about 1600 by Ippolito Scarsella aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Scarsellino</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM III</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Venice and its territory in the sixteenth century</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8537%20-%202008-10-07%20at%2014-58-40/DSCF8537%20-%202008-10-07%20at%2014-58-40.jpg?disposition=download">"Baptism of Jesus"</a></span><span style="letter-spacing: 0.0px;"><b> </b>about 1512 by the great Venetian master </span><span style="color: #ff2600; letter-spacing: 0.0px;">Tiziano Vecellio (Titian) </span><span style="letter-spacing: 0.0px;">(about 1490/1576)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Early painting by Titian where its buyer, Giovanni Ram, a Spanish merchant who lived in Venice, is depicted in the lower right, while witnessing the sacred scene, which opens onto a delicate landscape. The white and red of the cloth in the lower left part of the painting focus the attention and set the distances" (Web site of the Capitoline Museums -www.museicapitolini.org)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8535%20-%202008-10-07%20at%2014-58-14/DSCF8535%20-%202008-10-07%20at%2014-58-14.jpg?disposition=download">"Fortress"<span style="letter-spacing: 0.0px;"> and </span><span style="letter-spacing: 0px;">"Temperance"</span></a></span><span style="letter-spacing: 0.0px;"> ceiling panels about 1556, <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8535%20-%202008-10-07%20at%2014-58-14/DSCF8535%20-%202008-10-07%20at%2014-58-14.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Ascension"</span></a> and <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8534%20-%202008-10-07%20at%2014-58-00/DSCF8534%20-%202008-10-07%20at%2014-58-00.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"The Rape of Europa"</span></a> by Paolo Caliari aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Veronese</span><span style="letter-spacing: 0.0px;"> (1528/88)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"The author of what it will later be referred to as the 'doing big' of Venetian painting, Veronese combines formal elegance with a relaxed and innovative use of color, as in the great painting of the Rape of Europa (autographed replica of a work of the same subject now kept in the Palazzo Ducale in Venice), where the myth - the young Europa being abducted by Zeus in the form of a bull, and carried across the sea to the land that you will get her name - is represented in all of its phases, focusing particularly on the sensual figure of Europa, richly dressed" (Web site of the Capitoline Museums - www.museicapitolini.org)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8536%20-%202008-10-07%20at%2014-58-28/DSCF8536%20-%202008-10-07%20at%2014-58-28.jpg?disposition=download">"Portrait of a crossbowman"</a></span><span style="letter-spacing: 0.0px;"> 1552 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Lotto</span><span style="letter-spacing: 0.0px;"> (about 1480/1556)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Christ and the adulteress" by Jacopo Negretti aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Jacopo Palma il Vecchio</span><span style="letter-spacing: 0.0px;"> (about 1480/1528)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Portrait of a Woman" about 1525 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Girolamo Savoldo </span><span style="letter-spacing: 0.0px;">(about 1480/1548). Savoldo represents the woman next to a small dragon as St. Margaret, patroness of childbirth. Excellent example of his luminous silkiness and of his attention to detail and realism of the yet incredible representation</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8539%20-%202008-10-07%20at%2014-59-16/DSCF8539%20-%202008-10-07%20at%2014-59-16.jpg?disposition=download">"Flagellation", "Crowning with Thorns", "Baptism of Jesus"</a></span><span style="color: black; letter-spacing: 0.0px;"> and <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8540%20-%202008-10-07%20at%2014-59-28/DSCF8540%20-%202008-10-07%20at%2014-59-28.jpg?disposition=download"><span style="letter-spacing: 0px;">"Penitent Magdalene" </span></a>by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenico Robusti aka Tintoretto</span><span style="color: black; letter-spacing: 0.0px;"> (1560/1635) son of the more famous Jacopo</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Good Samaritan" about 1540/50 by Jacopo da Ponte aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Jacopo Bassano</span><span style="letter-spacing: 0.0px;"> (about 1510/92)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM IV</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Sixteenth century styles in Rome</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8573%20-%202008-10-07%20at%2015-12-24/DSCF8573%20-%202008-10-07%20at%2015-12-24.jpg?disposition=download">"Diana and Endymion"</a></span><span style="letter-spacing: 0.0px;"><b> </b>1660 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pier Francesco Mola </span><span style="letter-spacing: 0.0px;">(1612/66) native of Canton Ticino in Switzerland</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"A serene contemplation of nature is evident in Diana and Endymion painted for Bonaventura Argenti, a friend of Mola and famous musician for the papal chapel, for whom Mola worked on several occasions. The theme of the subject is masterfully played by Mola who manages to combine Carracci's models, the lunar atmosphere by Guercino and enchanted moments of the poetic fables of Poussin. Similar are the Bacchus of the Galleria Spada in Rome and the Boy with the dove (Toronto, Art Gallery of Ontario)" (Laura Possanzini - Dizionario Biografico degli Italiani Treccani)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/02102007190/02102007190.jpg?disposition=download">"Erminia among the shepherds"</a></span><span style="letter-spacing: 0.0px;"> by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Lanfranco </span><span style="letter-spacing: 0.0px;">(1582/1647) the most Baroque among the many Emilian painters active in Rome in the first half of the seventeenth century</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"The poem of Tasso was well known and what the shepherd says to the girl dressed in the arms of Clorinda sent back to the meaning which had long been the goal of pastoral literature, namely insecurity and vanity of glory, futility of worldly conflicts, peace that is only to be found in simple things, in contact with nature. In his painting Lanfranco did not use the history of Erminia as a pretext for the landscape nor insisted on the pastoral atmosphere. He sought instead to create the atmosphere of the evening (the projection of the melancholic mood of Erminia) of the woods, in the back, which becomes a black and indistinct mass against the dim light that still lingers in the sky" (Giuliano Briganti - 1985)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8541%20-%202008-10-07%20at%2015-00-14/DSCF8541%20-%202008-10-07%20at%2015-00-14.jpg?disposition=download">"Moses drawing water from the rock"</a></span><span style="letter-spacing: 0.0px;"> about 1642 and <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8547%20-%202008-10-07%20at%2015-01-58/DSCF8547%20-%202008-10-07%20at%2015-01-58.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Adoration of the Golden Calf" </span></a>about 1642 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">François Perrier </span><span style="letter-spacing: 0.0px;">(1590/1650) one of the twelve founders of the <i>Académie royale de peinture et de sculpture, </i>the French Royal Academy of Painting and Sculpture</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Triumph of Flora" maybe by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Nicolas Poussin</span><span style="letter-spacing: 0.0px;"> (1594/1665)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8544%20-%202008-10-07%20at%2015-00-56/DSCF8544%20-%202008-10-07%20at%2015-00-56.jpg?disposition=download">"David and Goliath"</a></span><span style="color: black; letter-spacing: 0.0px;"> about 1639 by </span><span style="letter-spacing: 0.0px;">Guillaume Courtois aka Borgognone</span><span style="color: black; letter-spacing: 0.0px;"> (1628/79)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM V</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The sixteenth century in Emilia</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"A precious testimony of the variety of artistic production which, alongside the great works for churches and public and private palaces, included smaller works for smaller rooms as well as copies of famous works, at the time in great demand from the market. Paintings of this type have had a fundamental role in the dissemination of new artistic proposals and to allow the study of the great masters of entire generations of young artists" (Web site of the Capitoline Museums - www.capitolini.net)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8592%20-%202008-10-07%20at%2015-23-00/DSCF8592%20-%202008-10-07%20at%2015-23-00.jpg?disposition=download">"Diana the huntress"</a></span><span style="letter-spacing: 0.0px;"> about 1601 and "St. Anthony"1635 by Giuseppe Cesari aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cavalier d'Arpino </span><span style="letter-spacing: 0.0px;">(1568/1640)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Our Lady of Albinea" copy of the lost the original by Antonio Allegri aka Correggio said (1489/1534) formerly in the church of S. Prospero in Albinea in the province of Reggio Emilia</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Dispute of St. Catherine of Alexandria" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Prospero Fontana</span><span style="letter-spacing: 0.0px;"> (1512/97) father of the painter Lavinia Fontana</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Mystic Marriage of St. Catherine of Alexandria" about 1595 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Faccini</span><span style="letter-spacing: 0.0px;"> (about 1562/1602)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM OF S. PETRONILLA</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Great Seventeenth century painting in Rome</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8561%20-%202008-10-07%20at%2015-06-50/DSCF8561%20-%202008-10-07%20at%2015-06-50.jpg?disposition=download">"Sibyl of Cuma"</a></span><span style="letter-spacing: 0.0px;"><b> </b>about 1622 by Domenico Zampieri aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenichino</span><span style="letter-spacing: 0.0px;"> (1581/1641)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"The writing in Greek on the scroll reads 'There is only one God, infinite and unborn'. The last word is spelled incorrectly. The words referring to a God who has yet to be born would clearly indicate the ability of the woman to predict the the future. The vine that can be seen behind the wall probably refers to Christ. As the Sibyl in the Borghese Gallery, it is a highly idealized female image evoking a Raphael-like kind of beauty. The expansion of the forms here, however, is more insistent and even the brush strokes look different, broader and faster, as it is possible to see from the treatment of the drapery of her garments" (Web site of the Capitoline Museums - www.capitolini.net)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8555%20-%202008-10-07%20at%2015-04-58/DSCF8555%20-%202008-10-07%20at%2015-04-58.jpg?disposition=download">"St. John the Baptist"</a></span><span style="letter-spacing: 0.0px;"> 1602 and <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/02102007195/02102007195.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Good Fortune"</span></a> about 1595 masterpieces by the great Michelangelo Merisi aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Caravaggio</span><span style="letter-spacing: 0.0px;"> (1571/1610)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Caravaggio's St John the Baptist had an immense influence in the seventeenth century and beyond, until the eighteenth and nineteenth centuries. It gave way to a new way of painting, a new way of looking at the world. No one would have thought it when Caravaggio, practically, sold it off, but the artist was beginning to change the course of European art" (Peter Robb)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Caravaggio shows how one should use the lessons of the great: taking over the approach of some of Michelangelo's figures, he brings them down into living reality, he shows how reality, so well framed and focused, gets sharper somehow and how its contrasts result more distinct. The same can be said of the story: he does not remove reality, he gets closer, he doesn't cheer up, he dramatizes. The facts of the past are not shown as already occurred and judged, but caught in flagrante delicto of their happening here and now. We do not know causes and effects of immediate events; we cannot stand back, contemplate, judge, we must live the events. It is a moment, a fragment, but is a real-time, a live fragment of our existence" (Giulio Carlo Argan)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"It is a masterful combination of lightness and apparent intrinsic gravity: his disarming simplicity (God is simple, love is simple) can be disturbing at times pushing the viewers to think that what you see is too easy, launching into travel within the picture to find out the much-celebrated (and unnecessary) hidden meanings. His works are not icons, but they speak of flesh, blood, stupor, and torture, but also of grace, mystery and search for God" (Sergio Guarino)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8556%20-%202008-10-07%20at%2015-05-10/DSCF8556%20-%202008-10-07%20at%2015-05-10.jpg?disposition=download">"St. Matthew and the Angel"</a></span><span style="color: black; letter-spacing: 0.0px;">, <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8560%20-%202008-10-07%20at%2015-06-30/DSCF8560%20-%202008-10-07%20at%2015-06-30.jpg?disposition=download"><span style="letter-spacing: 0px;">"Persian Sibyl"</span></a>, <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8559%20-%202008-10-07%20at%2015-06-18/DSCF8559%20-%202008-10-07%20at%2015-06-18.jpg?disposition=download"><span style="letter-spacing: 0px;">"Antony and Cleopatra"</span></a> and <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8558%20-%202008-10-07%20at%2015-05-52/DSCF8558%20-%202008-10-07%20at%2015-05-52.jpg?disposition=download"><span style="letter-spacing: 0px;">"Burial and Glory of St. Petronilla"</span></a> 1623 by Giovanni Francesco Barbieri aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Guercino</span><span style="color: black; letter-spacing: 0.0px;"> (1591/1666)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"There is a weak beginning of abandonment of baroque tendencies: the figures are less vigorous and more clearly delineated, the rich palette is muted and the composition itself is balanced in a more classic way than in his pre-Roman works. However, just in the painting which manifests for the first time a return to a more easily appreciated classicism, the idea of lowering the body of the saint in the open grave, in which it seems the observer is, has an immediate attractiveness, unthinkable without the experience of Caravaggio. So a pictorially Baroque style, a Caravaggio echo and an anticipation of the early Baroque-Classicism combine in this crucial phase of Guercino's career" (Rudolf Wittkower)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8562%20-%202008-10-07%20at%2015-07-04/DSCF8562%20-%202008-10-07%20at%2015-07-04.jpg?disposition=download">"Romulus and Remus suckled by the wolf"</a></span><span style="letter-spacing: 0.0px;"><b> </b>1617/18 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Peter Paul Rubens</span><span style="letter-spacing: 0.0px;"> (1577/1640) painted in Antwerp. It is one of the best works of the Flemish painter for the vibrant richness of colors' substance: the twins are suckled by the wolf, in the presence of Rhea Silvia and the personification of the Tiber, as they were found by the shepherd Faustulus</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8564%20-%202008-10-07%20at%2015-07-34/DSCF8564%20-%202008-10-07%20at%2015-07-34.jpg?disposition=download">"Allegory of the Intellect, Will and Memory"</a></span><span style="color: black; letter-spacing: 0.0px;"> about 1624 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Simon Vouet</span><span style="color: black; letter-spacing: 0.0px;"> (1590/1649)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Madonna and Child with Angels" about 1610 and "Birth of the Virgin" on a blackboard by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Albani</span><span style="letter-spacing: 0.0px;"> (1578/1660)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM VI </span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Painting in Bologna by the Carracci, Guido Reni</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8580%20-%202008-10-07%20at%2015-20-12/DSCF8580%20-%202008-10-07%20at%2015-20-12.jpg?disposition=download">"St. Sebastian"</a></span><span style="letter-spacing: 0.0px;"> about 1615, "St. Jerome", <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8591%20-%202008-10-07%20at%2015-22-04/DSCF8591%20-%202008-10-07%20at%2015-22-04.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Lucretia"</span></a>, <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8591%20-%202008-10-07%20at%2015-22-04/DSCF8591%20-%202008-10-07%20at%2015-22-04.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Cleopatra"</span></a><b> </b>about 1640/42</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Compared to the immediately preceding version - Dublin's Cleopatra dated to 1639/40 - one can easily see as the Capitoline Cleopatra fully reflects the characteristics of the second period of the artist (thin painting, diaphanous colors, historical event reduced to essential data), elements that for a long time, starting already during his lifetime, have caused to consider the production of Guido Reni with extreme embarrassment, sometimes even pushing to unspeakable damning. Only in recent decades we have begun to understand the deep, brilliant revolution that Reni operates on his own artistic language, overcoming the complete formal elegance that made him famous" (Sergio Guarino)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: black; letter-spacing: 0.0px;"> <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8590%20-%202008-10-07%20at%2015-21-50/DSCF8590%20-%202008-10-07%20at%2015-21-50.jpg?disposition=download"><span style="letter-spacing: 0px;">"Jesus and St. John"</span></a>, <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8589%20-%202008-10-07%20at%2015-21-44/DSCF8589%20-%202008-10-07%20at%2015-21-44.jpg?disposition=download"><span style="letter-spacing: 0px;">"Girl with a Crown"</span></a> and <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8588%20-%202008-10-07%20at%2015-21-32/DSCF8588%20-%202008-10-07%20at%2015-21-32.jpg?disposition=download"><span style="letter-spacing: 0px;">"Sketch of the blessed soul"</span></a> about 1641 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Guido Reni</span><span style="color: black; letter-spacing: 0.0px;"> (1575/1642)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Guido Reni maintained a constant experimental attitude: in the Girl with a Crown, made in his last years, there are disintegration of colors, until then polished, and great figurative simplicity" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8583%20-%202008-10-07%20at%2015-20-40/DSCF8583%20-%202008-10-07%20at%2015-20-40.jpg?disposition=download">"St. Francis adoring the Crucifix"</a></span><span style="color: black; letter-spacing: 0.0px;"> about 1584 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Annibale Carracci</span><span style="color: black; letter-spacing: 0.0px;"> (1560/1609)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"In the half-length cutting and in the choice to put in the foreground, as on a windowsill, the tools of meditation of the saint, the painting, which Posner termed 'the most lovable and sweet' among the representations of St. Francis by Annibale, was influenced by previous works of Bartolomeo Passerotti (...). One can detect here also Correggio's style for the first time, in the yielding sense of the form, and an accelleration of color that seems to consume, like internal combustion, the painted matter, now undone and impalpable" (Daniele Benati)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8584%20-%202008-10-07%20at%2015-20-54/DSCF8584%20-%202008-10-07%20at%2015-20-54.jpg?disposition=download">"Holy Family with Saints"</a></span><span style="color: black; letter-spacing: 0.0px;"> about 1590 and <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8585%20-%202008-10-07%20at%2015-21-00/DSCF8585%20-%202008-10-07%20at%2015-21-00.jpg?disposition=download"><span style="letter-spacing: 0px;">"St. Cecilia"</span></a> 1605 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ludovico Carracci</span><span style="color: black; letter-spacing: 0.0px;"> (1555/1619)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"The mystery of grace has been cleverly humanized through the simple representation of the affections. The novelty of the paintings by Ludovico, understanding art as popular communication, indicates an important factor in the new language of 1600s" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8579%20-%202008-10-07%20at%2015-20-02/DSCF8579%20-%202008-10-07%20at%2015-20-02.jpg?disposition=download">"Judith"</a></span><span style="letter-spacing: 0.0px;"> by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maratta</span><span style="letter-spacing: 0.0px;"> (1625/1713) a copy from original of Guido Reni</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Wedding of St. Catherine" 1590 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Denis Calvaert </span><span style="letter-spacing: 0.0px;">(about 1540/1619)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOM OF PIETRO DA CORTONA</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Baroque painting: Pietro da Cortona and his followers</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8579%20-%202008-10-07%20at%2015-20-02/DSCF8579%20-%202008-10-07%20at%2015-20-02.jpg?disposition=download">"Rape of Helen"</a></span><span style="letter-spacing: 0.0px;"> about 1631 and <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8579%20-%202008-10-07%20at%2015-20-02/DSCF8579%20-%202008-10-07%20at%2015-20-02.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"David and Goliath"</span></a> about 1640 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Francesco Romanelli </span><span style="letter-spacing: 0.0px;">(1610/62) from Viterbo, a pupil of Pietro da Cortona</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Meeting of Esau and Jacob" about 1640, "Joseph sold by his brothers" about 1640 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Maria Bottalla</span><span style="letter-spacing: 0.0px;"> (1613/44), a pupil of Pietro da Cortona</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Eleven paintings by Pietro Berrettini aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro da Cortona </span><span style="letter-spacing: 0.0px;">(1597/1669) including:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8575%20-%202008-10-07%20at%2015-15-06/DSCF8575%20-%202008-10-07%20at%2015-15-06.jpg?disposition=download">"Triumph of Bacchus"</a></span><span style="letter-spacing: 0.0px;"> 1624, "Madonna with Child", "The Chariot of Venus", <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8577%20-%202008-10-07%20at%2015-15-32/DSCF8577%20-%202008-10-07%20at%2015-15-32.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Sacrifice of Polyxena"</span></a> about 1620, <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8574%20-%202008-10-07%20at%2015-14-54/DSCF8574%20-%202008-10-07%20at%2015-14-54.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Portrait of Pope Urban VIII"</span></a> about 1627, "View of Allumiere" about 1625/30 and <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8568%20-%202008-10-07%20at%2015-10-26/DSCF8568%20-%202008-10-07%20at%2015-10-26.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Rape of the Sabine Women"</span></a><b> </b>about 1629 for the Sacchetti family</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The Rape of the Sabine Women has been described as the manifesto of Baroque painting</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"It is a clear example of the new way of interpreting the patrimony of ancient civilization. To illustrate a Historia (story) the artist carefully rebuilt a scenario faithful to historical truth (note the armor and clothes), but the drama, even though they are in an ideal space away from everyday life, comes alive with the spectacular vitality of a play acted in theater. Despite the balanced sequence of perspective backdrop wings, Pietro da Cortona exceeds the rules of symmetry and arranges clusters of figures according to a dynamic spin" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8598%20-%202008-10-07%20at%2015-25-40/DSCF8598%20-%202008-10-07%20at%2015-25-40.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">CINI GALLERY</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It takes its name from the 1880 bequest of Count Francesco Cini who donated to the City of Rome his <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8596%20-%202008-10-07%20at%2015-25-12/DSCF8596%20-%202008-10-07%20at%2015-25-12.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;"><i>collection of porcelain and furniture</i></span></a> including over 400 pieces of porcelain from Saxony, China, Japan and from Capodimonte (Naples) dating back to the 1700s. The collection also included watches, snuff boxes and objects of Oriental art</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Bisque statuettes by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Volpato</span><span style="letter-spacing: 0.0px;"> (1735/1803), small reproductions of famous classical statues destined to foreign collectors. They were the tourists souvenirs of the late eighteenth century</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Six Flemish tapestries <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8600%20-%202008-10-07%20at%2015-26-16/DSCF8600%20-%202008-10-07%20at%2015-26-16.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Stories of Semiramide"</span></a> about 1627/38 from the manufacture in Antwerp of </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michel Wauters</span><span style="letter-spacing: 0.0px;"> from cartoons by the Flemish </span><span style="color: #ff2600; letter-spacing: 0.0px;">Abraham van Diepenbeek</span><span style="letter-spacing: 0.0px;"> (1596/1675)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Portrait of the engraver Peter de Jode the older and his son Pieter the Younger" and <a href="http://www.atlantedellarteitaliana.it/immagine/00018/11957OP2146AU19099.jpg"><span style="color: #021eaa; letter-spacing: 0px;">"Portrait of painters Luca and Cornelius de Wael"</span></a> 1627/29 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Anthony Van Dyck</span><span style="letter-spacing: 0.0px;"> (1599/1641). Van Dyck's ability as a portrait painter was undisputed and it was always very appreciated his extraordinary ability to individualize the subjects of his portraits and his compositional balance which always used the best light effects</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Outstanding <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8599%20-%202008-10-07%20at%2015-25-58/DSCF8599%20-%202008-10-07%20at%2015-25-58.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Crucifixion"</span></a> by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Gabriel Metsu</span><span style="letter-spacing: 0.0px;"> (1629/67)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Triumph of the Cross" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Leonard Bramer</span><span style="letter-spacing: 0.0px;"> (1596/1674)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Farmers" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michael Sweerts</span><span style="letter-spacing: 0.0px;"> (1618/64)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8607%20-%202008-10-07%20at%2015-28-42/DSCF8607%20-%202008-10-07%20at%2015-28-42.jpg?disposition=download">"Dance of peasants"</a></span><span style="letter-spacing: 0.0px;"> by the <i>bambocciante</i> (painter who liked to represent real life situations of the poorer class) by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michelangelo Cerquozzi</span><span style="letter-spacing: 0.0px;"> (1602/60)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"A soldier" and <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8608%20-%202008-10-07%20at%2015-28-56/DSCF8608%20-%202008-10-07%20at%2015-28-56.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"A Witch"</span></a> about 1650 by the brilliant and dark </span><span style="color: #ff2600; letter-spacing: 0.0px;">Salvator Rosa </span><span style="letter-spacing: 0.0px;">(1615/73)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"His fame is mainly due to the representation of landscapes, characterized by nature rough and wild, to the battle scenes, marked by crude expressivity, and to his preference for the dark tones and contrasts of light. He also painted allegorical portraits, mythical and biblical subjects where the moralizing and philosophical intent is accentuated by the dark and mysterious atmosphere, and even paintings related to magical themes" (Enciclopedia Treccani)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Portrait of a Man" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Federico Zuccari</span><span style="letter-spacing: 0.0px;"> (about 1542/1609)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8609%20-%202008-10-07%20at%2015-29-04/DSCF8609%20-%202008-10-07%20at%2015-29-04.jpg?disposition=download">"Battle"</a></span><span style="color: black; letter-spacing: 0.0px;"> by</span><span style="letter-spacing: 0.0px;"> Jacques Courtois aka Borgognone</span><span style="color: black; letter-spacing: 0.0px;"> (1628/79)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: black; letter-spacing: 0.0px;">Three paintings <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8616%20-%202008-10-07%20at%2015-31-42/DSCF8616%20-%202008-10-07%20at%2015-31-42.jpg?disposition=download"><span style="letter-spacing: 0px;">"Portrait of a Man", "Portrait of a Man with Dog"</span></a> and <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8615%20-%202008-10-07%20at%2015-31-30/DSCF8615%20-%202008-10-07%20at%2015-31-30.jpg?disposition=download"><span style="letter-spacing: 0px;">"Double Portrait of a Musician"</span></a> 1578/85 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bartolomeo Passerotti</span><span style="color: black; letter-spacing: 0.0px;"> (1529/92)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Four big "Preparatory sketches" for the tapestries in the Tapestry Room and "Romulus and Remus" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenico Corvi</span><span style="letter-spacing: 0.0px;"> (1721/1803) from Viterbo, a copy of the painting by Rubens</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Seven <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8603%20-%202008-10-07%20at%2015-27-24/DSCF8603%20-%202008-10-07%20at%2015-27-24.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Views of Rome"</span></a> on parchment and <a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8606%20-%202008-10-07%20at%2015-28-16/DSCF8606%20-%202008-10-07%20at%2015-28-16.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"View of St. Nile in Grottaferrata"</span></a> by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Gaspar van Wittel</span><span style="letter-spacing: 0.0px;"> (1653/1736) Dutch painter naturalized Italian, known also as Gaspare Vanvitelli or Gaspare degli occhiali (Caspar with glasses). He moved to Italy when he was twenty and he became an unbeatable landscape artist who also liked to use technical devices such as the optical box. He was the father of the great painter and architect Luigi Vanvitelli</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8611%20-%202008-10-07%20at%2015-29-46/DSCF8611%20-%202008-10-07%20at%2015-29-46.jpg?disposition=download">"Holy Family"</a></span><span style="letter-spacing: 0.0px;"> by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maratta</span><span style="letter-spacing: 0.0px;"> (1625/1713)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/Musei%20Capitolini%20DSC_3595/Musei%20Capitolini%20DSC_3595.jpg?disposition=download">"Holy Family"</a></span><span style="letter-spacing: 0.0px;"> about 1755 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pompeo Batoni</span><span style="letter-spacing: 0.0px;"> (1708/87)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"It joined in the Capitoline collections in the twentieth century. The painting is a copy of the numerous high-level production of Batoni, an example of a sophisticated neo-Raphael mood, with direct quotations of the most famous works of the painter from Urbino in the compositional structure itself and in the purity of the features of the Virgin, as well as in the extreme attention to detail. The sense of grace pervading the image refers to Parmigianino" (Web site of the Capitoline Museums - www.capitolini.net)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8618%20-%202008-10-07%20at%2015-32-12/DSCF8618%20-%202008-10-07%20at%2015-32-12.jpg?disposition=download">"Self Portrait"</a></span><span style="letter-spacing: 0.0px;"><b> </b>about 1650 by the great Spanish painter </span><span style="color: #ff2600; letter-spacing: 0.0px;">Diego Rodriguez de Silva y Velázquez</span><span style="letter-spacing: 0.0px;"> (1599/1660) vivid portrait as a member of the Virtuosi of the Pantheon, the congregation of Roman artists. It was painted during his second stay in Rome in the years 1649/51</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Pinacoteca_Capitolina_files/Media/DSCF8622%20-%202008-10-07%20at%2015-33-50/DSCF8622%20-%202008-10-07%20at%2015-33-50.jpg?disposition=download">"Portrait of Cardinal Silvio Valenti Gonzaga"</a></span><span style="letter-spacing: 0.0px;"> by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pierre Subleyras</span><span style="letter-spacing: 0.0px;"> (1699/1749). Cardinal Gonzaga was the promoter of the Capitoline collection of paintings</span></span></div>
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<span style="letter-spacing: 0px;"><a href="http://www.davidmacchi.com/tourguide/Tabularium.html"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><b>Tabularium</b><span style="letter-spacing: 0.0px;"><b></b></span></span></a></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">State Archive</span></i></b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">State Archive of Rome, built in 78 BC by the architect </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lucius Cornelius</span><span style="letter-spacing: 0.0px;"> for the consul Quintus Catulus Lutazio in the lower area called <i>Asylum</i> in between the higher area to the south known as <i>ARX, </i>corresponding to the Temple of Juno Moneta, and the higher area to the north known as <i>CAPITOLIUM, </i>corresponding to the Temple of Jupiter Capitolinus</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The building is 73.60 m (242 feet) long in blocks of tuff and lava stone from the River Aniene</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It was used in the Middle Ages as a deposit of salt and as a prison</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The name comes from the bronze <i>tabulae</i> (plate) on which laws and official acts were inscribed</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In the first period of Roman history the <i>Asylum</i> was used to house the refugees and those expelled from other cities, who were quickly proclaimed Roman citizens. One of the big differences between Rome and other cities of antiquity was this willingness to accept foreigners as citizens, regardless of their religion, language or color of skin, as long as they would accept the laws of the Roman state. It was perhaps one of the reasons for Rome's extraordinary success</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">130 INSCRIPTIONS grouped by topics:</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Languages, The Tomb, The Cult, The Law, Professions and Trades, the Games, Roads and Aqueducts, Military, The Roman Aristocracy</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Tabularium_files/Media/DSCF8624%20-%202008-10-07%20at%2015-38-18/DSCF8624%20-%202008-10-07%20at%2015-38-18.jpg?disposition=download">"Altar dedicated to the Sun god and the gods of Palmyra"</a></span><span style="letter-spacing: 0.0px;"><b> </b>second half of the first century AD with on the left side inscription in Syrian language from Palmyra. It was dedicated by Felix, an imperial freedman who worked in Testaccio in the Horrea Galbana and by his wife Helpis. It represents an early testimony of the oriental cult of the god Sun in Rome</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Tabularium_files/Media/02102007199/02102007199.jpg?disposition=download">"Ancient capitals"</a> </span><span style="letter-spacing: 0.0px;">with inscriptions in Hebrew dating back to 1560/76 from the <i>Campus Iudeorum</i> the Jewish Cemetery which used to be located in the Trastevere district near Porta Portese. It was used from the early Middle Ages until 1645, when Innocent X Pamphili (1644/55) gave to the Jewish community a new area on the Aventine for their cemetery</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Cinerarium-shaped shrine with portraits of the dead"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Tabularium_files/Media/DSCF8628%20-%202008-10-07%20at%2015-41-16/DSCF8628%20-%202008-10-07%20at%2015-41-16.jpg?disposition=download">"Slab with two pairs of feet in relief and inscription with a dedication to the goddess Caelestis"</a></span><span style="color: black; letter-spacing: 0.0px;"> third century AD</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Stele of the gladiator Anicetus" still with traces of color</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Base of statue known as Vicomagistri's" 136 dedicated to Adriano (117/138)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Base of a statue" dedicated by the Fifth Cohort of the Fire Brigade to Caracalla (211/17)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">During the excavations of 1939/40 the Temple of Veiovis was found, an infernal young god maybe originally Etruscan, dedicated in 192 BC but rebuilt in the first century BC with headless <a href="http://www.davidmacchi.com/tourguide/Tabularium_files/Media/DSCF8639%20-%202008-10-07%20at%2015-51-12/DSCF8639%20-%202008-10-07%20at%2015-51-12.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Cult statue of Veiovis"</span></a></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Inscription of the tomb of Agrippina Maggiore" with on the right side inscription of the twelfth century by the City of Rome that transformed this block of marble into an instrument of measurement of food units</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Base of a statue of Cornelia" the famous mother of the Gracchi brothers already placed in the Portico of Metellus later known as Portico d'Ottavia</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Tabularium_files/Media/DSCF8637%20-%202008-10-07%20at%2015-49-58/DSCF8637%20-%202008-10-07%20at%2015-49-58.jpg?disposition=download">"Relief of the knight Marcus Curtius"</a></span><span style="letter-spacing: 0.0px;"> of the first century BC as he jumps in the chasm, found near the Column of Phocas. The relief was recycled for the paving of the Forum of 12 BC and its back is engraved with a part of the inscription which mentions the funder of the work, the praetor Lucius Naevius Surdinus</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Base of a statue of Hadrian" important for the lists engraved on the sides of <i>vici</i> (roads and districts) of three of the fourteen <i>regiones</i> (neighborhoods) in which Rome was divided. This is an extraordinary document for topographical knowledge of Rome during the first half of the second century AD</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">PORCH with eleven spans and gallery with <a href="http://www.davidmacchi.com/tourguide/Tabularium_files/Media/DSCF8634%20-%202008-10-07%20at%2015-45-54/DSCF8634%20-%202008-10-07%20at%2015-45-54.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Fragment of a lintel from the Temple of Vespasian and Titus"</span></a> decorated with absolutely incredible detail, richness and virtuosity that makes the nearby <a href="http://www.davidmacchi.com/tourguide/Tabularium_files/Media/DSCF8636%20-%202008-10-07%20at%2015-49-32/DSCF8636%20-%202008-10-07%20at%2015-49-32.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Fragment of a lintel from the Temple of Concord"</span></a><b> </b>of 12 AD sober in comparison</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ROOMS IN the foundationS</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Remains of a building predating the Tabularium on the room ground level. In one of the three rooms "Mosaic floor" among the oldest ever found in Rome, dating from the second half of the second century BC, with a white background and irregular flakes of colored marbles</span></span></div>
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<span style="letter-spacing: 0px;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Senatorio_files/Media/02102007099/02102007099.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><b>Palazzo Senatorio</b><span style="letter-spacing: 0.0px;"><b></b></span></span></a></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Palace of the Senate</span></i></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Various civil buildings built over the <i>Fortress of the Corsi family</i> that had been built, in turn, over the ruins of the <i>Tabularium</i>, the State Archive of ancient Rome</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It was renovated in 1299 and it kept until the sixteenth century the appearance of a fortified medieval public building</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Façade</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">1582/1605 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Della Porta</span><span style="letter-spacing: 0.0px;"> (1533/1602) with his collaborator </span><span style="color: #ff2600; letter-spacing: 0.0px;">Girolamo Rainaldi</span><span style="letter-spacing: 0.0px;"> (1570/1655) who adapted the original design by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michelangelo Buonarroti</span><span style="letter-spacing: 0.0px;"> (1475/1564). The only remaining parts that were built during Michelangelo's lifetime are the <a href="http://www.davidmacchi.com/tourguide/Palazzo_Senatorio_files/Media/02102007101/02102007101.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Gateway"</span></a> to the assembly room and the <a href="http://www.davidmacchi.com/tourguide/Palazzo_Senatorio_files/Media/02102007101/02102007101.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Outside stairs"</span></a>, two converging ramps built in the years 1547/54 without the canopy on two columns which was in the original project by Michelangelo</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">BELL TOWER</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">1578/82 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Martino Longhi the Elder</span><span style="letter-spacing: 0.0px;"> (1534/91) in place of the medieval and higher than that of Michelangelo's project, on top of the cross in gold leaf and antique statue "Goddess-Minerva Rome"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">CLOCK installed in 1806, formerly on the façade of the church of S. Maria in Aracoeli</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">To the left of the building TOWER OF MARTIN V Colonna (1417/31) about 1427 towards S. Maria in Aracoeli and TOWER of Nicholas V Parentucelli (1447/55) 1453 towards the Forum</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">To the right of the palace TOWERS OF BONIFACE IX Tomacelli (1389/1404). The overhead passage was built in 1940</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ENTRANCE HALL of Sixtus IV Della Rovere (1471/84) 1477</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">HALL OF the Carroccio (Cart carrying flags during battle) with an inscription commemorating the gift of the Carroccio, from Frederick II to the Roman people, taken from the Milanese of the Northern League in the battle of Cortenuova in 1237</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">HALL OF THE FLAGS or OF THE BOARD 1847, so named for the banners of the fourteen districts of the Civic Guard</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.mollicone.it/wp-content/uploads/2009/03/aula-giulio-cesare.jpg"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Assembly room</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">1573/77 grand salon of the palace, formerly seat of the court of the Senator. From the postwar period it is known as AULA GIULIO CESARE (Julius Caesar Hall)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In the floor "Five Roman mosaics with floral and marine scenes" of the second century AD at the center of the modern checkerboard marble floor white and gray. They were taken from various rooms of a Roman villa in the area of Casal Morena on the Via Anagnina</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Paintings on the ceiling and frieze "History of Ancient Rome" 1929/30 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Eugenio Cisterna</span><span style="letter-spacing: 0.0px;"> (1862/1933) from Genzano</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://poliremi.altervista.org/immagini/partiti/Cesare_statua1.jpg">"Statue of Julius Caesar"</a></span><span style="letter-spacing: 0.0px;"> and "Statue of Roman Admiral" dating back to Trajan's period (98/117)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In the outside wall remains of the 1299 loggia from the time of Boniface VIII Caetani (1294/1303)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">PROTOMOTECA CAPITOLINA</span></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Capitoline Museum of busts</span></i></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Collection of busts of Italian celebrities originally displayed in the Pantheon by Antonio Canova:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.atlantedellarteitaliana.it/immagine/00002/1063OP254AU1621.jpg">"Pius VII"</a></span><span style="letter-spacing: 0.0px;"> Chiaramonti (1800/23) 1807 and <a href="http://t3.gstatic.com/images?q=tbn:ANd9GcReEtmrRxDa71tnsp1gY8XD0nJIrJQzGdVN7yeRUUNPm63gjFiizw&t=1"><span style="color: #021eaa; letter-spacing: 0px;">"Domenico Cimarosa"</span></a> 1808 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Antonio Canova</span><span style="letter-spacing: 0.0px;"> (1757/1822)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"One is surprised by how such weight of matter is transformed by the power of art and marble seems swollen for secret sounds, light, transparent, open to interpretation, like those eyes lost in the faraway distance, on the edge of a lovely melody" (Valentino Martinelli)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Angelika Kauffmann" 1809 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Paolo Adolfo Kauffmann</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Masaccio", "Lorenzo Ghiberti", "Petrarch" and "Ludovico Ariosto" 1814/15 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Finelli</span><span style="letter-spacing: 0.0px;"> (1785/1853) from Carrara, belonging to a family of sculptors including the great Giuliano Finelli</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Andrea Mantegna" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Rinaldo Rinaldi</span><span style="letter-spacing: 0.0px;"> (1793/1873)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Polidoro da Caravaggio" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Massimiliano Laboureur</span><span style="letter-spacing: 0.0px;"> (1767/1831)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Arcangelo Corelli" 1713/14 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Angelo De Rossi</span><span style="letter-spacing: 0.0px;"> (1671/1715)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Camillo Rusconi" by</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Giuseppe Rusconi</span><span style="letter-spacing: 0.0px;"> (1688/1758) one of Camillo Rusconi's pupils but not related</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Two great eighteenth-century Roman artists are represented, the sculptor "Pietro Bracci (1700/73)" 1794/95 the sculptor of the statue of Ocean in the Trevi Fountain and the extraordinary painter "Marco Benefial (1684/1764)" 1781/82 works by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Vincenzo Pacetti</span><span style="letter-spacing: 0.0px;"> (1746/1820) also Roman</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Anton Raphael Mengs" 1781 and "Giovanni Pichler" 1792 by the Irish </span><span style="color: #ff2600; letter-spacing: 0.0px;">Christopher Hewetson</span><span style="letter-spacing: 0.0px;"> (about 1739/1797)</span></span></div>
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<span style="letter-spacing: 0px;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo.html"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><b>Palazzo Nuovo</b><span style="letter-spacing: 0.0px;"><b></b></span></span></a></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">New Palace</span></i></b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Project by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michelangelo Buonarroti</span><span style="letter-spacing: 0.0px;"> (1475/1564) only for a façade with no building</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">It was begun by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Girolamo Rainaldi</span><span style="letter-spacing: 0.0px;"> (1570/1655) in 1603 for Clement VIII Aldobrandini (1592/1605) </span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">The work was resumed and completed in the years 1654/55, after a long interval, by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Rainaldi</span><span style="letter-spacing: 0.0px;"> (1611/91) son of Girolamo for Innocent X Pamphili (1644/55)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It was licensed for use to the <i>Guild of the Arts of Wool and Silk</i> and then at the <i>Guild of the Arts of Agriculture</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The museum was established in 1734 by Clement XII Corsini (1730/40), who bought the Albani collection of 418 sculptures to which statues bought by Benedict XIV Lambertini (1740/58) were added later</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The exhibition, which has remained substantially unchanged to this day, was arranged by the Marquis Alessandro Capponi</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">This is <i>the first ever public collection of antiquities in the world</i> from which all similar museums drew inspiration and were modeled on</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">coRTile</span></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Courtyard</span></i></b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Exedra by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Barigioni</span><span style="letter-spacing: 0.0px;"> (about 1690/1753), a pupil of Carlo Fontana, with <a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8642%20-%202008-10-07%20at%2015-54-40/DSCF8642%20-%202008-10-07%20at%2015-54-40.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Marforio" </span></a>the colossal statue of Oceano first century AD, one of the talking statues of Rome on which signs were posted with anonymous phrases, mostly sarcastic, like Pasquino</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The name traditionally comes from <i>Martis Forum</i> (Forum of Mars)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It was moved to the Capitoline Hill in 1594 but it was already known in the Middle Ages, when it was described and drawn near the Arch of Septimius Severus, in the Roman Forum</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Above "Bust of Pope Clement XII Corsini (1730/40)" the promoter of the museum of sculptures with marble plaque celebrating the opening</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In the courtyard <a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8646%20-%202008-10-07%20at%2015-55-44/DSCF8646%20-%202008-10-07%20at%2015-55-44.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Three granite columns with Egyptianising reliefs"</span></a> from the early imperial period, probably originally located along the road leading to the main temple to Isis in Rome, the <i>Iseo Campensis</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">On the sides <a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8643%20-%202008-10-07%20at%2015-54-52/DSCF8643%20-%202008-10-07%20at%2015-54-52.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Statues of satyrs"</span></a> second century AD from the Theatre of Pompey formerly exhibited in the courtyard of the Palazzo Della Valle</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">atrio</span></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Atrium</span></i></b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8650%20-%202008-10-07%20at%2015-58-00/DSCF8650%20-%202008-10-07%20at%2015-58-00.jpg?disposition=download">"Statue of Minerva"</a></span><span style="letter-spacing: 0.0px;"> second century BC from the original of the fifth century BC <i>Athena Parthenos</i> by Phidias (about 490/430 BC), the main cult statue in the Parthenon in Athens</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/Musei%20Capitolini%20DSC_3623/Musei%20Capitolini%20DSC_3623.jpg?disposition=download">"Statue of Faustina the Elder"</a></span><span style="letter-spacing: 0.0px;"> portrayed as Ceres, with remains of gilding</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8647%20-%202008-10-07%20at%2015-57-12/DSCF8647%20-%202008-10-07%20at%2015-57-12.jpg?disposition=download">"Group of Polyphemus"</a></span><span style="letter-spacing: 0.0px;"> mistakenly restored in 1636 as Pan</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Endymion" from original of the end of the fourth century BC</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Colossal statue of <a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8640%20-%202008-10-07%20at%2015-53-52/DSCF8640%20-%202008-10-07%20at%2015-53-52.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Mars"</span></a> end of first century AD from the Forum of Nerva, maybe part of the Temple of Mars Ultor in the Forum of Augustus and probably reproducing the cult image of the temple itself, which would have been of course be much larger. The lower part is a modern restoration</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8649%20-%202008-10-07%20at%2015-57-36/DSCF8649%20-%202008-10-07%20at%2015-57-36.jpg?disposition=download">"Statue of Diana the huntress"</a></span><span style="letter-spacing: 0.0px;"> from an original of the fourth century BC. "Juno Lanuvina" or maybe Ceres dating back to the early imperial age, from an original of the fifth century BC. It was found in the Vatican area</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Statue of woman with Julia Domna's portrait" with body copy from original of the middle of the fourth century BC and head-portrait of Septimius Severus' (193/211) wife of the beginning of the third century AD</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Opposite "Statue of woman with Livia's portrait" 30/20 BC from the Belvedere Palace in the Vatican</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Both statues are placed over "Bases with inscriptions of the heirs of Caius Cestius" 18/12 BC from the Pyramid of Caius Cestius</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/02102007229/02102007229.jpg?disposition=download">"Statue of Hadrian as Pontifex Maximus"</a></span><span style="letter-spacing: 0.0px;"> 117/138 from the area of S. Stefano Rotondo</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Draped headless statue" in porphyry marble first century AD</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Around the niches many Roman inscriptions are included, most of which are funerary ones</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8645%20-%202008-10-07%20at%2015-55-22/DSCF8645%20-%202008-10-07%20at%2015-55-22.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">EGYPTIAN COLLECTION</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Original Egyptian pieces set up in 1907 by the archaeologist Orazio Marucchi</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">They were mainly found in Rome in 1883 in the area of the Temple of Isis also known as <i>Iseum Campensis</i>, corresponding to the church S. Stefano del Cacco and surrounding area</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In the same 1883 the collection of Egyptian antiquities formerly present in the Capitoline Museums was moved to the Vatican Museum where it still is now</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Caligula (37/41) rebuilt the temple more magnificent than ever, and gave a big boost to the neighborhood that once stood around the Egyptian Iseum. This district was formed by the dwellings of the priests who used to worship, but also artisans and traders, and corresponded - in the area and extent - to a similar 'Roman' neighborhood in Alexandria, where also stood a temple dedicated to Jupiter of the same size as the Iseum Campensis. This indicated the sense of equivalency that Rome had wanted to give Egypt and its former glory. Not vanquished people but nation on a par with Rome, as evidenced by the coin depicting two hands shaking, the Nile's and the Tiber's from the time of Antoninus Pius" (Anna Maria Partini)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Columns with decorative plants"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Crocodile" from the Ptolemaic or early imperial period in pink Aswan granite, incarnation of the god Sobek</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Two of Nectanebo II cynocephali" 359/341 BC gray granite embodiment of the lunar god Thoth</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Sphinx in pink granite" 144/30 BC from Via S. Ignazio</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/Musei%20Capitolini%20DSC_3618/Musei%20Capitolini%20DSC_3618.jpg?disposition=download">"Sphinx of Pharaoh Amasis II in basanite"</a></span><span style="letter-spacing: 0.0px;"> 568/526 BC found near the apse of S. Maria sopra Minerva. The inscription on the breast of the pharaoh was sufficient for identification, although much of it had been scratched away, maybe by the Persians led by Cambyses II (son of Cyrus the Great and Darius I's father), who conquered Egypt six months after Amasis II's death</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Figured bell-krater" dark gray granite from the Canopus of Hadrian's Villa</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Fragment of capital bell-shaped" in marble first century AD</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">stanzette terrenE</span></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Small rooms on the ground floor</span></i></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Epigraphic monuments, portraits and sarcophagi in three small rooms accessible from the Atrium through one door</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Fragments of Roman calendars" that Caesar defined with 365 days</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Minor Fasti" lists of magistrates</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Portrait of a member of the Julio-Claudian family" maybe Germanicus or his father Drusus Major</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Two male portraits" of the fourth century A D</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Huge and significant <a href="http://foto.museiincomuneroma.it/watermark.php?i=2724"><span style="color: #021eaa; letter-spacing: 0px;">"Attic Sarcophagus with scenes from the life of Achilles"</span></a></span><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"> </span><span style="letter-spacing: 0.0px;">with representations on the four sides dating to the early third century AD. It was found in 1582 or just before near the Monte del Grano between Via Tuscolana and Via Labicana. The quality and beauty of the relief are amazing</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Altar-urn of the builder, Titus Statilius Aper" with writing tools first century AD from the Janiculum Hill</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Funerary relief with three characters" early first century AD</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Base with labors of Hercules" first imperial age</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Aebutii family's funerary stele with measuring instruments" in travertine first century AD</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Cippus of Vettius Agorius Praetextatus" and his wife Fabia Paulina Aconia. He was a prefect of the fourth century AD, one of the last politicians who sought to protect and preserve the ancient Roman religion from the advance of Christianity. He was a priest and started several cults, as well as a scholar of literature and philosophy</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">SCALONE</span></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Staircase</span></i></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Front of a sarcophagus with lion hunt" third century AD from the Appian Way</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8654%20-%202008-10-07%20at%2016-05-36/DSCF8654%20-%202008-10-07%20at%2016-05-36.jpg?disposition=download">"Fragment of a sarcophagus with lion and antelope"</a></span><span style="letter-spacing: 0.0px;"> in Pentelic marble of the late imperial period. The muzzle of the lion is represented schematically with expressionistically and artificially ferocious expression, but the ribs of the feline are realistically visible</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/Musei%20Capitolini%20DSC_3624/Musei%20Capitolini%20DSC_3624.jpg?disposition=download">"Statue of a priest in the act of bringing a vessel"</a></span><span style="letter-spacing: 0.0px;"> with a not relevant female head copy of a Hellenistic original from Hadrian's Villa at Tivoli. The drapery is rendered in an exquisite and extraordinarily realistic way</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">GALLERIA</span></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Gallery</span></i></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">More than a hundred statues displayed according to a mostly ornamental taste. The arrangement of the works is roughly the one concocted in 1734 with great erudition by the Marchese Alessandro Capponi at the behest of Pope Clement XII</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Hundreds of small walled inscriptions in the walls, coming largely from the columbarium of the slaves and freedmen of Livia on the Appian Way</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8656%20-%202008-10-07%20at%2016-06-20/DSCF8656%20-%202008-10-07%20at%2016-06-20.jpg?disposition=download">"Colossal statue of Hercules"</a></span><span style="letter-spacing: 0.0px;"> second century AD copy from the original by Lysippus (about 370/300 a.C.) of the fourth century BC from S. Agnes' Basilica restored by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Alessandro Algardi </span><span style="letter-spacing: 0.0px;">(1598/1654) who probably changed the statue so that it was transformed from a Hercules Taming the Deer to a more dramatic Hercules and the Hydra. Lysippus had represented in sculpture all the labors of Hercules</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Calyx krater" from the tomb of Cecilia Metella, decorated with an elegant plant motif, resting on a well-head decorated in relief with figures of the twelve gods</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8665%20-%202008-10-07%20at%2016-08-04/DSCF8665%20-%202008-10-07%20at%2016-08-04.jpg?disposition=download">"Statuette of Herakles boy strangling the snakes"</a></span><span style="letter-spacing: 0.0px;"> second half of the second century AD maybe portrait of Caracalla, or of Annius Vero, son of Marcus Aurelius</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Antinous" Hadrian period (117/138)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Paris" from an original of the fourth century BC</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Faustina Minor" 161/170</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/Musei%20Capitolini%20DSC_3627/Musei%20Capitolini%20DSC_3627.jpg?disposition=download">"Roman aristocratic woman depicted as Venus"</a></span><span style="letter-spacing: 0.0px;"> second half of the first century AD from Porta S. Sebastiano</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8663%20-%202008-10-07%20at%2016-07-42/DSCF8663%20-%202008-10-07%20at%2016-07-42.jpg?disposition=download">"Roman Matron with son"</a></span><span style="letter-spacing: 0.0px;"> first century AD from the Vatican</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Marsyas" from an Hellenistic original</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8661%20-%202008-10-07%20at%2016-07-16/DSCF8661%20-%202008-10-07%20at%2016-07-16.jpg?disposition=download">"Statue of a wounded warrior"</a></span><span style="letter-spacing: 0.0px;"> from the 460 BC original "Discus Thrower" by Myron of Eleutere (about 500/440 BC). Only the torso is ancient copy of the Discus Thrower: the modern parts have been added by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pierre-Étienne Monnot</span><span style="letter-spacing: 0.0px;"> (1657/1733) who wanted to turn it into a wounded warrior to be a counterpart of the Dying Gaul</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8659%20-%202008-10-07%20at%2016-06-54/DSCF8659%20-%202008-10-07%20at%2016-06-54.jpg?disposition=download">"Leda and the Swan"</a></span><span style="letter-spacing: 0.0px;"> greek marble copy of the Hadrian's period from an original of the fourth century BC. by Timotheos. Zeus transformed himself into a swan to have sex with Leda and from the unlikely union the twins Castor and Pollux and Helen of Troy were born...yes, from eggs! The theme inspired many painters, from Leonardo da Vinci to Correggio, from François Boucher to Paul Cezanne, from Henri Matisse to Salvador Dali</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8658%20-%202008-10-07%20at%2016-06-44/DSCF8658%20-%202008-10-07%20at%2016-06-44.jpg?disposition=download">"Eros stringing the bow"</a></span><span style="letter-spacing: 0.0px;"> in Parian marble, copy of the first century AD from an original of the fourth century BC by the great Lysippus (about 370/300 a.C.) for the sanctuary of Eros Thespiae in Boeotia. This is one of the best copies among the many existing</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Along with Praxiteles and Skopas, Lysippus (about 370/300 BC) is one of the artists who best interpreted the crisis of traditional values on which the Greek civilization was based until then, as a result of the dramatic events made by the prolonged Peloponnesian War, the attempt to abolish the democratic government by the Thirty Tyrants, the affirmation of the supremacy of Macedonia after the Athenian defeat at the battle of Chaeronea in the year 338. As one can easily understand, artistic expression, in its various forms, could not help but acknowledge the tensions of the historical moment and give them visible form in a modulation characterized by the centrality of the human figure in motion, rather than the static harmony of forms typical of the previous period" (Marinella Testori)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Statue of <a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8662%20-%202008-10-07%20at%2016-07-28/DSCF8662%20-%202008-10-07%20at%2016-07-28.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Old drunk woman"</span></a> from original by Myron of Thebes the Younger third century BC. It was found in 1620 in the Basilica of St. Agnes. The stark realism of the representation is typical of the interest of Hellenistic art for the most distant aspects from the ideal of classical beauty and for the reality of every day life</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Monumental sarcophagus with scenes of Amazons" second century AD, topped by a "Head of Dionysus"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Head of Apollo" from original of the fourth century BC</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Head of a goddess" maybe a Hellenistic original, with sunken eyes that were to be made of precious stones as it was typical of many ancient statues</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8677%20-%202008-10-07%20at%2016-17-58/DSCF8677%20-%202008-10-07%20at%2016-17-58.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">sala delle colombe</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Room of the Doves</span></i></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In the center <a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8685%20-%202008-10-07%20at%2016-19-34/DSCF8685%20-%202008-10-07%20at%2016-19-34.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Statue of a Young Girl with Dove"</span></a> second century AD from a Hellenistic bronze original of about 240/220 BC</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"In the base at the binding of the body and the head of the snake, added that in 1800s, there was originally a small pet (a cat or perhaps more likely a dog). The Capitoline statue has lost its original funeral or votive connotation represented by the theme, to clothe a playful and light one like other genre compositions produced during the middle and late Hellenistic period involving children or youths" (Francesco Paolo Arata)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The young girl with dove is on the <a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8677%20-%202008-10-07%20at%2016-17-58/DSCF8677%20-%202008-10-07%20at%2016-17-58.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Capitoline Tripod with three griffins sitting" </span></a>second century AD in Luni marble (Carrara) from Hadrian's Villa in Tivoli</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">On the shelves about 80 portraits of public and private figures including:</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Portrait of a woman with curly hair" early third century AD</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Head of Isis" mid-second century AD on a bust not relevant. On the head there is a high <i>kalathos</i> empty inside, and decorated with a crescent moon</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Female portrait" of mid Antonine age during which this kind of hairstyle with parted waves, a large central parting and knots at the temples was very fashionable. Perhaps it is the portrait of a sister of Lucius Verus or of his wife Lucilla</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Double herm of Hermes and Athena" second century AD in marble of Luni</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Votive <i>Oscillum</i> with footprint" end of the first or early second century AD found in the Campitelli district. There is an engraved dedication to Isis Frugifera</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The <i>Oscilla </i>(swings) were hung as a votive offering on trees during some festivals such as <i>Sementivae Faeriae</i> (sowing parties), or <i>Paganalia</i>, parties of the <i>pagi </i>(rural villages), especially in honor of Bacchus. Since they used to swing in the wind, from the name of these objects the Latin verb <i>oscillare </i>derived, from which in turn the Italian word with the same meaning derived</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">On the right "Sarcophagus with the myth of Prometheus" third century AD from the area of Porta S. Pancrazio and <a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/02102007274/02102007274.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Sarcophagus of Geronte with the myth of Endymion and Silene"</span></a> first half of the second century AD from the area of Porta Ostiense. The large sarcophagus front inserted in the wall opposite the entrance with Triumph of Bacchus is only a cast of the original stolen by Napoleon</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Embedded in the wall:</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8680%20-%202008-10-07%20at%2016-18-28/DSCF8680%20-%202008-10-07%20at%2016-18-28.jpg?disposition=download">"Mosaic of the Doves"</a></span><span style="letter-spacing: 0.0px;"> early second century AD found in 1737 in Hadrian's Villa in Tivoli. It was an <i>èmblema </i>(central part of the mosaic floors) maybe copy from Sosos mosaic artist working in Pergamum in the second century BC</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8682%20-%202008-10-07%20at%2016-19-02/DSCF8682%20-%202008-10-07%20at%2016-19-02.jpg?disposition=download">"Mosaic of the scenic masks"</a></span><span style="letter-spacing: 0.0px;"><b> </b><i>èmblema </i>of the second century AD from the area of the Baths of Decius near S. Prisca</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Display with important inscriptions:</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8689%20-%202008-10-07%20at%2016-20-28/DSCF8689%20-%202008-10-07%20at%2016-20-28.jpg?disposition=download">"Iliac Tabula"</a></span><span style="letter-spacing: 0.0px;"> first century AD marble bas-relief with scenes from the Iliad</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8690%20-%202008-10-07%20at%2016-21-02/DSCF8690%20-%202008-10-07%20at%2016-21-02.jpg?disposition=download">"Bronze Tabula of the Fabri Guild of Sentinum"</a></span><span style="letter-spacing: 0.0px;"> third century AD that assigns the title of patron to Coretius Fuscus</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Bronze inscription with a dedication to Septimius Severus (193/211) from the fire brigade of the Fourth Cohort" 203 from the Aventine Hill</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Senatusconsultum about Asclepiades of Klazomenai and allies" 78 BC the oldest remain of a bronze decree of the senate almost entirely preserved</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8688%20-%202008-10-07%20at%2016-20-18/DSCF8688%20-%202008-10-07%20at%2016-20-18.jpg?disposition=download">"Decree of Pompey Strabo"</a></span><span style="letter-spacing: 0.0px;"> 90/89 BC with bilingual text, Latin and Greek, with which Roman citizenship was granted to the Hispanics knights who had served for the Romans in Ascoli</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">GABINETTO DELLA VENERE</span></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Cabinet of the Venus</span></i></b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/Musei%20Capitolini%20DSC_3631/Musei%20Capitolini%20DSC_3631.jpg?disposition=download">"Capitoline Venus"</a></span><span style="letter-spacing: 0.0px;"><b> </b>about 250/150 BC in Parian marble, found in the years 1667/70 in the area of S. Vitale on Via Nazionale, maybe one of the earliest and most faithful copies of what it is called the "Capitoline type" inspired to the Cnydia Aphrodite that Praxiteles (about 395/326 AD) sculpted in about 360 BC for the Temple of Aphrodite at Cnidus</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In the world there are about one hundred replicas of this kind of statue</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Among the American visitors, one who was greatly impressed was Mark Twain, who admired her so much in the Capitoline Museums in 1867 to devote to her a story called <i>The Capitoline Venus</i>. It is likely that the writer already knew the Venus from a photo of the statue that had appeared in the novel <i>The Marble Fawn</i> published in 1860 by Nathaniel Hawthorne</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">sala degli imperatori</span></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Room of the Emperors</span></i></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In the walls eight ancient reliefs, including "Perseus freeing Andromeda" and "Sleeping Endymion" from Hadrian's period</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">67 portraits of emperors and relatives arranged in chronological order including:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8695%20-%202008-10-07%20at%2016-27-08/DSCF8695%20-%202008-10-07%20at%2016-27-08.jpg?disposition=download">"Young Augustus"</a></span><span style="letter-spacing: 0.0px;"> (27 BC/14 AD) of the Actium type and <a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8696%20-%202008-10-07%20at%2016-27-16/DSCF8696%20-%202008-10-07%20at%2016-27-16.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Augustus in full maturity"</span></a> crowned with a wreath of oak</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8697%20-%202008-10-07%20at%2016-27-26/DSCF8697%20-%202008-10-07%20at%2016-27-26.jpg?disposition=download">"Livia"</a></span><span style="letter-spacing: 0.0px;"> wife of Augustus represented as Ceres</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8698%20-%202008-10-07%20at%2016-28-24/DSCF8698%20-%202008-10-07%20at%2016-28-24.jpg?disposition=download">"Agrippina Senior"</a></span><span style="letter-spacing: 0.0px;"> daughter of Agrippa and Julia who was Augustus' daughter</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8699%20-%202008-10-07%20at%2016-28-36/DSCF8699%20-%202008-10-07%20at%2016-28-36.jpg?disposition=download">"Young Nero"</a></span><span style="letter-spacing: 0.0px;"> (54/68) and "Adult Nero" restored</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8701%20-%202008-10-07%20at%2016-29-54/DSCF8701%20-%202008-10-07%20at%2016-29-54.jpg?disposition=download">"Vespasian"</a></span><span style="letter-spacing: 0.0px;"> (69/79), his son <a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8702%20-%202008-10-07%20at%2016-30-00/DSCF8702%20-%202008-10-07%20at%2016-30-00.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Titus"</span></a> (79/81) and his daughter "Julia"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8703%20-%202008-10-07%20at%2016-30-20/DSCF8703%20-%202008-10-07%20at%2016-30-20.jpg?disposition=download">"Nerva"</a></span><span style="letter-spacing: 0.0px;"> (68/69)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8704%20-%202008-10-07%20at%2016-30-26/DSCF8704%20-%202008-10-07%20at%2016-30-26.jpg?disposition=download">"Trajan"</a></span><span style="letter-spacing: 0.0px;"> (98/117) and his wife <a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8705%20-%202008-10-07%20at%2016-30-46/DSCF8705%20-%202008-10-07%20at%2016-30-46.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Plotina"</span></a></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It is evident the transition from classical composure and idealization of the first imperial period to the definition of the characters in a more individualized and realistic way at the beginning of the second century AD</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/Musei%20Capitolini%20DSC_3637/Musei%20Capitolini%20DSC_3637.jpg?disposition=download">"Flavian Lady"</a></span><span style="letter-spacing: 0.0px;"> early second century AD, found in the area of S. Stefano Rotondo, so-called "Bust Fonseca" because it had been donated by Father Giuseppe Fonseca to Benedict XIV Lambertini (1740/58)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Probably one of the craziest hairstyles of all time. It is an extraordinary masterpiece of ancient sculpture, both for the expressive power of the face as well as for for technical expertise in reproducing the incredible hair style</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8706%20-%202008-10-07%20at%2016-30-52/DSCF8706%20-%202008-10-07%20at%2016-30-52.jpg?disposition=download">"Adrian"</a></span><span style="letter-spacing: 0.0px;"> (117/138) and mother-in-law <a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8705%20-%202008-10-07%20at%2016-30-46/DSCF8705%20-%202008-10-07%20at%2016-30-46.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Matidia"</span></a> about 147/148 from Villa Adriana in Tivoli, with curious hairdo</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Hadrian had deified Matidia and had dedicated her a temple, an extraordinary and curious example of love from a son to a mother-in-law, especially considering the fact that Hadrian openly betrayed his wife Sabina, daughter of Matidia, with the handsome turkish boy Antinous. Hadrian was the first emperor who grew a beard, perhaps for his appreciation of the bearded Greek philosophers</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/02102007245/02102007245.jpg?disposition=download">"Antoninus Pius"</a></span><span style="letter-spacing: 0.0px;"> (138/161) and his wife "Faustina the Elder"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8709%20-%202008-10-07%20at%2016-34-10/DSCF8709%20-%202008-10-07%20at%2016-34-10.jpg?disposition=download">"Marcus Aurelius"</a></span><span style="letter-spacing: 0.0px;"> (161/180) and his wife "Young Faustina Minor" about 147/148</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8708%20-%202008-10-07%20at%2016-34-02/DSCF8708%20-%202008-10-07%20at%2016-34-02.jpg?disposition=download">"Lucius Verus"</a></span><span style="color: black; letter-spacing: 0.0px;"> (161/166)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Commodus" (180/192)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8707%20-%202008-10-07%20at%2016-33-54/DSCF8707%20-%202008-10-07%20at%2016-33-54.jpg?disposition=download">"Septimius Severus"</a></span><span style="letter-spacing: 0.0px;"> (193/211) about 200/210, his wife "Julia Domna" and his sons "Geta" and <a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8712%20-%202008-10-07%20at%2016-35-48/DSCF8712%20-%202008-10-07%20at%2016-35-48.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Caracalla"</span></a> (211/217)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/Musei%20Capitolini%20DSC_3638/Musei%20Capitolini%20DSC_3638.jpg?disposition=download">"Elagabalus"</a></span><span style="letter-spacing: 0.0px;"> (218/222) about 221</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8719%20-%202008-10-07%20at%2016-37-40/DSCF8719%20-%202008-10-07%20at%2016-37-40.jpg?disposition=download">"Maximinus Thrax"</a></span><span style="color: black; letter-spacing: 0.0px;"> (235/238)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8721%20-%202008-10-07%20at%2016-38-12/DSCF8721%20-%202008-10-07%20at%2016-38-12.jpg?disposition=download">"Decius"</a></span><span style="letter-spacing: 0.0px;"><b> </b>(249/251)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Stylistically, the work stands in the tradition of late Severian portraiture that will be followed until Gallienus' (253/268) time, in spite of being affected by the new expressionistic trends (in the lengthening of the face marked by wrinkles) and in spite of tending to the formal breakup that will be typical the end of the century" (Simona Fortunelli - TMG)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Gallienus" (253/268)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8723%20-%202008-10-07%20at%2016-38-36/DSCF8723%20-%202008-10-07%20at%2016-38-36.jpg?disposition=download">"Probus"</a></span><span style="letter-spacing: 0.0px;"> (276/282)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Diocletian" (284/305)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8724%20-%202008-10-07%20at%2016-38-44/DSCF8724%20-%202008-10-07%20at%2016-38-44.jpg?disposition=download">"Honorius"</a></span><span style="letter-spacing: 0.0px;"> (395/423), son of Theodosius</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">At the center of the room there is the <a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8725%20-%202008-10-07%20at%2016-39-00/DSCF8725%20-%202008-10-07%20at%2016-39-00.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Statue of Helena sitting"</span></a>, mother of Constantine, depicted in a classical model created by Phidias for an image of Aphrodite</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">sala dei filosofi</span></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Room of the Philosophers</span></i></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In the walls important ancient reliefs including "Front of a sarcophagus with the transportation of the body of Meleager" a source of inspiration for the creation of Raphael's "Deposition" kept in the Galleria Borghese</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">76 portraits of philosophers:</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Many of those identified are purely reconstructive, having been made much later than the lifetimes of the characters portrayed</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Herm of Euripides"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Numerous portraits of <a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/02102007265/02102007265.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Homer"</span></a></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/02102007264/02102007264.jpg?disposition=download">"Herm of Socrates"</a></span><span style="letter-spacing: 0.0px;"> replica of the so-called type B, a posthumous portrait probably copy on the famous bronze statue by Lysippus (about 370/300 a.C.) erected in Athens</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8736%20-%202008-10-07%20at%2016-44-02/DSCF8736%20-%202008-10-07%20at%2016-44-02.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Herm of Pythagoras"</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Maybe <a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8735%20-%202008-10-07%20at%2016-43-46/DSCF8735%20-%202008-10-07%20at%2016-43-46.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Cicero"</span></a> Augustan copy of an original of the years 60/50 BC in Greek marble on a modern bust. It is a portraitknown in at least seven replicates</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Double herm of Epicurus and Metrodorus" teacher and student of early second century AD from the original of about 270 BC. It was found in the portico of S. Maria Maggiore</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">At the center of the room <a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/Musei%20Capitolini%20DSC_3639/Musei%20Capitolini%20DSC_3639.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Statue of a philosopher"</span></a> with head taken from a different statue</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">salone</span></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Main Hall</span></i></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Decoration of the original walls and coffered ceiling in gilt wood of the seventeenth century with central coat of arms of Innocent X Pamphili (1644/55) patron of the completion of the building</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Recent renovations have restored the colors of surfaces, highlighting the richness of composition</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">portal by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Barigioni</span><span style="letter-spacing: 0.0px;"> (about 1690/1753) as an arc, with two beautifully made winged Victories</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">At the center of the hall five colored marble statues:</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Two outstanding <a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8740%20-%202008-10-07%20at%2016-44-58/DSCF8740%20-%202008-10-07%20at%2016-44-58.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Centaurs"</span></a> by the Academy of Hadrian's Villa at Tivoli in gray morato marble from Laconia (Greece), signed by Greek artists </span><span style="color: #ff2600; letter-spacing: 0.0px;">Aristeas</span><span style="letter-spacing: 0.0px;"> and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Papias</span><span style="letter-spacing: 0.0px;"> of Aphrodisias in Caria (modern Turkey)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8738%20-%202008-10-07%20at%2016-44-30/DSCF8738%20-%202008-10-07%20at%2016-44-30.jpg?disposition=download">"Zeus"<span style="letter-spacing: 0.0px;"> and </span><span style="letter-spacing: 0px;">"Aslepio"</span></a></span><span style="letter-spacing: 0.0px;"> in gray morato marble of the Hadrian's period from the original of the fourth century BC. They were found in the Villa of Nero at Anzio</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8755%20-%202008-10-07%20at%2016-48-50/DSCF8755%20-%202008-10-07%20at%2016-48-50.jpg?disposition=download">"Hercules Child"</a></span><span style="letter-spacing: 0.0px;"> in green basalt from the Aventine Hill</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"The god is depicted still as a child (...). He has the left hand open and facing up, with the apples of the Hesperides (...). The type of marble, very hard, makes its working very dry: the muscles are well marked (abdomen or thighs), but overall volumes remain flat and bloodless" (Annalisa Lo Monaco)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In the walls:</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Shelves with busts of emperors and private people, including "Hadrian" Luni marble from Hadrian's Villa</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">By the walls:</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8743%20-%202008-10-07%20at%2016-45-58/DSCF8743%20-%202008-10-07%20at%2016-45-58.jpg?disposition=download">"Omphalos Apollo"</a></span><span style="letter-spacing: 0.0px;"> from the original by Kalamis of the years 480/460 BC. In one of the most intact copies stored in Athens there is the omphalos, or rock covered by network, worshiped at Delphi</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Both the face of the god, with a benevolent expression, and his hair style braided tight around the head, are elements that indicate the transition from the Severe style to the Classic style" (Capitoline Museums Guide)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8747%20-%202008-10-07%20at%2016-46-48/DSCF8747%20-%202008-10-07%20at%2016-46-48.jpg?disposition=download">"Apollo of the Kassel type"</a></span><span style="letter-spacing: 0.0px;"> early second century AD in Pentelic marble, from the famous original by Phidias (about 490/430 BC), the Apollo Kassel</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"In the hands were originally a bow and arrows (left hand) and a sprig of laurel (in the right hand). The work is known to us in more than a dozen replies. The head is ancient, but probably not applicable: in the original version, it was not set to the front, but once on the right, just tilted down" (The Annalisa Monaco)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/02102007270/02102007270.jpg?disposition=download">"Statue of Hadrian as Mars"</a></span><span style="letter-spacing: 0.0px;"> about 120 AD in Pentelic marble from Ceprano</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8745%20-%202008-10-07%20at%2016-46-22/DSCF8745%20-%202008-10-07%20at%2016-46-22.jpg?disposition=download">"Hunter standing with a hare in his hands"</a></span><span style="letter-spacing: 0.0px;"> about 250 in Greek marble found in 1747 in the area of the Porta Latina (Latin Gate)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Overall it is a pastiche of the third century AD: the portrait is of a character in the second century, typical of the time of Gallienus; the body is a copy of a Greek original of the mid fifth century BC representing Perseus in the act of raising the head of Medusa" (Capitoline Museums Guide)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8750%20-%202008-10-07%20at%2016-47-28/DSCF8750%20-%202008-10-07%20at%2016-47-28.jpg?disposition=download">"Wounded Amazon"</a></span><span style="letter-spacing: 0.0px;"> signed by the copyist </span><span style="color: #ff2600; letter-spacing: 0.0px;">Sosikles</span><span style="letter-spacing: 0.0px;"> from an original of the fifth century BC by Polykleitos of Argos (about 490/425 BC). It is also known as <i>Amazon of the Sosikles Type</i> or <i>Amazon of the Capitoline Type</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Wounded Amazon" of the early imperial age in Greek marble from the original by Cresyl, found at Villa d'Este in Tivoli</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Female Statue" about 200 AD, of the type known as Modesty of the early Severian period in marble of Luni. Characteristic hairdo due to Julia Domna the wife of Septimius Severus (193/211)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8748%20-%202008-10-07%20at%2016-47-00/DSCF8748%20-%202008-10-07%20at%2016-47-00.jpg?disposition=download">"Pothos"</a></span><span style="letter-spacing: 0.0px;"> restored as Apollo Citharoedus, reworking of the Pothos by Skopas and of the Apollo Liceus by Praxiteles (about 395/326 AD) of the fourth century BC in Pentelic marble and in marble of Luni (Carrara), found in the gardens of the Quirinal Palace. The revision is attributed to the attic sculptor </span><span style="color: #ff2600; letter-spacing: 0.0px;">Timarchides </span><span style="letter-spacing: 0.0px;">who lived in the first half of the second century BC, founder of a family of sculptors active throughout the second century BC</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8743%20-%202008-10-07%20at%2016-45-58/DSCF8743%20-%202008-10-07%20at%2016-45-58.jpg?disposition=download">"Elderly woman"</a></span><span style="letter-spacing: 0.0px;"> of the early imperial period in Parian marble from original of the Hellenistic period</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"The portrayal of older people was a source of a much loved genre in the Hellenistic age: this figure was likely to be part of a composite group, as it seems to be deduced from the gestures of the woman, turned to her right in an attitude of surprise and evident concern for the scene that had to be happening near her" (Annalisa Lo Monaco)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/Musei%20Capitolini%20DSC_3641/Musei%20Capitolini%20DSC_3641.jpg?disposition=download">"Harpocrates"</a></span><span style="letter-spacing: 0.0px;"> the son of Isis and Osiris in marble of Luni from one of the rooms of the substructures of the Pecile in Hadrian's Villa</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"The young god is depicted entirely naked, with the characteristic gesture of the index finger to his lips to indicate silence. It is possible that this is a gesture that alludes to the secret and mystic nature of Isis' religion, whose contents could not be detected except to affiliates. (...) In his left hand, just apart from the body, there is a horn. (...) On his hair, on top of a small tuft on the forehead, a lotus flower rises vertically" (Annalisa Lo Monaco)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Imperial couple <a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8751%20-%202008-10-07%20at%2016-47-46/DSCF8751%20-%202008-10-07%20at%2016-47-46.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Marcus Aurelius and Faustina Minor"</span></a>, immortalized as Mars and Venus. It was found in 1750 on the Isola Sacra at the mouth of the Tiber</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"In the composition the selected models are of great prestige: the so-called Ares Borghese for Marcus Aurelius and the Aphrodite of Capua for Faustina. It is possible that the group has been created for the wedding of Marcus Aurelius and Faustina Minor, occurred in 145 AD" (Annalisa Lo Monaco)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Statue of Athena" in marble of Luni, Parian and Pentelic, from original Athena Parthenos of the fifth century BC by Phidias (about 490/430 BC). It was found at Anzio. The shield has been restored and the head is ancient but not relevant</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8749%20-%202008-10-07%20at%2016-47-16/DSCF8749%20-%202008-10-07%20at%2016-47-16.jpg?disposition=download">"Portrait of Marcus Aurelius"</a></span><span style="letter-spacing: 0.0px;"> on a not relevant loricate statue, about 161</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Portrait of Marcus Aurelius, of the so-called 'type III', recognizable by particular hair curls on the forehead. The portrait, which shows the face of the emperor almost lifeless and inanimate (thick upper eyelid, arched eyebrows), must have been developed over the years between 160 and 161. He is currently mounted on an earlier loricate statue, dating from the early imperial age, decorated with a motif of winged Victories in the act of holding a trophy" (Annalisa Lo Monaco)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Male statue with not relevant head of Augustus" about 15 AD in Greek marble</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Young Satyr" in Pentelic marble from the original attributed to Praxiteles (about 395/326 AD). It was found in 1701 in the so-called Villa of Antoninus Pius in Lanuvio</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">sala del fauno</span></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Room of the Faun</span></i></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In the walls a section of brick stamps and collections of inscriptions were inserted in the eighteenth century, framed in panels, including the famous bronze table with the second part of the <a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/Musei%20Capitolini%20DSC_3644/Musei%20Capitolini%20DSC_3644.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Lex de imperio Vespasiani"</span></a> 69/70 AD</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It was an extremely important document with which the Senate gave the power to the emperor Vespasian (69/79). The text was not inscribed, but it was cast with the table</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It was discovered in 1347 by Cola di Rienzo (1313/1354), the agitator of the Roman people, when it was used as an upside altarpiece in the Basilica of St. John in Lateran. It was made public by him, and inserted into a wall of the Basilica itself at the center of a fresco depicting the Roman Senate. He translated it then publicly misrepresenting the contents, making it appear that only the Roman people could give power to the emperor. It was moved to the Capitoline Museum in 1576</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"If the principate of Augustus is a peculiar and difficult trade-off between different factors constituting the Roman power, Vespasian's principate marks, compared to Augustus', a moment of final consolidation that turns a balance still 'in progress' in what we call 'an institution'. And it changes profoundly its appearance affecting the social morphology of the Empire, so to ensure to it further extraordinary vitality. It is in this context that the Lex de Imperio appears: both a synthesis and a conclusion of a project constructed piece by piece by Augustus himself and consolidated by his successors. And yet it had shown its recurring weakness - highlighting the never resolved dualism between military and civil order - just in the repeated crises occurred during that time. Just until that most bloody year when several legitimate aspirants to the Empire had entrusted to the fate of arms the ultimate decision of the conflict. But, once again, especially after this crisis, the conflict found in the legal form of the Lex de Imperio the necessary solution" (Luigi Capogrossi Colognesi )</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">At the center <a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/02102007276/02102007276.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Faun"</span></a> in rosso antico<i> </i>(antique red) marble of the early second century AD from an original of the late Hellenistic period. It was found as a torso in Hadrian's Villa in 1736. In 1744, twenty-five more fragments were found and assembled by Clemente Bianchi and Bartolomeo Cavaceppi. It was placed at the center of the hall in 1817 and since then it gave the room its name</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Numerous additions in red garnet marble, with evident gray veins, did not alter the structure or the ancient figure. The sculpture attracted the admiration of travelers and cataloguers of the museum since 1746 when it was purchased for the Capitoline collections. (...) The idea of the movement is exceptionally transmitted by both the slight rotation to the right, and the muscles showing a very contracted mass along the back and buttocks, placed on oblique planes" (Capitoline Museums Guide)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8760%20-%202008-10-07%20at%2016-53-58/DSCF8760%20-%202008-10-07%20at%2016-53-58.jpg?disposition=download">"Statue of a child with mask"</a></span><span style="letter-spacing: 0.0px;"> decorative work intended for displays of fountains and nymphea, from an original of the second or first century BC. There is a beautiful contrast between the rough surface of the mask of a satyr and the glossy softness of the baby's skin</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/02102007273/02102007273.jpg?disposition=download">"Statue of a child strangling a goose"</a></span><span style="letter-spacing: 0.0px;"> of mid imperial period from the original attributed to Boethos sculptor from Rhodes, according to a passage of Pliny</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Sarcophagus with the myth of Endymion" second or third century AD, found under the altar of the church of St. Eustace. The cover is not relevant and dates to the second century AD</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Sarcophagus with the Calydonian boar hunt" end of the second century AD</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8758%20-%202008-10-07%20at%2016-53-04/DSCF8758%20-%202008-10-07%20at%2016-53-04.jpg?disposition=download">"Female Bust"</a></span><span style="letter-spacing: 0.0px;"> about 140/150 AD</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Head of Hercules" first century AD in marble of Luni (Carrara)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Bust of Pithodoris" of the Hadrian's period in marble of Luni from the gardens of Villa Aldobrandini</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">sala del gladiatore</span></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Room of the Gladiator</span></i></b></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The last room of the oldest museum in the world is also one of the most important, with some of the greatest masterpieces of ancient sculpture:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8762%20-%202008-10-07%20at%2016-54-38/DSCF8762%20-%202008-10-07%20at%2016-54-38.jpg?disposition=download">"Dying Gaul"</a></span><span style="letter-spacing: 0.0px;"> copy of the first century BC of a group of votive sculptures in bronze (donarium or votive offering) maybe by Epigonus dedicated at Pergamum by Attalus I (241/197 BC) for the victories over the Galatians between the third and second century BC. It was found in about 1623 in the gardens of Sallust in Rome along with <i>The</i> <i>Galatian Suicide</i> and maybe it belonged to Julius Caesar</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Professor Filippo Coarelli believes that Caesar, with the placement of this votive offering in his private residence, wanted to commemorate and glorify his victories against the Gauls of the year 58/51 BC. Coarelli also identified it as belonging to the same group of <i>The</i> <i>Galatian Suicide</i>, now in the Altemps Palace, considering the similarities between the two bases</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Other scholars see it as an original from Pergamum. It was initially incorrectly identified as a gladiator, it gave that name to the room and it was always one of the most admired sculptures of the entire museum</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8767%20-%202008-10-07%20at%2016-56-14/DSCF8767%20-%202008-10-07%20at%2016-56-14.jpg?disposition=download">"Hermes"</a></span><span style="letter-spacing: 0.0px;"> about 130/150 AD in marble of Luni. It was found at Hadrian's Villa and is also known as the <i>Capitoline Antinous</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"A certain air of melancholy that is primarily seen in the look in his face led to believe that this was a representation of Antinous, considering it was found in Villa Adriana: however, the face does not seem to show a specific intent of portraiture, so it seems preferable to consider it a representation of Hermes as a youth" (Annalisa Lo Monaco)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8765%20-%202008-10-07%20at%2016-55-12/DSCF8765%20-%202008-10-07%20at%2016-55-12.jpg?disposition=download">"Wounded Amazon"</a></span><span style="letter-spacing: 0.0px;"> aka <i>Amazon Mattei Type</i> from the original by Phidias (about 490/430 BC), created on the occasion of an art contest among the most famous sculptors of the time for the Sanctuary of Artemis at Ephesus. The head is a copy of the Amazon of Polykleitos of Argos (about 490/425 BC) and it was added after 1775. The body was found in the Villa D'Este in Tivoli and it was heavily restored by Bartolomeo Cavaceppi</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Maiden crowned with flowers" so-called Flora of the Hadrian's period in marble from Luni, found in the Pecile of Hadrian's Villa. The identification as Flora is due to the crown of flowers which was in fact sculpted by the restorers. The correct identification is still debated</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8768%20-%202008-10-07%20at%2016-56-32/DSCF8768%20-%202008-10-07%20at%2016-56-32.jpg?disposition=download">"Isis"</a></span><span style="letter-spacing: 0.0px;"> of Hadrian's period in marble from Luni, found in the Pecile of Hadrian's Villa. In the right hand she holds a jug sculpted by the restorers and in the left she has the sistrum, a musical instrument sacred to Isis</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">So-called <a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8762%20-%202008-10-07%20at%2016-54-38/DSCF8762%20-%202008-10-07%20at%2016-54-38.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Juno Cesi"</span></a> second quarter of the second century BC from the Cesi collection, a very important Hellenistic original work in Greek marble. It was formerly preserved in the Palazzo Cesi in Via della Conciliazione</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"The high quality of the work, an original of the Pergamum school, it is evident in the rendering of the volume of the chiton's folds on the breasts: the folds almost disappear in a glossy porcelain effect suggesting the soft shapes of the breasts, then thicken in a lively play of light and shade in the treatment of the mantle made out of heavy and dense material. The identification with Juno, already proposed in the early eighteenth century, it is not proven by any certain fact" (Annalisa Lo Monaco)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/02102007284/02102007284.jpg?disposition=download">"Cynic Philosopher"</a></span><span style="letter-spacing: 0.0px;"> about 140/160 AD in Greek marble from an original of the third century BC of the School of Pergamum. It was found in Lanuvio in the area of the ancient Civita Lavinia</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Near his left foot there is a scrinium, the container of scrolls, useful to identify the man as an intellectual. Some details (such as the lack of shoes, the himation as the only piece of clothing and his messy hair) have contributed to identify him as a philosopher of the cynic school" (Annalisa Lo Monaco)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/02102007278/02102007278.jpg?disposition=download">"Apollo with lyre"</a></span><span style="letter-spacing: 0.0px;"> of late Hadrian's period in Greek marble from an original by Praxiteles (about 395/326 AD). It was found in the area of the Acquae Albulae near Tivoli</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Head of a man with helmet" late first or early second century AD in Greek marble from Ardea. The beautiful helmet of Attic type could identify him with a <i>strategos</i> (general) or with Mars</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/02102007283/02102007283.jpg?disposition=download">"Head of Alexander-Helios"</a></span><span style="letter-spacing: 0.0px;"> second century AD in <i>grechetto</i> marble from the original maybe of the third century BC</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"The fact that the head was radiated, as it is attested by the holes on the headband, refers to a representation of Helios (...). The features of the face allow the interpretation of the original as an image of Alexander the Great assimilated to Helios, stylistically attributed to the school of Lysippus; it has also been suggested that it may be a late hellenistic elaboration of the portrait of the Macedonian" (Maria Grazia Picozzi)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Delightful small group <a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/02102007280/02102007280.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Cupid and Psyche"</span></a> about 135/145 from an original of the second century BC, found in the area of S. Balbina on the Aventine Hill</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Palazzo_Nuovo_files/Media/DSCF8763%20-%202008-10-07%20at%2016-54-50/DSCF8763%20-%202008-10-07%20at%2016-54-50.jpg?disposition=download">"Satyr at rest"</a></span><span style="letter-spacing: 0px;"> <i>(Anapauòmenos)</i> of the Hadrian's period in marble from Luni from an original of about 340 BC by Praxiteles (about 395/326 AD). It was found in the Villa d'Este in Tivoli</span></span></div>
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David Macchihttp://www.blogger.com/profile/03680152527192773532noreply@blogger.com1tag:blogger.com,1999:blog-4279535645136556249.post-77024240949103200062011-10-14T10:59:00.004+02:002013-12-12T10:55:04.890+01:00The Basilica of St. Peter in Rome according to David Macchi<div class="p1">
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<b><b><span class="Apple-style-span" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: small; font-weight: normal; line-height: normal;"><a href="http://2.bp.blogspot.com/-i9iScPrS50A/TWqJz2tG_CI/AAAAAAAAAH8/i1DBu7-ZOsc/s1600/Copertina%2BGuida%2Bdi%2BRoma%2Be%2Bprovincia%2Bgen11.jpg" style="color: #333333; font-weight: bold; text-decoration: none;"><br /><span style="border: 1px solid rgb(204, 204, 204); cursor: pointer; float: right; height: 320px; margin-bottom: 10px; margin-left: 10px; padding: 4px; width: 226px;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578422612402830370" src="http://2.bp.blogspot.com/-i9iScPrS50A/TWqJz2tG_CI/AAAAAAAAAH8/i1DBu7-ZOsc/s320/Copertina%2BGuida%2Bdi%2BRoma%2Be%2Bprovincia%2Bgen11.jpg" style="border-bottom-color: rgb(204, 204, 204); border-bottom-style: solid; border-bottom-width: 1px; border-left-color: rgb(204, 204, 204); border-left-style: solid; border-left-width: 1px; border-right-color: rgb(204, 204, 204); border-right-style: solid; border-right-width: 1px; border-top-color: rgb(204, 204, 204); border-top-style: solid; border-top-width: 1px; cursor: pointer; float: right; height: 320px; margin-bottom: 10px; margin-left: 10px; margin-right: 0px; margin-top: 0px; padding-bottom: 4px; padding-left: 4px; padding-right: 4px; padding-top: 4px; width: 226px;" /></span></a></span></b></b></h3>
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<span style="font-size: large;"><b style="letter-spacing: 0px; line-height: normal;"><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative"><b style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">Here's an</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">excerpt</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">from my</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">forthcoming</span> super comprehensive guide <span class="hps atn" title="Fai clic per visualizzare le traduzioni alternative">book about Rome</span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">.</span></span></b></span></span></b><b><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><div style="margin: 0px 0px 1px;">
<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">It will be called ROMAPEDIA.</span></span></b></span><br />
<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative"><br /></span></span></b></span><span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">The first edition was published in Italian as "Guida di Roma e provincia" in 2011 and the new enlarged edition is due to be released in 2014.</span></span></b></span><br />
<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">There will also be an edition in English available.</span></span></b></span></div>
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-weight: normal;"><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">It is</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">a</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">work</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">synthesis</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">and</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">anthology</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of the</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">most authoritative </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">sources</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of facts and </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">reliable information</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">about</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">the art</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">Rome </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">and </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">its Province.</span></span></b></span><br />
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<b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0px;">It is an encyclopedic dictionary with 1,329 entries, including 483 churches, 278 palaces, and 152 museums.</span></span></b></b></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="letter-spacing: 0px;">It also includes a profusion of artistically or historically relevant buildings, monuments, archaeological sites as well as 95 towns in the province of Rome, constituting one of the richest sources of information available in a single book about the art and history of the Eternal City.</span></span></b></b></span></b></b></span></b></b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="letter-spacing: 0px;"><br /></span></span></b></b></span></b></b></span></b></b></span></div>
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">You can <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">check out</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">for free</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">the</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">first</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">63</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">pages</span> of the first edition <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">with this link</span><span class="" title="Fai clic per visualizzare le traduzioni alternative">:</span></span></span></b></span></div>
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="" title="Fai clic per visualizzare le traduzioni alternative"><span class="" title="Fai clic per visualizzare le traduzioni alternative"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="" title="Fai clic per visualizzare le traduzioni alternative"><span class="Apple-style-span" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; line-height: 30px;"><b></b></span></span></span></b></span></span></span></b></span></div>
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<span style="color: #336699; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0px; line-height: 18px; text-decoration: none;"><a href="http://ilmiolibro.kataweb.it/schedalibro.asp?id=571797" style="color: #336699; letter-spacing: 0px; line-height: 18px; text-decoration: none;">http://ilmiolibro.kataweb.it/schedalibro.asp?id=57179</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="line-height: 20px;">My new ROMAPEDIA blog with the most complete encyclopedia about the art and history of Rome and its surroundings is being published. New entries are being added everyday. Here is the link: </span><a href="http://www.romapedia.blogspot.it/" style="color: #336699; line-height: 20px;">romapedia.blogspot.it</a></span></h3>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0px;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio.html"><b>BASILICA S. PIETRO</b><span style="letter-spacing: 0px;"><b></b></span></a></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><b><i>Basilica of St. Peter</i></b></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://maps.google.it/maps?q=41.902245,12.45723">Piazza S. Pietro</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">OLD BASILICA</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">It was begun in the years 319/322, consecrated in the year 326 for the emperor Constantine (306/337) even if it was completed around the year 349</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"The origin of the Vatican basilica is connected to the name of the Emperor Constantine. Though not documented, his role as founder of the building is historically probable, although recently it has been suggested that the patron was his son Constans. This does not in any way affect the basic idea: the link between the tomb of the apostle and the universal power of the Roman emperor of which the building was evidence. Its majesty was such to embody, on its own, the character of source for the legitimacy of a tradition" (Christof Thoenes)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The slope of the hill on which there was the tomb of St. Peter was leveled and walls were built for <i>a massive substructure</i> (the highest wall was 11.50 m - 37.8 feet) to have the exact location of the tomb to coincide with the altar of the Basilica</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">This enormous excavation of the side of the hill could be sufficient evidence to prove that the tomb of St. Peter is actually under the altar, as the architects of Constantine's Basilica could easily have built it on flat land close by</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"The necropolis below the tomb of St. Peter and part of the area originally occupied by the circus were buried. This fact posed difficulties: the tombs were a 'locus religiosus', that is, subject to legal-sacral constraints, and could not safely be demolished or moved. Authorization for the operations could be given, however, by the emperor as supreme pontiff, i.e. the holder of the highest office in the pagan priesthood. In other words, Constantine was able to erect the most famous Christian basilica in Rome only because he was a pagan priest" (Paolo Liverani)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The old basilica was made up of a rectangular hall, about 90 x 60 m (295 x 197 feet), divided into five naves by four rows of twenty-two columns each</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0.0px;">Bernardo Rossellino</span><span style="letter-spacing: 0.0px;"> (1409/64) in 1452 began restructuring the Basilica for Niccolò V Parentucelli (1447/55), but at the beginning of the sixteenth century it was decided to destroy it, since, after 1,000 years, the foundations' work of Constantine's architects began to show signs of strain</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">NEW BASILICA</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Construction began on <i>April 18, 1506</i> with the ceremony of laying the foundation stone during which twelve medals were laid in an earthenware bowl: on one side there was the portrait of Julius II and on the other the image of the Basilica designed by Donato Bramante</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">It was consecrated on <i>November 18, 1626</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>THIRTEEN ARCHITECTS:</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0.0px;">Donato Bramante</span><span style="letter-spacing: 0.0px;"> (1444/1514) for Julius II Della Rovere (1503/13) - <i>8 years 1506/14</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"At the base of Bramante's first project is above all the will to express more fully the philosophical religiousity of humanism. Following the line that leads from Leon Battista Alberti, Giuliano da Sangallo, Leonardo, to himself, the architect from Urbino aims to achieve the organic unity of the building in full correspondence with the harmonic order of the universe, a mirror of divine perfection. The chosen theme, then, is the one beloved by the humanistic culture for its absolute value, the central plan, in which the suggestion of the monuments of classical Rome offers the grand and grandiloquent monumental scale" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0.0px;">Raffaello Sanzio (Raphael)</span><span style="letter-spacing: 0.0px;"> (1483/1520) with </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fra' Giocondo</span><span style="letter-spacing: 0.0px;"> and Giuliano Giamberti aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuliano da Sangallo</span><span style="letter-spacing: 0.0px;"> (1445/1516) - <i>6 years 1514/20</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Antonio Cordini aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Antonio da Sangallo the Younger</span><span style="letter-spacing: 0.0px;"> (1483/1546) with </span><span style="color: #ff2600; letter-spacing: 0.0px;">Baldassarre Peruzzi </span><span style="letter-spacing: 0.0px;">(1481/1536) until 1527 - <i>26 years 1520/46</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"Sangallo had found a compromise solution between the central plan of Bramante and the longitudinal one of Raphael" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0.0px;">Michelangelo Buonarroti</span><span style="letter-spacing: 0.0px;"> (1475/1564) - <i>17 years 1547 /64</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"Michelangelo, echoing the design of Bramante, shrinked the interior of the basilica in a simple and organic unity, which summarized the two geometric generators of the plant, the Greek cross and the square, centering the former on the latter. In addition, to give homogeneity on the outside, he conceived the wall structure with a single giant order using colossal Corinthian pilasters, surmounted by an attic which, running along the perimeter of the building, configured it as a compact mass" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0.0px;">Jacopo Barozzi aka Vignola</span><span style="letter-spacing: 0.0px;"> (1507/73) and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pirro Ligorio</span><span style="letter-spacing: 0.0px;"> (about 1513/83) - <i>9 years 1564/73</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Della Porta</span><span style="letter-spacing: 0.0px;"> (1533/1602) with </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenico Fontana</span><span style="letter-spacing: 0.0px;"> (1543/1607) - <i>33 years 1573/1607 - Della Porta until 1602</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maderno</span><span style="letter-spacing: 0.0px;"> (1556/1629) - <i>22 years 1607/29</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"Carlo Maderno proved himself to be a capable and versatile designer, but his designs were devoid of a proper concept. The period of major projects, all, more or less, tragical failures, was over, and Maderno set out to finish the work on a line of compromise between ideal and reality. The unity of the church, in both historical and spatial sense, became the new theme. Maderno managed to connect the nave in a consistent manner with the central nave (only a trained eye notices the junction point), provided with the desired auxiliary spaces" (Christof Thoenes)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Carlo Maderno made a sensational design mistake: the extension of the Church is wrongly laid out and tends towards south. The architect noticed it during the work and tried to correct it but couldn't fix it completely. If you look at the front you can see that the obelisk, the central balcony and the central rib of the dome are not aligned. Inside the Basilica it is also possible to see that the marble slabs of the floor are not always perfectly aligned</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0.0px;">Gian Lorenzo Bernini</span><span style="letter-spacing: 0.0px;"> (1598/1680) - <i>about 50 years 1629/80</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8676/Basilica%20S.%20Pietro%20DSC_8676.jpg?disposition=download"><i>SQUARE</i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1657/67 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Gian Lorenzo Bernini</span><span style="letter-spacing: 0.0px;"> for Alexander VII Chigi (1655/67)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Ellipse 240 m wide (790 feet), 52 m (170 feet) more than the Colosseum</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The oval area is 196 x 149 m (643 x 489 feet)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The capacity of the square is about 200,000 people</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"Being the Church of St. Peter almost matrix of all the other churches, it must have a porch which precisely would show to receive maternally with open arms Catholics to confirm them in their belief, heretics to reunite them to the Church and unfaithful to illuminate them in the true faith" (Gian Lorenzo Bernini)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/DSCF0603%20-%202009-05-19%20at%2018-53-54/DSCF0603%20-%202009-05-19%20at%2018-53-54.jpg?disposition=download">284 COLUMNS</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"The isolated columns of Bernini, with straight entablature are immensely sculptural elements. When one crosses the square the ever-changing view of the columns visible four at the time seems to reveal a forest of individual units: and the agreement of all of these massive forms clearly defined, produces the sensation of an irresistible mass and power. It is almost physically experienced as if every column would move and absorb a bit of the infinity of the space, and this impression is reinforced by glimpses of sky between the columns. No other period of post-Renaissance Italian shows an equally deep affinity with Greece. As with most new and vital ideas, after some heavy initial critical attacks, the columns became of the utmost importance for the history of architecture during more than 250 years" (Rudolf Wittkower)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/2003_0208AK/2003_0208AK.jpg?disposition=download">140 STATUES OF SAINTS</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">3.10 m (10.1 feet) high</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>Over the colonnade</i>:</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1667/73 executed by many sculptors under the direction of </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span><span style="letter-spacing: 0.0px;">:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0.0px;">Lazzaro Morelli </span><span style="letter-spacing: 0.0px;">(1608/90)</span><span style="color: #ff2600; letter-spacing: 0.0px;"> </span><span style="letter-spacing: 0.0px;">to whom the majority of the statues are attributed including St. Mary of Egypt (24th from right, the first after the papal coat of arms, the patron of repentant prostitutes) and S. Catherine of Siena (24th from left, the first after the papal coat of arms, the patron saint of Italy and Europe)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Maria De Rossi</span><span style="letter-spacing: 0.0px;"> (about 1636/d. afterl 1670) to whom thirteen statues are attributed</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0.0px;">Agostino Cornacchini</span><span style="letter-spacing: 0.0px;"> (1683/1740) who sculpted St. Ursula, 9th from right, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Carcani </span><span style="letter-spacing: 0.0px;">(active 1670/91),</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Andrea Baratta </span><span style="letter-spacing: 0.0px;">(again 1595/1666), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Mari</span><span style="letter-spacing: 0.0px;"> and others, many unknown</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Only a few of the statues are attributable for sure</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>On the straight sections towards the church</i>:</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1702/03 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Jean-Baptiste Théodon</span><span style="letter-spacing: 0.0px;"> (1646/1713) who did S. Cecilia e S. Francesca Romana, 1st and 2° in the right section, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Pincellotti</span><span style="letter-spacing: 0.0px;"> (about 1672/1749), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Simone Giorgini</span><span style="letter-spacing: 0.0px;"> (active in Rome 1677/1712), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Maria Baratta</span><span style="letter-spacing: 0.0px;"> (active since 1644/d. after 1679), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Ottoni</span><span style="letter-spacing: 0.0px;"> (1648/1736), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Campi</span><span style="letter-spacing: 0.0px;"> (noto 1702/40),</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Francesco Marchionni</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michel Maille </span><span style="letter-spacing: 0.0px;">aka Michele Maglia</span><span style="color: #ff2600; letter-spacing: 0.0px;"> </span><span style="letter-spacing: 0.0px;">(active in Rome in the second half of the seventeenth century), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pierre-Étienne Monnot </span><span style="letter-spacing: 0.0px;">(1657/1733), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernardino Cametti </span><span style="letter-spacing: 0.0px;">(1669/1736) and others</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The statues on the straight sections, unlike those on the colonnade, are all safely attributable to Bernini's followers who were taking part of the Late Baroque period</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Cuppolone%20DSC_2247/Cuppolone%20DSC_2247.jpg?disposition=download">"Six huge heraldic symbols"</a></span><span style="color: black; letter-spacing: 0.0px;"> of Alexander VII</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The colonnade was almost completed at the death of Alexander VII in 1667, missing only part of left section. His successor Clement IX had it finished hastily and did not want to apply the Chigi symbol on the ceiling inside, the lack of which still shows exactly the section completed after the death of Alexander VII</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"A fine spatial sensitivity and a decade of experience about optical and dimensional problems guided the implementation of the square. The symbolic choice of arms for the majestic colonnades that Bernini himself compared to the maternal arms of the Church creates a spectacular urban situation: the open environment serves as a viable element of connection between the church and town" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8679/Basilica%20S.%20Pietro%20DSC_8679.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Statue of St Paul"</span></a> 1838 by Canova's pupil </span><span style="color: #ff2600; letter-spacing: 0.0px;">Adamo Tadolini</span><span style="letter-spacing: 0.0px;"> (1788/1868)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the left <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Romapedia%201%20DSC_4233/Romapedia%201%20DSC_4233.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Statue of St. Peter"</span></a> 1838 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe De Fabris </span><span style="letter-spacing: 0.0px;">(1790/1860)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The two statues had been originally sculpted for the Basilica of St. Paul and placed here in 1847 instead of two statues of the same subject made in 1462 by Paolo Taccone aka Paolo Romano (about 1415/77) now in the Library of Sixtus IV</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">In the floor sundial with wind rose 1817 by the astronomer </span><span style="color: #ff2600; letter-spacing: 0.0px;">L. G. Gilij</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8944/Basilica%20S.%20Pietro%20DSC_8944.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Discs with symbols"</span></a> were replaced in the years 1852, about 1878 and 1924</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">So they are not the work of Bernini as stated in Dan Brown's <i>Angels and Demons</i>, a great book, very well written and to which Romans should be grateful for having promoted substantial tourism in Rome, but that is often factually inaccurate, despite what Dan Brown states in the initial note</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/2003_0208AL/2003_0208AL.jpg?disposition=download">RIGHT FOUNTAIN</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Originally built in 1490 for Innocent VIII Cybo (1484/92) and renovated in 1614 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maderno</span><span style="letter-spacing: 0.0px;"> (1556/1629)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/DSCF0607%20-%202009-05-19%20at%2018-55-42/DSCF0607%20-%202009-05-19%20at%2018-55-42.jpg?disposition=download">LEFT FOUNTAIN</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1675 (61 years later), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Fontana</span><span style="letter-spacing: 0.0px;"> (1634/1714) under the direction of </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span><span style="letter-spacing: 0.0px;">. The pipe was connected only in 1677</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The central basins of the two fountains are made out of eastern granite</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8943/Basilica%20S.%20Pietro%20DSC_8943.jpg?disposition=download">FOUR LAMP POSTS</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1852 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Antonio Sarti</span><span style="letter-spacing: 0.0px;"> (1797/1880) per Pius IX Mastai-Ferretti (1846/78) lit on October 12, 1854, the first with the new system of gas lighting</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8678/Basilica%20S.%20Pietro%20DSC_8678.jpg?disposition=download">ROYAL STAIRWAY</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Beginning of sixteenth century </span><span style="color: #ff2600; letter-spacing: 0.0px;">Antonio da Sangallo the Younger</span><span style="letter-spacing: 0.0px;">. Modified by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span><span style="letter-spacing: 0.0px;"> in the years 1663/66</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"Along with his use of perspective knowledge, Bernini uses again natural light for aesthetic purposes. In this case, to break into the length similar to a tunnel of the stairway, and to alleviate the tendency of architecture to create a telescope effect" (Howard Hibbard)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8942/Basilica%20S.%20Pietro%20DSC_8942.jpg?disposition=download">VATICAN OBELISK</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">25.36 m (83 feet) high, 41 m (134 feet) including the base and the cross</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The weight is about 290 tonnes (320 tons)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">It is <i>the second highest among the eight original Egyptian obelisks in Rome</i>, and the only one that has always been standing</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">According to Pliny the Elder, it was originally erected by the <i>Pharaoh Nencoreo</i> (Nebkaure Amenemhet II) son of Sesotide (1992/1985 BC) in Heliopolis in honor of the Sun as a thanksgiving for having regained his sight</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">It would have been broken in two during the assembling of the <i>Forum Iulium</i> in Alexandria, built in 40 AD by Cornelius Gallus prefect of Egypt under Augustus</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The Vatican obelisk then would go back to about 4,000 years ago, although the fact that is without inscriptions suggests that it had been made in Egypt by the Romans</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">It was originally 52.50 m (172 feet) high</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The upper part, the obelisk we have now, was transported to Rome by Caligula (37/41) with a huge ship in AD 37 using Egyptian lentils as ballast. The ship was later sunk by Claudius to found an artificial pier near Ostia</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The obelisk was located in the middle of Caligula's private <i>Circus</i> (hippodrome) near Vatican Hill with a dedicatory inscription, still visible, to Caesar, Augustus and Tiberius</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">The "Four bronze lions" at the base are by Prospero Antichi aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Prospero Bresciano</span><span style="letter-spacing: 0.0px;"> (active since 1580/d. after 1592) and his pupils</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Bronze eagles" 1713 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Ottoni</span><span style="letter-spacing: 0.0px;"> (1648/1736) for Innocent XIII Conti (1721/24)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>It always stood erect on the left of the Basilica</i> near the current sacristy where a plaque marks the exact spot on the floor</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;"><i>It was moved to the center of the square</i> for Sixtus V Peretti (1585/90) by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenico Fontana</span><span style="letter-spacing: 0.0px;"> (1543/1607) in 13 months from September 1585 to September 1586, an operation that earned him the title of Knight of the Spire. During the colossal work 40 giant winches, 907 men and 75 horses were employed</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The four INSCRIPTIONS read as follows:</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>NORTH</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>Sixtus V Pont(ifex) Max(imus) Cruci Invictae Obeliscum Vaticanum Ab Impura Superstitione Expiatum Iustius Et Felicius Consecravit Anno MDLXXXVI Pont(ificatus) II = </i>Pope Sixtus V Pontifex Maximus consecrated the Vatican obelisk, purified from impure superstition, in a just and happy way to the invincible Cross, in the year 1586, second of (his) reign</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>WEST</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>Christus Vincit Christus Regnat Christus Imperat Christus Ab Omni Malo Plebem Suam Defendat</i> = Christ wins, Christ reigns, Christ is emperor. Christ defends his people from harm</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>EAST</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>Ecce Crux Domini Fugite Partes Adversae Vicit Leo De Tribu Iuda</i> =<i> </i>Behold the Cross of the Lord. Flee, enemy army. The winner is the Lion of the Tribe of Judah</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>SOUTH</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>Sixtus V Pont Max Obeliscum Vaticanum Di(i)s Gentium Impio Culto Dicatum Ad Apostolorum Limina Operoso Labore Transtulit Anno MDLXXXVI Pont II =</i> Sixtus V Pontifex Maximus, the Vatican obelisk, (formerly) with wicked cult dedicated to the gods of the (pagan) people, moved with hard work in the headquarters of the Apostles in the year 1586, second of (his) reign</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the Middle Ages it was believed that in the ball on top of the obelisk there were the ashes of Julius Caesar</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Sixtus V in 1586 replaced the ball with a new one (the old one is now in the Capitoline Museums still bearing the holes caused by the bullets of mercenaries during the sack of Rome in 1527) and added the cross and the three mountains of his coat of arms, as well as the lions</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Now in the ball there are relics believed to be part of the cross of Jesus</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">DIMENSIONS OF THE BASILICA</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>Lenght</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">186.30 m (610 feet). Including walls and porch it is 218.7 m (718 feet) long</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>Façade</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">114.69 m (376 feet) large and 47.3 m (155 feet), three feet higher than of the Statue of Liberty in New York without stand. Approximately similar dimensions to those of a football field (360 x 160 feet)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>Dome</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Inside diameter 42.56 m (139 feet); outside diameter 58.90 m (193 feet). Incredibly it is not the largest dome in Rome: the dome of the Pantheon is, with an internal diameter of 43.30 meters (142 feet)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>Transept length</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">137.85 m (452 feet)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>Internal height</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">From floor to lantern 117.57 m (386 feet), enough to fit in the Colosseum twice with twenty yards of surplus. The internal height of the four smaller domes is 42 m (138 feet)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>External height</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">To the cross 136.57 m (448 feet)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>Total area</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">22,067 m² (5.5 acres!)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Since 1989 it has become the second largest church in the world, surpassed in the Guinness Book of Records by the Basilique de Notre Dame de la Paix in Yamoussoukro, Côte d'Ivoire: it has a height of 158 m (518 feet) and a surface of 30,000 m² (7.4 acres) but not completely covered, resulting in a significantly lower internal capacity of 7,000 people</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">It is estimated that the Basilica can hold <i>up to 55,000 people seated and up to 95,000 standing</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The golden mosaic frieze with black letters is 3 m wide (10 feet) as a one-way street and 593 m long (1,950 feet)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">St. Mark's pen on one of the pendentives of the dome is 1.50 meters (5 feet)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The wingspan of the dove in the Cathedra is 1.75 m (5.75 feet)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">There are about 500 columns, 46 altars and 233 windows</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/DSCF5609/DSCF5609.jpg?disposition=download"><i>DOME</i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0.0px;">Michelangelo Buonarroti</span><span style="letter-spacing: 0.0px;"> (1475/1564) designed it and worked on it until his death in 1564. The work was only up to the floor of the drum</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;"><i>It was finished 24 years later</i> by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Della Porta</span><span style="letter-spacing: 0.0px;"> (1533/1602) assisted by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenico Fontana</span><span style="letter-spacing: 0.0px;"> (1543/1607) in 1588/90 in only 22 months, ending May 14, 1590 for Sixtus V Peretti (1585/90)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The estimated weight is 14,000 tonnes (15,400 tons)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"In designing it, Michelangelo has certainly thought of Brunelleschi's dome for S. Maria del Fiore in Florence, which, as Leon Battista Alberti said, was broad enough to cover with its shadow all the Tuscan people; Michelangelo's dome will be broad enough to cover all the Christian people. It is like a sprocket that bite into the free space of the sky. Above, the curve of the shell at the same time expresses the weight of its mass and its reviving and pushing upward with the tension and pressure of the ribs" (Giulio Carlo Argan)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">The dome was completed with the ball and cross by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Sebastiano Torrigiani </span><span style="letter-spacing: 0.0px;">(active since about 1573/d. 1596) on November 18, 1593</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The BALL's diameter is 2.47 m (8.10 feet), it is empty inside and can fit up to 16 people</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">To reach the top there are 537 steps, but if one uses the elevator to the base of the dome the steps are 323</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">The TWO SMALLER DOMES are by </span><span style="letter-spacing: 0.0px;">Jacopo Barozzi aka Vignola</span><span style="color: black; letter-spacing: 0.0px;">, finished by </span><span style="letter-spacing: 0.0px;">Giacomo Della Porta</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8680/Basilica%20S.%20Pietro%20DSC_8680.jpg?disposition=download"><i>FAÇADE</i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1607/14 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maderno</span><span style="letter-spacing: 0.0px;"> (1556/1629), even though in the frieze there is the 1612 date</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">It is 114.69 m (376 feet) wide and 47.3 meters (155 feet) high</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The two columns flanking the central entrance are made out of African marble and were also used in the ancient basilica. In the sixteenth they were considered symbols of the Apostles Peter and Paul, the pillars of the Church</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The inscription on the façade translated from the Latin says: <i>Paul V Roman Pontifex Maximus member of the Borghese family had (this façade) built in honor of the Prince of the Apostles in 1612, the seventh year of his pontificate</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">It is certainly interesting and not coincidental the fact that among all the words of the inscription, the one that takes the place of honor in the center, right above the balcony from which every newly elected pope appears, is "Borghese", the name of the family</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Passeggiata%20DSC_2760/Passeggiata%20DSC_2760.jpg?disposition=download">STAIRS</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Divided in three flights from the time of Sixtus V Peretti (1585/90) who didn't hesitate to have the Colosseum plundered of some of its travertine marble to have the stairs built. It was restored by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span><span style="letter-spacing: 0.0px;"> in 1667</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8682/Basilica%20S.%20Pietro%20DSC_8682.jpg?disposition=download">THIRTEEN STATUES ON THE BALUSTRADE</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Jesus, St. John the Baptist and the Apostles except St. Peter and St. Paul" (they have their statues in the square) 1612/14 various artists under the direction of </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ambrogio Buonvicino</span><span style="letter-spacing: 0.0px;"> (about 1552/1622)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Different heights: from 5.50 m (18 feet) (St. James Major 5th on the right) to 7.50 m (24.6 feet) (Christ at the center)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">From the left:</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"St. Thaddeus" </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Fancelli</span><span style="letter-spacing: 0.0px;">, "St. Matthew" </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernardo Cennini</span><span style="letter-spacing: 0.0px;">, "St. Philip" and "St. Thomas" </span><span style="color: #ff2600; letter-spacing: 0.0px;">Siméon Drouin</span><span style="letter-spacing: 0.0px;">, "St. James Major" </span><span style="color: #ff2600; letter-spacing: 0.0px;">Egidio Moretti</span><span style="letter-spacing: 0.0px;">, "St. John the Baptist" </span><span style="color: #ff2600; letter-spacing: 0.0px;">Siméon Drouin</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Christ Redeemer" begun by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cristoforo Stati</span><span style="letter-spacing: 0.0px;"> (1556/1619) and completed by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Siméon Drouin</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"St. Andrew" </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Fancelli</span><span style="letter-spacing: 0.0px;">, "St. John the Evangelist" Giovanni Antonio Paracca the Younger aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Valsoldino</span><span style="letter-spacing: 0.0px;"> with </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernardo Cennini</span><span style="letter-spacing: 0.0px;">, "St. James the Less" begun by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cristoforo Stati</span><span style="letter-spacing: 0.0px;"> and completed by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Fontana</span><span style="letter-spacing: 0.0px;">, "St. Bartholomew" </span><span style="color: #ff2600; letter-spacing: 0.0px;">Egidio Moretti</span><span style="letter-spacing: 0.0px;">, "St. Simon" </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernardo Cennini</span><span style="letter-spacing: 0.0px;"> and "St. Matthew" </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Fontana</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8684/Basilica%20S.%20Pietro%20DSC_8684.jpg?disposition=download">RELIEF UNDER THE BALCONY</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Christ handing the keysto St. Peter" 1612/14 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ambrogio Buonvicino</span><span style="letter-spacing: 0.0px;"> (about 1552/1622)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8681/Basilica%20S.%20Pietro%20DSC_8681.jpg?disposition=download">TWO CLOCKS</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1786/90 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Valadier</span><span style="letter-spacing: 0.0px;"> (1762/1839) with quadrants in mosaic: on the left "Oltremontano Clock" with the average European time, on the right "Italian Clock" with the Rome time</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The diameter of the clocks is about 4 m (13 feet)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Romapedia%201%20DSC_4234/Romapedia%201%20DSC_4234.jpg?disposition=download">SIX BELLS</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Located under the left clock</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">The largest, the <i>campanone</i> (big bell), rebuilt by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Valadier</span><span style="letter-spacing: 0.0px;"> (1726/85) (he committed suicide by jumping into the River Tiber due to malice and jealousy) and completed in 1786 by his son </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Valadier</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The weight of the <i>campanone</i> is about 10 tons (11 tons) and the circumference is 7.5 m (24.6 feet)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8685/Basilica%20S.%20Pietro%20DSC_8685.jpg?disposition=download"><i>PORTICO</i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1608/12 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maderno</span><span style="letter-spacing: 0.0px;"> (1556/1629)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8701/Basilica%20S.%20Pietro%20DSC_8701.jpg?disposition=download">MARBLE FLOOR</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">About 1655/75 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The papal coat of arms in the floor are, on the left, of Clement X Altieri (1670/76) who was reigning when it was completed, on the right, of Leo XIII Pecci (1878/1903) who had it restored in 1888, and, at the center, of John XXIII Roncalli (1958/63) who had it restored again in 1962</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">EQUESTRIAN STATUES IN THE SHORT SIDES</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8709/Basilica%20S.%20Pietro%20DSC_8709.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Statue of Constantine"</span></a> started 1654 completed 1670 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">In the niches statues made out of travertine"Church and three theological virtues: Faith, Hope and Charity" 1728/38 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Frascari</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. De Rossi</span><span style="letter-spacing: 0.0px;">,</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Giuseppe Lironi</span><span style="letter-spacing: 0.0px;"> (1689/1749) and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernardino Ludovisi</span><span style="letter-spacing: 0.0px;"> (about 1713/49)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"The work was placed on the landing of the Royal Stairway, on the axis of the portico of St. Peter's Basilica. Bernini designed the high arch enclosing the equestrian statue and the monument itself, with its immense colored stucco drapery, as the focal point of the axis of the portico. The expediency of framing place us exactly in the right perspective. These framing devices are particularly significant, as you look through the demarcation of the dark bronze doors, into the brightly lit area of the landing" (Rudolf Wittkower)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the left <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/93px-Charlemagne_Agostino_Cornacchini_Vatican_2/93px-Charlemagne_Agostino_Cornacchini_Vatican_2.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Statue of Charlemagne"</span></a> 1725 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Agostino Cornacchini</span><span style="letter-spacing: 0.0px;"> (1683/1740) sculpted from a single block of Carrara marble. The curtain behind the statue is made out of yellow marble from Tunisia </span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">In the niches statues made out of travertine "Four cardinal virtues: Fortitude, Justice, Hope and Charity" 1721/31 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Ottoni</span><span style="letter-spacing: 0.0px;"> (1648/1736), </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. De Rossi</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Lironi</span><span style="letter-spacing: 0.0px;"> (1689/1749)</span><span style="color: #ff2600; letter-spacing: 0.0px;"> </span><span style="letter-spacing: 0.0px;">and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Raffaelli</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8700/Basilica%20S.%20Pietro%20DSC_8700.jpg?disposition=download">VAULT</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">About 3,500 m² (38,000 square feet) and thirty-two square reliefs in stucco with "Acts of the Apostles" and thirty-one statues of "Popes martyrs" 1618/19 executed by a team of six plasterers from Ticino from cartoons by </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Ricci</span><span style="letter-spacing: 0.0px;"> (about 1550/1624) of Novara</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"As the elegant and rich stucco decorations were the only field in which the Roman manneristic style under Gregory XIII Boncompagni (1572/85) and Sixtus V Peretti (1585/90) had shown real creativity and originality, Ricci drew here in a living and vigorous tradition, and created a work whose magnificence has always been praised" (Rudolf Wittkower)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8694/Basilica%20S.%20Pietro%20DSC_8694.jpg?disposition=download">MIDDLE DOOR</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1439/45 Bronze reliefs <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8697/Basilica%20S.%20Pietro%20DSC_8697.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Christ Pantocrator, Annunciation, Sts. Peter and Paul"</span></a>, <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8695/Basilica%20S.%20Pietro%20DSC_8695.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Martyrdom of St. Peter"</span></a> and <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8696/Basilica%20S.%20Pietro%20DSC_8696.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Martyrdom of St. Paul"</span></a> by Antonio Averlino aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filarete</span><span style="letter-spacing: 0.0px;"> (about 1400/about 1469) for Eugene IV Coldumer (1431/47) stories of whom are represented in the four smaller pads placed between the six panels</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In a panel on the back of the door, at the bottom right, there is a representation of Filaret himself dancing, celebrating with his team of assistants, at the end of the works for the door</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The door was also the main entrance of the old basilica</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">ABOVE THE DOOR</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">Marble relief <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8699/Basilica%20S.%20Pietro%20DSC_8699.jpg?disposition=download"><span style="letter-spacing: 0px;">"Jesus entrusts his Christian flock to St. Peter"</span></a> 1646 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span><span style="color: black; letter-spacing: 0.0px;"> and pupils</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">OPPOSITE THE RELIEF</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8698/Basilica%20S.%20Pietro%20DSC_8698.jpg?disposition=download">"Mosaic of the little boat"</a></span><span style="letter-spacing: 0.0px;"> 1675 clumsy remake by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Vincenzo Manenti</span><span style="letter-spacing: 0.0px;"> of the original by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giotto</span><span style="letter-spacing: 0.0px;"> (1267/1337) for Cardinal Jacopo Stefaneschi, of which only a few details (gold rim of the vessel, sail and some portraits of apostles) are original</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">It was originally located in the inner face of the quadrangle portico in front of the old basilica</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">OTHER DOORS</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">To the right of the middle door <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8703/Basilica%20S.%20Pietro%20DSC_8703.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Door of the Sacraments"</span></a> 1965 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Venanzo Crocetti</span><span style="letter-spacing: 0.0px;"> (1913/2003), inaugurated by Pope Paul VI Montini (1963/78) for the reopening of Vatican II</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Further on the right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8686/Basilica%20S.%20Pietro%20DSC_8686.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Holy Door"</span></a> </span><span style="color: #ff2600; letter-spacing: 0.0px;">Vico Consorti</span><span style="letter-spacing: 0.0px;"> (1902/79) 1949 for the Jubilee of 1950</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the panels "Stories of the Old and New Testament" and, between the panels, coats of arms of the popes who have opened the door in the 26 Holy Years that have been celebrated so far</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Donated by the Swiss bishop Francis Von Streng because Switzerland had been spared by World War II. The entrance was closed until 1950 by a wall</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The jambs are made of marble from the Greek island of Chios. The use of this type of marble in such an important place did define it as <i>portasanta marble </i>(marble of the Holy Door)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the left <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8693/Basilica%20S.%20Pietro%20DSC_8693.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Door of Good and Evil"</span></a> 1975/77 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luciano Minguzzi</span><span style="letter-spacing: 0.0px;"> (1911/2004) in celebration of the birthday of Paul VI</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the left door good is represented, in the right one there is evil</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the representation of evil there is an image of martyrs associated with a massacre of partisans in 1943 in Casalecchio sul Reno during World War II</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Further on the left <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8691/Basilica%20S.%20Pietro%20DSC_8691.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Door of Death"</span></a> 1947/58 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Manzù</span><span style="letter-spacing: 0.0px;"> (1908/91), so named because through here used to pass the funeral procession with the bodies of popes</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Pope John XXIII Roncalli (1958/63) from Bergamo like Manzù was elected in 1958 and immediately unblocked the work for the door which had found opposition among the cardinals. Manzù represented the pope in the inner side while <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8940/Basilica%20S.%20Pietro%20DSC_8940.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">welcoming Bishop Laurean Rugambwe, the first black cardinal ever</span></a> whom he had appointed</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Manzù signed his work on the back of the door, in the imprint of an open hand</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">In the pendentives of the doors <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8702/Basilica%20S.%20Pietro%20DSC_8702.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Cherubs"</span></a> some of them done by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Borromini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">THREE INSCRIPTIONS</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Embedded between the doors formerly in the old Basilica. From left:</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8689/Basilica%20S.%20Pietro%20DSC_8689.jpg?disposition=download">"Donation of 56 olive trees"</a></span><span style="letter-spacing: 0.0px;"> of Gregory II (715/731) for the oil lamps that were to be always lit around the tomb of St. Peter</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8688/Basilica%20S.%20Pietro%20DSC_8688.jpg?disposition=download">"Epitaph of Hadrian I (772/795)"</a></span><span style="letter-spacing: 0.0px;"> dedicated to the pope by Charlemagne on the occasion of his death. It is made out of black marble from Belgium</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8687/Basilica%20S.%20Pietro%20DSC_8687.jpg?disposition=download"><i>"Bolla Antiquorum habet fida relatio"</i></a></span><span style="letter-spacing: 0.0px;"><i> </i>with which Boniface VIII (1294/1303) convoked the first Jubilee of 1300</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside.html"><i>MIDDLE NAVE</i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8707/Basilica%20S.%20Pietro%20DSC_8707.jpg?disposition=download">VAULT</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">44 m (142 feet) high, decoration 1780 for Pius VI Braschi (1775/99) with his coat of arms in the middle</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8757/Basilica%20S.%20Pietro%20DSC_8757.jpg?disposition=download">MARBLE FLOOR</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1649 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span><span style="letter-spacing: 0.0px;">, renovated in the 1930s for Pius XI Ratti (1922/39), when some edges of the marble slabs were left blank in the center of the aisle to hide Carlo Maderno's designing mistake</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In front of the main door "Rota porfiretica" in Egyptian porphyry, formerly located by the altar of the old Basilica, on which Charlemagne was crowned on Christmas Day of the year 800. It is the only one left of the six that were in the old Basilica</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Marks on the floor corresponding to the <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8735/Basilica%20S.%20Pietro%20DSC_8735.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">LENGHTS OF 28 CHURCHES</span></a> including:</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">(2) <i>St. Paul's Cathedral</i> in London (28.2 m - 92.5 feet - shorter than St. Peter's Basilica), (3) <i>S. Maria del Fiore</i> in Florence, (4) <i>Basilica of the Sacred Heart</i> in Brussels, (5) <i>Immaculate Conception</i> Washington, (6), Reims <i>Cathedral</i>, (7) Cologne <i>Cathedral</i>, (8) <i>Duomo</i> in Milan, (9) Speyer <i>Cathedral</i>, (10) <i>S. Petronio Basilica</i> in Bologna, (11) Seville <i>Cathedral</i>, (12) <i>Notre Dame</i> in Paris, (13)<i> St. Paul Outside the Walls</i> in Rome...</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">...(23°) <i>St. Mary's Cathedral</i> Sydney,<i> </i>(24°) <i>São Paulo Cathedral </i>in Brasil<i>, </i>(25) <i>Westminster Abbey</i> in London, (26) <i>St. Sophia</i> in Istanbul, (27)<i> Cathedral of St. Cross</i> in Boston, (28) <i>Basilica of St. Maria</i> Gdańsk, (29) <i>St. Patrick's Cathedral </i>in New York</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">PILASTERS</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Covered with stucco and colored marble in the years 1646/49 by Bernini with the help of 41 artists, including </span><span style="color: #ff2600; letter-spacing: 0.0px;">Andrea Bolgi</span><span style="letter-spacing: 0.0px;"> (1606/56), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ercole Ferrata</span><span style="letter-spacing: 0.0px;"> (1610/86), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ercole Antonio Raggi </span><span style="letter-spacing: 0.0px;">(1624/86), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Orfeo Boselli </span><span style="letter-spacing: 0.0px;">(about 1600/67), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cosimo Fanzago </span><span style="letter-spacing: 0.0px;">(1591/1678), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lazzaro Morelli </span><span style="letter-spacing: 0.0px;">(1608/90) and others</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8761/Basilica%20S.%20Pietro%20DSC_8761.jpg?disposition=download">"56 medallions of popes from St. Peter to Benedict I (575/579), 192 cherubs and 104 doves with olive trees branches in their beaks"</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The red and green colors and the doves with olive trees branches were chosen respectively as colors and heraldic symbols of Pope Innocent X Pamphili (1644/55)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The background in "Cottanello" red marble has natural grains that were arranged and organized by the artists to obtain a surface that, even if inspired from nature, shows creative artificial connotations</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">SPANDRELS OF THE MAJOR ARCHES</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Cuppolone%20DSC_2226/Cuppolone%20DSC_2226.jpg?disposition=download">"Sixteen Virtues"</a></span><span style="letter-spacing: 0.0px;"> 6 m (20 feet) high 1647/49 twelve of which designed by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span><span style="letter-spacing: 0.0px;"> and executed by fourteen artists</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The four virtues in the spandrels of the Gregorian and Clementine chapels had already been made in the years 1599/1600</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>On the right side:</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8736/Basilica%20S.%20Pietro%20DSC_8736.jpg?disposition=download">"Fortitude"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1647 by </span><span style="letter-spacing: 0.0px;">Giovanni Francesco De Rossi </span><span style="color: black; letter-spacing: 0.0px;">(active 1640/77)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8737/Basilica%20S.%20Pietro%20DSC_8737.jpg?disposition=download">"Mercy"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1647 by </span><span style="letter-spacing: 0.0px;">Giovanni Francesco De Rossi </span><span style="color: black; letter-spacing: 0.0px;">with his father </span><span style="letter-spacing: 0.0px;">Domenico De Rossi</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8738/Basilica%20S.%20Pietro%20DSC_8738.jpg?disposition=download">"Constancy"</a></span><span style="letter-spacing: 0.0px;"> and <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8739/Basilica%20S.%20Pietro%20DSC_8739.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Clemency"</span></a> 1647 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Antonio Fancelli </span><span style="letter-spacing: 0.0px;">(1619/71) and his brother </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cosimo Fancelli </span><span style="letter-spacing: 0.0px;">(1620/88). Giacomo Antonio also sculpted the statue of the Nile in the Fountain of the Four Rivers in Piazza Navona </span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8740/Basilica%20S.%20Pietro%20DSC_8740.jpg?disposition=download">"Peace"</a></span><span style="letter-spacing: 0.0px;"> 1647 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lazzaro Morelli </span><span style="letter-spacing: 0.0px;">(1608/90)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8741/Basilica%20S.%20Pietro%20DSC_8741.jpg?disposition=download">"Innocence"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1647 by </span><span style="letter-spacing: 0.0px;">G.B. Morelli</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8742/Basilica%20S.%20Pietro%20DSC_8742.jpg?disposition=download">"Faith"</a></span><span style="letter-spacing: 0.0px;"> and <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8743/Basilica%20S.%20Pietro%20DSC_8743.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Charity"</span></a> 1599 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ruggero Bescapè </span><span style="letter-spacing: 0.0px;">(?/about 1600). He had also worked on the sculptures in the Teatro Olimpico in Vicenza</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>On the left side:</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8746/Basilica%20S.%20Pietro%20DSC_8746.jpg?disposition=download">"Fortitude"</a></span><span style="letter-spacing: 0.0px;"> and <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8748/Basilica%20S.%20Pietro%20DSC_8748.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Justice"</span></a> 1599/1600 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ambrogio Buonvicino</span><span style="letter-spacing: 0.0px;"> (about 1552/1622)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8749/Basilica%20S.%20Pietro%20DSC_8749.jpg?disposition=download">"Patience"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1647 by </span><span style="letter-spacing: 0.0px;">Domenico Prestinaro</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8750/Basilica%20S.%20Pietro%20DSC_8750.jpg?disposition=download">"Humility"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1647 by </span><span style="letter-spacing: 0.0px;">Bartolomeo Cennini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8751/Basilica%20S.%20Pietro%20DSC_8751.jpg?disposition=download">"Obedience"</a></span><span style="letter-spacing: 0.0px;"> and <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8752/Basilica%20S.%20Pietro%20DSC_8752.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Virginity"</span></a> 1647/49 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Niccolò Menghini </span><span style="letter-spacing: 0.0px;">(about 1610/55)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8753/Basilica%20S.%20Pietro%20DSC_8753.jpg?disposition=download">"Divine Justice"</a></span><span style="color: black; letter-spacing: 0.0px;"> and <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8754/Basilica%20S.%20Pietro%20DSC_8754.jpg?disposition=download"><span style="letter-spacing: 0px;">"Ecclesiastic Authority"</span></a> 1647/48 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Andrea Bolgi</span><span style="color: black; letter-spacing: 0.0px;"> (1606/56)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">These two virtues by Bolgi disappointed Innocent X Pamphilj (1644/55) and in 1649 he had them modified by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Marco Antonio Inverno</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">SPANDRELS OF THE TRANSEPTS AND OF THE PASSAGES TO THE APSE</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">1714/18 <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8803/Basilica%20S.%20Pietro%20DSC_8803.jpg?disposition=download"><span style="letter-spacing: 0px;">"Twelve allegorical figures"</span></a> by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Ottoni </span><span style="color: black; letter-spacing: 0.0px;">(1648/1736)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">MOSAIC DECORATION OF THE BASILICA</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">It began in 1578 with the Gregorian Chapel and continued until early 1800 under the successive directions of </span><span style="color: #ff2600; letter-spacing: 0.0px;">Girolamo Muziano</span><span style="letter-spacing: 0.0px;"> (1532/92), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Paolo Rossetti</span><span style="letter-spacing: 0.0px;"> (?/1621),</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Marcello Provenzale </span><span style="letter-spacing: 0.0px;">(1575/1639),</span><span style="color: #ff2600; letter-spacing: 0.0px;"> G.B. Calandra</span><span style="letter-spacing: 0.0px;">,</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Fabio Cristofari </span><span style="letter-spacing: 0.0px;">(about 1615/89) and</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Pietro Paolo Cristofari </span><span style="letter-spacing: 0.0px;">(1685/1743) who in 1727 founded the institution known as<i> Studio del mosaico al Vaticano</i> (Academy of Vatican Mosaic)<i> </i>still operating today</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The total area of the mosaics in the Basilica is about 10,000 m² (2.5 acres)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8708/Basilica%20S.%20Pietro%20DSC_8708.jpg?disposition=download">MOSAIC FRIEZE WITH INSCRIPTIONS</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Completed at the time of Pius IX Mastai-Ferretti (1846/78) with excerpts from the Gospel</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">It is 3 m (10 feet) wide as a one-way street and 593 m (1,950 feet) long</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the apse the writing is also written in Greek to symbolize continuity with the past, being Greek the language of the first Christian communities: <i>O Shepherd of the Church you graze the lambs, you pasture the sheep of Christ</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the dome: <i>You are Peter and upon this rock I will build my Church and I will give you the keys of the kingdom of heaven, Matthew 16:18-19</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Central nave, left end side: <i>I have prayed for you that your faith may not fail. And when you have turned again, strengthen your brothers, Luke 22:32</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Central nave, right end side: <i>Whatever you bind on earth shall be bound in heaven: and whatsoever thou shalt loose on earth shall be loosed also in heaven, Matthew 16:19</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Right transept: <i>Simon Peter replied, "You are the Christ, the Son of the living God." And Jesus answered him: Blessed are you, Simon Bar-Jonah! For flesh and blood has not revealed this to you, but my Father who is in heaven, Matthew 16: 16-17</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Left transept: <i>He said to him the third time, "Simon, son of John, do you love me?" He said to him, "Lord, you know everything; you know that I love you, John 21:17</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Inner sides of the pylons:<i> From here one faith shines in the world, hence the unity of the priesthood flows</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8756/Basilica%20S.%20Pietro%20DSC_8756.jpg?disposition=download">COUNTER FAÇADE</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Two clocks 1787/90 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Valadier</span><span style="letter-spacing: 0.0px;"> (1762/1839):</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">On the left <i>French or ultramontano (from north of the Alps) clock</i>, counting hours from midnight</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">On the right <i>Italian clock</i> counting hours after sunset with four complete revolutions of the hand per day. It was a bizarre system of measuring time used in Rome until 1846</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8929/Basilica%20S.%20Pietro%20DSC_8929.jpg?disposition=download">STOUPS</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1722/25 designed by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Agostino Cornacchini</span><span style="letter-spacing: 0.0px;"> (1683/1740) with enormous cherubs sculpted by</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Francesco Moderati</span><span style="letter-spacing: 0.0px;"> (about 1680/after 1724) on the left e </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. De Rossi</span><span style="letter-spacing: 0.0px;"> on the right</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">STATUES In THE NICHES OF THE LOWER LEVEL</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Founders of religious orders:</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1st right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8712/Basilica%20S.%20Pietro%20DSC_8712.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"St. Teresa of Ávila"</span></a> 1754 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Della Valle </span><span style="letter-spacing: 0.0px;">(1698/1768)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">2nd right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8715/Basilica%20S.%20Pietro%20DSC_8715.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Vincenzo de' Paoli"</span></a> 1754 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Bracci</span><span style="letter-spacing: 0.0px;"> (1700/73)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">3rd right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8718/Basilica%20S.%20Pietro%20DSC_8718.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"St. Philip Neri"</span></a> 1737 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Maini</span><span style="letter-spacing: 0.0px;"> (1690/1752)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8728/Basilica%20S.%20Pietro%20DSC_8728.jpg?disposition=download">"Statue of St. Peter"</a></span><span style="letter-spacing: 0.0px;"> about 1296/98 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Arnolfo di Cambio</span><span style="letter-spacing: 0.0px;"> (about 1245/1302) or his workshop</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Marble throne made in 1757. Two bronze "Torches with stories of Sts. Peter and Paul" 1972 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Egidio Giaroli</span><span style="letter-spacing: 0.0px;"> (1912/2000). Mosaic medallion with "Pius IX Mastai-Ferretti (1846/78)" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Ubizi</span><span style="letter-spacing: 0.0px;"> from the original painting by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Grandi</span><span style="letter-spacing: 0.0px;"> (1831/91)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">4th left <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8725/Basilica%20S.%20Pietro%20DSC_8725.jpg?disposition=download"><span style="letter-spacing: 0px;">"S. Francesco di Paola"</span></a> 1732 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Maini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">3rd left <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8729/Basilica%20S.%20Pietro%20DSC_8729.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"St. Ignatius"</span></a> 1733 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Camillo Rusconi</span><span style="letter-spacing: 0.0px;"> (1658/1728) finished by his pupil </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Rusconi</span><span style="letter-spacing: 0.0px;"> (1688/1758) who had the same last name as Camillo's but wasn't one of his relatives</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">2nd left <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8731/Basilica%20S.%20Pietro%20DSC_8731.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"St. Camillus"</span></a> 1753 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Pacilli</span><span style="letter-spacing: 0.0px;"> (1716/after 1769)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">1st left <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8733/Basilica%20S.%20Pietro%20DSC_8733.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"St. Peter of Alcantara"</span></a> 1753 by </span><span style="letter-spacing: 0.0px;">Francisco Vergara y Bartual the Younger</span><span style="color: black; letter-spacing: 0.0px;"> (1681/1753)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">STATUES IN THE NICHES OF THE UPPER LEVEL</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Founders of religious orders and congregations:</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1st right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8719/Basilica%20S.%20Pietro%20DSC_8719.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Madeleine Sophie Barat"</span></a> 1934 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Enrico Quattrini</span><span style="letter-spacing: 0.0px;"> (1863/1950)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">2nd right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8721/Basilica%20S.%20Pietro%20DSC_8721.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Giovanni Eudes"</span></a> 1932 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Silvio Silva</span><span style="letter-spacing: 0.0px;"> (1890/1955)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">3rd right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8722/Basilica%20S.%20Pietro%20DSC_8722.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. G.B. de la Salle"</span></a> 1904 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cesare Aureli</span><span style="letter-spacing: 0.0px;"> (1843/1923)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">4th right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8724/Basilica%20S.%20Pietro%20DSC_8724.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Giovanni Bosco"</span></a> 1936 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Canonica</span><span style="letter-spacing: 0.0px;"> (1869/1959)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">4th left <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8727/Basilica%20S.%20Pietro%20DSC_8727.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Pietro Fourier"</span></a> 1899 by the </span><span style="letter-spacing: 0.0px;">Studio Nicoli of Carrara</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">3rd left <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8730/Basilica%20S.%20Pietro%20DSC_8730.jpg?disposition=download"><span style="letter-spacing: 0px;">"S. Antonio Maria Zaccaria"</span></a> 1909 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cesare Aureli</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">2nd left <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8732/Basilica%20S.%20Pietro%20DSC_8732.jpg?disposition=download"><span style="letter-spacing: 0px;">"S. Louis-Marie Grignon de Montort"</span></a> by 1948 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Parisini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">1st left <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8734/Basilica%20S.%20Pietro%20DSC_8734.jpg?disposition=download"><span style="letter-spacing: 0px;">"S. Lucia Filippini"</span></a> 1949 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Silvio Silva</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the NICHES OUTSIDE THE BASILICA from 1999 until 2011 eighteen new statues of founders of religious orders and congregations were placed under John Paul II (1978/2005) and Benedict XVI (2005/13)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8824/Basilica%20S.%20Pietro%20DSC_8824.jpg?disposition=download"><i>INTERNAL DOME</i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"In the inner dome the repetition of the pairs of flat pilasters suggests a rotational movement of the drum, centrifugal, which gives the cavity of the shell the continuity of a permanent move around the central perspective of the lantern-light. It is precisely, but projected in height, the same spatial idea that is expressed most dramatically in the Final Judgement in the Sistine Chapel; but, eventually, the play is closer to completion, the final catharsis. The dome is the catharsis of the tragedy for the never finished work, the tomb of Julius II. It rises in the same site, the symbolic monument of the Christian ecumene" (Giulio Carlo Argan)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">PENDENTIVES</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaics of the Evangelists <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8839/Basilica%20S.%20Pietro%20DSC_8839.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"St. Mark"</span></a> and <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8841/Basilica%20S.%20Pietro%20DSC_8841.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"St. Matthew"</span></a> 1599 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cesare Nebbia </span><span style="letter-spacing: 0.0px;">(1536/1614) and <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8842/Basilica%20S.%20Pietro%20DSC_8842.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"St. John"</span></a> and <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8840/Basilica%20S.%20Pietro%20DSC_8840.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"St. Luke"</span></a> 1599 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni De Vecchi </span><span style="letter-spacing: 0.0px;">(about 1537/1615)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Angels" in the upper triangles 1600 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cristoforo Roncalli aka Pomarancio</span><span style="letter-spacing: 0.0px;"> (1552/1626)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Evangelists and angels were made in the years 1599/1601 by mosaicists </span><span style="color: #ff2600; letter-spacing: 0.0px;">Paolo Rossetti</span><span style="letter-spacing: 0.0px;"> (?/1621), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lodovico Martinelli</span><span style="letter-spacing: 0.0px;"> and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Marcello Provenzale </span><span style="letter-spacing: 0.0px;">(1575/1639)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The feathers of the Evangelists are 1.50 m (5 feet) long</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">SIXTEEN RIBS</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaics with <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Cuppolone%20DSC_2197/Cuppolone%20DSC_2197.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Angels"</span></a> 1603/13 designed by Giuseppe Cesari aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cavalier d'Arpino</span><span style="letter-spacing: 0.0px;"> (1568/1640) and executed by a host of mosaicists directed by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Marcello Provenzale </span><span style="letter-spacing: 0.0px;">(1575/1639)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Beginning from the upper part "Seraphims" in stucco with golden heads, each surrounded by six white wings, "Cherubs" in mosaic with golden heads, each surrounded by six wings alternately white and blue, "Christ", "St. John the Baptist", "Virgin Mary", "St. Paul and the Apostles". In the lunettes in the lower part "Patriarchs and Bishops"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">LANTERN</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"God the Father" in the top executed in mosaic in the years 1603/04 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ranuccio Sempervivo</span><span style="letter-spacing: 0.0px;">. The height of the lantern is, incredibly, no less than 18 meters (59 feet)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">FOUR PIERS</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">71 m (233 feet) of perimeter</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">They were built by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bramante</span><span style="letter-spacing: 0.0px;">, completed by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michelangelo</span><span style="letter-spacing: 0.0px;"> and equipped by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini </span><span style="letter-spacing: 0.0px;">in the years 1928/39 to host the most important relics of Christendom</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">FOUR STATUES</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the niches at the base of the piers 5 m (16.4 feet) high: </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8833/Basilica%20S.%20Pietro%20DSC_8833.jpg?disposition=download">"St. Longinus"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1635/38 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"After S. Bibiana, the Longinus is the next crucial step in the conquest of the body through the drape dramatically conceived. Three rounds of pleats radiating out from a knot under his left arm toward the large vertical cascade of drapery leads the eye towards the marble image of the sacred spear. So the body of Longinus is almost suppressed under the weight of the coat that seems to follow its own laws. He is represented in the exciting, dramatic climax of Conversion while watching the cross and saying: this really was the son of God!" (Rudolf Wittkower)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"He expressed the immediacy required by S. Ignatius in his Spiritual Exercises (...) with an empathy that for the first time identified the personal religious aspirations of a Catholic with a spiritual hero of early Christianity. Longinus only is the first of a succession of great sinners whose lives were illuminated by the revelation of the divinity of Christ" (Howard Hibbard)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8827/Basilica%20S.%20Pietro%20DSC_8827.jpg?disposition=download">"St. Helena"</a></span><span style="letter-spacing: 0.0px;"> 1629/39 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Andrea Bolgi</span><span style="letter-spacing: 0.0px;"> (1606/56)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"The style of Bolgi shows considerable affinity with the work of Bernini in this period. The St. Helena is in fact so close to the Countess Matilda of Bernini, that the latter was often attributed to Bolgi. During the thirties Bernini himself made concessions to the classical ideals supported by the circle Poussin-Sacchi. It is therefore understandable that then he considered Bolgi as one of his most trusted assistants" (Rudolf Wittkower)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8830/Basilica%20S.%20Pietro%20DSC_8830.jpg?disposition=download">"St. Veronica"</a></span><span style="letter-spacing: 0.0px;"><b> </b>1629/39 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Mochi</span><span style="letter-spacing: 0.0px;"> (1580/1654) who carried it out slowly, as he used to say, "to seal my old age with a memorable work"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"The works of the Tuscan sculptor aroused no little surprise among his contemporaries and he was worthy of consideration by the young Bernini. A pupil of Santi di Tito, Mochi revealed new stylistic components of intense dynamics" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"The St. Veronica, his most spectacular job, seems to fall out of the niche driven by an uncontrollable pathos, revealing a particular vehemence and nervous tension. A stranger in the changed climate of Rome, Mochi was passed by the genius of Bernini and disappointed, he protested in vain against the tide of the dominant taste" (Rudolf Wittkower)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Bernini had made changes to the piers opening the four niches and digging staircases that were said to have opened cracks. So Mochi had the upper hand in responding to criticism of Bernini, who complained for the excessive fluttering of the drapery of his Veronica: "You should blame the drafts that come through your cracks, master". Perhaps it was a coincidence, but, since then, Mochi was sidelined</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8832/Basilica%20S.%20Pietro%20DSC_8832.jpg?disposition=download">"St. Andrew"</a></span><span style="letter-spacing: 0.0px;"> 1629/39 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">François Duquesnoy</span><span style="letter-spacing: 0.0px;"> (1597/1643)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"Duquesnoy, Sacchi, Poussin and Algardi defended not a direct continuation of Bolognese classicism, but a revised version, influenced by the great masters up to a certain extent (...). Compared with the classicism of the early Baroque, the new classicism was at first rather violent and picturesque, has features of its own and it is this style that can rightly be called baroque classicism" (Rudolf Wittkower)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">BALCONIES WITH RELICS</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1633/41 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span><span style="letter-spacing: 0.0px;"> with various collaborators including </span><span style="color: #ff2600; letter-spacing: 0.0px;">Guidobaldo Abbatini </span><span style="letter-spacing: 0.0px;">(1600/56) who drew cartoons and painted the finishing touches, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Pellegrini</span><span style="letter-spacing: 0.0px;"> (1605/49), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Matteo Bonarelli </span><span style="letter-spacing: 0.0px;">(husband of Constance, Bernini's lover), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Stefano Speranza</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Niccolò Menghini</span><span style="letter-spacing: 0.0px;"> (about 1610/55), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Bernini</span><span style="letter-spacing: 0.0px;"> (1612/81) and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenico De Rossi</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Eight spiral columns" of Parian marble (from the Greek island of Paros) from the old Basilica marvelously echoed by the similar, gigantic black columns of Bernini's baldachin</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">They belonged to the group of twelve columns supporting the pergula in the confession of the old St. Peter's Basilica: six were donated by Constantine and the other six were donated by the esarca (governor) Eutichius of Ravenna to Gregory III (731/741)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">It was believed they came from the Temple of Solomon in Jerusalem</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">There are two more in the Chapel of the Sacrament, another in the Museum of the Basilica while the twelfth has disappeared</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8838/Basilica%20S.%20Pietro%20DSC_8838.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;"><i>Head of St. Andrew</i></span></a>, St. Peter's brother, was donated in 1966 by Paul VI Montini (1963/78) to the city of Patras, where St. Andrew died</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8835/Basilica%20S.%20Pietro%20DSC_8835.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;"><i>Spear</i></span></a> was given to Pope Innocent VIII Cibo (1484/92) by Bajazet the son of Sultan Mehmed II</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8837/Basilica%20S.%20Pietro%20DSC_8837.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;"><i>Holy Face</i></span></a> is the most venerated relic and is regarded throughout the West as the most important image of Christ. It is also known as <i>Vera Ikon</i> - true icon - hence the new name of Veronica whose real name was Berenike. It dates back to the eighth century for sure</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8834/Basilica%20S.%20Pietro%20DSC_8834.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;"><i>Wood of the Cross and the nails of the Crucifixion</i></span></a> were brought to Rome by St. Helena. After the donation of several pieces to various churches, the relic was reconstituted by Urban VIII with other fragments kept in the Roman churches S. Anastasia and S. Croce in Gerusalemme</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">During the construction of the new Basilica the relics were placed in a chapel inside the piers of Veronica and the remaining three are still there. They are shown from the balcony of Veronica during the Holy Week</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8825/Basilica%20S.%20Pietro%20DSC_8825.jpg?disposition=download">CANOPY</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1624/36 (it was inaugurated unfinished in 1633) first </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span><span style="letter-spacing: 0.0px;">'s major work at the age of twenty-six for Urban VIII Barberini (1623/44)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">29 m (95 feet) high. The weight is 93 tonnes (102 tons)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">He chose the image of the mobile canopy used in processions, also known as baldaquin, as a fossilized bronze ciborium</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">He was helped by: </span><span style="color: #ff2600; letter-spacing: 0.0px;">François Duquesnoy</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Stefano Maderno</span><span style="letter-spacing: 0.0px;"> (1560/1636), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Antonio Fancelli </span><span style="letter-spacing: 0.0px;">(1619/71), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuliano Finelli</span><span style="letter-spacing: 0.0px;"> (1602/53) and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Borromini </span><span style="letter-spacing: 0.0px;">(1599/1667) who maybe designed also the top decorations shaped as <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8896/Basilica%20S.%20Pietro%20DSC_8896.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">volutes like the backs of dolphins</span></a></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"I still believe that Borromini had an important creative role in the pattern of those volutes: those elements shaped as backs of dolphins with an undoubted derivation of Lombardy, which the architect repeated in many of his later works, do not ever reappear in the Bernini repertoire. (...) Also the quadriconcave crowning, which supports the cross, has its first appearance here. It is a pattern we will meet in Rome later in the lanterns of S. Carlino and S. Ivo" (Paolo Portoghesi)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">He was also helped by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Andrea Bolgi</span><span style="letter-spacing: 0.0px;"> (1606/56) who made the four angels on the roof, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Bernini </span><span style="letter-spacing: 0.0px;">(1562/1629), his father and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Bernini</span><span style="letter-spacing: 0.0px;"> (1612/81), his brother</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"The canopy held a threefold function of mediation: aesthetic, as it was an intermediate key between the celebrant and the immensity of the surrounding space; historical, as it recalled the arrangement of the tomb at the time of Constantine; iconographic, as it crowned the tomb of Peter with the cross of Christ (in the original version with the figure of the risen Christ), linking it to the Christocentric-eschatological theme of the mosaics of the dome. The whole entire central space became a place of resurrection and the 'pathos' of Bramante's architecture, absolute in the first place, was put at the service of a specific theological message" (Christof Thoenes)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The bronze used was taken from the ribs of the dome, from Venice and from Livorno. When it became apparent that the bronze was not yet sufficient Urban VIII authorized the fusion of the ancient bronze taken from the ceiling of the pronaos of the Pantheon</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The bronze in excess at that point was used to make eighty cannons for Castel Sant'Angelo</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The fact that he used part of the 200 tonnes of bronze (220 tons) of the Pantheon caused the famous lampoon "In Rome, whatever the barbarians didn't do, the Barberini did"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Pure gold was used for the gilding. A small gold fragment would be beaten with a hammer between two sheets of fine leather in sheets of about 4 thousandths of a millimeter and applied to selected surfaces</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The Barberini coat of arms in the plinths of the four columns represent a hidden sequence of the birth of a baby with a young woman's face relaxed first, then contract and finally replaced by the face of a child. It seems that this is due to the vow made by Urban VIII to build the canopy if his beloved nephew, who was likely to die during childbirth, had given birth successfully</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"It was a brilliant idea to repeat in the giant columns of the Baldaquin, the shape of the spiral ancient columns now in the aediculae on the balconies of the pillars. So the spiral bronze columns get a fourfold echo and not only give proof of the continuity of tradition, but with their gigantic size also symbolically express the change from the simplicity of the early Christian church to the glory of the Counter-Reformation, with the implied victory of Christianity over pagan world. Their measures are carefully proportioned into the architecture of the church, but instead of creating a dangerous rivalry, they provide a dramatic contrast with the straight fluted white pillars as well as with other structural elements of the building in white marble" (Rudolf Wittkower)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">During the construction a sarcophagus was found with the statue of a gentile on the lid, <a href="http://www.imamuseum.org/sites/default/files/mars/03/036ce74c-0125-4e39-b201-132a76f078bb.jpg"><span style="color: #021eaa; letter-spacing: 0px;">"Flavius Agricola from Tivoli"</span></a> about 160 AD, which was placed at first in Palazzo Barberini and now is exposed in the Indianapolis Museum of Arts in the USA</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"The canon of St. Peter Ugo Ubaldi didn't even mention the 'scandalous' epitaph of Flavius Agricola who's urging his friends to indulge in the pleasures of an Epicurean life; verses that were 'hidden and silenced for severe penalties and rigorous excommunication', and 'orribilissime' threats and 'menaces of the pope to whoever dared to speak of these verses'. Of course it must have been difficult to justify the embarrassing and dangerous contiguity between the pagan libertine and the mortal remains of Peter. It was as if a curious oxymoron had materialized that would see the foundations of the canopy undermine the very foundations of the Christian World" (Maria Grazia D'Amelio -Tra ossa, polveri e ceneri: il 'fuoriasse' del baldacchino di S. Pietro a Roma - Annali di Architettura - www.cisapalladio.org )</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8826/Basilica%20S.%20Pietro%20DSC_8826.jpg?disposition=download">PAPAL ALTAR</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">1594 for Clement VIII Aldobrandini (1592/1605) with upper part in Parian marble and sides in pavonazzetto marble, all taken from the Temple of Minerva in the Forum of Nerva</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Only the Pope can celebrate Mass on this altar</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/DSCF3135/DSCF3135.jpg?disposition=download">CONFESSION</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1615/18 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maderno</span><span style="letter-spacing: 0.0px;"> (1556/1629)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">89 flames in gilded bronze cornucopias by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Mattia De Rossi</span><span style="letter-spacing: 0.0px;"> (1637/95)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the <i>Niche of the Pallii</i> liturgical insignia of honor made of bands of white wool 4/6 cm - 1.5/2 inches - wide with six black silk crosses</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Mosaic "Christ blessing" from the time of Leo IV (847/855)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Three frescoes under the arch with "Stories of the tomb and the Basilica" 1615 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Ricci</span><span style="letter-spacing: 0.0px;"> (about 1550/1624). They are the only paintings in the entire Church with those in the Chapel of Holy Sacrament and in the Pietà Chapel</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>EIGHT OCTAGONAL ROOMS</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Eight rooms about 110 sqm (1,184 square feet) each, obtained in the four huge piers of the dome at a level of about 24 m (79 feet) above the floor. They are not open to the public</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">TWO OCTAGONAL ROOMS OF OUR LADY OF THE PILLAR (<i>Octagon of the Cripple</i> and <i>Octagon of Simon Magus</i>)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Historical documents of the General Fabric of St. Peter with about 2,000 m (6,560 feet) of shelving, including papers signed by Antonio da Sangallo, Michelangelo, Bernini, Vanvitelli and Valadier</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.atlantedellarteitaliana.it/immagine/00020/13294OP868AU21180.jpg">"Reliefs from the old Ciborium in St. Peter's Basilica"</a></span><span style="letter-spacing: 0.0px;"> 1471/78 maybe by a Florentine Master close to Antonio Rossellino or Roman Master close to Mino da Fiesole or Paolo Taccone aka Paolo Romano for the Cardinal G.B. Mellini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Paintings by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ugo da Carpi</span><span style="letter-spacing: 0.0px;"> (about 1480/1532), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Zoboli</span><span style="letter-spacing: 0.0px;"> (1681/1767), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Trevisani</span><span style="letter-spacing: 0.0px;"> (1656/1746), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Agostino Ciampelli</span><span style="letter-spacing: 0.0px;"> (1565/1630)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">TWO OCTAGONAL ROOMS OF Sts. MICHAEL AND PETRONILLA</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Storage rooms for materials related to the liturgical needs of the basilica</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">TWO OCTAGONAL ROOMS OF THE GREGORIAN CHAPEL</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>Octagon of S. Basil</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Marble reliefs of the funerary monument of Pope Paul II Barbo (1464/71) 1475/77 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Mino da Fiesole</span><span style="letter-spacing: 0.0px;"> (1429/84) and Giovanni Duknovich aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Dalmata</span><span style="letter-spacing: 0.0px;"> (about 1440/1510)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The monument was originally located in the ancient basilica and it had a height of about 11 m (36 feet)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Wooden model of the dome of St. Peter" on a 1:15 scale executed by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michelangelo Buonarroti</span><span style="letter-spacing: 0.0px;"> (1475/1564) and restored by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Vanvitelli</span><span style="letter-spacing: 0.0px;"> (1700 /73)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>Octagon of S. Jerome</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Model of the Basilica of St. Peter" 1539/46 according to the design of Antonio da Sangallo the Younger on a 1:29 scale. It can be opened and it is accessible inside</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Models of plaster statues" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Antonio Canova</span><span style="letter-spacing: 0.0px;"> (1757/1822) and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bertel Thorvaldsen </span><span style="letter-spacing: 0.0px;">(1770/1844)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">TWO OCTAGONAL ROOMS OF THE CLEMENTINE CHAPEL <i>(Octagon of the Transfiguration and Octagon of the Lie)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Wooden models for the construction of the Sacristy of 1715" including those of Filippo Juvarra and Nicola Michetti</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Altarpiece painted in oil on blackboard "Fall of Simon Magus" 1603 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Vanni </span><span style="letter-spacing: 0.0px;">(about 1563/1610 )</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro.html"><i>RIGHT NAVE</i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In 1727 many altarpieces were replaced with mosaics</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Above the Holy Door, mosaic <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8758/Basilica%20S.%20Pietro%20DSC_8758.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"St. Peter"</span></a> 1675 maybe by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ciro Ferri</span><span style="letter-spacing: 0.0px;"> (1634/89) or </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Ricci</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">DOME OF THE VESTIBULE OF THE FIRST CHAPEL ON THE RIGHT <i>(Dedicated to the Passion of Christ)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaic with <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8760/Basilica%20S.%20Pietro%20DSC_8760.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Apocalyptic scene of angels marking the foreheads of the chosen ones with the sign of the living God"</span></a> designed in 1668 by Pietro Berrettini aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro da Cortona</span><span style="letter-spacing: 0.0px;"> (1597/1669) and by his pupil </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ciro Ferri </span><span style="letter-spacing: 0.0px;">(1634/89) who completed the work from 1669 to 1671, after the death of his teacher</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the SPANDRELS mosaics with important personalities of the Ancient Testament:</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Noah with the ark"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Sacrifice of Isaac"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Moses with the tablets of the Law"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Prophet Jeremiah"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1669/71 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ciro Ferri</span><span style="letter-spacing: 0.0px;"> executed as mosaic in the years 1680/81 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fabio Cristofari </span><span style="letter-spacing: 0.0px;">(about 1615/89)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the LUNETTES mosaics with sibyls and minor prophets who had prophesied the Passion:</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Phrygian Sibyl"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Cumaean Sibyl" </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Prophet Amos"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Prophet Zechariah"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Prophet Hosea"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Prophet Isaiah"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1669/71 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ciro Ferri</span><span style="letter-spacing: 0.0px;"> executed as mosaics in the years 1677/79 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fabio Cristofari</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">In the DRUM plaster statues "Four angels with symbols of the Passion" 1712 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Ottoni</span><span style="letter-spacing: 0.0px;"> (1648/1736)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">FIRST CHAPEL ON THE RIGHT (<i>of the Pietà</i>)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Famous <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Cuppolone%20DSC_2243/Cuppolone%20DSC_2243.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Pietà"</span></a> August 1498/August 1499 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michelangelo Buonarroti </span><span style="letter-spacing: 0.0px;">when he was twenty-three years old for Cardinal Jean de Bilhères de Lagraulas ambassador for Charles VIII King of France</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">The <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8763/Basilica%20S.%20Pietro%20DSC_8763.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">pedestal of the statue</span></a> was designed by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Borromini </span><span style="letter-spacing: 0.0px;">(1599/1667)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">It is regarded as the most significant and most beautiful statue in the whole world</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">It was placed here in 1749. It was previously located in the Choir Chapel</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">It was the subject of an attack in 1972 by the deranged Austro-Hungarian Laszlo Toth: shouting "I am Jesus Christ born again from the dead" he hammered the statue fifteen times before being stopped. He was hospitalized for two years in Italy and, after being released, he went to Australia where he still lives</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">During the restoration a letter M was discovered drawn in the lines in the palm of the right hand of the Virgin</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Michelangelo had heard unrecognized some admirers in front of the "Pieta" doubting that he had done it because he was too young. They were attributing it more plausibly to some Milanese sculptor. He then entered at night in the Basilica and engraved on the Madonna's dress band <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Cuppolone%20DSC_2245/Cuppolone%20DSC_2245.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;"><i>Michael Angelus Bonarotus Florent Faciebat</i></span></a>: Michelangelo Buonarroti from Florence did this. It is the only work that he ever signed in his life</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"The Virgin holds in her lap the dead Christ, as if it were a sleeping child, and young as when Christ was a child. Perhaps the statue is to be just that: a vision or, rather, the anticipation or foreshadowing that the Virgin has of the Passion of her Son. The vision of the future is tied up right away with regret: the demonstrative gesture of the hand of the Madonna said that the prediction has unfortunately come true. It is a period of time from past to future that excludes the present time, the reality of the event. The composition is enclosed in a pyramid, as if to indicate that everything is part of a divine idea that transcends pain and human compassion" (Giulio Carlo Argan)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"Michelangelo deliberately accentuated the youth of the Virgin Mary departing markedly from the usual figurative tradition that wanted Mary represented in old age. So she comes to embody the symbol of eternal life. Our Lady, Virgin and Mother at the same time, preserves the immaculate youth of her face, while slightly showing anyway, in her deep silence, all the pain for the death of her Son, who is gently resting on her lap, almost weightless. The figure of Christ does not have the rigidity of a corpse and doesn't show signs of wounds, as he was normally realistically represented: he is the perfect humanity of the God-Man, not deformed by death and not disfigured by suffered tortures" (Alfredo Maria Pergolizzi)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"It is related to a type of representation derived from popular religion and late medieval mysticism, and widespread since the fourteenth century, particularly in northern Europe, under the name Vesperbild. The depiction of the Pietà was particularly likely to draw a visual connection between the incarnation of Christ, his coming as man, and the Eucharistic sacrifice, his sacrifice. In fact, the medieval theology linked the Madonna both to the birth of the Savior and to the altar on which the sacrifice of Christ was simbolically repeated during mass. The body of Christ depicted lying in his mother's lap was equivalent to the Host that the priest raised during the Eucharist" (Frank Zöllner)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"It is his most carefully finished work. He must have spent endless time sanding with abrasives, until the figure of Christ reached a polishness almost shiny, glazed. You will not find drill holes, but studying the head of Christ one cannot ignore the fact that the hair has been worked extensively with the drill" (Rudolf Wittkower)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">In the center of the vault <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Cuppolone%20DSC_2244/Cuppolone%20DSC_2244.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Triumph of the Cross"</span></a> and on the sides "Scenes from the Passion" frescoes by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Lanfranco</span><span style="letter-spacing: 0.0px;"> (1582/1647): they are the only paintings in the whole church together with those in the Chapel of Holy Sacrament and in the Confession</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">FIRST PASSAGE</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the left <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8766/Basilica%20S.%20Pietro%20DSC_8766.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monument to Queen Christina of Sweden (1626/89)"</span></a> 1691/1702 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Fontana</span><span style="letter-spacing: 0.0px;"> (1634/1714) with bas-relief "Christina of Sweden abjuring Protestantism in Innsbruck on the year 1655" by</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Jean-Baptiste Théodon </span><span style="letter-spacing: 0.0px;">(1646/1713) and "Angels" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Ottoni</span><span style="letter-spacing: 0.0px;"> (1648/1736)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The Queen was buried in the Crypt of the Basilica</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">She became Queen of Sweden in 1632 when she was 6 years old, lived in a nonconformist way, refused to marry and secretly converted to Catholicism. In 1654 she abdicated in favor of her cousin and went to Rome where she lived until her death in 1689. She has become one of the most famous gay icons</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8764/Basilica%20S.%20Pietro%20DSC_8764.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Statue of Leo XII Sermattei (1823/29)"</span></a> with allegories above the niche of "Religion" on the left and "Justice" on the right 1836 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe De Fabris </span><span style="letter-spacing: 0.0px;">(1790/1860)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Leo XII is actually buried in the Chapel of our Lady of the Pillar</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"In 1825 Leo XIII had celebrated the Jubilee of 1825 and the event is commemorated in the monument with the pope, standing and blessing, surrounded, in a neo-medieval quote, consisting in representing the cardinals Cappellari (the future Pope Gregory XVI), Pacca, Odescalchi and Zurla out of scale" (Roberto Cassanelli)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">CHAPEL OF THE RELICS <i>(Under the statue of Leo XII)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">It was originally a warehouse and it was transformed into a chapel approximately in the years 1664/71 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Decorated in about 1750 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Vanvitelli</span><span style="letter-spacing: 0.0px;"> (1700/73) and restored in 1887 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Andrea Busiri Vici </span><span style="letter-spacing: 0.0px;">(1818/1911)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Over the main altar <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8769/Basilica%20S.%20Pietro%20DSC_8769.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Wooden crucifix"</span></a> maybe by Pietro de' Cerroni aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Cavallini </span><span style="letter-spacing: 0.0px;">(about 1240/1325) formerly in the first chapel on the right and moved here in 1749 when it had to make room for the "Pietà" by Michelangelo</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Altar on the left with altarpiece in mosaic "St. Nicholas" in 1680 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fabio Cristofari</span><span style="letter-spacing: 0.0px;"> (about 1615/89)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Altar on the right with altarpiece in mosaic "St. Joseph with the Child Jesus"1892 from a painting by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Grandi</span><span style="letter-spacing: 0.0px;"> (1831/91)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Six large eighteenth century closets to preserve the relics</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">At the center of the chapel there is a tiny lift installed during the pontificate of Pius XI Ratti (1922/39) which connects the Basilica with the Apostolic Palace</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">DOME OF THE VESTIBULE OF THE SECOND CHAPEL ON THE RIGHT <i>(Dedicated to the martyrs)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">Mosaic with <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8777/Basilica%20S.%20Pietro%20DSC_8777.jpg?disposition=download"><span style="letter-spacing: 0px;">"Apocalyptic scene with a host of martyrs proceeding with the palms of martyrdom toward the eternal God enthroned near the Lamb"</span></a> designed in the years 1652/62 by Pietro Berrettini aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro da Cortona</span><span style="color: black; letter-spacing: 0.0px;"> (1597/1669) and by his pupil </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ciro Ferri</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"Here Pietro da Cortona, assisted by Ciro Ferri, shows a significant display of Baroque decoration, where the dynamism and the pictorial agility of his inventions are enhanced by its compositional and perspective ability" (Alfredo Maria Pergolizzi)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the SPANDRELS mosaics with:</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Abel offering a lamb in sacrifice"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Prophet Isaiah with a saw, instrument of martyrdom"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Prophet Ezekiel (or Jeremiah)"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Prophet Zechariah"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the LUNETTES mosaics with martyrs of the Old Testament:</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Martyrdom of the seven Maccabee brothers and their mother"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Mattathias kills the apostate Jew"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Angel bears the palm of martyrdom over the bodies of the two Jewish mothers and their children"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Old Eleazar sentenced to death by Antiochus because he refused to eat the forbidden meat"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Daniel in the lions' den"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"The three children Shadrach, Meshach, and Abednego condemned by Nebuchadnezzar to burn alive in the furnace of Babylon"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1652/62 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro da Cortona</span><span style="letter-spacing: 0.0px;"> and 1659/63 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Raffaele Vanni</span><span style="letter-spacing: 0.0px;"> (1587/1673) executed as mosaics in the years 1654/60 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Matteo Piccioni</span><span style="letter-spacing: 0.0px;">,</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Guidobaldo Abbatini </span><span style="letter-spacing: 0.0px;">(1600/56), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fabio Cristofari</span><span style="letter-spacing: 0.0px;"> (about 1615/89) and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Orazio Manenti</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">In the DRUM plaster statues "Angels with symbols of martyrdom" 1713 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Ottoni</span><span style="letter-spacing: 0.0px;"> (1648/1736 )</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">SECOND CHAPEL ON THE RIGHT (<i>of St. Sebastian</i>)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaic <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8770/Basilica%20S.%20Pietro%20DSC_8770.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Death of St. Sebastian"</span></a> from the original made in 1614 by Domenico Zampieri aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenichino</span><span style="letter-spacing: 0.0px;"> (1581/1641) in the Pinacoteca Vaticana</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"The contrast between life and death plays a formidable role in baroque iconography, and one of the most innovative features of the period is that we can describe as "happy death" - ie, a scene in which the dying agony of the human and the grief of the survivors are mixed with a feeling of supreme liberation" (Erwin Panofsky)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Under the altar until May 2011 there was the <i>body of Innocent XI Odescalchi (1676/89)</i> whose monument is in fact in the left nave</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Since May 2011 the body of Innocent XI was moved to the Cappella Clementina and the <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8773/Basilica%20S.%20Pietro%20DSC_8773.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomb of John Paul II"</span></a><b> </b>Wojtyla (1978/2005) was placed here</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">On the right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8772/Basilica%20S.%20Pietro%20DSC_8772.jpg?disposition=download"><span style="letter-spacing: 0px;">"Monument of Pius XI Ratti (1922/39)"</span></a> by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Nagni</span><span style="color: black; letter-spacing: 0.0px;"> (1897/1977)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The book that he holds open with one hand is a quote for the attention shown by Pius XI for the Ambrosian and the Vatican Libraries</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The statue replaced the earlier monument made in 1949 by Pietro Canonica (1869/1959) that had not been very much appreciated and was therefore moved to the Lateran Palace</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Pius XI signed the Lateran Treaty between the Italian State and the Church in 1929 but he opposed many aspects of fascism. He condemned the nazi ideology and he wrote the encyclical "With deep concern" in German. When Hitler visited Rome, he went to Castel Gandolfo, ordered to close the Vatican Museums and to turn off all the lights of the Vatican</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">On the left <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8774/Basilica%20S.%20Pietro%20DSC_8774.jpg?disposition=download"><span style="letter-spacing: 0px;">"Monument of Pius XII Pacelli (1939/58)"</span></a> 1961/64 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Messina</span><span style="color: black; letter-spacing: 0.0px;"> (1900/95)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Messina represented the pope with the miter, the headdress of bishops, rather than the tiara, the headgear of the popes, to emphasize the important and dramatic role as bishop of Rome that Pius XII had during the tragic World War II</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Pius XII was a controversial figure, criticized for his more moderate reaction to nazism compared to his predecessor Pius XI</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"Continuing his search for natural shapes modeled in a solid and vibrant way, he executed the monumental marble statue of St. Catherine of Siena in the gardens of Lungotevere Castello and for the Basilica of St. Peter he conceived the Monument to Pope Pius XII: a large sculpture designed to fully represent, in the verticality of the volumes and in the vitality and color of the surface, the ecclesiastical stature of the blessing pope" (Rosanna Ruscio - Dizionario Biografico degli Italiani Treccani)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">SECOND PASSAGE</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8779/Basilica%20S.%20Pietro%20DSC_8779.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomb of Innocent XII"</span></a><b> </b>Pignatelli (1691/1700) designed by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ferdinando Fuga</span><span style="letter-spacing: 0.0px;"> (1699/1782)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Sculptures <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8780/Basilica%20S.%20Pietro%20DSC_8780.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Pope"</span></a> between "Charity" and "Justice" 1746 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Della Valle </span><span style="letter-spacing: 0.0px;">(1698/1768)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"During 1600 the political influence of the pope had been gradually fading and this is reflected in papal monuments of the period. Already the Clement IX in Santa Maria Maggiore by Domenico Guidi - 1675 - and the Clement X in St. Peter's Basilica by Ercole Ferrata - about 1685 - had shown a considerably weakened gesture of blessing and a decrease in volume. This trend continued until Filippo Della Valle made of his Innocent XII a frail old man rather than the symbolic leader of Christendom" (Rudolf Wittkower)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"The entire composition is a little gem for the use of ancient and rare marbles (antique yellow, antique green, breccia of Skyros or Settebassi). The two allegories, despite the still classic setting, come alive and are complemented by an all rococo spirit, also thanks to the presence of the lively and lovely cherubs. The female characters do not have the natural details that are found in the works of Bernini, but remain idealized figures, built with elegant pictorial softness, yet with a solid structure" (Alfredo Maria Pergolizzi)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">On the left <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8781/Basilica%20S.%20Pietro%20DSC_8781.jpg?disposition=download"><span style="letter-spacing: 0px;">"Monument to the Countess Matilda of Canossa"</span></a> 1634/37 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8782/Basilica%20S.%20Pietro%20DSC_8782.jpg?disposition=download">Cherubs holding scrolls</a></span><span style="letter-spacing: 0.0px;"> on the sarcophagus: on the right by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Bernini</span><span style="letter-spacing: 0.0px;"> (1612/81), Gian Lorenzo's brother, on the left by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Andrea Bolgi</span><span style="letter-spacing: 0.0px;"> (1606/56) also responsible for the scroll</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Relief on the sarcophagus "Pardon granted by Pope Gregory VII (1073/85) to Emperor Henry IV at Canossa in 1077, in the presence of the Countess Matilda, his son Amadeo and Abbot Hugh of Cluny" 1634/36 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Stefano Speranza</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Putti at the top of the arch and coat of arms by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Matteo Bonarelli</span><span style="letter-spacing: 0.0px;"> (husband of Constance, lover of Bernini), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Andrea Bolgi </span><span style="letter-spacing: 0.0px;">and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Flori</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Matilda was born in 1046 and when she was 30 years old she was ruling over an area extending from Lake Garda in Northern Italy to the Lazio region north of Rome. She supported Pope Gregory VII in the investiture controversy against the German Emperor Henry IV</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">DOME OF THE VESTIBULE OF THE THIRD CHAPEL ON THE RIGHT <i>(Dedicated to the Eucharist)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">Mosaic in the DOME <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8785/Basilica%20S.%20Pietro%20DSC_8785.jpg?disposition=download"><span style="letter-spacing: 0px;">"Apocalyptic scene with a central golden altar for burnt offering, a symbol of the Eucharistic sacrifice, sprinkled with incense by the angels and with fragrant aromas by the saints"</span></a> designed 1652/62 by Pietro Berrettini aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro da Cortona</span><span style="color: black; letter-spacing: 0.0px;"> (1597/1669)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"The decorating project was originally entrusted, in 1640, to Niccolò Tornioli. In 1562 the Congregazione della Reverenda Fabbrica (Congregation of the Reverend Factory) decided to give the job to Pietro da Cortona. (...) The dominant iconographic theme is the mystery of the Eucharist, a voluntary underscore of a subject at that time disputed by Protestants and illustrated with great scenes that echo the religious struggles" (Alfredo Maria Pergolizzi)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the SPANDRELS mosaics with personalities who have preached the Eucharistic sacrifice:</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Melchizedek, king of Salem, offers the bread"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Elijah fed by an Angel"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"A priest distributes the ceremonial bread"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Aaron fills a jar with manna"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">1653/63 by </span><span style="letter-spacing: 0.0px;">Ciro Ferri</span><span style="color: black; letter-spacing: 0.0px;"> (1634/89),</span><span style="letter-spacing: 0.0px;"> Matteo Piccioni</span><span style="color: black; letter-spacing: 0.0px;">,</span><span style="letter-spacing: 0.0px;"> Guidobaldo Abbatini </span><span style="color: black; letter-spacing: 0.0px;">(1600/56), </span><span style="letter-spacing: 0.0px;">Fabio Cristofari</span><span style="color: black; letter-spacing: 0.0px;"> (about 1615/89) and </span><span style="letter-spacing: 0.0px;">Orazio Manenti</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the LUNETTES mosaics with episodes of punishment for those who eats unworthily of the Eucharist:</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"High Priest offering the first fruits of corn"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Two of the twelve scouts sent by Moses in the land of Canaan returning with a bunch of grapes"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Uzzah dies because he had touched the Ark unworthily"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"A seraph purifies Isaiah's lips with a live coal"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Jonathan, Saul's son, is nourished with a honeycomb"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"The idol of Dagon destroyed by the Ark of God"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1659/63 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Raffaele Vanni</span><span style="letter-spacing: 0.0px;"> ( 1587/1673 ) executed as mosaics by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Orazio Manenti</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">In the DRUM four statues in stucco "Angels with Eucharistic symbols" in 1713 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Ottoni</span><span style="letter-spacing: 0.0px;"> (1648/1736)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/DSCF3076/DSCF3076.jpg?disposition=download">CHAPEL OF THE HOLY SACRAMENT</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/DSCF3076/DSCF3076.jpg?disposition=download">Bronze gate</a></span><span style="letter-spacing: 0.0px;"> 1629/30 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Borromini</span><span style="letter-spacing: 0.0px;"> who also designed the two marble portals in the end wall of the chapel</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Fourteen bas-reliefs in stucco on the ceiling and seven on the walls with "Stories of the Old and New Testaments" 1623/27 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Ricci</span><span style="letter-spacing: 0.0px;"> (about 1550/1624)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Altar and <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8784/Basilica%20S.%20Pietro%20DSC_8784.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Ciborium"</span></a> in gilt bronze and lapis lazuli 1674 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span><span style="letter-spacing: 0.0px;">: it had been commissioned almost fifty years before by Urban VIII</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"Colored marble, gilded bronze and lapis lazuli are combined in a framework of sublime beauty that symbolically expresses the intangible perfection of the angelic world and the glory of God. With his revolutionary way of treating color and light, Bernini started a development that would have immense consequences" (Rudolf Wittkower)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"Baroque version of a familiar theme, it seems likely that his source of inspiration was a relief, perhaps by Andrea Sansovino in S. Croce in Gerusalemme, which he surely knew (...). The weeping and human worship of angels in contrast with the timeless architecture of the building is typical of the late style of Bernini. In his later years he seems to have found in the inexorable laws of architecture a touching contrast to our human transitional state" (Howard Hibbard)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Altarpiece oil on canvas "Trinity" 1632 Pietro Berrettini aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro da Cortona</span><span style="letter-spacing: 0.0px;">, the only altarpiece not made in mosaic in the whole Basilica</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"In 1627, the Congregazione della Reverenda Fabbrica (Congregation of the Reverend Factory) had decided to entrust the execution of the work for this chapel to Guido Reni. Due to differing opinions (...) the negotiations failed, and following the sudden and controversial departure of the painter to Bologna, in February of the following year the commission went to Cortona, thanks to the support of Cardinal Francesco Barberini. It is a typical Baroque composition, dynamic, animated by many figures but at the same time harmoniously gathered. It has become an iconographic model admired in his time and imitated in the following century" (Alfredo Maria Pergolizzi)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Paintings on the walls "Angels" 1742 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Zoboli</span><span style="letter-spacing: 0.0px;"> (1681/1767)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">On the right "Two spiral columns" from the old Basilica with a mosaic in the middle, copy of "St. Francis stigmatized" by Domenichino in S. Maria della Concezione</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">On the left organ made in 1582</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">THIRD PASSAGE</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">The entrance to the passage is topped by sculptures "Fame holds the coat of arms of Pope Innocent X Pamphili (1644/55)" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Bernini</span><span style="letter-spacing: 0.0px;"> (1612/81) designed by his brother </span><span style="color: #ff2600; letter-spacing: 0.0px;">Gian Lorenzo Bernini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8786/Basilica%20S.%20Pietro%20DSC_8786.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monument to Gregory XIII"</span></a> Boncompagni (1572/85) 1720/23 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Camillo Rusconi</span><span style="letter-spacing: 0.0px;"> (1658/1728) for Cardinal Giacomo Boncompagni great-grandson of the Pope</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Statues of allegories: on the left "Religion" with tablets of the Law and the Gospel book", on the right "Magnificence in the guise of Minerva" leaning against a shield with the signature of Camillo Rusconi</span></div>
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<span style="color: black; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the relief on the front of the sarcophagus <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8788/Basilica%20S.%20Pietro%20DSC_8788.jpg?disposition=download"><span style="letter-spacing: 0px;">"Proclamation of the Gregorian Calendar reform in 1582"</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">It was decided to go directly from October 4, 1582 to October 15, skipping 10 days, to overcome the lag of 11 minutes and 14 seconds accumulated since the time of the reform of Julius Caesar. Catholics adopted it immediately, Protestants in the eighteenth century and later the Orthodox as well as most of the countries in the world</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"Although deeply rooted in the Bernini idea of sculpture, Rusconi mixed here elements from the Leo XI by Algardi (allegory) and from the Innocent XI by Monnot (whiteness of the monument, keystone sarcophagus with relief and idea of a sitting Pope on the sarcophagus), but was not a simple repetition. His monument is placed asymmetrically, the pope is not sitting on the center, nor allegories follow the usual heraldry arrangement. The tomb was made to be seen on one side. Moreover the drapery of Courage, seen from the left, creates a dominant diagonal that links the allegory to the figure of the pope. The tomb is a rare synthesis of classical and baroque tendencies of Algardi and Bernini, carried out with success in a late Baroque style by Rusconi" (Rudolf Wittkower)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the left <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8789/Basilica%20S.%20Pietro%20DSC_8789.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomb of Gregory XIV"</span></a> Sfondrati (1590/91) with statues in stucco on the left "Religion" and on the right "Justice" by Prospero Antichi aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Prospero Bresciano </span><span style="letter-spacing: 0.0px;">(active since 1580/d. after 1592)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Gregory XIV was pope for only 10 months</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The two statues are stucco models originally belonging to the temporary grave of Gregory XIII. They should have been made of marble or bronze, but the monument was never completed and is the only one in the Basilica without a statue of the pope</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Even the urn was in plaster and the current one in marble was only made in 1842</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The three frescoes in monochrome refer to the life of Gregory XIII</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8794/Basilica%20S.%20Pietro%20DSC_8794.jpg?disposition=download"><i>GREGORIAN CHAPEL</i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1583 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Della Porta</span><span style="letter-spacing: 0.0px;"> (1533/1602) for Gregory XIII Boncompagni (1572/85)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">It was the first chapel to be used for worship in the new basilica and the first to be decorated with mosaics:</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">In the <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8796/Basilica%20S.%20Pietro%20DSC_8796.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">DOME</span></a> of the chapel mosaics "Marian symbols supported by angels taken from the Litany of Loreto" executed in the years 1772/75 from drawings of the Sicilian </span><span style="color: #ff2600; letter-spacing: 0.0px;">Salvatore Monosilio</span><span style="letter-spacing: 0.0px;"> (active since 1744/d. 1776)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8796/Basilica%20S.%20Pietro%20DSC_8796.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">SPANDRELS</span></a> mosaics with "St. Gregory the Great", "St. Jerome", "St. Gregory Nazianzen" and "St. Basil"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the LUNETTES mosaics with "St. Mary during the Annunciation", "Archangel Gabriel", "Ezekiel" and "Isaiah"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">They were carried out in the years 1578/79 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Venetian artists</span><span style="letter-spacing: 0.0px;"> from models of </span><span style="color: #ff2600; letter-spacing: 0.0px;">Girolamo Muziano</span><span style="letter-spacing: 0.0px;"> (1532/92). They were restored in the years 1758/79</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"The facing of the walls and vaults with polychrome marbles, stucco and mosaics followed the tradition of Roman private chapels, inaugurated by Raphael in the Chigi Chapel in Santa Maria del Popolo. Progressively the same decorative schemes spread to the whole church" (Christof Thoenes)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">ABOVE THE ALTAR</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Madonna del Soccorso (Our Lady of Help)" dating, according to tradition, to the time of Paschal II (1099/1118), formerly in the old basilica. It is the oldest and most venerated Marian image of the basilica</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">UNDER THE ALTAR</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>Tomb of St. Gregory Nazianzen</i> who gives his name to the chapel, along with Gregory XIII who had the remains of his namesake moved here in 1580 from the church of S. Maria in Campo Marzio</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">ON THE RIGHT</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8792/Basilica%20S.%20Pietro%20DSC_8792.jpg?disposition=download">"Tomb of Gregory XVI"</a></span><span style="letter-spacing: 0.0px;"> Cappellari (1831/46) 1854 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Amici</span><span style="letter-spacing: 0.0px;"> (1817/97) in a somewhat cold purist style. The portrait of the pontiff, however, is actually very dignified and full of pathos</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Statues of allegories: on the left "Sapienza" and on the right "Prudence"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the bas-relief on the sarcophagus "Activities for the Catholic missions of Cardinal Cappellari as prefect of the Congregation of Propaganda Fide"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The jambs of the door of the monument are made out of alabaster coming from Egypt</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">On the sides of the monument "Two African gray marble columns" from the Temple of the Goddess Rome near the Colosseum</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">ON THE LEFT</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaic <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8791/Basilica%20S.%20Pietro%20DSC_8791.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Communion of St. Jerome"</span></a> from the original by Domenico Zampieri aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenichino</span><span style="letter-spacing: 0.0px;"> (1581/1641) now in the Vatican Museum. It was executed in 1730 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Cristofari</span><span style="letter-spacing: 0.0px;"> (1685/1743) and retouched by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Alessandro Cocchi</span><span style="letter-spacing: 0.0px;"> e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Ottaviani</span></span></div>
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<span style="color: black; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Under the mosaic <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8797/Basilica%20S.%20Pietro%20DSC_8797.jpg?disposition=download"><span style="letter-spacing: 0px;"><i>body of Pope John XXIII Roncalli (1958/63)</i></span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">John XXIII called the Second Vatican Council which changed the Catholic approach to the world as well as the church liturgy. Known affectionately as "Good Pope John" and "the most beloved Pope in history" to many people, on September 3, 2000, John was declared "Blessed" by Pope John Paul II the penultimate step on the road to sainthood</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">PASSAGE TO THE RIGHT TRANSEPT</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8795/Basilica%20S.%20Pietro%20DSC_8795.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomb of Benedict XIV"</span></a> Lambertini (1740/1758) 1769 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Bracci </span><span style="letter-spacing: 0.0px;">(1700/73) with allegorical figures: on the left "Holy wisdom" and on the right "Disinterest" refusing riches offered by a putto with bat wings. The statue of Disinterest was executed by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Gaspare Sibilla</span><span style="letter-spacing: 0.0px;"> (about 1723/82), a pupil of Bracci</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"Bracci designed a large number of tombs including those of Benedict XIII in S. Maria sopra Minerva and that of Benedict XIV, as well as many busts with fine psychological insight and a vibrant, masterful way of dealing with the surface. Still dependent from Bernini's vocabulary, he turned it into an eighteenth century style tender and lyrical, sometimes even sentimental" (Rudolf Wittkower)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"The idea of representing the pope standing, breaking with the previous tradition, appears in a drawing by Paolo Posi with whom Bracci might have worked, probably dating back to 1760" (Jennifer Montagu)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the left mosaic "The Last Mass of St. Basil in 372 at the presence of Emperor Valens" 1748/51 by four mosaicists directed by Luigi Vanvitelli from the original 1743/47 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pierre Subleyras</span><span style="letter-spacing: 0.0px;"> (1699/1749) now in the Basilica St. Mary of the Angels and Martyrs</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Under the mosaic <i>body of S. Jehoshaphat</i> moved here in 1963, founder of the Basilian Order in 1617</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8799/Basilica%20S.%20Pietro%20DSC_8799.jpg?disposition=download"><i>RIGHT TRANSEPT</i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">CENTRAL ALTAR</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaic <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8806/Basilica%20S.%20Pietro%20DSC_8806.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"The Martyrdom of Sts. Process and Martinian"</span></a> 1737 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0.0px;">(1685/1743) from the original painting by Jean Valentin aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Valentin de Boulogne</span><span style="letter-spacing: 0.0px;"> (about 1591/1632) in the Vatican Museums</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>Relics of Sts. Process and Martinian</i> from the old basilica in which they had been brought by Paschal I (817/824): according to tradition they were the guards of S. Peter in the Mamertine Prison</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">On the sides of the central altar "Two monolithic columns in <i>giallo antico </i>marble" from Chemtou in Tunisia: with the other two in the opposite transept they are considered unique in the world in size and workmanship</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Ovals to the sides with portraits in mosaic "St. Anthony Mary Claret" and "St. Joaquina de Vedruna" of the nineteenth century</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Stuccoes in the upper part of the niche "Episodes from the life of St. Paul" 1597/99 </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">On the right ALTAR OF St. WENCESLAS OF BOHEMIA</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaic <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8807/Basilica%20S.%20Pietro%20DSC_8807.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"St. Wenceslas of Bohemia"</span></a> 1740 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0.0px;">(1685/1743) and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Ottaviani </span><span style="letter-spacing: 0.0px;">from the original painting of 1632 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Angelo Caroselli</span><span style="letter-spacing: 0.0px;"> in the Kunsthistorisches Museum in Vienna</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Caroselli inserted in the painting another painting with the episode of the martyrdom of S. Wenceslas: he was the young king of Bohemia in the tenth century and was killed by his younger brother while he was praying. His body is venerated in the Cathedral of St. Vitus in Prague which he had founded</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Ovals to the sides with portraits in mosaic with "St. Cyril" and "St. Methodius" of the nineteenth century</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Stuccoes in the upper part of the niche "Episodes from the life of St. Thomas" 1597/99</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">On the left ALTAR OF St. ERASMUS</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaic <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8808/Basilica%20S.%20Pietro%20DSC_8808.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Martyrdom of St Erasmus"</span></a> 1737/39 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0.0px;">(1685/1743) and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Ottaviani </span><span style="letter-spacing: 0.0px;">from the original painting of the years 1628/29 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Nicolas Poussin</span><span style="letter-spacing: 0.0px;"> (1594/1665) in the Vatican Museums</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Ovals to the sides with portraits in mosaic with "St. Vladimir" and "St. Olga" of the nineteenth century</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Stuccoes in the upper part of the niche "Episodes from the life of St. James Major" 1597/99</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8815/Basilica%20S.%20Pietro%20DSC_8815.jpg?disposition=download">APSIDAL BASIN</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Stuccoes 1749 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Vanvitelli </span><span style="letter-spacing: 0.0px;">(1700/73) and three medallions with "Stories of Sts. Peter and Paul" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Maini</span><span style="letter-spacing: 0.0px;"> (1690/1752)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">STATUES in THE NICHES OF THE LOWER LEVEL</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">ON THE RIGHT</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8801/Basilica%20S.%20Pietro%20DSC_8801.jpg?disposition=download">"S. Gaetano Thiene"</a></span><span style="letter-spacing: 0.0px;"> 1738 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Monaldi </span><span style="letter-spacing: 0.0px;">(about 1690/1760)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8804/Basilica%20S.%20Pietro%20DSC_8804.jpg?disposition=download">"St. Jerome Emiliani"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1757 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Bracci</span><span style="color: black; letter-spacing: 0.0px;"> (1700/73)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">ON THE LEFT</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8809/Basilica%20S.%20Pietro%20DSC_8809.jpg?disposition=download">"St. Bruno"</a></span><span style="letter-spacing: 0.0px;"> 1744 by the French </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michelangelo Slodtz</span><span style="letter-spacing: 0.0px;"> (1705/64) who lived in Rome for 17 years</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"A dramatic event replaced, wherever possible, the simple interpretation of devotion and vision. Slodtz chose to represent the dramatic rejection of the saint of the miter and pastoral. Interest in the episode seems to weaken the spiritual content. Such a figure illustrates very well the tendency of the elegant French rococò to pervade Roman sculpture in the middle of the eighteenth century" (Rudolf Wittkower)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8811/Basilica%20S.%20Pietro%20DSC_8811.jpg?disposition=download">"S. Giuseppe Calasanzio"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1755 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Innocenzo Spinazzi</span><span style="color: black; letter-spacing: 0.0px;"> (1718/98)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"A student of G.B. Maini, he turned the baroque tradition towards a more dry style, in a delicate balance between classicism, naturalism and eighteenth century grace, even more evident in his following production" (Enciclopedia Treccani)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">STATUES IN THE NICHES OF THE UPPER LEVEL</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">ON THE RIGHT</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8802/Basilica%20S.%20Pietro%20DSC_8802.jpg?disposition=download">"St. Francesca Xavier Cabrini"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1947 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Enrico Tadolini</span><span style="color: black; letter-spacing: 0.0px;"> (1884/1967)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Born in 1850, she went to America at age 40 and took American citizenship in 1909. She was the first to be canonized - 1946 - of the seven American saints, she was the first woman missionary and she is the patron saint of migrants. She died in 1917</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8805/Basilica%20S.%20Pietro%20DSC_8805.jpg?disposition=download">"S. Giovanna Antida Thouret"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1949 by </span><span style="letter-spacing: 0.0px;">Carlo Quattrini</span><span style="color: black; letter-spacing: 0.0px;"> and </span><span style="letter-spacing: 0.0px;">Enrico Quattrini</span><span style="color: black; letter-spacing: 0.0px;"> (1863/1950)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">ON THE LEFT</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8810/Basilica%20S.%20Pietro%20DSC_8810.jpg?disposition=download">"S. Paolo della Croce"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1876 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ignazio Jacometti </span><span style="color: black; letter-spacing: 0.0px;">(1819/83</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8812/Basilica%20S.%20Pietro%20DSC_8812.jpg?disposition=download">"S. Bonfiglio Monaldi"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1906 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cesare Aureli</span><span style="color: black; letter-spacing: 0.0px;"> (1843/1923)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">PASSAGE TO THE CHAPEL OF Sts. MICHAEL AND PETRONILLA</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8813/Basilica%20S.%20Pietro%20DSC_8813.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monument of Clement XIII"</span></a> Rezzonico (1758/69) 1784/92 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Antonio Canova</span><span style="letter-spacing: 0.0px;"> (1757/1822) with allegorical figures: on the left "Religion" and on the right "Genius of Death"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Canova went to Caserta to draw from life the "Lions" kept in the Garden of Royal Palace. The one on the right represents Strength, always awake, the one on the left Meekness which moderates strength</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"The solemn and binding monument is set on a regular and balanced composition and the theme of death is dealt with serene meditation. The dark baroque allegory about death becomes here the symbolic image of the Christian religion and of the funerary genius, with the inverted torch, tender allusion to the transience of earthly life" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"With the purity of the surfaces and the simplicity of the lines of the composition, this work introduces the Neoclassical style in the Vatican Basilica. The sculptural group, executed in Carrara marble, with the exception of the bases made of 'lumachella' stone and the two lions made of travertine, (...) has as its vertex the portrait of the Pope on his knees, his face realistically animated. (...) With great detail Canova faced the virtuoso work of finishing the precious cope: a reference well-suited because this pope (...) is remembered in the history of textile art for the beauty and richness of his vestments" (Alfredo Maria Pergolizzi)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the left mosaic "Boat of the Apostles" 1721 copy in mosaic by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0.0px;">(1685/1743) from the original painting of the years 1627/28 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Lanfranco</span><span style="letter-spacing: 0.0px;"> (1582/1647) now in the loggia of the blessings</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">The mosaic had in turn replaced a fresco of 1605 by the excellent Genoese painter </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernardo Castello </span><span style="letter-spacing: 0.0px;">(about 1557/1629). For him, this work was the peak of his career but, sadly, it was not well received. When he learned of the decision to replace the painting in 1626, he suffered a nervous breakdown that led to his death three years after</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8814/Basilica%20S.%20Pietro%20DSC_8814.jpg?disposition=download"><i>CHAPEL OF Sts. MICHAEL AND PETRONILLA</i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">The DOME is the only one in the basilica to alternate mosaics to plaster figures made in 1725 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Ottoni</span><span style="letter-spacing: 0.0px;"> (1648/1736). In the mosaics "Angelic Gloria" 1726/29 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fattori</span><span style="letter-spacing: 0.0px;">,</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Gossoni</span><span style="letter-spacing: 0.0px;">,</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Fiani</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Clori</span><span style="letter-spacing: 0.0px;">,</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Enuò </span><span style="letter-spacing: 0.0px;">e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cocchi </span><span style="letter-spacing: 0.0px;">from drawings by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Nicolò Ricciolini</span><span style="letter-spacing: 0.0px;"> (1687/1772) of the years 1721/26</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the LUNETTES mosaics with "Angels and life of St. Petronilla"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">In the SPANDRELS mosaics with Doctors and Fathers of the Greek and Latin Church who have written works about angels: "Leo the Great" and "Dionysius the Areopagite" from paintings by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Andrea Sacchi</span><span style="letter-spacing: 0.0px;"> (1599/1661), "St. Bernard" from a painting by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Pellegrini</span><span style="letter-spacing: 0.0px;"> (1605/49) and "St. Gregory the Wonderworker" from a painting by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Francesco Romanelli</span><span style="letter-spacing: 0.0px;"> (1610/62)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"The chapel can be considered the testimony of the devotion of the French monarchs and their people for the Christian Church and this basilica in particular. It replaces the ancient imperial round building, formerly located on the left side of the old St. Peter's, where Paul I (757/767) had placed the remains of St. Petronilla after the exhumation from the Catacomb of St. Domitilla. (...) In 781, Charlemagne baptized his son Carlomanno in the rotunda and in the following centuries the French kings, from the Carolingians through the Valois, considered it as their national church, restoring it and enriching it with gifts until the destruction, decreed by Pope Julius II to make room for the new basilica" ( Alfredo Maria Pergolizzi )</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">ABOVE THE ALTAR</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaic <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/DSCF3941/DSCF3941.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"St. Michael the Archangel"</span></a> by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernardino Regoli </span><span style="letter-spacing: 0.0px;">and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovan Francesco Fiani </span><span style="letter-spacing: 0.0px;">from the 1635 original by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Guido Reni</span><span style="letter-spacing: 0.0px;"> (1575/1642) in S. Maria della Concezione</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">It is a famous painting of which there are hundreds of copies around the world. It was a tribute to Raphael of whom there is a painting with same subject now in the Louvre. The face of the devil is the portrait of none other than Cardinal G.B. Pamphilj who nine years later became Pope Innocent X and who had slandered Reni and the Barberini family, patron of the artist</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">ON THE LEFT</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaic <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Guercino_petronilla/Guercino_petronilla.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Burial and glory of St. Petronilla"</span></a> by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0.0px;">(1685/1743), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Cocchi</span><span style="letter-spacing: 0.0px;"> and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Ottaviani </span><span style="letter-spacing: 0.0px;">from the 1623 original by Giovanni Francesco Barbieri aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Guercino</span><span style="letter-spacing: 0.0px;"> (1591/1666)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"Although it is one of the first mosaics executed in the basilica, it is the masterpiece of the entire series for the high artistic value of the painting reproduced and the sensitive ability of the mosaicists to faithfully maintain the chromatic and plastic characteristics of the original" (Alfredo Maria Pergolizzi)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Under the altar there are the <i>relics of St. Petronilla</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">On the FLOOR slab of marble with inscription under which there is the <i>tomb of the two Della Rovere popes: Sixtus IV (1471/84) and his nephew Julius II (1503/13)</i> moved here in 1926 from the Chapel of the Choir along with two Cardinals of the same family: Galeotto Della Rovere and Fazio Santoro</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The famous tomb of Julius II, designed by Michelangelo in St. Peter in Chains is therefore empty</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">At the center of the floor "Coat of arms of St. Pius X Sarto (1903/14)" 1908 in precious marbles, executed on the occasion of the fiftieth anniversary of his priesthood</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">PASSAGE TO THE APSE</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8816/Basilica%20S.%20Pietro%20DSC_8816.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomb of Clement X"</span></a> Altieri (1670/76) 1684 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Mattia De Rossi</span><span style="letter-spacing: 0.0px;"> (1637/95) for the Cardinal Paluzzo Paluzzi degli Albertoni nephew of Pope Clement X, executed by former employees of Bernini:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Statue of the Pope" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ercole Ferrata</span><span style="letter-spacing: 0.0px;"> (1610/86)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the left "Mercy" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Mazzuoli </span><span style="letter-spacing: 0.0px;">(1644/1725)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the right "Benignity" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lazzaro Morelli </span><span style="letter-spacing: 0.0px;">(1608/90)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Bas-relief "Opening of the Holy Door in 1675" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Leonardo Retti </span><span style="letter-spacing: 0.0px;">(active 1670/1709)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">"Putti" by </span><span style="letter-spacing: 0.0px;">Filippo Carcani</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the corners of the sarcophagus "Skulls with wigs" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Aprile </span><span style="letter-spacing: 0.0px;">(?/1685)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In 1962 the tomb was the object of a terrorist attack: a bomb exploded after closing time but it fortunately caused little damage</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the left mosaic "St. Peter raises Tabitha the Maiden" 1758/60 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fiani</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ottaviani</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Regoli </span><span style="letter-spacing: 0.0px;">and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Paleat</span><span style="letter-spacing: 0.0px;"> from the 1736/40 original by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Placido Costanzi</span><span style="letter-spacing: 0.0px;"> (1702/59) in St. Mary of the Angels and Martyrs</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">It covered a ruined fresco with the same subject made in 1606 by Giovanni Baglione: it had earned him the honorary title of Knight of Christ but it was very much criticized by Caravaggio, who had scoffed at him publicly</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8817/Basilica%20S.%20Pietro%20DSC_8817.jpg?disposition=download"><i>APSE</i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8819/Basilica%20S.%20Pietro%20DSC_8819.jpg?disposition=download">APSIDAL BASIN</a></span><span style="letter-spacing: 0.0px;"> stuccoes 1749 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Vanvitelli</span><span style="letter-spacing: 0.0px;"> (1700/73) and three medallions "Stories of Sts. Peter and Paul" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Maini</span><span style="letter-spacing: 0.0px;"> (1690/1752)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8821/Basilica%20S.%20Pietro%20DSC_8821.jpg?disposition=download">"Chair of St. Peter"</a></span><span style="letter-spacing: 0.0px;"><b> </b>1656/65 extraordinary masterpiece by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span><span style="letter-spacing: 0.0px;"> for Alexander VII Chigi (1655/67)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Bronze reliefs on the dossal "Christ entrusts to Peter the guidance of the Church", on the left side "Handing of the keys", on the right side "Washing of the Feet"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Bernini was helped by 35 artists, including </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ercole Ferrata</span><span style="letter-spacing: 0.0px;"> (1610/86), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ercole Antonio Raggi</span><span style="letter-spacing: 0.0px;"> (1624/86) and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lazzaro Morelli </span><span style="letter-spacing: 0.0px;">(1608/90)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The chair was proved to be a wooden throne dating to the year 875 donated by Charles the Bald to Pope John VIII (872/882) on the occasion of his coronation here</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Humongous bronze statues of Doctors of the Church:</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In front to the right "St. Augustine", to the left "St. Ambrose" (Latin Church)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Behind to the left "St. Athanasius", to the right "St. John Chrysostom" (Greek Church)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The bronze structure's weight is 74 tonnes (81.5 tons). The height is 14.74 m (48.3 feet). The statues of the Doctors of the Church are 5.35 m (17.5 feet) high</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Window with stained glass <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8818/Basilica%20S.%20Pietro%20DSC_8818.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Dove of the Holy Spirit"</span></a> 1911 by the German glassmaker </span><span style="color: #ff2600; letter-spacing: 0.0px;">Hagle</span><span style="letter-spacing: 0.0px;"> from the original design of </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Paolo Schor</span><span style="letter-spacing: 0.0px;"> (1615/74)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"The Chair as other works he did has been designed for a framed main view. It was conceived as a carved painting, full color and enormous in size. The compositional principle that lies behind the use of color here is obvious: the color lightens up, and becomes more visionary, as the characters and objects get closer to the celestial region. Therefore here polychromy has a supernatural significance" (Rudolf Wittkower)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"The four Doctors of the Church in bronze, with expressions full of pathos and impetuous gestures still reveal a distant reminder of the great paintings by Rubens, while the glory of Paradise in gilded plaster, bronze and glass can be considered the crown of the figurative research on the theme of the celestial apparition and of the immeasurable space, which had concerned, since Correggio, Italian artists for over a century" (Alessandro Angelini)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"The stained glass in the center of the composition, is both light and pictorial image but, because of the perfect direction, the observer's eye is not troubled by the contrast of tones" (Paolo Portoghesi)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Bronze ALTAR made in 1975 by the American </span><span style="color: #ff2600; letter-spacing: 0.0px;">Albert Friscia</span><span style="letter-spacing: 0.0px;"> (1911/89) covered by the mobile altar of 1907 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Constantino Annecher </span><span style="letter-spacing: 0.0px;">decorated with a medallion with busts of St. Peter and St. Paul</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">ON THE RIGHT</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8822/Basilica%20S.%20Pietro%20DSC_8822.jpg?disposition=download">"Monument to Urban VIII"</a></span><span style="letter-spacing: 0.0px;"> Barberini (1623/44) 1627/47 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Statue on the left <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8864/Basilica%20S.%20Pietro%20DSC_8864.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Charity"</span></a> in the likeness of Constanza Bonarelli, wife of an assistant to Bernini and his mistress: he had her scarred in her face after learning that she was also the lover of his brother punished, in turn, with a beating</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The statue originally had naked breasts and it was covered at the end of the nineteenth century</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Statue on the right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8864/Basilica%20S.%20Pietro%20DSC_8864.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Justice"</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">First example ever of the baroque tomb, heir of Michelangelo's Medici tombs</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Over the sarcophagus there is a skeleton who writes the epitaph as a <i>memento mori</i>, a remainder that we all must die. On the pages of the book are also visible the initials of the popes before Urban VIII: G for Gregory XV Ludovisi (1621/23) and P for Paul V Borghese (1605/21)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"Representing death writing was a lively and pulsing way to replace the predictable epigraphic scroll" (Maurizio Fagiolo Dell'Arco)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"The contrast of materials is significant: all that is in direct contact with the deceased, the coffin, Death, the papal statue itself is made of dark bronze. However allegories of the Virtues are in shining white marble: with their human qualities, especially Charity, they present themselves as mediators between the viewer and the pope. Bernini, surpassing the formal classicism of the sixteenth-century tombs, infuses new vitality and spectacular dynamism in the funereal theme: he creates the archetype of the Baroque tomb" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">ON THE LEFT</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8823/Basilica%20S.%20Pietro%20DSC_8823.jpg?disposition=download">"Monument to Paul III"</a></span><span style="letter-spacing: 0.0px;"> Farnese (1534/49) 1551/75 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Guglielmo Della Porta</span><span style="letter-spacing: 0.0px;"> (1515/77) for Cardinal Alessandro Farnese</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The base was originally the tomb of Bishop Francesco di Bagnoregio de Solis (d. 1545)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;"><i>Statue on the left</i> <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8857/Basilica%20S.%20Pietro%20DSC_8857.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Justice"</span></a> in the likeness of Giulia Farnese, Paul III's sister, covered in 1595 with a white painted metal covering by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Teodoro Della Porta</span><span style="letter-spacing: 0.0px;"> (1567/1638) Guglielmo's son</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>Statue on the right</i> <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8858/Basilica%20S.%20Pietro%20DSC_8858.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Prudence"</span></a> in the likeness of Giovanella Caetani, mother of Paul III</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Originally also "Abundance" and "Peace", now in the Palazzo Farnese, were part of the monument</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Between the two statues precious <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8856/Basilica%20S.%20Pietro%20DSC_8856.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Mask"</span></a> in the rare black marble portoro from the Farnese Gardens on Palatine Hill</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">It was the first monumental papal tomb to be erected in the Basilica</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">It was moved from the St. Andrew pier to this position in 1628 by Bernini</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>Giulia Farnese</i> was known as <i>Giulia Bella.</i> She had jet-black eyes, long blonde dyed hair and white skin that apparently she used to show off sleeping only on black silk sheets. From the age of 15 she was for five years the lover of the then 58 years old Cardinal Rodrigo Borgia who later became Pope Alexander VI (1492/1503), although she had just married Orso Orsini who was suffering from excessive spots on his face and had only one eye</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">She became the official mistress of the pope and made sure that her little brother Alessandro was made cardinal. He was then nicknamed "Skirt cardinal" and became, in turn, pope under the name Paul III</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Gioacchino Belli in a sonnet describes the reason for the censorship of the statue of Justice: an English gentleman (or perhaps a Spanish seminarian) was caught masturbating in front of the seductive nude</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"It has been said that Guglielmo executed the work under the direction of Michelangelo. Beside the historical confirmation, Michelangelesque is the idea of the seated statue of the deceased and even more so the two allegories lying below, clear reminder of the Medici tombs in the New Sacristy of St. Lawrence in Florence" (Alfredo Maria Pergolizzi)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"It was inevitable that the chair was placed in between the tombs of two popes whose pontificates frame the active period of the Counter-Reformation. Nothing symbolizes more clearly the new Ecclesia Triumphans" (Howard Hibbard)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">STATUES IN THE NICHES OF THE LOWER LEVEL</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">ON THE RIGHT</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8844/Basilica%20S.%20Pietro%20DSC_8844.jpg?disposition=download">"Prophet Elijah"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1727 by </span><span style="letter-spacing: 0.0px;">Agostino Cornacchini </span><span style="color: black; letter-spacing: 0.0px;">(1683/1740)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8850/Basilica%20S.%20Pietro%20DSC_8850.jpg?disposition=download">"St. Dominic"</a></span><span style="letter-spacing: 0.0px;"> 1706 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pierre Legros </span><span style="letter-spacing: 0.0px;">(1666/1719)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">ON THE LEFT</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8845/Basilica%20S.%20Pietro%20DSC_8845.jpg?disposition=download">"St. Benedict"</a></span><span style="letter-spacing: 0.0px;"> 1735 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Antonio Montauti</span><span style="letter-spacing: 0.0px;"> (1685/1740)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8852/Basilica%20S.%20Pietro%20DSC_8852.jpg?disposition=download">"St. Francis of Assisi"</a></span><span style="letter-spacing: 0.0px;"> 1727 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Monaldi </span><span style="letter-spacing: 0.0px;">(about 1690/1760)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Under the statue "Plaque to commemorate the proclamation of the dogma of the Immaculate Conception" on December 8, 1854</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">STATUES IN THE NICHES OF THE UPPER LEVEL</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">ON THE RIGHT</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8848/Basilica%20S.%20Pietro%20DSC_8848.jpg?disposition=download">"S. Francis de Sales"</a></span><span style="letter-spacing: 0.0px;"> 1845 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Adamo Tadolini</span><span style="letter-spacing: 0.0px;"> (1788/1868)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8851/Basilica%20S.%20Pietro%20DSC_8851.jpg?disposition=download">"S. Francis Caracciolo"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1834 by </span><span style="letter-spacing: 0.0px;">Francesco Massimiliano Laboureur</span><span style="color: black; letter-spacing: 0.0px;"> (1767/1831) and </span><span style="letter-spacing: 0.0px;">Innocenzo Fraccaroli</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">ON THE LEFT</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8846/Basilica%20S.%20Pietro%20DSC_8846.jpg?disposition=download">"S. Frances of Rome"</a></span><span style="letter-spacing: 0.0px;"> 1850 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Galli</span><span style="letter-spacing: 0.0px;"> (1804/77) pupil of Bertel Thorvaldsen</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8853/Basilica%20S.%20Pietro%20DSC_8853.jpg?disposition=download">"S. Alfonso Maria de' Liguori"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1839 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Tenerani</span><span style="color: black; letter-spacing: 0.0px;"> (1789/1869)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">PASSAGE TO THE APSE</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8861/Basilica%20S.%20Pietro%20DSC_8861.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomb of Alexander VIII"</span></a> Ottoboni (1689/91) 1725 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Arrigo di San Martino </span><span style="letter-spacing: 0.0px;">for Card. Pietro Ottoboni grandnephew of the pope</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Relief "Delivery of gifts during the canonization in 1690 of various saints, including S. Giovanni da Dio, Pasquale Baylon, Giovanni da S. Facondo and Lorenzo Giustiniani" by the Genoese </span><span style="color: #ff2600; letter-spacing: 0.0px;">Angelo De Rossi</span><span style="letter-spacing: 0.0px;"> (1671/1715) who had also designed and modeled in stucco the statues of the pope and of the allegories made after his death by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Bertosi</span><span style="letter-spacing: 0.0px;"> (pope) e </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Raffaelli </span><span style="letter-spacing: 0.0px;">(on the left <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8867/Basilica%20S.%20Pietro%20DSC_8867.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Religion"</span></a> and on the right "Prudence")</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Behind the tomb of Alexander VIII there is the small OTTOBONI SACRISTY recently restored with "Bronze reliefs" and "Crucifix" 1972 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Messina</span><span style="letter-spacing: 0.0px;"> (1900/95) and two seventeenth-century paintings by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Perugini da Sermoneta</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the left mosaic "Sts. Peter and John heal a lame man" 1751/58 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ottaviani</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cocchi</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Enuò </span><span style="letter-spacing: 0.0px;">and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Paleat </span><span style="letter-spacing: 0.0px;">from the original of the years 1746/49 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Mancini</span><span style="letter-spacing: 0.0px;"> (1679/1758), now in the Hall of the Blessings</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8870/Basilica%20S.%20Pietro%20DSC_8870.jpg?disposition=download"><i>CHAPEL OF OUR LADY OF THE PILLAR</i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Begun by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Jacopo Barozzi aka</span><span style="letter-spacing: 0.0px;"> </span><span style="color: #ff2600; letter-spacing: 0.0px;">Vignola</span><span style="letter-spacing: 0.0px;"> (1507/73) and completed by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Della Porta</span><span style="letter-spacing: 0.0px;"> (1533/1602)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">In the <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8871/Basilica%20S.%20Pietro%20DSC_8871.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">DOME</span></a> of the chapel mosaics "Allegories and symbols of the Virgin" 1751/57 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fattori</span><span style="letter-spacing: 0.0px;">,</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Gossoni</span><span style="letter-spacing: 0.0px;">,</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Regoli</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Paleat</span><span style="letter-spacing: 0.0px;">,</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Ottaviani</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Polverelli </span><span style="letter-spacing: 0.0px;">and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Volpini </span><span style="letter-spacing: 0.0px;">from drawings by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Zoboli</span><span style="letter-spacing: 0.0px;"> (1681/1767) of the year 1742</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">In the LUNETTES mosaics with "King David", "King Solomon", "Virgin Mary with the Child Jesus" and "Joseph's Dream"1643/44 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Francesco Romanelli</span><span style="letter-spacing: 0.0px;"> (1610/62) from Viterbo, pupil of Pietro da Cortona, executed as mosaics in the years 1645/47 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Calandra </span><span style="letter-spacing: 0.0px;">and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Guidobaldo Abbatini </span><span style="letter-spacing: 0.0px;">(1600/56)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">In the PENDENTIVES mosaics with four doctors of the Church, "St. Germain" and "St. Bonaventure" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Lanfranco</span><span style="letter-spacing: 0.0px;"> (1582/1647), "St. John of Damascus" and "St. Thomas Aquinas" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Andrea Sacchi</span><span style="letter-spacing: 0.0px;"> (1599/1661) executed as mosaics in the years 1631/36 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Calandra</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">ABOVE THE ALTAR</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Venerated "Madonna" of the fifteenth century on a truncated column of <i>portasanta </i>marble formerly in the old Basilica. The beautiful marble frame was designed in 1581 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Della Porta</span><span style="letter-spacing: 0.0px;"> (1533/1602)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">A copy of this image was made in mosaic substituting a window of the Apostolic Palace overlooking St. Peter's Square at the behest of Pope John Paul II following the failed attack of May 13th, 1981</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">UNDER THE ALTAR</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Christian sarcophagus of the fourth century containing the remains of popes<i> Leo II (682/683), Leo III (795/816) </i>and<i> Leo IV (847/855)</i> collected by Pascal II (1099/1118)</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">ON THE RIGHT</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Altar with the <i>relics of St. Leo the Great (440/461)</i> with decorations by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Borromini</span><span style="letter-spacing: 0.0px;"> and marble altarpiece (the only one in the Basilica) <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8869/Basilica%20S.%20Pietro%20DSC_8869.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Leo the Great meets Attila the Hun"</span></a><b> </b>1646/50 masterpiece of </span><span style="color: #ff2600; letter-spacing: 0.0px;">Alessandro Algardi</span><span style="letter-spacing: 0.0px;"> (1598/1654) with the help of his pupil </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenico Guidi</span><span style="letter-spacing: 0.0px;"> (1625/ 1701)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The body of S. Leo the Great was found intact in 1607 in the Vatican Grottoes, where it had been originally buried</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"The interpretation of the event is simple and compelling: as in Raphael's, only the Pope and the King can see the miraculous appearance of the apostles and the division into three parts (left, right and upper part) is strictly maintained. One cannot but admire the psychological compositional logic and clarity. The unusual size (over 7 meters - 23 feet - in height) has often led to believe erroneously that his style is unprecedented, but in fact the history of the illusionistic relief dates from the early days of the Renaissance, Donatello and Ghiberti. In contrast, however, with the emphasis of the Renaissance relief, Algardi didn't try to create a coherent optical space and used mainly shades and projection of figures to produce the illusion of depth. More effective than the illusionistic painting, pictorial relief fulfilled the Baroque desire to erase the line between life and art, the viewer and the figure" (Rudolf Wittkower)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Marble circle in the floor with <i>Tomb</i> <i>of Leo XII Sermattei (1823/29)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">PASSAGE TO THE Chapel of OUR LEDY OF THE PILLAR</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0.0px;">On the left <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8883/Basilica%20S.%20Pietro%20DSC_8883.jpg?disposition=download"><span style="letter-spacing: 0px;">"Apparition of the Sacred Heart of Jesus to St. Margaret Mary Alacoque"</span></a> 1921/24 mosaic by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Muccioli</span><span style="color: black; letter-spacing: 0.0px;"> (1857/1931)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">It was the last major undertaking in the 1900s that replaced the painting on slate "Fall of Simon Magus" by Francesco Vanni. It should have been replaced by the one with the same subject by Pompeo Batoni, but it was never placed here and now is in the Basilica of S. Mary of the Angels and Martyrs. It was temporarily replaced by a copy of Vanni's painting executed by Pierre Charles Tremollière which is now also in the Basilica of the Angels and Martyrs</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the right spectacular <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8879/Basilica%20S.%20Pietro%20DSC_8879.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomb of Alexander VII"</span></a> Chigi (1655/67) 1671/78 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernini</span><span style="letter-spacing: 0.0px;"> with assistants for Cardinal Flavio Chigi, nephew of the Pope:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the left <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8876/Basilica%20S.%20Pietro%20DSC_8876.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Charity"</span></a> 1673/75 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Mazzuoli </span><span style="letter-spacing: 0.0px;">(1644/1725)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Behind the Charity "Bust of Prudence" begun by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Baratta </span><span style="letter-spacing: 0.0px;">1675/77 and finished by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giulio Cartari </span><span style="letter-spacing: 0.0px;">(active 1665/78)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8873/Basilica%20S.%20Pietro%20DSC_8873.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Truth"</span></a> 1673/77 begun by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lazzaro Morelli </span><span style="letter-spacing: 0.0px;">(1608/90)</span><span style="color: #ff2600; letter-spacing: 0.0px;"> </span><span style="letter-spacing: 0.0px;">and finished by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giulio Cartari</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">It can't be a coincidence the fact that the allegory of <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8882/Basilica%20S.%20Pietro%20DSC_8882.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">Truth is trampling with her left foot Protestant England</span></a> hated by Catholic Rome</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Behind the Truth <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8875/Basilica%20S.%20Pietro%20DSC_8875.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Bust of Justice"</span></a> 1676 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giulio Cartari</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8878/Basilica%20S.%20Pietro%20DSC_8878.jpg?disposition=download">"Alexander VII"</a></span><span style="letter-spacing: 0.0px;"> 1675/76 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michel Maille </span><span style="letter-spacing: 0.0px;">aka Michele Maglia</span><span style="color: #ff2600; letter-spacing: 0.0px;"> </span><span style="letter-spacing: 0.0px;">(active in Rome in the second half of the seventeenth century) finished in 1677 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giulio Cartari</span><span style="letter-spacing: 0.0px;"> and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenico Basadonna</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;"><i>Bronze parts</i> by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Girolamo Lucenti</span><span style="letter-spacing: 0.0px;"> (?/1698) who also made with </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Carcani </span><span style="letter-spacing: 0.0px;">(active 1670/91) the bronze cloth of the Truth in 1678 after Innocent XI Odescalchi (1676/89) had complained about the nudity</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">The <i>exceptional drape</i> is made out of travertine executed by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lazzaro Morelli</span><span style="letter-spacing: 0.0px;"> and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michel Maille</span><span style="letter-spacing: 0.0px;"> covered in pink Sicilian jasper by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Gabriele Renzi</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The <i>base of Portovenere marble</i> has natural grains that support and integrate the mosaic work of the artist to obtain a material that, even if taken from nature, shows creative artificial connotations</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Alexander VII was holding so much in mind the impending death that he used to sleep with his future coffin of lead under the bed</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"In the late tomb of Alexander VII, Bernini emphasized the contrast between the transience of life (Death with hourglass) and the unflappable faith of the praying Pope. But this idea, which corresponded so well to the convictions of Bernini himself on the threshold of death, was too personal to get much following. When it was resumed during the 1700s, the idea was changed: Death was no longer counterbalanced by the certainty of salvation by faith and it would only terrorize the human race threatened to eternal destruction" (Rudolf Wittkower)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">The passage under the monument of Alexander VII leads to the south exit of the basilica with the "Gate of Prayer" 1972 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lello Scorzelli </span><span style="letter-spacing: 0.0px;">(1921/1997)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/DSCF3113/DSCF3113.jpg?disposition=download"><i>LEFT TRANSEPT</i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"This is the first part of the basilica completed while Michelangelo was still alive. The lining of the apse of this transect was carried out in 1558 under the direction of the Tuscan artist, and even if the attic was modified between 1605 and 1610, in the following years it was used as a model of architectural decoration for the entire building" (Alfredo Maria Pergolizzi)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">CENTRAL ALTAR</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaic 1963 <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8884/Basilica%20S.%20Pietro%20DSC_8884.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"St. Joseph with Baby Jesus"</span></a> from the original 1962 tempera painting by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Achille Funi</span><span style="letter-spacing: 0.0px;"> (1890/1972)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>Relics of the Apostles Sts. Simon and Jude</i> in a sarcophagus of the fourth century from the Mausoleum of St. Constance</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Ovals on the sides with mosaic portraits "St. Simon" and "St. Jude" 1858 from the 1822 original paintings by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Vincenzo Camuccini</span><span style="letter-spacing: 0.0px;"> (1771/1844)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The columns of the aedicula in red porphyry were recycled from the ciborium of the fifteenth century in the ancient basilica</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">On the sides of the central altar "Two monolithic columns" in <i>giallo antico </i>marble from Chemtou in Tunisia: with the other two in the opposite transept they are considered unique in the world in size and workmanship</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">To the right ALTAR OF St. THOMAS</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaic 1806/22 <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8886/Basilica%20S.%20Pietro%20DSC_8886.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Doubting Thomas"</span></a> from original by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Vincenzo Camuccini</span><span style="letter-spacing: 0.0px;"> (1771/1844)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Under the altar<i> relics of St. Boniface IV (608/615)</i>, the pope who consecrated the Pantheon to the Christian religion</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Ovals to the sides with portraits in mosaic "S. Maria Domenica Mazzarello" and "S. Maddalena Gabriella di Canossa" of the nineteenth century</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">To the left ALTAR OF St. PETER</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Traditionally considered the site of the upside down crucifixion of St. Peter and of his death</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaic <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8885/Basilica%20S.%20Pietro%20DSC_8885.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Crucifixion of St. Peter"</span></a> from the 1604/05 original by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Guido Reni</span><span style="letter-spacing: 0.0px;"> (1575/1642) in the Pinacoteca Vaticana, originally painted for St. Paul at the Three Fountains</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Under the altar <i>body of St. Leo IX (1049/54)</i> in a strigilated white marble sarcophagus</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Ovals to the sides with portraits in mosaic "S. Lorenzo Ruiz" and "S. Antonio Maria Gianelli" of the nineteenth century</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8815/Basilica%20S.%20Pietro%20DSC_8815.jpg?disposition=download">APSIDAL BASIN</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Stuccoes 1749 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Vanvitelli</span><span style="letter-spacing: 0.0px;"> (1700/73) and three medallions "Stories of Sts. Peter and Paul" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Maini</span><span style="letter-spacing: 0.0px;"> (1690/1752)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">STATUES IN THE NICHES OF THE LOWER LEVEL</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">On the right</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8887/Basilica%20S.%20Pietro%20DSC_8887.jpg?disposition=download">"S. Giuliana Falconieri"</a></span><span style="letter-spacing: 0.0px;"> 1740 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Campi</span><span style="letter-spacing: 0.0px;"> (active 1702/40)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8890/Basilica%20S.%20Pietro%20DSC_8890.jpg?disposition=download">"S. Norberto"</a></span><span style="letter-spacing: 0.0px;"> 1767 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Bracci</span><span style="letter-spacing: 0.0px;"> (1700/73)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">On the left</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8892/Basilica%20S.%20Pietro%20DSC_8892.jpg?disposition=download">"S. Giovanni di Dio"</a></span><span style="letter-spacing: 0.0px;"> 1745 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Della Valle </span><span style="letter-spacing: 0.0px;">(1698/1768)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8894/Basilica%20S.%20Pietro%20DSC_8894.jpg?disposition=download">"S. Pietro Nolasco"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1742 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Campi</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">STATUES IN THE NICHES OF THE UPPER LEVEL</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">ON THE RIGHT</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8888/Basilica%20S.%20Pietro%20DSC_8888.jpg?disposition=download">"S. Angela Merici"</a></span><span style="letter-spacing: 0.0px;"> 1866 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Galli</span><span style="letter-spacing: 0.0px;"> (1804/77)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8891/Basilica%20S.%20Pietro%20DSC_8891.jpg?disposition=download">"S. Guglielmo di Vercelli"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1878 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Prinzi</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">ON THE LEFT</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8893/Basilica%20S.%20Pietro%20DSC_8893.jpg?disposition=download">"S. Maria di S. Eufrasia Pellettier"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1942 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Nicolini </span><span style="color: black; letter-spacing: 0.0px;">(1872/1956)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8895/Basilica%20S.%20Pietro%20DSC_8895.jpg?disposition=download">"S. Luisa de Marillac"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1954 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Antonio Berti</span><span style="color: black; letter-spacing: 0.0px;"> (1904/90)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">PASSAGE FOR THE CLEMENTINE CHAPEL</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8897/Basilica%20S.%20Pietro%20DSC_8897.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monument of Pius VIII"</span></a> Castiglioni (1829/30) 1853/66 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Tenerani</span><span style="letter-spacing: 0.0px;"> (1789/1869) for the Cardinal Giuseppe Albani. Underneath sacristy entrance flanked by reliefs also by Tenerani: on the right "Prudence" and on the left "Justice"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Pius VIII wanted to abolish the nepotism of the popes, the Vatican's espionage and condemned all secret societies. He reigned only twenty months, and when he died at age 69, there were rumors of poisoning</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the left mosaic <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8898/Basilica%20S.%20Pietro%20DSC_8898.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Punishment of Ananias and Sapphira"</span></a> 1721/28 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Adami </span><span style="letter-spacing: 0.0px;">from the 1606 original by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cristoforo Roncalli aka Pomarancio</span><span style="letter-spacing: 0.0px;"> (1552/1626) now in St. Mary of the Angels and Martyrs</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The altar is known as the<i> Altar of the Lie</i> for the story of Ananias and Sapphira who, after selling a farm, had delivered to the apostles only a portion of the proceeds, claiming mendaciously to have supplied the full amount: for this lie they were killed by God</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"The way the dramatic story was represented here through a few figures relatively quiet but powerful, without the multitude of people used by the Zuccaris' imitators, also seemed to indicate a new road for the altarpieces with historical subjects that had come to a standstill at that time both among the followers of the Zuccaris and among the imitators of Barocci. It is significant that Roman painting, just before the phenomenon of the Carraccis would be known in Rome, would generate similar phenomena alone" (Hermann Voss)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8902/Basilica%20S.%20Pietro%20DSC_8902.jpg?disposition=download"><i>CLEMENTINE CHAPEL</i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1592/1605 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Della Porta</span><span style="letter-spacing: 0.0px;"> (1533/1602) for Clement VIII Aldobrandini (1592/1605)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">In the <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8905/Basilica%20S.%20Pietro%20DSC_8905.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">DOME</span></a> of the chapel mosaics "Angels, festoons and stories alluding to the dignity of the papacy and of the Aldobrandini family" 1599/1602 by fourteen mosaicists from drawings by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cristoforo Roncalli aka Pomarancio</span><span style="letter-spacing: 0.0px;"> (1552/1626)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">In the LUNETTES mosaics with "Prophet Malachi assisted by an angel" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Rossetti</span><span style="letter-spacing: 0.0px;"> and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Marcello Provenzale</span><span style="letter-spacing: 0.0px;">, "Prophet Daniel in the lions' den" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Rossetti</span><span style="letter-spacing: 0.0px;"> and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Marcello Provenzale</span><span style="letter-spacing: 0.0px;">, "Virgin Mary and St. Joseph" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Marcello Provenzale</span><span style="letter-spacing: 0.0px;"> and "St. Elizabeth" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ludovico Martinelli</span><span style="letter-spacing: 0.0px;"> 1599/1603 from drawings by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cristoforo Roncalli aka Pomarancio</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">In the SPANDRELS mosaics with four doctors of the Greek and Latin Church, also represented in the Chair of St. Peter: "St. Ambrose", "St. Augustine", "St. John Chrysostom" and "St. Athanasius" 1599/1602 by fourteen mosaicists from drawings by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cristoforo Roncalli aka Pomarancio</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Above the altar on the right mosaic <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8902/Basilica%20S.%20Pietro%20DSC_8902.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Miracle of St. Gregory the Great (590/604)"</span></a> 1770/72 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Alessandro Cocchi</span><span style="letter-spacing: 0.0px;">, his son </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Cocchi </span><span style="letter-spacing: 0.0px;">and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Vincenzo Castellini </span><span style="letter-spacing: 0.0px;">from the original by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Andrea Sacchi </span><span style="letter-spacing: 0.0px;">(1599/1661)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The episode is actually originally attributed by the Christian tradition to St. Leo the Great: some princes had not valued important a relic of a piece of St. John the Evangelist's dalmatic (a tunic used by priests) and St. Gregory the Great would have cut it with a knife making blood flow from it to demonstrate its importance and veracity</span></div>
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<span style="color: black; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Under the altar <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/DSCF3137/DSCF3137.jpg?disposition=download"><span style="letter-spacing: 0px;"><i>tomb of St. Gregory the Great</i></span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">From 1725 to 1784 in the chapel there were three large canvases by Pier Leone Ghezzi with "Stories of St. Clement" removed when the Sacristy was built. One of the three "The Drowning of St. Clement" is exhibited in the Pinacoteca Vaticana</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">In front <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8903/Basilica%20S.%20Pietro%20DSC_8903.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomb of Pius VII"</span></a> Chiaramonti (1800/23) with in the upper part winged statues representing on the right "Time" and on the left "History"; the large statues represent on the right "Heavenly Wisdom" and on the left "Divine Force" 1823/31 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bertel Thorvaldsen </span><span style="letter-spacing: 0.0px;">(1770/1844) for Cardinal Ercole Consalvi</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">The architectural design was by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Valadier</span><span style="letter-spacing: 0.0px;"> (1762/1839)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The choice of the Danish Thorvaldsen, the only Protestant artist to ever work in St. Peter, provoked much criticism also for the controversial choice of iconography: <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8904/Basilica%20S.%20Pietro%20DSC_8904.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">Heavenly Wisdom reading the Bible</span></a> and pondering with a gesture of the finger on its meaning is certainly closer to a Protestant vision of Christianity than to a Catholic one</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"The bloodless Spiritualism of the Danish sculptor, his thin Archaism, which later will have points in common with purist tendencies introduced by the Nazarenes in Rome, seemed to meet the demands posed by more rigorous theoretical ideals of beauty, by a longing for a beauty of which (as Winckelmann wrote) it could be said, as for water taken from a source that, the least it is tasty, meaning devoid of any foreign particle, the more healthy it is considered" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the left mosaic "Transfiguration" 1757/67 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Alessandro Cocchi</span><span style="letter-spacing: 0.0px;"> assisted by eight mosaicists from the unfinished original of the years 1517/20 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Raffaello Sanzio</span><span style="letter-spacing: 0.0px;"> </span><span style="color: #ff2600; letter-spacing: 0.0px;">(Raphael) </span><span style="letter-spacing: 0.0px;">(1483/1520). In order to make the mosaic, a copy was made in 1757 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Stefano Pozzi</span><span style="letter-spacing: 0.0px;"> (1699/1768) of the masterpiece painted by Raphael</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Under the altar with the Transfiguration there is since 2011, the crystal urn with the <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8907/Basilica%20S.%20Pietro%20DSC_8907.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;"><i>body of the Blessed Innocent XI Odescalchi (1676/89)</i></span></a>. It was exhumed in 1956 from his monument on the occasion of his beatification ceremony and placed under the altar of St. Sebastian, now occupied by the tomb of John Paul II</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Cuppolone%20DSC_2227/Cuppolone%20DSC_2227.jpg?disposition=download"><i>LEFT NAVE</i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">THIRD PASSAGE</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">The entrance to the passage is topped by sculptures "Fame holds the coat of arms of Pope Innocent X Pamphili (1644/55)" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Bernini</span><span style="letter-spacing: 0.0px;"> (1612/81) designed by his brother </span><span style="color: #ff2600; letter-spacing: 0.0px;">Gian Lorenzo Bernini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8909/Basilica%20S.%20Pietro%20DSC_8909.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monument to Leo XI"</span></a> Medici (April 1605) 1634/44, shown to the general public only on 1652, by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Alessandro Algardi</span><span style="letter-spacing: 0.0px;"> (1598/1654) for Cardinal Roberto Ubaldini, nephew of the pope</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the relief of the sarcophagus <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8913/Basilica%20S.%20Pietro%20DSC_8913.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">on the right "King Henry IV embraces the Catholic faith" and on the left "Ratification of the Vervins Peace in 1598"</span></a> episodes in which the future pope, then still Cardinal Alessandro d'Ottaviano de' Medici papal nuncio in France, played a significant role</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">To the left of the monument statue "Magnanimity" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ercole Ferrata</span><span style="letter-spacing: 0.0px;"> (1610/86) and on the right "Liberality" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Peroni </span><span style="letter-spacing: 0.0px;">(about 1626/63) for Cardinal Roberto Ubaldini Leone XI's nephew</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8914/Basilica%20S.%20Pietro%20DSC_8914.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">fourteen roses carved in the relief</span></a> should represent the number of days during which he was effectively pope, although his pontificate lasted in fact twenty-seven days</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"Composition of undoubted derivation from the tomb of Urban VIII by Bernini conceived six years before, the tomb of Algardi however expresses his autonomous aesthetic-formal beliefs. Algardi avoided the use of polychrome marble and fully adopted the white Carrara marble perfectly smooth on surfaces as well as cold and uniform for the human skin. In addition, instead of dwelling on the idea of the transience of life, as found in the interpretation Bernini, he preferred to give the allegorical figures and Pope himself a moral ideal permanent condition, expressed by the composure of gestures and expressions. The overwhelming size of the figures compared to the structure indicate a classical stylistical preference" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the left <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8912/Basilica%20S.%20Pietro%20DSC_8912.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monument to the Blessed Innocent XI"</span></a> Odescalchi (1676/89) designed 1697/1701 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maratta</span><span style="letter-spacing: 0.0px;"> (1625/1713) and executed, perhaps reinterpreting Maratta's ideas, by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pierre-Étienne Monnot </span><span style="letter-spacing: 0.0px;">(1657/1733) for the pope's nephew Livio Odescalchi</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">On the right "Fortitude" and on the left "Religion"</span></div>
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<span style="color: black; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Relief <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8915/Basilica%20S.%20Pietro%20DSC_8915.jpg?disposition=download"><span style="letter-spacing: 0px;">"Liberation of Vienna from the Turks in 1683 by the Polish King Jan Sobiesky"</span></a> supported by Innocent XI</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8907/Basilica%20S.%20Pietro%20DSC_8907.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">Pope's body</span></a> is visible in the Clementine Chapel under the Transfiguration</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"Elements derived both from Bernini and Algardi are gathered here: the tomb of Urban VIII was used as a model for the multicolored rendition, but for the types of allegory and narrative relief Monnot followed the tomb of Leo XI. He put the emphasis not on the sarcophagus itself, but on the pedestal of the statue of the pope. The inclusion of this pedestal made it necessary to reduce significantly the size of the figure of the pope in comparison to Algardi's one. The increased importance of the decorative elements at the expense of figures sheds light on the stylistic change from the Baroque to the late Baroque" (Rudolf Wittkower)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8916/Basilica%20S.%20Pietro%20DSC_8916.jpg?disposition=download">DOME OF THE VESTIBULE OF THE THIRD CHAPEL ON THE LEFT</a></span><span style="color: black; letter-spacing: 0.0px;"> <i>(Dedicated to glorification of God through music)</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaic in the DOME "Vision of the Apocalypse with Angels, the Elected Ones and the four beasts of the Tetramorphe surrounding and adoring the throne of the Eternal God" 1712/16 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cocchi</span><span style="letter-spacing: 0.0px;">,</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Adami</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fattori</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ottaviani</span><span style="letter-spacing: 0.0px;"> and </span><span style="color: #ff2600; letter-spacing: 0.0px;">De Rossi</span><span style="letter-spacing: 0.0px;"> from the original designed at first by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ciro Ferri</span><span style="letter-spacing: 0.0px;"> (1634/89), then, in the years 1699/1711, by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maratta</span><span style="letter-spacing: 0.0px;"> (1625/1713), and in the years 1711/16 by the Bolognese </span><span style="color: #ff2600; letter-spacing: 0.0px;">Marcantonio Franceschini</span><span style="letter-spacing: 0.0px;"> (1648/1729)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">In the SPANDRELS mosaics with four singers of divine glories 1699/1703 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Conti</span><span style="letter-spacing: 0.0px;">:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Daniel surrounded by lions while writing" and "Habakkuk and the Angel" from cartoons by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maratta</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"David" and "Jonah" from cartoons by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ciro Ferri</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">In the LUNETTES mosaics with songs of praise, victories and tears from the Old Testament 1719/23 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Ottaviani</span><span style="letter-spacing: 0.0px;"> and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Prospero Glori</span><span style="letter-spacing: 0.0px;">:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Moses in prayer on Mount Sinai supported by Aaron and Hur"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"The priest Azariah reproaches the King Uzziah" from cartoons by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Nicolò Ricciolini </span><span style="letter-spacing: 0.0px;">(1687/1772)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Judith delivering the head of Holofernes to hang it on the wall"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"The prophetess Deborah sent for Barak"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Jeremiah weeping over the holy city"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Deborah and Barak" from cartoons by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Marcantonio Franceschini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">In the DRUM four statues in stucco "Angels with Eucharistic symbols" in 1713 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Ottoni</span><span style="letter-spacing: 0.0px;"> (1648/1736)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8918/Basilica%20S.%20Pietro%20DSC_8918.jpg?disposition=download">Choir Chapel</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Designed by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maderno</span><span style="letter-spacing: 0.0px;"> (1556/1629)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The area ofthis chapel in the old basilica was known as the <i>Sistine Chapel of St. Peter </i>because Sixtus IV della Rovere (1471/84) had built it in 1477 and had it painted by Pietro Perugino. His grandiose tomb, executed by Antonio and Pietro Pollaiuolo remained here until 1635</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Gate made out of iron, bronze and crystal 1758/60 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Giardoni</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Ancient "Granite Urn" with <i>relics of St. John Chrysostom</i> who died in 407</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In 2004 John Paul II gave some of the relics to the Patriarch of Constantinople</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Stucco decoration 1626 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Ricci</span><span style="letter-spacing: 0.0px;"> (about 1550/1624) and maybe by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maratta </span><span style="letter-spacing: 0.0px;">(1625/1713)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaic "Immaculate Conception along with Sts. Francis of Assisi, Anthony of Padua and John Chrysostom" 1744/47 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ottaviani</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Onofri</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Enuò </span><span style="letter-spacing: 0.0px;">and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Paleat </span><span style="letter-spacing: 0.0px;">from the original of 1740 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Bianchi aka Creatura</span><span style="letter-spacing: 0.0px;"> (1694/1740), a Roman student of Benedetto Luti and Baciccio, now in St. Mary of the Angels and Martyrs</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">The lower part of the painting was completed in 1744 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Gaetano Sardi</span><span style="letter-spacing: 0.0px;">, Bianchi's student. The work had been exposed incomplete because the lower part was not very visible at the time anyway, being occluded by Michelangelo's Pieta which was located here</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The image of the Virgin Mary was crowned on the 8th of December 1854 by Pope Pius IX on the occasion of the promulgation of the dogma of the Immaculate Conception. In 1904 nine stars were added around the crown, formed by precious diamonds donated by an international committee of wealthy ladies</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the walls "Paintings in monochrome with episodes from the Old and New Testament from Creation to the Baptism of Christ" 1762 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Angeloni</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Stefano Pozzi</span><span style="letter-spacing: 0.0px;"> (1699/1768) and his brother </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Pozzi</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Under the floor <i>tomb of Clement XI Albani (1700/21)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8919/Basilica%20S.%20Pietro%20DSC_8919.jpg?disposition=download">"Chairs of the choir"</a></span><span style="letter-spacing: 0.0px;"> in beautiful wooden marquetry by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bartolomeo De Rossi </span><span style="letter-spacing: 0.0px;">and</span><span style="color: #ff2600; letter-spacing: 0.0px;"> G.B. Soria</span><span style="letter-spacing: 0.0px;"> (1581/1651)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">The organ dates back to 1626 remade by the </span><span style="color: #ff2600; letter-spacing: 0.0px;">Walker firm </span><span style="letter-spacing: 0.0px;">from Ludwigsburg</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">SECOND PASSAGE</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8924/Basilica%20S.%20Pietro%20DSC_8924.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Memorial of St. Pius X"</span></a> Sarto (1903/14) 1923 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Florestano Di Fausto</span><span style="letter-spacing: 0.0px;"> (1890/1965), with statue by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pier Enrico Astorri </span><span style="letter-spacing: 0.0px;">(1882/1926)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Bas-reliefs on the door at the bottom with "Stories of St. Pius X" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pier Enrico Astorri </span><span style="letter-spacing: 0.0px;">who also sculpted the large bronze reliefs on the sides of the door: on the right "Acceptance of the doctrine of the Church against the excessive modernism on the part of scholars" and on the left "Communion of children". Pius X promoted the practice of Communion and was known as the <i>Pope of the Eucharist</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">He was canonized in 1954, the last pope to be declared a saint</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the left <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8922/Basilica%20S.%20Pietro%20DSC_8922.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomb of Innocent VIII"</span></a> Cybo (1484/92) 1498 by Antonio Benci aka</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Antonio del Pollaiolo</span><span style="letter-spacing: 0.0px;"> (about 1432/98) for Cardinal Lorenzo Cybo, nephew of the pope</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Bronze bas-reliefs on the sides of the throne with "Cardinal Virtues: Justice and Fortitude on the left and Temperance and Prudence on the right. In the lunette "Theological Virtues: Charity in the middle, Faith on the left and Hope on the right</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Before 1621 the sarcophagus was placed above the shelf in the upper part of the monument</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The inscription in black stone beneath the monument dates back to the rearrangement of 1621 and mistakenly describes the discovery of America as occurred during his reign. Actually Innocent VIII died eight days after the departure of Christopher Columbus</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"He holds the Holy Lance in his right hand, an important relic recovered from the Turks. This model tomb for a pope, for its powerful visual impact, had enormous success until the early 1800s" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"He represents the figure as a core of maximum intensity within a halo. The movement has the function of disarticulating the figure to hold the light at a rapid and discontinuous pace. Just because the line cannot have continuity of sign, it acts freely at all levels, making levitate and boil the material in the light" (Giulio Carlo Argan)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8926/Basilica%20S.%20Pietro%20DSC_8926.jpg?disposition=download">DOME OF THE VESTIBULE OF THE SECOND CHAPEL ON THE LEFT</a></span><span style="color: black; letter-spacing: 0.0px;"> <i>(Dedicated to the Virgin Mary)</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaic in the DOME "Defeat of Lucifer and Coronation of the Virgin Mary above the choirs of angels" 1686/89 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fabio Cristofari</span><span style="letter-spacing: 0.0px;"> (about 1615/89) who left the job incomplete at his death</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">It was continued in the years 1704/17 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Conti</span><span style="letter-spacing: 0.0px;"> and in the years 1717/25 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Del Pozzo</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Gossoni</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ottaviani</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Moretti</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Clori</span><span style="letter-spacing: 0.0px;"> and </span><span style="color: #ff2600; letter-spacing: 0.0px;">De Rossi</span><span style="letter-spacing: 0.0px;"> from the original designed in the years 1675/86 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maratta</span><span style="letter-spacing: 0.0px;"> (1625/1713) and and his favorite pupil </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Chiari</span><span style="letter-spacing: 0.0px;"> (1654/1727) who designed the Defeat of Lucifer</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">In the SPANDRELS four prophets who prefigured the Virgin Mary by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fabio Cristofari</span><span style="letter-spacing: 0.0px;"> and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Conti</span><span style="letter-spacing: 0.0px;"> from cartoons by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maratta</span><span style="letter-spacing: 0.0px;">:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Noah and the Ark and the Dove of Peace"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Aaron incenses the congregation of Israel"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Balaam showing the Star of Jacob"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Gideon's mystical fleece wet with dew"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">In the LUNETTES events of the Old Testament interpreted as premonitory of the Virgin Mary by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fabio Cristofari </span><span style="letter-spacing: 0.0px;">and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Conti</span><span style="letter-spacing: 0.0px;"> from cartoons by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maratta</span><span style="letter-spacing: 0.0px;"> and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Chiari</span><span style="letter-spacing: 0.0px;">:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Judith with the Head of Holofernes"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Jael, wife of Heber, pierces Sisera, the captain of Jabin's army"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Joshua stopping the sun"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"The prophetess Miriam, the sister of Aaron, sings the liberation of the Israelites"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Moses taking off his sandals before the burning bush"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">"Isaiah invokes the cloud to let justice rain"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">In DRUM four statues in stucco "Angels with Marian symbols" 1687 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Carcani </span><span style="letter-spacing: 0.0px;">(active 1670/91)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">SECOND CHAPEL ON THE LEFT <i>(Presentation of the Virgin)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the altar mosaic <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8925/Basilica%20S.%20Pietro%20DSC_8925.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Presentation of Mary in the Temple"</span></a> 1726/28 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0.0px;">(1685/1743) from a model by Luigi Vanvitelli (1700/73), from the 1642 original by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Francesco Romanelli </span><span style="letter-spacing: 0.0px;">(1610/62) now in the church of St. Mark in Milan</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Under the altar <i>body of St. Pius X Sarto (1903/14)</i> in a 1952 urn of gilt bronze by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Nagni</span><span style="letter-spacing: 0.0px;"> (1897/1977)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8932/Basilica%20S.%20Pietro%20DSC_8932.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monument to John XXIII"</span></a> Roncalli (1958/63) 1967 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Emilio Greco </span><span style="letter-spacing: 0.0px;">(1913/95)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"Simple and basic in its setting, the monument is characterized by the bronze bas-relief on which are narrated in a contracted and nervy manner, the most important moments of the pontificate of Pope John, both pastoral and human. The upper zone is animated by a Glory of angels, while the lower one refers to the presence of the pope among the suffering, the sick, and the imprisoned. In the background the silhouettes of miters and the figures of bishops lightly drawn remind of the event of the Second Vatican Council" (Alfredo Maria Pergolizzi)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the left <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8933/Basilica%20S.%20Pietro%20DSC_8933.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monument to Benedict XV"</span></a> Della Chiesa (1914/22) 1928 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luca Beltrami</span><span style="letter-spacing: 0.0px;"> (1854/1933), architect of the Pinacoteca Vaticana, with statue by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Canonica</span><span style="letter-spacing: 0.0px;"> (1869/1959)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"The artist, refusing a celebratory representation, wanted to emphasize the human aspect of Benedict XV, recalling his work of condemnation of the war in vain repeated during the years of his pontificate. Modeled with finesse and deliberately devoid of solemn vestments, the pope is depicted in an attitude of prayer while begs the Regina Pacis against the horrors of war" (Alfredo Maria Pergolizzi)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the middle of the floor "Coat of arms of John Paul II (1978/2005)" 1998 in the occasion of the restoration of the entire floor</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">FIRST PASSAGE</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8927/Basilica%20S.%20Pietro%20DSC_8927.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monument to Maria Clementina Sobieski"</span></a> wife of James III Stuart, King of England and nephew of King John II of Poland. She died thirty years old in 1735 (the heart is in the Basilica of the Holy Apostles) 1742 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Barigioni</span><span style="letter-spacing: 0.0px;"> (about 1680/1753), a pupil of Carlo Fontana</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Marble sculptures "Charity" and "Little angels" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Bracci</span><span style="letter-spacing: 0.0px;"> (1700/73)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Metal parts by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Giardini</span><span style="letter-spacing: 0.0px;"> (1646/1721)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaic by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0.0px;">(1685/1743) from original by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ludovico Stern</span><span style="letter-spacing: 0.0px;"> (1709/77) in the National Portrait Gallery in Edinburgh</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the left <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8930/Basilica%20S.%20Pietro%20DSC_8930.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monument of the last Stuart"</span></a> with portraits of James III (1688/1766), Charles Edward Count of Albany and Henry Duke of York and Bishop of Frascati 1817/19 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Antonio Canova</span><span style="letter-spacing: 0.0px;"> (1757/1822) for King George V of England who, as Stendhal said, paid for the tomb of these princes whom he would have probably beheaded if he would have seized them</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The actual tomb is in the Vatican Grottos commissioned in 1939 by the British King George VI</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"Canova infused in his neoclassical inspiration, characterized by shades of a somewhat pagan character, a vitalizing Christian lyricism. The smoothness of the surface coating of marble links the various elements of the composition, the three Stuart busts and the two figures of the genii, with torches upside down, turning off the flame of life (...), symbolizing the peaceful Christian resignation in the face of death" (Alfredo Maria Pergolizzi)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">James II, father of James III, was Duke of York before being King of England, Scotland and Ireland and, as Duke of York, he was commander of the Royal Navy. In 1644 the British captured the Dutch territory of New Netherlands and renamed it in his honor the most important city, which was formerly known as New Amsterdam, into New York</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the nineteenth century the two naked angels carved on the tomb were considered too scandalous and were provided with metal pants by Pietro Galli. They were eventually removed</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;"><i>"In 1850 Pietro Galli was appointed sculptor of the Reverend Fabric of St. Peter, where there were his marble statues of St. Frances of Rome and St. Angela Merici. In the same year Galli made in the Vatican a 'purification' job of covering those figures who could 'do offence to the natural honesty'. The statues deemed worthy of covering were: Charity of the monumental tombs by Bernini of Urban VIII and Alexander VII, the Genius of Canova's tomb of Clement XIII, the Genii of the cenotaph erect, also by Canova, for the last members of the royal Stuart family, the putti supporting the medallions with portraits of the popes on the piers commissioned by Innocent X" (Emanuela Bianchi - Dizionario Biografico degli Italiani Treccani)</i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8938/Basilica%20S.%20Pietro%20DSC_8938.jpg?disposition=download">DOME OF THE VESTIBULE OF THE FIRST CHAPEL ON THE LEFT</a></span><span style="color: black; letter-spacing: 0.0px;"> <i>(Dedicated to Baptism)</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">Mosaic in the DOME "God the Father and Adam and Eve" 1738, "Desire baptism of the peoples longing for the baptism of purification" 1738/39, "Blood baptism of the martyrs" 1740/43, "Water baptism of St. John the Baptist" 1743 and "Glory of angels" 1744/45 carried out by the mosaicists </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fattori</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Gossoni</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Fiani</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cardoni</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Clori</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cocchi</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Enuò </span><span style="letter-spacing: 0.0px;">and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Onofri </span><span style="letter-spacing: 0.0px;">under the supervision of </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pier Leone Ghezzi</span><span style="letter-spacing: 0.0px;"> (1674/1755) and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0.0px;">(1685/1743) from the originals begun by </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Gaulli aka Baciccio</span><span style="letter-spacing: 0.0px;"> (1639/1709) but designed after his death in the years 1713/45 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Trevisani</span><span style="letter-spacing: 0.0px;"> (1656/1746). The original cartoons are in the church of St. Mary of the Angels and Martyrs</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the SPANDRELS mosaics with four continents:</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Europe with triple crown" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Ottaviani</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"America donning feathers and a quiver" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Ottaviani</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Africa with elephant" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Liborio Fattori</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Asia with the censer" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Brughi</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the LUNETTES mosaics with events of the Old and New Testament symbolizing or representing baptism:</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Noah gazing at the rainbow after the flood" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Nicola Onofri </span><span style="letter-spacing: 0.0px;">and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernardino Regoli</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Moses drawing water from the rock" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Alessandro Cocchi </span><span style="letter-spacing: 0.0px;">and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernardino Regoli</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"Christ baptizes St. Peter" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Alessandro Cocchi</span><span style="letter-spacing: 0.0px;"> and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Fiani</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"St. Peter baptizing the Centurion Cornelius" by</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Nicola Onofri </span><span style="letter-spacing: 0.0px;">and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenico Gossoni</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"St. Philip baptizing the eunuch of Queen Candace" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Liborio Fattori </span><span style="letter-spacing: 0.0px;">and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Cardoni</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">"St. Sylvester baptizes the Emperor Constantine" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Enrico Enuò </span><span style="letter-spacing: 0.0px;">and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Silverio de Lellys</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">In the DRUM four statues in stucco with "Angels" 1712 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Ottoni</span><span style="letter-spacing: 0.0px;"> (1648/1736)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8934/Basilica%20S.%20Pietro%20DSC_8934.jpg?disposition=download">BAPTISTERY</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8936/Basilica%20S.%20Pietro%20DSC_8936.jpg?disposition=download">"Cover in gilt bronze with Trinity and Agnus Dei"</a></span><span style="letter-spacing: 0.0px;"> by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Fontana</span><span style="letter-spacing: 0.0px;"> (1634/1714) executed by</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Lorenzo Ottoni</span><span style="letter-spacing: 0.0px;"> (1648/1736) for the "Sarcophagus" in red Egyptian porphyry maybe for the Emperor Hadrian, later used as the tomb of Emperor Otto II and placed here in 1697</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Carlo Fontana won the commission in 1692 after an invitation to tender in which more than twenty artists had participated. The work took five years first because of the refusal of his first project, rejected for the size and for the excessive costs and then because of an accident during transport: the basin of porphyry broke down and had to be repaired</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">Carlo Fontana blamed the rival Mattia De Rossi (1637/95) at the time chief architect of the basilica and one of the artists defeated by Fontana in the tender for the Baptistery</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">The structure is located in a concavity in the floor created in 1725 at the behest of Benedict XIII Orsini (1724/30) to recall the ancient Christian tradition linked to the symbolism of full-immersion baptism</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">At the center mosaic <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8937/Basilica%20S.%20Pietro%20DSC_8937.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Baptism of Christ"</span></a> 1730 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Brughi</span><span style="letter-spacing: 0.0px;"> (1660/1730) and 1731/34 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Cristofari</span><span style="letter-spacing: 0.0px;"> (1685/1743) with the help of </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Ottaviani</span><span style="letter-spacing: 0.0px;"> from the original of the years 1696/98 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maratta</span><span style="letter-spacing: 0.0px;"> (1625/1713) in S. Mary of the Angels and Martyrs</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the right mosaic <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8935/Basilica%20S.%20Pietro%20DSC_8935.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Baptism of Sts. Processus and Martinian"</span></a> begun in 1726 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Brughi</span><span style="letter-spacing: 0.0px;"> and completed in 1737 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0.0px;">from the original of the years 1710/11 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Passeri</span><span style="letter-spacing: 0.0px;"> (1654/1714), Carlo Maratta's favorite student</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">On the left mosaic "St. Peter Baptizing the Centurion Cornelius" 1730/37 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Cristofari</span><span style="letter-spacing: 0.0px;"> and his brother </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Cristofari</span><span style="letter-spacing: 0.0px;"> from the 1710 original by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Andrea Procaccini</span><span style="letter-spacing: 0.0px;"> (1671/1734), another student of Maratta</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">In the SMALL DOME stucco with "God the Father Blessing" 1699 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Giorgio Roncati</span><span style="letter-spacing: 0.0px;"> and monochrome paintings with "Angels with chandeliers" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Paolo Albertoni</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8901/Basilica%20S.%20Pietro%20DSC_8901.jpg?disposition=download">SACRISTY</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0.0px;">1776/84 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Marchionni</span><span style="letter-spacing: 0.0px;"> (1702/86)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">To build the old church <i>S. MARIA DELLA FEBBRE</i> (St. Mary of the Fever) was demolished, so called for a holy image that was considered protective against malaria. The church building was one of two funerary mausoleums of the fourth century AD built on the side of the basilica and was also known as the <i>ROTONDA DI S. ANDREA </i>(Rotunda of St. Andrew). The other mausoleum was the <i>ROTONDA DI S. PETRONILLA </i>(Rotunda of St. Petronilla)</span></div>
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<span style="color: black; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0.0px;">In the vestibule <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8900/Basilica%20S.%20Pietro%20DSC_8900.jpg?disposition=download"><span style="letter-spacing: 0px;">list of the 148 popes buried in the Basilica</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">In the common sacristy (not open to public) paintings by </span><span style="color: #ff2600; letter-spacing: 0px;">Federico Zuccari</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Giovanni Francesco Penni</span><span style="letter-spacing: 0px;"> (about 1496/1528), </span><span style="color: #ff2600; letter-spacing: 0px;">Giulio Romano</span><span style="letter-spacing: 0px;"> (1499/1546) and </span><span style="color: #ff2600; letter-spacing: 0px;">Andrea Sacchi</span></span></div>
David Macchihttp://www.blogger.com/profile/03680152527192773532noreply@blogger.com3tag:blogger.com,1999:blog-4279535645136556249.post-25098696747489621082011-08-01T15:15:00.006+02:002013-12-12T10:56:31.062+01:00Castel Sant'Angelo in Rome<style type="text/css"> p.p1 {margin: 0.0px 0.0px 1.0px 0.0px; font: 11.0px Georgia} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify; font: 7.0px Georgia} p.p3 {margin: 0.0px 0.0px 5.0px 0.0px; text-align: justify; font: 8.0px Georgia} p.p4 {margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify; font: 8.0px Georgia} p.p5 {margin: 0.0px 0.0px 5.0px 8.5px; text-align: justify; text-indent: 19.8px; font: 7.0px Georgia} span.s1 {letter-spacing: 0.0px} span.s2 {letter-spacing: -0.1px} </style> <br />
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<span class="Apple-style-span" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large; font-weight: bold; line-height: 22px;"><b><b><a href="http://davidmacchi.blogspot.com/2011/04/tutto-sulla-basilica-di-santa-maria.html" style="color: #333333; font-weight: bold; text-decoration: none;">E</a>verything about Castel Sant'Angelo</b></b></span></div>
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<span style="font-size: large;"><b style="letter-spacing: 0px; line-height: normal;"><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative"><b style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">Here's an</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">excerpt</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">from my</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">forthcoming</span> super comprehensive guide <span class="hps atn" title="Fai clic per visualizzare le traduzioni alternative">book about Rome</span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">.</span></span></b></span></span></b><b><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><div style="margin: 0px 0px 1px;">
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">It will be called ROMAPEDIA.</span></span></b></span></div>
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative"><br /></span></span></b></span><span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">The first edition was published in Italian as "Guida di Roma e provincia" in 2011 and the new enlarged edition is due to be released in 2014.</span></span></b></span></div>
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">There will also be an edition in English available.</span></span></b></span></div>
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-weight: normal;"><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">It is</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">a</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">work</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">synthesis</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">and</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">anthology</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of the</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">most authoritative </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">sources</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of facts and </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">reliable information</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">about</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">the art</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">Rome </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">and </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">its Province.</span></span></b></span></div>
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<b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0px;">It is an encyclopedic dictionary with 1,329 entries, including 483 churches, 278 palaces, and 152 museums.</span></span></b></b></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="letter-spacing: 0px;">It also includes a profusion of artistically or historically relevant buildings, monuments, archaeological sites as well as 95 towns in the province of Rome, constituting one of the richest sources of information available in a single book about the art and history of the Eternal City.</span></span></b></b></span></b></b></span></b></b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="letter-spacing: 0px;"><br /></span></span></b></b></span></b></b></span></b></b></span></div>
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<span style="letter-spacing: 0px;"><a href="http://www.davidmacchi.com/tourguide/Castel_SantAngelo.html"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><b>CASTEL SANT'ANGELO</b><span style="letter-spacing: 0.0px;"><b></b></span></span></a></span><br />
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://maps.google.it/maps?q=41.902493,12.466393"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Lungotevere Castello</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Begun maybe in 130 and completed in 139 as Hadrian's Mausoleum maybe by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Demetrius</span><span style="letter-spacing: 0.0px;"> for Hadrian (117/138)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Burial place for members of the imperial family until Caracalla (211/217) with some exceptions</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Square base in<i> opus latericium</i> (concrete covered with bricks) with sides 86.3 m (283 feet) long. Cylinder above with a diameter of 64 meters (210 feet) in<i> opus caementicium</i> covered with tufa stone and travertine marble slabs</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Aurelian (270/275) had it included in the Aurelian Walls</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It took its present name from an event that took place in 590 during a plague: during a procession Gregory I the Great (590/604) had a <i>vision of the Archangel Gabriel on top of the castle</i> who was placing the sword in its sheath. This was immediately interpreted as a sign of the approaching end of the plague that effectively ended shortly thereafter</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In the ninth century it was inserted by Pope St. Leo IV (847/855) in the circuit of the Leonine Wall around the <i>Civitas Leonina</i> that surrounded the Vatican and Borgo</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">He wanted to prevent new invasions by the Muslims Saracens like the one that had just occurred in 846</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The first document that describes the castle as <i>Castellum Sancti Angeli </i>dates back indeed to the time of Leo IV</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It was disputed by the Roman nobility and it was used in 928 by Marozia to imprison Pope John X (914/928) who was killed the following year</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Marozia was a beautiful and unscrupulous woman who ruled for about twenty years over Rome and the papacy in the age of moral decay known as Roman Pornocracy (about 904/964) during which the fate of Rome was decided by beautiful courtesans</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">It became permanently prison and fortress after the return of the popes from Avignon, especially with Boniface IX Tomacelli (1389/1404) and the architect </span><span style="color: #ff2600; letter-spacing: 0.0px;">Niccolò Lamberti</span><span style="letter-spacing: 0.0px;"> (1370/1451)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It kept the most secret archives and the treasure of the Church</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Nicholas V (1447/55) built three bastions, later enlarged by Alexander VI Borgia (1492/1503), who added a fourth one (St. Matthew, in front to the left)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Pius IV Medici (1559/65) raised the ramparts and built the pentagonal fortification</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">The entrance gate of 1556 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Sallustio Peruzzi</span><span style="letter-spacing: 0.0px;"> (?/1573) has been moved among the bastions of St. Luke and St. John (to the right)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">The PARK was arranged in 1935 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Attilio Spaccarelli</span><span style="letter-spacing: 0.0px;"> (1890/1975)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The DROMOS or corridor with a marble vault leads to the <a href="http://www.davidmacchi.com/tourguide/Castel_SantAngelo_files/Media/DSCF2181/DSCF2181.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">Atrium</span></a> where there was a statue of Hadrian the head of which is visible in the Museum of the Castle. Now there are models of the mausoleum</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">From the Atrium the <a href="http://www.davidmacchi.com/tourguide/Castel_SantAngelo_files/Media/DSCF2183/DSCF2183.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">spiral ramp</span></a> begins: it is 125 meters (410 feet) long with a difference of 12 meters (40 feet) in level from beginning to end</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The diameter Ramp follows, built in late fourteenth or late fifteenth century to allow access only by a drawbridge</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">After having crossed the 1822 bridge by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Valadier</span><span style="letter-spacing: 0.0px;"> (1762/1839), one passes through the <a href="http://www.davidmacchi.com/tourguide/Castel_SantAngelo_files/Media/DSCF2189/DSCF2189.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">Hall of urns</span></a></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">After a ramp on the left maybe by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Raffaello da Montelupo </span><span style="letter-spacing: 0.0px;">(about 1505/57) there is the <a href="http://www.davidmacchi.com/tourguide/Castel_SantAngelo_files/Media/DSCF2196/DSCF2196.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">main courtyard</span></a>, also known as <i>Angel's Courtyard</i> for the 1544 statue of the angel by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Raffaello da Montelupo</span><span style="letter-spacing: 0.0px;"> that remained on the castle until 1752 replaced by the present bronze one by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pieter Anton van Verschaffelt </span><span style="letter-spacing: 0.0px;">(1710/93), the sixth one</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In 1798 the French painted the angel with blue, white and red, they put a red cap and called it the Genius of France liberator of Rome</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Castel_SantAngelo_files/Media/DSCF2201/DSCF2201.jpg?disposition=download">AEDICULA OF the chapel</a></span><span style="letter-spacing: 0.0px;"> designed by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michelangelo Buonarroti</span><span style="letter-spacing: 0.0px;"> (1475/1564) under Leo X Medici (1513/21)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">To the right of the courtyard rooms of the old Armory</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">To the left ROOMS of Clement VIII Aldobrandini (1592/1605) and so-called Apollo's Room with 1547 frescoes by Pietro Bonaccorsi aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Perin del Vaga</span><span style="letter-spacing: 0.0px;"> (1501/47) and artists of his workshop who completed the work after the death of the master</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">From Apollo's room one goes into the Justice room with a fresco of the "Angel of Justice" maybe by Perin del Vaga and into the Chapel of Leo X Medici (1513/1521) with high-relief "Madonna and Child" end of sixteenth century maybe by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Raffaello da Montelupo</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Also from Apollo's room one goes into the two rooms of Clement VII Medici (1523/34) with paintings including:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">ROOM I: "St. Jerome in the Wilderness" about 1509 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Lorenzo Lotto</span><span style="letter-spacing: 0.0px;"> (about 1480/1556), plaques "Redeemer and St. Onuphrius" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Crivelli</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">ROOM II: "Cupid" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Girolamo di Benvenuto</span><span style="letter-spacing: 0.0px;"> and <a href="http://www.laculturadelcibo.it/public/archivio/res_300_foto389LucaSignorellimadonnaconilBambinoeisanti.jpg"><span style="color: #021eaa; letter-spacing: 0px;">"Madonna and Child with saints"</span></a> by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luca Signorelli</span><span style="letter-spacing: 0.0px;"> (1445/1523)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Castel_SantAngelo_files/Media/DSCF2222/DSCF2222.jpg?disposition=download">Courtyard of the well</a></span><span style="letter-spacing: 0.0px;"> from which there is access to the bathroom with stucco and frescoes maybe by Giovanni da Udine and to the Courtyard of Leo X</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">A door in the courtyard of the well leads down to the historical prisons</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">From another door there is access to Oil Room with eighty-four jars containing about 22,000 liters (almost 6,000 gallons) and the silos for grain (about 3,500 quintals - 386 tons) some used as prisons. Here the reserves in case of siege were kept</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">From the courtyard of the well stairs lead up to the <a href="http://www.davidmacchi.com/tourguide/Castel_SantAngelo_files/Media/DSCF2212/DSCF2212.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">loggia of Paul III</span></a> Farnese (1534/49) overlooking the garden maybe by Antonio Cordini aka Antonio da Sangallo the Younger (1483/1546) with <a href="http://www.davidmacchi.com/tourguide/Castel_SantAngelo_files/Media/DSCF2214/DSCF2214.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Stuccos and grotesques"</span></a> by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Girolamo Siciolante da Sermoneta</span><span style="letter-spacing: 0.0px;"> (1521/80)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Round corridor of Pius IV Medici (1559/65), lined up with small rooms used as homes for the families of the pope and later as prison's cells</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Small Loggia of Leo X</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Castel_SantAngelo_files/Media/DSCF2226/DSCF2226.jpg?disposition=download">loggia of Julius II</a></span><span style="letter-spacing: 0.0px;"> della Rovere (1503/13) 1504 Giuliano Giamberti aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuliano da Sangallo</span><span style="letter-spacing: 0.0px;"> (1445/1516) overlooking the bridge</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Continuing the corridor there are four rooms with antique weapons and the archaeological Gallery with:</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Fragments of molded cornices and friezes in high relief with heads of bulls and sacrificial tools"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Square Corinthian capital for a pilaster"</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Castel_SantAngelo_files/Media/DSCF2224/DSCF2224.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Portrait of Hadrian"</span></a></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Castel_SantAngelo_files/Media/2002_0904CB/2002_0904CB.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Portrait of Antoninus Pious (138/161)"</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Returning to the loggia of Julius II one passes through the small vestibule with niches by Antonio Cordini aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Antonio da Sangallo the Younger</span><span style="letter-spacing: 0.0px;"> (1483/1546) into the apartment of Pope Paul III</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.sarahgildea.com/castel/salapaulina.jpg"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">PAULINE HALL</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Frescos: faux columns resting on a base decorated in turn with panels "Sea creatures' fights" in between hermaphrodites "Caryatid"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Illusionistic niches between the columns with "Cardinal Virtues" and great paintings in monochrome imitating reliefs in bronze with <a href="http://www.canino.info/inserti/monografie/i_farnese/castel_s.angelo/slides/sala_paolina_03.jpg"><span style="color: #021eaa; letter-spacing: 0px;">"Stories of Alexander the Great"</span></a></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Above the six doors "Allegorical figures" hold round panels with<b> </b><a href="http://www.castelsantangelo.com/img3/sala_Paolina1.jpg"><span style="color: #021eaa; letter-spacing: 0px;">"Stories of St. Paul"</span><span style="color: #021eaa; letter-spacing: 0.0px;"> </span></a>1545/47 by Pietro Bonaccorsi aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Perin del Vaga</span><span style="letter-spacing: 0.0px;"> (1501/47) and pupils</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.microstorie.net/microstorie/upload/imperatoreAdriano.jpg">"Adrian"</a></span><span style="color: black; letter-spacing: 0.0px;"> by </span><span style="letter-spacing: 0.0px;">Girolamo Siciolante da Sermoneta </span><span style="color: black; letter-spacing: 0.0px;">(1521/80)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://sobreitalia.com/wp-content/uploads/2009/07/sala-paolina-de-sant-angelo.jpg">"Angel"</a></span><span style="color: black; letter-spacing: 0.0px;"> by </span><span style="letter-spacing: 0.0px;">Pellegrino Tibaldi</span><span style="color: black; letter-spacing: 0.0px;"> (1527/96)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Perin del Vaga gives us a monumental summary of the contrasting legacy of Raphael and Michelangelo. The apparatus ornamental and illusive, with an extraordinary richness of composition, was the culmination of the entire decorative complex, intended to have a profound effect on the next great Tuscan-Roman decoration for his crucial role as a hinge between the first and second phase of the Manneristic period" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Square panels in the vault: <a href="http://www.canino.info/inserti/monografie/i_farnese/castel_s.angelo/slides/sala_paolina.jpg"><span style="color: #021eaa; letter-spacing: 0px;">"Six stories of Alexander the Great"</span></a> starting from the box above the angel toward left:</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Alexander meets with the supreme pontiff at the gates of Jerusalem"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Alexander praying in the temple of Jerusalem"</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Alexander set fire to the booty to lighten the wagons"</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Pore attacked by Macedonian soldiers"</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Alexander has ships built to cross the River Hydaspes"</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Alexander enters triumphantly into Babylon" by Marco Pino aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Marco da Siena</span><span style="letter-spacing: 0.0px;"> (about 1525/87)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Stuccos maybe by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Guglielmo Della Porta</span><span style="letter-spacing: 0.0px;"> (1515/77)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Coat of arms on the floor of Innocent XIII Conti (1721/24) who restored the hall in 1722</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Chamber of Perseus</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://fe.fondazionezeri.unibo.it/foto/80000/73200/73140.jpg">"Frieze with stories of Perseus and Andromeda"</a></span><span style="letter-spacing: 0.0px;"> by Pietro Bonaccorsi aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Perin del Vaga</span><span style="letter-spacing: 0.0px;">, who also designed the ceiling with "Archangel Gabriel"</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">On the walls:</span></i></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Christ Carrying the Cross" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Paris Bordon</span><span style="letter-spacing: 0.0px;"> (1500/71)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Woman with the Unicorn" (perhaps a portrait of Giulia Bella, sister of Paul III) by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luca Longhi</span><span style="letter-spacing: 0.0px;"> (1507/80)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Sculpture carved in wood and painted "St. Michael the Archangel" 1736 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Bracci</span><span style="letter-spacing: 0.0px;"> (1700/73)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Flemish tapestries from the seventeenth century</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Chamber of Cupid and Psyche</span></span></div>
<div style="color: #021eaa; margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://fe.fondazionezeri.unibo.it/foto/80000/73200/73142.jpg">"Frieze with stories of Cupid and Psyche"</a></span><span style="color: black; letter-spacing: 0.0px;"> by Pietro Bonaccorsi aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Perin del Vaga</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">On the walls:</span></i></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Christ Carrying the Cross" workshop of Sebastiano Luciani aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Sebastiano del Piombo</span><span style="letter-spacing: 0.0px;"> (1485/1547) and "Portrait of Alexander VI Borgia (1492/1503)"</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Pompeian Corridor</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Connecting the Pauline Hall to the Library</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Remarkable example of "Grotesque" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Perin del Vaga </span><span style="letter-spacing: 0.0px;">and his school</span></span></div>
<div style="margin-bottom: 6px; margin-left: 25.5px; text-align: justify; text-indent: 28.5px;">
<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"The prevalence of gestures and the use on a large scale reduces the proud and strong Grottescanti technique to border on the repetitive nature of craft practice. These are areas, in sixteenth-century decoration, where the teamwork, the sharing and fragmentation of tasks and means of mechanical reproduction are the order of the day. The fact remains that the technique of a sixteenth-century grotesque rarely lacks in verve and fluency, or fails the task of stimulating the eye with the immediate effect of its optical effects. Albeit often these qualities, rather than in the hand and brain of the artist, are already incorporated in the technical tricks that he uses" (Antonio Pinelli)</span></i></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Library</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Fresco on the vault "Stories of the Emperor Hadrian" and stucco frieze "Sacrificial scenes" 1544 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luzio Luzi</span><span style="letter-spacing: 0.0px;"> (about 1509/77) pupil of Perin del Vaga</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Marble fireplace by</span><span style="color: #ff2600; letter-spacing: 0.0px;"> Raffaello da Montelupo </span><span style="letter-spacing: 0.0px;">(about 1505/57)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Room of the Hadrianeum</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Frieze with "Reconstruction of Roman monuments" 1544/45 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luzio Luzi</span><span style="letter-spacing: 0.0px;"> maybe executed by Prospero Fontana</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">On the walls:</span></i></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Ecce Homo" </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Baglione</span><span style="letter-spacing: 0.0px;"> (1566/1643)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Education of Bacchus" </span><span style="color: #ff2600; letter-spacing: 0.0px;">school of Peter Paul Rubens</span><span style="letter-spacing: 0.0px;"> (1577/1640)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Bacchanal" Giovanni Luteri aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Dosso Dossi</span><span style="letter-spacing: 0.0px;"> (about 1486/1542)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Feast of the Gods" maybe by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Nicolas Poussin</span><span style="letter-spacing: 0.0px;"> (1594/1665)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Room of festoons</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Frieze with "Garlands" 1544/45 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luzio Luzi</span><span style="letter-spacing: 0.0px;"> maybe executed by Prospero Fontana</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Large canvas "The Cardinal Gozzadini receives James III Stuart in Imola" 1717 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Antonio Gionima</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Climbing a ladder it is possible to climb to the Cagliostro room with 1544 frescos by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luzio Luzi</span><span style="letter-spacing: 0.0px;">. It was here that Giuseppe Balsamo aka Cagliostro was kept prisoner</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">At the sides two cabinets of the Dolphin (or Chameleon) and of the Salamander</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">From the library there is access to the Treasury with wardrobes and chests, perhaps true burial chamber of Hadrian</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">From the vestibule it is possible to climb to the RoUND ROOM with eighteenth-century armor of the angel</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Room of the Columns and TWO rooms of the Flags</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Decorated in 1926 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Duilio Cambellotti</span><span style="letter-spacing: 0.0px;"> (1876/1960) to house memorabilia of the Italian army and the flags of the dissolved regiments</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Sculptures in the two rooms:</span></i></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Holy Franciscan" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Jacopo della Quercia</span><span style="letter-spacing: 0.0px;"> (about 1374/1438)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Ciborium" in marble from the church of St. Lawrence in Lucina by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Rainaldi</span><span style="letter-spacing: 0.0px;"> (1611/91)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Bust of Salvator Mundi" maybe by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Isaia da Pisa</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The round room leads up to the terrace where it is possible to enjoy one breathtaking view of Rome</span></span></div>
<br />David Macchihttp://www.blogger.com/profile/03680152527192773532noreply@blogger.com2tag:blogger.com,1999:blog-4279535645136556249.post-43147547856813872082011-04-04T21:11:00.004+02:002013-12-12T10:57:09.383+01:00An extremely thorough description of the Basilica of St. Mary Major in Rome<h3 class="post-title entry-title" style="font-weight: bold; line-height: 1.1em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">
<span class="Apple-style-span" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large; font-weight: normal; line-height: normal;"><a href="http://2.bp.blogspot.com/-i9iScPrS50A/TWqJz2tG_CI/AAAAAAAAAH8/i1DBu7-ZOsc/s1600/Copertina%2BGuida%2Bdi%2BRoma%2Be%2Bprovincia%2Bgen11.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578422612402830370" src="http://2.bp.blogspot.com/-i9iScPrS50A/TWqJz2tG_CI/AAAAAAAAAH8/i1DBu7-ZOsc/s320/Copertina%2BGuida%2Bdi%2BRoma%2Be%2Bprovincia%2Bgen11.jpg" style="cursor: pointer; float: right; height: 320px; margin-bottom: 10px; margin-left: 10px; margin-right: 0px; margin-top: 0px; width: 226px;" /></a></span></h3>
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<span style="font-size: large;"><b style="letter-spacing: 0px; line-height: normal;"><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative"><b style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">Here's an</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">excerpt</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">from my</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">forthcoming</span> super comprehensive guide <span class="hps atn" title="Fai clic per visualizzare le traduzioni alternative">book about Rome</span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">.</span></span></b></span></span></b><b><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><div style="margin: 0px 0px 1px;">
<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">It will be called ROMAPEDIA.</span></span></b></span><br />
<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative"><br /></span></span></b></span><span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">The first edition was published in Italian as "Guida di Roma e provincia" in 2011 and the new enlarged edition is due to be released in 2014.</span></span></b></span><br />
<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">There will also be an edition in English available.</span></span></b></span></div>
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-weight: normal;"><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">It is</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">a</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">work</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">synthesis</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">and</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">anthology</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of the</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">most authoritative </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">sources</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of facts and </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">reliable information</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">about</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">the art</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">Rome </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">and </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">its Province.</span></span></b></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="letter-spacing: 0px;">It also includes a profusion of artistically or historically relevant buildings, monuments, archaeological sites as well as 95 towns in the province of Rome, constituting one of the richest sources of information available in a single book about the art and history of the Eternal City.</span></span></b></b></span></b></b></span></b></b></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="line-height: 20px;">My new ROMAPEDIA blog with the most complete encyclopedia about the art and history of Rome and its surroundings is being published. New entries are being added everyday. Here is the link: </span><a href="http://www.romapedia.blogspot.it/" style="color: #336699; line-height: 20px;">romapedia.blogspot.it</a></span></h3>
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<span style="letter-spacing: 0px;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore.html"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><b>BASILICA S. MARIA MAGGIORE</b><span style="letter-spacing: 0.0px;"><b></b></span></span></a></span></div>
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<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Basilica of St. Mary Major</span></i></b></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://maps.google.it/maps?q=41.89723,12.49904"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Piazza S. Maria Maggiore</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Original church</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It is legendary as the sources mention it, but archeology has never confirmed its existence. It would have been built for Pope Liberius I (352/366) and called <i>Liberian Basilica</i> or <i>S. Maria ad Nives</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The patrician Giovanni, who wanted to build a church and the Pope Liberius had the same dream on the same night: Our Lady appeared to them asking to erect a church on the site where an unusual event would have occurred on the following day</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The story goes that on the next day, August 5 356, it snowed on the Esquiline Hill so it was decided that it would be the obvious place for the church, considering that in Rome it snows roughly every twelve years, not much, and never in August when temperature can reach 40° degrees Celsius (104° Fahrenheit)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The <i>Liber Pontificalis</i>, the medieval book with the biographies of all the popes until the XV century, says it was built "at the Macellum of Livia" in relation with the <i>Forum Esquilinum</i> within the walls near the Esquiline Gate, and then perhaps nearby the current church</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Current church</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Built for Sixtus III (432/440) on the summit of the <i>Cispius </i>part of Esquiline Hill after the <i>Council of Ephesus</i> in 431 which declared the Virgin Mary <i>"Theotokòs"</i> Mother of God and not only <i>"Cristokotòs"</i> Mother of Christ. The Concil of Ephesus also condemned Nestorianism, a heresy which questioned the divine nature of Christ although from the viewpoint of the Nestorians and Monophysites it was Catholicism to be considered a heresy</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Part of the hill was leveled with significant substructures in the back. The Roman pontiffs had inherited the imperial <i>autoritas</i> that used to undertake commissions of this kind</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Excluding the funerary basilicas, it is the first church dedicated to a saint and it was called just "S. Maria" until the construction of other basilicas in Rome dedicated to the Virgin Mary: that's when it took the name "Major"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It was possible to built it inside the <i>pomerium </i>(the sacred border of the City of Rome)<i> </i>not having relics that were not allowed inside the city</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">During the Middle Ages, the relics of the manger where Jesus is believed to be born were added</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Niccolò IV (1288/92) had the apse redone, pushing it back a bit to build a short transept</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"> Maybe in the original apse there was a round corridor or ambulatory</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>It is one of the four Patriarchal Basilicas</i> under direct control of the pope, the only one who can celebrate mass on the main altar</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/03102007305/03102007305.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Exterior</span></i></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">façade</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">1741/43 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ferdinando Fuga</span><span style="letter-spacing: 0.0px;"> (1699/1782) for Clement XI Albani (1700/21) and Benedict XIV Lambertini (1740/58)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Building ON tHE RIGHT</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">1605 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Flaminio Ponzio</span><span style="letter-spacing: 0.0px;"> (1560/1613) for Paul V Borghese (1605/21)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Building ON THE LEFT</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">1721/43 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ferdinando Fuga</span><span style="letter-spacing: 0.0px;"> who replicated the building on the right after 138 years</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/Romapedia%208%20DSC_9354/Romapedia%208%20DSC_9354.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Rear façade</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">1669/75 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Rainaldi</span><span style="letter-spacing: 0.0px;"> (1611/91) with statues by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Fancelli</span><span style="letter-spacing: 0.0px;"> (1624/81) first for Clement IX Rospigliosi (1667/69) and then for Clement X Altieri (1670/76)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In the square "Fluted Corinthian column of imezio marble" (imezio marble came from Mont Hymettus near Athens) sole survivor of the eight columns in the Basilica of Maxentius. It was put up by Carlo Maderno for Paul V in 1614</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">On the column "Bronze statue of the Virgin" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Guillaume Berthélot</span><span style="letter-spacing: 0.0px;"> (about 1570/1648) and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Orazio Censore</span><span style="letter-spacing: 0.0px;"> (active since 1569/d. 1622) made with the bronze from the gate of the fountain in the middle of the portico of the old Basilica of St. Peter</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">FOUNTAIN designed by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Maderno</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">STATUES ON THE façade</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">at the top from left "Statues of saints and popes" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Monaldi </span><span style="letter-spacing: 0.0px;">(about 1690/1760), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Agostino Corsini </span><span style="letter-spacing: 0.0px;">(1688/1772), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Lironi</span><span style="letter-spacing: 0.0px;"> (1689/1749) ("Virgin Mary"), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernardino Ludovisi</span><span style="letter-spacing: 0.0px;"> (about 1713/49) and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Marchionni </span><span style="letter-spacing: 0.0px;">(1702/86)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Further down Statues by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Della Valle</span><span style="letter-spacing: 0.0px;"> (1698/1768) and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Queirolo</span><span style="letter-spacing: 0.0px;"> (1704/62)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">On the porch pediments Statues by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michelangelo Slodtz</span><span style="letter-spacing: 0.0px;"> (1705/64), </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Maini</span><span style="letter-spacing: 0.0px;"> (1690/1752), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Bracci</span><span style="letter-spacing: 0.0px;"> (1700/73) and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pieter Anton van Verschaffelt </span><span style="letter-spacing: 0.0px;">(1710/93)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">On the building to the right of the façade "Angels that support arms of Paul V" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Nicolas Cordier</span><span style="letter-spacing: 0.0px;"> (1567/1612) and by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ambrogio Buonvicino</span><span style="letter-spacing: 0.0px;"> (c. 1552/1622)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">BELL TOWER</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">1375/76 on the foundations and base of the eleventh and twelfth century. Completed in the second half of the fifteenth century. At 75 m (246 feet) high is the tallest in Rome. Its four bells are considered to be the most harmonious in the whole city </span></span></div>
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<span style="color: black; letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">On the <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/Romapedia%208%20DSC_9356/Romapedia%208%20DSC_9356.jpg?disposition=download"><span style="letter-spacing: 0px;">left side of the Basilica</span></a></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Statues of "St. Jerome" and "St. Luke" by Giovanni Antonio Parracca aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Valsoldo </span><span style="letter-spacing: 0.0px;">(?/1642-46)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"St. Matthew" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Mochi</span><span style="letter-spacing: 0.0px;"> (1580/1654)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"St. Matthias" and "St. Epaphras" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Stefano Maderno</span><span style="letter-spacing: 0.0px;"> (1560/1636)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Behind the church <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/Romapedia%208%20DSC_9355/Romapedia%208%20DSC_9355.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">ESQUILINE OBELISK</span></a> dating back to the beginning of the first century AD, a Roman imitation of the Egyptian obelisks moved here from the Mausoleum of Augustus, where he was paired with the other one now in Piazza del Quirinale. It was moved here in 1587 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenico Fontana</span><span style="letter-spacing: 0.0px;"> (1543/1607) for Sixtus V Peretti (1585/90)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The stairway in the rear façade was once climbed on their knees by wifes mistreated by their husbands, praying for a renewed peace in their families</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Portico</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Central door with "Scenes from the life of the Virgin" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ludovico Pogliaghi </span><span style="letter-spacing: 0.0px;">(1857/1950)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">On the right "Bronze Statue of Philip IV of Spain" (benefactor of the church who died on 1655) 1692 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Girolamo Lucenti</span><span style="letter-spacing: 0.0px;"> (?/1698), maybe designed by Gian Lorenzo Bernini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">On the left "Holy Door" 2001 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Mattei</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Four reliefs above the doors:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Pope Martin escapes assassination by the exarch Olimpio" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Ludovisi</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Gelasius I burns heretical books" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Maini</span><span style="letter-spacing: 0.0px;"> (1690/1752)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Pope Ilario holds a council in the Church" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Bracci</span><span style="letter-spacing: 0.0px;"> (1700/73)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"The patrician Giovanni and his wife offer their goods to Pope Liberius" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Bernardino Ludovisi</span><span style="letter-spacing: 0.0px;"> (about 1713/49)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.musivumopus.com/storia/santa_maria_maggiore_1+.jpg">Mosaics</a></span><span style="letter-spacing: 0.0px;"> in the gallery splendidly visible through the façade built by Ferdinando Fuga:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Blessing Christ, angels, symbols of the Evangelists, Madonna and Saints" and below "Episodes from the legend of Pope Liberius and the patrician Giovanni" dating back to the late thirteenth century by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Rusuti</span><span style="letter-spacing: 0.0px;"> with contributions of unknown artists involved in the artistic climate of this period that saw the application of daring perspectives for that time, also expressed with frescoes in the unfinished decoration in the transept of Niccolò IV </span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Compared to Torriti and Cavallini, the sign of Rusuti is more metallic and, typical in his works, is a strong emphasis on linearity, accompanied by accurate gradations in the transition between light and shadow, which enhances its work, revealing at the same time his distance from the chromatic gamut of the soft and blurred Cavallini" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Four angels in marble and bronze" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Bracci</span><span style="letter-spacing: 0.0px;"> removed in 1932 from the canopy</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">On the landing of the stairs "Bronze statue of Paul V" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Paolo Sanquirico</span><span style="letter-spacing: 0.0px;"> (1565/1630)</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/03102007319/03102007319.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">MIDDLE NAVE</span></i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">restoration 1746/50 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ferdinando Fuga</span><span style="letter-spacing: 0.0px;"> </span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The Floor is partly Cosmatesque dating back to the mid twelfth century. The original fifth century floor in marble slabs is still 5 cm (2 inches) below the current floor</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The original ceiling dating back to the time of Sixtus III (432/440) was just made out of wooden trusses</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Current ceiling with the emblem of Alexander VI (1492/1503) is attributed to Giuliano Giamberti aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuliano da Sangallo</span><span style="letter-spacing: 0.0px;"> (1445/1516) helped by his brother Antonio Giamberti aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Antonio da Sangallo the Elder</span><span style="letter-spacing: 0.0px;"> (about 1460/1534)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It was decorated with gold leaf which maybe was <i>the first gold ever to come from America to Europe</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">counter-façade</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Originally there was an inscription similar to that of S. Sabina</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">In the rose window "Affirmation of the Council Vatican II" 1995 by the Hungarian naturalized Italian</span><span style="color: #ff2600; letter-spacing: 0.0px;"> János "Giovanni" Hajnal</span><span style="letter-spacing: 0.0px;"> (1913/2010)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Two sixteenth century mosaics on the right "Fight between Jacob and the Angel" and on the left "King on a throne, maybe Solomon"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Frescoes above "Rest in Egypt" on the right and "Flight into Egypt" on the left 1593 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ferraù Fenzone</span><span style="letter-spacing: 0.0px;"> (1562/1645)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Thirty-six ancient monolithic Imezio marble columns and four granite columns supporting the entablature decorated with <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/03102007331/03102007331.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Two mosaic friezes"</span></a> representing acanthus converging towards the <i>Agnus Dei</i>, executed in the years 432/440. Half of the original clerestory windows were closed at the end of the sixteenth century</span></span></div>
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<span style="color: black; letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Along the side walls <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/03102007332/03102007332.jpg?disposition=download"><span style="letter-spacing: 0px;">"Thirty-six mosaic panels"</span></a> about 432/440, though restored in 1593: on the right <a href="http://www.gliscritti.it/blog/images/2011-12/s.maria_maggiore_xxv.jpg"><span style="letter-spacing: 0px;">"Stories of Moses and Joshua"</span></a>, on the left <a href="http://www.gliscritti.it/blog/images/2011-12/s.maria_maggiore_ii.jpg"><span style="letter-spacing: 0px;">"Stories of Abraham, Isaac and Jacob"</span></a></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Six mosaics were destroyed for the construction of the side chapels but the subjects are known from drawings. They are a beautiful artistic testimony of the first half of the fifth century during the time when the Roman Empire was Christian. Maybe the models were codes of the time with stories of the Iliad and Odyssey having similar representations. The stories begin from the presbytery and end at the entrance with reading direction oriented to the speaker in the area of the altar</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"The familiarity with the early Christian mosaics and wall paintings acquired in S. Maria Maggiore and St. Paul Outside the Walls from Torriti, Cavallini and their entourage must have opened their eyes to the classical world and must have led them to be pervaded of its spirit. They found themselves faced with the need to explore on their own the problem to represent figures that were to act credibly in a plausible and convincing space, thus providing a realistic approximation of reality, and were taken to see the world through new eyes, putting aside their training based on the books of medieval models" (Richard Krautheimer)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"All the Fathers, despite the diversity of methods of interpretation of the Scriptures, converged on a central point, as demonstrated in his important studies by M. Simonetti: always the Old Testament was read in conjunction with the New, because it was written for the Christian faith in relation to Christ. Whether it would make a more allegorical exegesis, as in Alexandria, or whether the exegesis was more tied to the story, as in the school of Antioch, the unity of Old and New Testament, however, was obvious to all the different teachers of the time "(Andrea Lonardo)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Among the windows</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Frescoes with "Stories of Mary" 1593 </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Ricci</span><span style="letter-spacing: 0.0px;"> (about 1550/1624), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Orazio Gentileschi</span><span style="letter-spacing: 0.0px;"> (1563/1639), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Baldassare Croce </span><span style="letter-spacing: 0.0px;">(about 1553/1628), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Andrea Lilio</span><span style="letter-spacing: 0.0px;"> (about 1555/1632), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ventura Salimbeni</span><span style="letter-spacing: 0.0px;"> (1568/1613) executed for Cardinal Pinelli with original style but respectful of the directions that the Counter-Reformation Council of Trent in 1563 had expressed about art</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Mosaics in the triumphal arch</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">About 432/440 at the time of Sixtus III</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It was originally an apse arch but after the construction of the transept at the end of the thirteenth century it became triumphal arch. Inconsequential narrative drawn from the <i>apocryphal gospels</i> (hidden gospels) which were not approved by the church as divinely inspired but not heretics either</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">We know that the successor of Pope Sixtus III, Leo I the Great (440/461) used these representations during his sermons to an audience that knew very well these very intellectual stories. We cannot therefore consider this story as a <i>Biblia Pauperum</i>, a Bible in images for people who couldn't read or write</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.arteefede.com/articoli/LA%20STELLA_file/image012.jpg">"Stories of the childhood and coming of Jesus"</a></span><span style="color: black; letter-spacing: 0.0px;">:</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>In the left spandrel, on the uppermost left part</i> "Annunciation" with Mary dressed as an eastern queen pulling a thread of scarlet wool from a basket, a symbol of the conception of Jesus</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>On the right "</i>Annunciation to Joseph" with a rod that will flourish to indicate the husband of Mary</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>Below </i>"Epiphany" magi clothed with strange colored oriental suits, little Jesus on a throne, on the left Mary, on the right mysterious veiled woman in purple with a scroll, maybe an allegory of Wisdom</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>Below</i> "Massacre of the Innocents" <i>and further below </i>"Heavenly Jerusalem" with no doors and a group of lambs</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>At the center of the arch</i> "Throne and Tetramorph" with protomes in the arms of the throne representing the faces of Sts. Peter and Paul, cross with <i>krìsmon</i> and the seven seals scroll in emerald iris as described by the Apocalypse of St. John</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>In the right spandrel, on the uppermost right part</i> "Presentation of Jesus in the Temple and Flight into Egypt"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>Below</i> "The king of Sòtime Aphrodisius goes out and meets Jesus": the idols broke in the city and the king went out to see what had happened. "King Herod and the Magi". <i>Further below </i>"Bethlehem"</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"The complex mosaic along the aisles is the story of salvation that culminates in the depiction of the triumphal arch centered on the eight episodes, canonical and apocryphal, of Jesus' childhood. The scenes of the Infantia Salvatoris take place on either side of the central clypeus with the empty throne, prepared for the advent of Christ on Judgement Day, symbol of the Etimasia, the representation of the enduring invisible presence of God in the world. The throne, which recalls the imperial and consular chair, is adorned with a garland and a cloak designed as insignia Christi, following the imperial tradition that the presence of the emperor could also be established solely by his image or his insignia" (Simona Fortunelli - TMG)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">CONFESSIO 1862/64 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Virginio Vespignani</span><span style="letter-spacing: 0.0px;"> (1808/82)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Urn made by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Valadier</span><span style="letter-spacing: 0.0px;"> (1726/85) with<i> relics of the cradle of Bethlehem</i> along with <i>a few stones of the stable, hay and fragments of the bands of the Child Jesus</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Statue of Pius IX" Mastai Ferretti (1846/78) 1883 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ignazio Jacometti </span><span style="letter-spacing: 0.0px;">(1819/83)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">MAIN ALTAR with "Urn of porphyry supported by four angels" which acts as a base for the papal altar with inside the <i>relics of Sts. Matthew, Lawrence, Stephen and Jerome</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">CANOPY by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ferdinando Fuga</span><span style="letter-spacing: 0.0px;">. Bronze leaves added in 1823 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Valadier</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The "Four ancient columns in porphyry" were originally placed with the other two in a pergola with a lintel of white marble that was an element of separation between sanctuary and nave, still maintaining and permitting visibility</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Mosaic in the apse</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://upload.wikimedia.org/wikipedia/commons/thumb/b/b3/Apse_mosaic_SM_Maggiore.jpg/1024px-Apse_mosaic_SM_Maggiore.jpg">"Mary crowned"</a></span><span style="letter-spacing: 0.0px;"> by Jesus and the Assumption into heaven in between Cardinal Giacomo Colonna, Niccolò IV with the halo of the living, angels and saints. All around branches with birds and below scene by the River Nile</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>Further down</i> <a href="http://www.settemuse.it/viaggi_italia_lazio/RM_roma_citta/arte_roma_059_basilica_s_maria_maggiore.jpg"><span style="color: #021eaa; letter-spacing: 0px;">"Stories of Mary"</span></a>: "Annunciation", "Nativity", "Adoration of the Magi", "Presentation in the Temple"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;"><i>In the center</i> "Death of the Virgin" 1295 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Jacopo Torriti</span><span style="letter-spacing: 0.0px;"> (he signed his great work in the lower left part) for Niccolò IV Masci (1288/92) (in charge of the imposing pictorial program of the Basilica of St. Francis in Assisi where Torriti worked too) and Cardinal Giacomo Colonna regent of the Basilica</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"The figures are plastically solid and the limbs are outlined by the rich, heavy folds of drapery; the apostles overlap one another, moving at different levels as if in a performance space. The space expands to the bottom, to the top and to the sides. The gold upon which the figures sticks out gives the impression of immeasurable depth. Gestures and movements express the drama taking place. The scene does not remain confined within its limits and the wings of angels seem to hold up the basic framework of the basin while the almond shape around Jesus and Mary replaces in shape and position the missing window in the middle of the apse: thus the dramatic composition of Torriti, bright in colors and light, fits organically into its architectural frame" (Richard Krautheimer)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"His language is still within the Byzantine tradition, though he does not hesitate to revise some aspects with references to late antique art. Spectacular is the huge Coronation of the Virgin, which encircle the spirals of acanthus, a classical memory. The result is a personal color palette that allows the detection of the artist's personal exemptions from the Byzantine conventional style: the complexion is pale and light assume a pearly inflection between the dress folds light and dense" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Mosaics on the arch outside the apse heavily restored in 1930: "Twenty-four elders of Revelation, symbols of the Evangelists, Agnus Dei" and below, at the level of the Marian stories, two scenes of "St. Jerome" and "St. Matthew" related to the relics of the two saints located in the main altar</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Perhaps in the <i>original apse of Sixtus III</i> there was the representation of Christ that Niccolò IV wanted to update with the Marian representation</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">At the bottom of the apse <a href="http://img396.imageshack.us/img396/835/vn002141ua8.jpg"><span style="color: #021eaa; letter-spacing: 0px;">"Four reliefs"</span></a> about 1474 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Mino del Reame</span><span style="letter-spacing: 0.0px;"> (attivo c. 1463/77) from the ancient canopy of the papal altar</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">ALTARPIECE "Nativity" 1750 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Mancini</span><span style="letter-spacing: 0.0px;"> (1679/1758)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">up in the transept frescoes discovered in 1931 with <a href="http://fe.fondazionezeri.unibo.it/foto/40000/8400/8367.jpg"><span style="color: #021eaa; letter-spacing: 0px;">"Prophets inside clipei"</span></a> left unfinished at the end of the thirteenth century with perspectival three-dimensional representations innovative for its time, maybe by Pietro de 'Cerroni aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Cavallini</span><span style="letter-spacing: 0.0px;"> (about 1240/1325), a young Giotto (1267/1337) or Cenni di Pepo detto </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cimabue</span><span style="letter-spacing: 0.0px;"> (c. 1240/1302) </span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/03102007322/03102007322.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">RIGHT NAVE</span></i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: black; letter-spacing: 0.0px;">Restored by </span><span style="letter-spacing: 0.0px;">Ferdinando Fuga</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In the counter-façade PATRIZI ALTAR</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">1558 for Patrizio and Costanzo Patrizi</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Canvas "Apparition of the Virgin in a dream to Giovanni Patrizio and his wife" 1635 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Puglia aka Bastaro </span><span style="letter-spacing: 0.0px;">(c. 1600/36)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">On the side walls marble portraits "Patrizio Patrizi" by anonymous and "Costanzo Patrizi", who died in 1623, by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Alessandro Algardi</span><span style="letter-spacing: 0.0px;"> (1598/1654)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">To the right of the entrance</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/03102007317/03102007317.jpg?disposition=download">"Monument to Clement IX"</a></span><span style="letter-spacing: 0.0px;"> Rospigliosi (1667/69) 1671 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Rainaldi</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Statue of the Pope" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenico Guidi</span><span style="letter-spacing: 0.0px;"> (1625/1701)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">On the right "Faith" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cosimo Fancelli </span><span style="letter-spacing: 0.0px;">(1620/88), on the left "Charity" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ercole Ferrata</span><span style="letter-spacing: 0.0px;"> (1610/86)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Clement IX had asked Carlo Rainaldi in 1669 to make the back façade of the Basilica, which he completed only in 1675 under the reign of the following pope Clement X Altieri (1670/76)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">BAPTISTERY</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">1605 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Flaminio Ponzio</span><span style="letter-spacing: 0.0px;"> (1560/1613)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Basin 1825 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Valadier</span><span style="letter-spacing: 0.0px;"> (1762/1839)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Statue of St. John the Baptist" by Canova's pupil </span><span style="color: #ff2600; letter-spacing: 0.0px;">Adamo Tadolini</span><span style="letter-spacing: 0.0px;"> (1788/1868)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Altar relief <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/03102007312/03102007312.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Assumption of the Virgin"</span></a> 1608/10 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Bernini </span><span style="letter-spacing: 0.0px;">(1562/1629), the masterpiece of Gian Lorenzo's father</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Sensitive to the compositions of large altarpieces by Cesari and especially Zuccari, Pietro Bernini makes marble sensitive and malleable like plaster. (...) The little angels with their cheeky expressions are also an important precedent for the many cherubs that the young Gian Lorenzo would carve a little later" (Alessandro Angelini)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Frescoes on the ceilings of two rooms "Angelic Gloria" in the vestibule and "Immaculate between prophets and doctors of the church" in the baptistery 1608/10 by Domenico Crespi aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Passignano</span><span style="letter-spacing: 0.0px;"> (1559/1638)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">To the right of the sacristy entrance there is the <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/DSCF9876%20-%202009-01-12%20at%2015-23-58/DSCF9876%20-%202009-01-12%20at%2015-23-58.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monument to Odoardo Santarelli"</span></a><b> </b>about 1644 with bust by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Alessandro Algardi</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">On the left below "Bust of Pope Benedict XIII Orsini (1724/30)" 1724 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Bracci</span><span style="letter-spacing: 0.0px;"> (1700/73)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">To the right of the entrance of the Chapel of Sts. Michael and Peter in Chains "Bust of Antonio Emanuele Ne Vunda aka il Negrita Ambassador of Congo" 1608 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Francesco Caporale </span><span style="letter-spacing: 0.0px;">(active 1606/11)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The African diplomat died in the arms of Paul V in 1607 after a voyage of three years to go to Rome. He had been sent by the king of Congo to obtain missionaries from the Pope</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">SACRISTY OF CANONS</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Designed by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Flaminio Ponzio</span><span style="letter-spacing: 0.0px;"> (1560/1613)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"The insertion of windows to the sides and above the altar is an important innovation in that, placing light sources incident at the center of the picture perspective and employing the grazing light to accentuate the importance of the stucco in the lunettes, heralds the scenographic lighting of the Raimondi Chapel, and the pattern of light in the Gloria of the Chair of Peter" (Paolo Portoghesi)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">In the vault "Death of the Virgin", lunettes "Stories of Mary" and small chapel to the right of the altar wall "Lady of the Scapular" and "Annunciation" Domenico Crespi aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Passignano </span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">In the small chapel to the left of the altar wall reliefs inserted in the walls "Madonna and Child" (signed <i>opus Mini</i>), "Christ Blessing", "Saints", "Doctors of the Church" and "Prophets" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Mino del Reame</span><span style="letter-spacing: 0.0px;"> (attivo c. 1463/77) or </span><span style="color: #ff2600; letter-spacing: 0.0px;">Mino da Fiesole</span><span style="letter-spacing: 0.0px;"> (1429/84) from the ancient ciborium of the papal altar</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">SACRISTY</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">In the vault "Rest in Egypt" and "Circumcision" and small chapel to the right of the altar wall "Pentecost" by Domenico Crespi aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Passignano</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Reliefs in the walls "Virgin between two angels" and "Sts. Jerome and Bernard" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Capponi</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">CHAPEL OF Sts. MICHAEL AND PETER IN CHAINS (Bookshop)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">In the vault traces of <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/03102007315/03102007315.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Evangelists"</span></a>, according to Roberto Longhi, by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Piero della Francesca</span><span style="letter-spacing: 0.0px;"> (about 1417/1492)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Christ rising from the grave" and preliminary sketch of "St. Michael the dragon", maybe by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Benozzo Gozzoli</span><span style="letter-spacing: 0.0px;"> (1420/97)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">COURTYARD</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>Column of the abjuration</i> 1596 in memory of Henry IV of Navarre, the King of France, who had abjured Protestantism in the Basilica of St. Peter the year before</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">MUSEUM OF THE BASILICA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://upload.wikimedia.org/wikipedia/commons/thumb/4/40/Arnolfo_di_Cambio_-_Presepio_-_Rm_8.JPG/1280px-Arnolfo_di_Cambio_-_Presepio_-_Rm_8.JPG">"Nativity"</a></span><span style="letter-spacing: 0.0px;"> (formerly in the Sistine Chapel) about 1290 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Arnolfo di Cambio</span><span style="letter-spacing: 0.0px;"> (about 1245/1302) with "Statues of the Magi standing" by a pupil of Arnolfo and "Statue of Madonna and Child" by Giovanni Antonio Parracca aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Valsoldo </span><span style="letter-spacing: 0.0px;">(?/1642-46)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Madonna and Child" </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenico Beccafumi </span><span style="letter-spacing: 0.0px;">(1486/1551)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"On the way to Calvary" about 1520 Giovanni Antonio Bazzi aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Sodoma</span><span style="letter-spacing: 0.0px;"> (1477/1549)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Liturgical fabrics of St. Pius V, Paul V and Urban VIII</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Manuscripts scores of Domenico Scarlatti and Pierluigi da Palestrina</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Sword found in the tomb of Gian Lorenzo Bernini</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Collection of reliquaries</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">FURTHER ON IN THE RIGHT NAVE</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">All the altars of the aisles are supported by<b> </b><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/03102007321/03102007321.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Pairs of angels in stucco"</span></a> by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Bracci</span><span style="letter-spacing: 0.0px;"> (1700/73)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">1st ALTAR ON THE RIGHT</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Family of the Virgin" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Agostino Masucci </span><span style="letter-spacing: 0.0px;">(1691/1758).</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">2nd ALTAR ON THE RIGHT</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Blessed Nicola Albergati" by the Roman </span><span style="color: #ff2600; letter-spacing: 0.0px;">Stefano Pozzi</span><span style="letter-spacing: 0.0px;"> (1699/1768)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">CHAPEL OF THE RELICS</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">1750. The only chapel added to the already existing ones by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ferdinando Fuga</span><span style="letter-spacing: 0.0px;"> with ten columns of red porphyry from the two ancient tabernacles of the basilica</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In the short sides "Two aediculae reliquaries" with relics of various saints, including <i>St. Thomas of Canterbury and St. Bibiana</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Wooden crucifix" first half of fifteenth century</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The manneristic painter Girolamo Muziano (1532/92) is buried here</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">4th ALTAR ON THE RIGHT</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Annunciation" about 1750 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pompeo Batoni</span><span style="letter-spacing: 0.0px;"> (1708/87)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/03102007322/03102007322.jpg?disposition=download">SISTINE CHAPEL</a></span><span style="letter-spacing: 0.0px;"> <i>(or Chapel of the Holy Sacrament)</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">1584/87 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenico Fontana</span><span style="letter-spacing: 0.0px;"> (1543/1607) for Sixtus V Peretti (1585/90)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Painted in the years 1587/89 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cesare Nebbia </span><span style="letter-spacing: 0.0px;">(1536/1614) and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Guerra</span><span style="letter-spacing: 0.0px;"> (1544/1618)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Restored 1726 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Raguzzini </span><span style="letter-spacing: 0.0px;">(1680/1771), who also consolidated the triumphal arch with the mosaics of Sixtus III</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It is the first example of use in Roman chapels of the polychrome polished marble and the first example, almost "incunabula" of the poetry of involvement of the spectator which will be typical of the Baroque style, with a room consisting of homogeneous meaningful references between architecture, painting and sculpture</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Faced with <i>marbles from the Septizodium</i>, the now disappeared massive fountain at the bottom of Palatine hill near the Circus Maximus</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/03102007323/03102007323.jpg?disposition=download">"Bronze ciborium"</a></span><span style="letter-spacing: 0.0px;"> 1590 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ludovico Del Duca</span><span style="letter-spacing: 0.0px;"> (active since 1551/d. after 1601) with angels by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Sebastiano Torrigiani </span><span style="letter-spacing: 0.0px;">(active since about 1573/d. 1596)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Under the ciborium "Oratory of the Crib" old chapel renovated in about 1290 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Arnolfo di Cambio</span><span style="letter-spacing: 0.0px;"> (about 1245/1302) who also designed the mosaic floor, the altar frontal and the two reliefs "David" and "Isaiah" in the spandrels of the entrance arch</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It was transported here from the apse by Domenico Fontana and now the "Nativity" is in the Museum of the Basilica</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">On the right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/03102007327/03102007327.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomb of Pope Sixtus V"</span></a> 1588/90 designed by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenico Fontana</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Statue of Sixtus V" by Giovanni Antonio Parracca aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Valsoldo </span><span style="letter-spacing: 0.0px;">(?/1642-46)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Five bas-reliefs with "Scenes of the pontificate of Sixtus V" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Nicolò Pippi</span><span style="letter-spacing: 0.0px;"> and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Gillis de la Rivière</span><span style="letter-spacing: 0.0px;"> (?/1602)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">On the sides "St. Francis" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Flaminio Vacca</span><span style="letter-spacing: 0.0px;"> (1538/1605) and "St. Anthony" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Paolo Olivieri </span><span style="letter-spacing: 0.0px;">(1551/99)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">In the niches of the back wall "St. Peter" and "St. Paul" by Giovanni Antonio Parracca aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Valsoldo</span><span style="letter-spacing: 0.0px;"> designed by Prospero Antichi aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Prospero Bresciano </span><span style="letter-spacing: 0.0px;">(active since 1580/d. after 1592)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">ON THE LEFT <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/03102007325/03102007325.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomb of Pope St. Pius V"</span></a> Ghislieri (1566/72) designed as well by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenico Fontana</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Statue of St. Pius V" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Leonardo Sormani</span><span style="letter-spacing: 0.0px;"> (before 1530/after 1589)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Five bas-reliefs with "Scenes of the pontificate of St. Pius V" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Nicolò Pippi</span><span style="letter-spacing: 0.0px;"> and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Gillis de la Rivière</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">On the sides "St. Peter Martyr" Giovanni Antonio Parracca aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Valsoldo</span><span style="letter-spacing: 0.0px;"> and "St. Dominic" </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Della Porta </span><span style="letter-spacing: 0.0px;">(1542/1602)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">In the adjoining Sacristy "Sink" maybe by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Isaia da Pisa</span><span style="letter-spacing: 0.0px;"> (active 1447/64)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In the floor in front of the Sistine Chapel BERNINIS' FAMILY TOMB where the giant of the arts Gian Lorenzo Bernini (1598/1680) is also buried</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">AT THE END OF THE NAVE</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/03102007333/03102007333.jpg?disposition=download">"Tomb of Cardinal Rodriguez Gonzalo Garcia Gudiel"</a></span><span style="letter-spacing: 0.0px;"> 1299/1303 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni di Cosma</span><span style="letter-spacing: 0.0px;"> (a pupil of Arnolfo di Cambio who first had propagated in Rome this French model of a tomb monument) with mosaic "Madonna and Child with Saints" by the Cavallini workshop</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/03102007338/03102007338.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">left nave</span></i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: black; letter-spacing: 0.0px;">Restored by </span><span style="letter-spacing: 0.0px;">Ferdinando Fuga</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Tomb of Clement Merlini", who died on 1642, by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Gregorio Spada</span><span style="letter-spacing: 0.0px;"> with a bronze bust by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Andrea Bolgi</span><span style="letter-spacing: 0.0px;"> (1606/56). The monument has been</span><span style="color: #ff2600; letter-spacing: 0.0px;"> </span><span style="letter-spacing: 0.0px;">attributed to Francesco Borromini by his friend writer Fioravante Martinelli</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/03102007336/03102007336.jpg?disposition=download">Pauline Chapel</a></span><span style="letter-spacing: 0.0px;"> <i>(or Borghese Chapel)</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">1605/11 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Flaminio Ponzio</span><span style="letter-spacing: 0.0px;"> (1560/1613) for Paul V Borghese (1605/21)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Frescoes in the spandrels and lunettes above the altar ("Apparition of the Madonna and St. John to St. Gregory the Healer") Giuseppe Cesari aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cavalier d'Arpino</span><span style="letter-spacing: 0.0px;"> (1568/1640)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Every 5th of August during the mass petals of white roses are dropped from the dome in memory of the legend of the miraculous snow</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">In the dome OF THE CHAPEL <a href="http://farm3.static.flickr.com/2511/4168139505_d0db86a2c1.jpg"><span style="color: #021eaa; letter-spacing: 0px;">"Virgin and apostles"</span><span style="color: #021eaa; letter-spacing: 0.0px;"> </span></a>1612 by Ludovico Cardi aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cigoli</span><span style="letter-spacing: 0.0px;"> (1559/1613)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>The moon under the feet of the Virgin</i> is painted in the way it had been discovered shortly before by Galileo Galilei a friend of Cigoli "with the irregular divisions and its islands": from the dome of the chapel Cigoli used for several months the Galilean telescope</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>It was the first example of a dome painted in Rome in which the scalloped division is not used</i>, substituted by a perspective in concentric circles that hides its constructive function</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">In the lunettes and the arches on either side <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/03102007341/03102007341.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Holy Spirit, the Eternal Father and Saints"</span></a> 1613 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Guido Reni </span><span style="letter-spacing: 0.0px;">(1575/1642)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">In the entrance arch "Fathers of the Church" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Baglione</span><span style="letter-spacing: 0.0px;"> (1566/1643)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">ALTAR 1613 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pompeo Targone </span><span style="letter-spacing: 0.0px;">(1575/about 1630). It had been designed by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Girolamo Rainaldi</span><span style="letter-spacing: 0.0px;"> (1570/1655) and </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Crescenzi </span><span style="letter-spacing: 0.0px;">(1577/1635)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Relief above in marble and gilded bronze <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/03102007336/03102007336.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Pope Liberius outlines the plan of the Basilica"</span></a> </span><span style="color: #ff2600; letter-spacing: 0.0px;">Stefano Maderno</span><span style="letter-spacing: 0.0px;"> (1560/1636), alongside "Bronze angels" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Guillaume Berthélot</span><span style="letter-spacing: 0.0px;"> (c. 1570/1648)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">On the sides of the altar statues of "St. John the Evangelist" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Camillo Mariani</span><span style="letter-spacing: 0.0px;"> (1567/1611) and "St. Joseph" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ambrogio Buonvicino</span><span style="letter-spacing: 0.0px;"> (c. 1552/1622)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">In the center there is the most venerated <a href="http://www.antiusuracaritasroma.org/images/Saluspopuli.jpg"><span style="color: #021eaa; letter-spacing: 0px;">"Madonna acheròpita"</span></a> (it means <i>not painted by human hands</i>)<i> </i>aka <i>Salus Populi Romani</i> surrounded by "Crown of Angels" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Camillo Mariani</span><span style="letter-spacing: 0.0px;">, previously attributed to St. Luke himself. It maybe dates back to the twelfth or the thirteenth century, even if the repainting makes it difficult to establish the precise date</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">For centuries, until the second half of the sixteenth century, a procession (litany) was held that used to bring here from the Lateran the <i>acheròpita icon</i> which is kept there. The two icons, representing in the eyes of the faithful the real presence of the effigies, would meet each other and bow</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">On the right <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/03102007339/03102007339.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomb of Pope Clement VIII"</span><span style="color: #021eaa; letter-spacing: 0.0px;"> </span></a>Aldobrandini (1592/1605) </span><span style="color: #ff2600; letter-spacing: 0.0px;">Flaminio Ponzio</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Statue of Clement VIII" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Longhi Silla </span><span style="letter-spacing: 0.0px;">(active since 1568/d. 1619)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Bas-reliefs of "Stories of the papacy" below by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ambrogio Buonvicino</span><span style="letter-spacing: 0.0px;"> (c. 1552/1622) and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Camillo Mariani</span><span style="letter-spacing: 0.0px;"> (1567/1611), above </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ippolito Buzio</span><span style="letter-spacing: 0.0px;"> (1578/1659), </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Bernini </span><span style="letter-spacing: 0.0px;">(1562/1629) (he executed the caryatids) and Giovanni Antonio Parracca aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Valsoldo </span><span style="letter-spacing: 0.0px;">(?/1642-46)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">On the sides "Aaron" and "St. Bernard" </span><span style="color: #ff2600; letter-spacing: 0.0px;">Nicolas Cordier</span><span style="letter-spacing: 0.0px;"> (1567/1612)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">On the left <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/03102007340/03102007340.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomb of Pope Paul V"</span></a> designed as well by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Flaminio Ponzio</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Statue of Paul V" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Longhi Silla</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Bas-reliefs of "Stories of the papacy" above by Giovanni Antonio Parracca aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Valsoldo</span><span style="letter-spacing: 0.0px;">, </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ippolito Buzio </span><span style="letter-spacing: 0.0px;">and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cristoforo Stati</span><span style="letter-spacing: 0.0px;"> (1556/1619). Below </span><span style="color: #ff2600; letter-spacing: 0.0px;">Stefano Maderno</span><span style="letter-spacing: 0.0px;"> and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ambrogio Buonvicino</span><span style="letter-spacing: 0.0px;"> (c. 1552/1622)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">On the sides "David" and "St. Athanasius" </span><span style="color: #ff2600; letter-spacing: 0.0px;">Nicolas Cordier</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">SACRISTY</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Frescoes by Domenico Crespi aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Passignano </span><span style="letter-spacing: 0.0px;">(1559/1638)</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/03102007343/03102007343.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Sforza Chapel<span style="color: black; letter-spacing: 0px;"></span></span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">1562/73 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Tiberio Calcagni</span><span style="letter-spacing: 0.0px;"> (1532/65) and </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Della Porta </span><span style="letter-spacing: 0.0px;">(1533/1602) designed by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Michelangelo Buonarroti</span><span style="letter-spacing: 0.0px;"> (1475/1564)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">On the altar, "Assumption" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Girolamo Siciolante da Sermoneta</span><span style="letter-spacing: 0.0px;"> (1521/80), a student of Perin del Vaga; frescoes on the altar and the lunette by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Cesare Nebbia </span><span style="letter-spacing: 0.0px;">(1536/1614)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Tombs of Sforza Cardinals" maybe by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Della Porta</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ALTAR OF St. FRANCESCO</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Altarpiece by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Placido Costanzi</span><span style="letter-spacing: 0.0px;"> (1702/59)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Further on in the nave "Statue of Regina Pacis" 1918 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Guido Galli</span><span style="letter-spacing: 0.0px;"> (1873/?) for Benedict XV Della Chiesa (1914/22) as a thanksgiving for the end of World War I</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ALTAR OF St. Leo the Great</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Painting by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Sebastiano Ceccarini</span><span style="letter-spacing: 0.0px;"> (1703/83)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">CESI CHAPEL</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">1550 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Guidetto Guidetti</span><span style="letter-spacing: 0.0px;"> (about 1498/1564)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Beheading of St. Catherine of Alexandria" and other frescoes by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Girolamo Siciolante da Sermoneta</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Two Cesi tombs" 1565 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Guglielmo Della Porta</span><span style="letter-spacing: 0.0px;"> (1515/77)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">AT THE END OF THE NAVE</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Maria_Maggiore_files/Media/03102007346/03102007346.jpg?disposition=download">"Monument of Agostino Favoriti"</a></span><span style="letter-spacing: 0.0px;"> 1685 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Filippo Carcani </span><span style="letter-spacing: 0.0px;">(active 1670/91) designed by the painter </span><span style="color: #ff2600; letter-spacing: 0.0px;">Ludovico Gimignani </span><span style="letter-spacing: 0.0px;">(1643/97)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Above the Holy Door "Tombs of Cardinal Filippo and Eustachio De Levis" 1489 in the style of Giovanni Dalmata</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">To the left of the entrance "Monument of Niccolò IV (1288/92)" 1574 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Domenico Fontana</span><span style="letter-spacing: 0.0px;"> (1543/1607) with statues by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Leonardo Sormani</span><span style="letter-spacing: 0.0px;"> (before 1530/after 1589)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Archaeological explorations</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Excavations made in 1971 revealed 6 m (20 feet) deep under the floor a building with a colonnaded courtyard overlooked by a few rooms, maybe identified through numerous epigraphic discoveries with a LATE-EMPIRE PALACE OF THE NERATII FAMILY</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">From the apse stairs lead underground to a large colonnaded courtyard. The marble decoration at one point was removed and replaced on the walls of the long sides with an extraordinary <a href="http://www.romeheritage.net/IMMAGINI%20ROMA%20HERITAGE/IMG%20ARCHEOLOGIA/imgsantamariamaggiore.gif"><span style="color: #021eaa; letter-spacing: 0px;">"Calendar painted on a wall"</span></a> maybe dating back to the late fourth century AD, but more likely to have been painted in the years between 224 and 275 AD. There are scenes of agricultural works related to each month of the year</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Even if the paintings are damaged, it is one of the best examples still existing of landscape painting of the late imperial age</span></span></div>
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David Macchihttp://www.blogger.com/profile/03680152527192773532noreply@blogger.com0tag:blogger.com,1999:blog-4279535645136556249.post-89887998436479431192011-04-04T14:20:00.007+02:002013-12-12T10:57:52.092+01:00Descrizione accurata della Basilica di San Clemente<style type="text/css"> p.p1 {margin: 0.0px 0.0px 1.0px 0.0px; font: 11.0px Georgia} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; font: 8.0px Georgia} p.p3 {margin: 0.0px 0.0px 5.0px 0.0px; text-align: justify; font: 9.0px Georgia} p.p4 {margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify; font: 9.0px Georgia} p.p5 {margin: 0.0px 0.0px 5.0px 8.5px; text-align: justify; text-indent: 19.8px; font: 8.0px Georgia} span.s1 {letter-spacing: 0.0px} span.s2 {letter-spacing: -0.1px} span.s3 {font: 9.0px Georgia; letter-spacing: -0.1px} </style> <br />
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<b><span class="Apple-style-span">E<a href="http://davidmacchi.blogspot.com/2011/01/estratto-da-guida-di-roma-e-provincia.html" style="color: #333333; font-weight: bold; text-decoration: none;">stratto da "Guida di Roma e provincia"</a></span></b></h3>
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<span style="font-size: large;"><b style="letter-spacing: 0px; line-height: normal;"><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative"><b style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">Here's an</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">excerpt</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">from my</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">forthcoming</span> super comprehensive guide <span class="hps atn" title="Fai clic per visualizzare le traduzioni alternative">book about Rome</span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">.</span></span></b></span></span></b><b><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><div style="margin: 0px 0px 1px;">
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">It will be called ROMAPEDIA.</span></span></b></span></div>
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative"><br /></span></span></b></span><span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">The first edition was published in Italian as "Guida di Roma e provincia" in 2011 and the new enlarged edition is due to be released in 2014.</span></span></b></span></div>
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">There will also be an edition in English available.</span></span></b></span></div>
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-weight: normal;"><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">It is</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">a</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">work</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">synthesis</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">and</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">anthology</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of the</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">most authoritative </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">sources</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of facts and </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">reliable information</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">about</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">the art</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">Rome </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">and </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">its Province.</span></span></b></span></div>
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<b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0px;">It is an encyclopedic dictionary with 1,329 entries, including 483 churches, 278 palaces, and 152 museums.</span></span></b></b></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="letter-spacing: 0px;">It also includes a profusion of artistically or historically relevant buildings, monuments, archaeological sites as well as 95 towns in the province of Rome, constituting one of the richest sources of information available in a single book about the art and history of the Eternal City.</span></span></b></b></span></b></b></span></b></b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="line-height: 20px;">My new ROMAPEDIA blog with the most complete encyclopedia about the art and history of Rome and its surroundings is being published. New entries are being added everyday. Here is the link: </span><a href="http://www.romapedia.blogspot.it/" style="color: #336699; line-height: 20px;">romapedia.blogspot.it</a></span></h3>
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<span class="s1"><b>Basilica S. Clemente</b></span></div>
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<span class="s2">(Piazza di S. Clemente)</span></div>
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<span class="s2"><i>Domus </i>della seconda metà del II sec. eretta accanto a un <i>edificio pubblico</i> anteriore all'incendio neroniano, probabilmente diventato zecca quando fu qui trasferita da Domiziano (81/96) dall'originale sede sull'<i>Arx</i>, secondo alcune iscrizioni di età adrianea. Nel II sec. un mitreo fu costruito nel cortile della <i>domus </i>e poi forse diventò la <i>domus ecclesia </i>di Clemente che, secondo la tradizione, era un liberto bandito in Crimea sotto Traiano (97/118). Convertì molte persone di quel paese e 75 chiese furono edificate dopo la sua predicazione. Traiano, allora, ordinò che Clemente fosse gettato in mare con un'ancora al collo. Dopo questi avvenimenti, ogni anno, il mare recedeva di due miglia, fino a rivelare un sacrario costruito "miracolosamente" che conteneva le ossa del martire e permettere ai fedeli di recarvisi. Egli venne in seguito identificato con l'omonimo papa Clemente I (88/97) il 4° papa, le cui reliquie furono portate a Roma dai Ss. Cirillo e Metodio nell'867 e custodite nella basilica che sarebbe stata eretta nel IV sec. sopra la <i>domus ecclesia</i>. Le fonti su S. Clemente sono molto frammentarie e confuse e forse assommano in un'unica personalità notizie riguardanti due diversi Clementi vissuti nel I sec.</span></div>
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<span class="s2">La prima notizia certa che si ha è dell'esistenza della chiesa è del 417/418. Dopo l'incendio dei Normanni del 1084 la basilica fu interrata per sostenere la nuova basilica 1118/25, rialzata di 5 m (17 feet) rispetto alla vecchia basilica. A causa delle persecuzioni religiose in Irlanda fu concessa nel 1677 ai <i>domenicani irlandesi</i> che tuttora la custodiscono </span></div>
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<span class="s2"><b><i>Basilica superiore</i></b></span></div>
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<span class="s2">1118/1125 voluta da Pasquale II (1099/1118). PROTIRO VIII/IX sec. precede il QUADRIPORTICO con su un lato facciata 1715/19 di Carlo Stefano Fontana figlio di Carlo Fontana e fratello di Francesco Fontana. CAMPANILE seicentesco già situato sul lato opposto</span></div>
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<span class="s2">Aspetto attuale della chiesa 1713/19 Carlo Stefano Fontana per Clemente XI Albani (1700/21)</span></div>
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<span class="s2">L'apparato liturgico cosmatesco è il più integro tra quelli conservati a Roma, rappresenta il miglior esempio dell'arte della prima generazione dei <i>Cosmati</i> e diventerà la tipologia canonica seguita a Roma e nel Lazio. Ci furono almeno sette membri della famiglia, appartenuti a quattro diverse generazioni vissute tra il XII e il XIII sec., famosi per i loro lavori architettonici, per le loro sculture, ma soprattutto per i loro mosaici e le loro decorazioni in <i>opus sectile </i>realizzate soprattutto in luoghi ecclesiastici</span></div>
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<span class="s2">La loro fama e maestria nel campo dei mosaici sono state tali che oggi si parla di stile cosmatesco per indicare lo stile e le tecniche utilizzate da questi maestri e dai loro imitatori</span></div>
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<span class="s2">Sul portale d'ingresso "Frammento di architrave romano con il nome di Traiano". Sopra il portale "Cantoria settecentesca in legno dorato e dipinto"</span></div>
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<span class="s2">Pavimento cosmatesco con dischi porfiretici <i>(rotae)</i> e al centro "Lastra tombale del Card. Vincentius Laureus" m.1592</span></div>
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<span class="s2">Soffitto 1715 progettato da Carlo Stefano Fontana con affresco <b>"Gloria di S. Clemente"</b> 1714/19 capolavoro di Giuseppe Chiari (1654/1727) allievo romano prediletto di Carlo Maratta</span></div>
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<span class="s2">Sulle pareti sopra il cornicione affreschi <i>a d.</i> <b>"Storie di S. Ignazio di Antiochia"</b>, <i>a s.</i> <b>"Storie di S. Clemente"</b> 1711/16 dei migliori pittori a Roma in questo scorcio iniziale del Settecento: Pietro Rasina ("S. Cirillo" e "S. Metodio" in controfacciata), Pier Leone Ghezzi (a d. "Martirio di S. Ignazio nel Colosseo"), Giovanni Domenico Piastrini (a d. "S. Ignazio condannato <i>ad bestiam</i> da Traiano), Giacomo Triga (a d. "S. Ignazio si congeda da S. Policarpo vescovo di Smirne prima di imbarcarsi per Roma"), Tommaso Chiari fratello di Giuseppe (a d. "Morte di S. Servolo"), Giovanni Odazzi (a s. "Traslazione del corpo di S. Clemente"), Sebastiano Conca (a s. "Miracolo della fonte di S. Clemente in Crimea", "Apparizione dell'angelo" e "Prodigio della fonte"), Pietro de' Pietri (a s. "S. Clemente porge il velo a S. Domitilla"), Giovanni Antonio Grecolini (a s. "Martirio di S. Clemente")</span></div>
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<span class="s2"><i>NAVATA DESTRA</i></span></div>
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<span class="s2">1°d CAPPELLA DI S. DOMENICO con marmi pregiati antichi che incorniciano "Estasi di S. Domenico" e a s. "Resurrezione del giovane Napoleone Orsini" di ignoto settecentesco allievo del Conca, a d. "Miracolo di S. Domenico in S. Sisto Vecchio" 1715 Sebastiano Conca (1680/1764)</span></div>
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<span class="s2">INGRESSO ALLA SAGRESTIA nella volta "Gloria di S. Servolo" Pietro Rasina</span></div>
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<span class="s2">CAPPELLA DEI Ss. CIRILLO E METODIO 1882/86 con <i>reliquie di S. Cirillo</i>, dipinti "Storie dei Ss. Cirillo e Metodio" Salvatore Nobili con al centro copia settecentesca della famosissima immagine "Madonna orante" di G.B. Salvi detto il Sassoferrato (1609/85)</span></div>
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<span class="s2">A fianco del presbiterio "Monumento di Giovanni Francesco Brusati" m.1485 (nipote del Card. Roverella) Luigi Capponi e <b>"Monumento del Card. Bartolomeo Roverella"</b> m.1476 Giovanni Dalmata e aiuti, forse con Andrea Bregno (1418/1503). Sotto affresco "Giudizio Particolare" XI sec. qui spostato dal nartece della basilica inferiore</span></div>
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<span class="s2">In fondo alla navata Cappella TERMINALE DI S. GIOVANNI BATTISTA "Statua del Battista" fine 1500 di ignoto (forse seguace di Andrea Sansovino) e affreschi "Dio Padre tra due angeli musicanti" e "Decapitazione di S. Giovanni Battista" forse Jacopo Zucchi</span></div>
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<span class="s2">Sul PIEDRITTO D. DELL'ARCONE edicola con rilievo "Card. Giacomo Caetani adorante la Vergine" 1299 forse della scuola di Arnolfo di Cambio (c.1245/1302)</span></div>
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<span class="s2">Al centro della navata SCHOLA CANTORUM adattata nel XII sec. con elementi in marmo proconnesio eseguiti a Costantinopoli o a Roma da maestranze bizantine, appartenenti alla chiesa inferiore. Sono databili al c.534 sotto il pontificato di Giovanni II (533/535), il primo papa che si cambiò nome (si chiamava Mercurio) di cui è riprodotto il monogramma nei plutei: è il documento più significativo della scultura protobizantina a Roma e uno dei più importanti del mondo bizantino di età giustinianea. Altare maggiore con <i>fenestella confessionis </i>con all'interno <i>reliquie dei Ss. Clemente e Ignazio di Antiochia</i>. Due AMBONI e CANDELABRO tortile cosmateschi</span></div>
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<span class="s2">PRESBITERIO con CIBORIO cosmatesco e CATTEDRA del 1100. Nel catino <b>mosaico di altissima qualità </b>c.1130 "Crocifisso con le 12 colombe tra la Vergine e S. Giovanni, cervi che si abbeverano ai 4 fiumi paradisiaci (Pison, Ghicon, Tigri ed Eufrate) e 4 dottori della Chiesa occidentale<b> </b>(Ss. Agostino, Girolamo, Gregorio e Ambrogio)" senza rapporti iconografici con altre croci musive precedenti. Alla base il <i>titulus </i>recita: "Abbiamo rappresentato la Chiesa di Cristo con questo tralcio di vite che la Legge inaridisce ma che la croce fa verdeggiare"; nel sottarco "Festone di fiori e frutta originato da anfore con al centro monogramma cristologico (<i>Chrismon</i>) tra le lettere A e Ω". Sull'arco trionfale "Cristo con i simboli degli evangelisti", a d. "Ss. Pietro e Clemente con Geremia e la città di Gerusalemme", a s. "Ss. Lorenzo e Paolo con Isaia e la città di Betlemme". Nella fascia inferiore "Agnus Dei con le 12 pecore". Sotto il mosaico affresco con "Cristo, la Vergine e gli apostoli" inizio 1300</span></div>
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<span class="s2">NAVATA SINISTRA</span></div>
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<span class="s2">Soffitto settecentesco della navata "Incoronazione della Vergine" Pietro Rasina</span></div>
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<span class="s2">CAPPELLA TERMINALE del SS. SACRAMENTO "Madonna del Rosario tra i Ss. Domenico e Caterina" 1714 Sebastiano Conca; all'esterno a d. "Madonna con Bambino e S. Giovannino" 1580 Jacopo Zucchi; sull'arco d'ingresso "Geremia" a d. e "Isaia" a s. c.1617 e, all'interno, "Stimmate di S. Francesco" a s. e "Carità di S. Carlo Borromeo" a d. tutti attribuiti alla scuola dei Carracci</span></div>
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<span class="s2">Alla parete s. <b>"Monumento del Card. Antonio Venier"</b> m.1479 forse della scuola di Isaia da Pisa o di Andrea Bregno (1418/1503) con colonnine e capitelli antichi rimodellati ad inizio VI sec.</span></div>
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<span class="s2">CAPPELLA DI S. CATERINA D'ALESSANDRIA affreschi 1428/31 capolavoro Masolino da Panicale per il Card. Branda Castiglioni con la collaborazione di altri artisti fiorentini (Masaccio? Paolo Uccello? Domenico Veneziano?), portatori a Roma del nuovo e rivoluzionario stile rinascimentale</span></div>
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<span class="s2"><i>"Fu il punto di riferimento obbligato per quei pittori fiorentini che non osarono guardare a Masaccio, alla sua drammatica umanità; per costoro la direzione "moderna" fu rappresentata da Masolino, dal suo spirito sereno (BBG)"</i></span></div>
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<span class="s2">"S. Cristoforo", "Annunciazione", "Apostoli";<i> nella</i> <i>volta</i> "Dottori della Chiesa occidentale e Evangelisti"; <i>parete di fondo</i> "Crocifissione"; <i>parete d.</i> "<b>Storie di S. Ambrogio</b>: nascita, designazione a vescovo di Milano, abbandono della casa del ricco, studiolo e morte"; <i>parete s.</i> "<b>Storie di S. Caterina d'Alessandria</b>: rifiuto di adorare gli idoli, disputa con i 50 filosofi di Alessandria, conversione, decapitazione, miracolo della ruota dentata e trasporto miracoloso del corpo sul Sinai"</span></div>
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<span class="s2"><b><i>Basilica inferiore</i></b></span></div>
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<span class="s2">Probabilmente IV sec. La prima notizia certa che si ha è però del 417/418. Riscoperta nel 1818 e scavata 1857/70 per volere di Joseph Mullooly priore di S. Clemente. Scavi completati 1912/14. Le recenti migliorie nella sistemazione museale e i restauri hanno notevolmente valorizzato gli ambienti di questo incredibile luogo, rappresentativo dell'accumularsi della stratificazione storica a Roma</span></div>
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<span class="s2">NARTECE affresco del IX sec. "Cristo benedicente e santi" e 2 affreschi dell'XI sec.: "Miracolo di S. Clemente" con sotto "S. Clemente, il committente Beno de Rapiza e la sua famiglia" e "Traslazione delle reliquie di S. Clemente"</span></div>
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<span class="s2">NAVATA CENTRALE <i>a s</i>. Affreschi dell'epoca di Leone IV (847/855) "Assunzione"; <i>in basso</i> "Apostoli"; <i>ai lati </i>"Leone IV (col nimbo quadrato dei viventi) e S. Vito"; <i>a fianco</i> "Crocifissione" (con Cristo vivente), "Marie al sepolcro", "Discesa di Gesù al limbo", "Nozze di Cana". <i>Alla parete s.</i> Affreschi <b>"Leggenda di S. Alessio"</b> fine XI/inizio XII sec. con <i>sul registro superiore</i> "Cristo in trono fra angeli e santi". <i>Più avanti a s</i>. <b>"Leggenda di S. Clemente e Sisinnio"</b> fine XI/inizioXII sec.: primissimo volgare italiano con "parolaccia" <i>fili de le pute</i>: il prefetto Sisinnio arrabbiato per la conversione e per il voto di castità della propria moglie Teodora, la seguì con alcuni soldati; quando la trovò in una sala mentre assisteva a una messa celebrata da Clemente, ordinò il suo arresto, ma Dio non lo permise accecando Sisinnio e i soldati. I soldati si ritrovarono a trascinare una colonna credendo di trascinare Teodora. Il prefetto restò cieco fino al suo ritorno a casa. Sopra "S. Clemente in cattedra tra santi"</span></div>
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<span class="s2"><i>"Le Storie dei santi Clemente e Alessio sono un capolavoro isolato. Il Toesca vi sente un vago ricordo delle decorazioni murali ellenistiche; indubbia è l'influenza della miniatura ottoniana. Il pittore sembra essersi proposto di trasporre in scala di parete non solo la narrazione, ma la raffinata scelta lineare e coloristica degli esemplari miniati. Si tratta dunque di una pittura colta, capace di combinare sapientemente esperienze culturali diverse, e tuttavia rivolta a popolarizzare i suoi contenuti, a stimolare nei punti più sensibili la fantasia e il sentimento dei fedeli (Giulio Carlo Argan)"</i></span></div>
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<span class="s2">NAVATA D. a metà parete nicchia con affresco VIII/IX sec. "Madonna in trono con il Bambino". Più avanti "Sarcofago con Fedra e Ippolito" I sec.</span></div>
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<span class="s2">NAVATA S. Resti di una tomba forse di S. Cirillo. La missione più importante che venne affidata ai fratelli di Tessalonica Cirillo e Metodio fu quella presso le popolazioni slave della Pannonia e della Moravia. Il sovrano di Moravia, Rostislav, poi morto martire e venerato come santo, chiese all'imperatore bizantino di inviare missionari nelle sue terre, celando dietro motivazioni religiose anche il fattore politico della preoccupante presenza tedesca nel suo regno. Cirillo accettò l'invito e, giunto nella sua nuova terra di missione, incominciò a tradurre brani del Vangelo di Giovanni inventando, secondo la tradizione non però accertata scientificamente, un nuovo alfabeto, detto <i>glagolitico</i> (da "глаголь" che significa "parola"), oggi meglio noto come alfabeto cirillico. è l'alfabeto usato per scrivere varie lingue slave: il b<span class="s3">ielorusso</span>, il serbo-b<span class="s3">osniaco</span>, il b<span class="s3">ulgaro</span>, il macedone, il russo, il <span class="s3"><a href="http://it.wikipedia.org/wiki/Lingua_rutena">r</a>uteno</span>, il s<span class="s3">erbo</span> e l'u<span class="s3">craino</span> nonchè altre lingue non slave. Nell'anno 867 Cirillo e Metodio si recarono a Roma per far ordinare sacerdoti i loro discepoli. Adriano II (867/872) ordinò prete Metodio ed approvò le loro traduzioni della Bibbia e dei testi liturgici in lingua slava. Inoltre Cirillo gli fece dono delle reliquie di S. Clemente, da lui ritrovate in Crimea. Durante la permanenza a Roma nell'869 Cirillo morì e venne sepolto nella Basilica di S. Clemente. Metodio ritornò poi in Moravia</span></div>
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<span class="s2"><i>BATTISTERO E CONSIGNATORIUM</i></span></div>
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<span class="s2">Durante scavi recenti sono stati trovati a N della basilica nella cantina del convento il battistero dell'epoca di Giovanni II (533/535) e un'altro piccolo ambiente ritenuto ipoteticamente il <i>Consignatorium </i>ovvero il luogo dove si amministrava la cresima</span></div>
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<span class="s2"><i>Costruzioni romane e Mitreo</i></span></div>
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<span class="s2">Edificio rettangolare con lato breve di 29,60 m (97 feet) di grossi blocchi di tufo, con ambienti con volte e muri in opera mista, probabile <i>zecca</i>. Separato da un'altro edifico con una stretta intercapedine. Il cortile interno di questo edificio fu trasformato in <i>mitreo</i> forse nel secondo quarto del III sec. Ara marmorea con rilievi "Mitra con il toro, serpente e due dadofori" III/ IV sec.</span></div>
David Macchihttp://www.blogger.com/profile/03680152527192773532noreply@blogger.com0tag:blogger.com,1999:blog-4279535645136556249.post-81323022195095736022011-04-04T14:06:00.006+02:002013-12-12T10:59:20.568+01:00Accurate description of the Basilica of Saint Clement in Rome<style type="text/css"> p.p1 {margin: 0.0px 0.0px 1.0px 0.0px; font: 11.0px Georgia} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; font: 7.0px Georgia} p.p3 {margin: 0.0px 0.0px 5.0px 0.0px; text-align: justify; font: 9.0px Georgia} p.p4 {margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify; font: 9.0px Georgia} p.p5 {margin: 0.0px 0.0px 5.0px 8.5px; text-align: justify; text-indent: 19.8px; font: 8.0px Georgia} span.s1 {letter-spacing: 0.0px} span.s2 {letter-spacing: -0.1px} </style> <br />
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<span style="font-size: large;"><b style="letter-spacing: 0px; line-height: normal;"><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative"><b style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">Here's an</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">excerpt</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">from my</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">forthcoming</span> super comprehensive guide <span class="hps atn" title="Fai clic per visualizzare le traduzioni alternative">book about Rome</span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">.</span></span></b></span></span></b><b><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><div style="margin: 0px 0px 1px;">
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">It will be called ROMAPEDIA.</span></span></b></span></div>
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative"><br /></span></span></b></span><span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">The first edition was published in Italian as "Guida di Roma e provincia" in 2011 and the new enlarged edition is due to be released in 2014.</span></span></b></span></div>
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">There will also be an edition in English available.</span></span></b></span></div>
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<b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0px;">It is an encyclopedic dictionary with 1,329 entries, including 483 churches, 278 palaces, and 152 museums.</span></span></b></b></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="letter-spacing: 0px;">It also includes a profusion of artistically or historically relevant buildings, monuments, archaeological sites as well as 95 towns in the province of Rome, constituting one of the richest sources of information available in a single book about the art and history of the Eternal City.</span></span></b></b></span></b></b></span></b></b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="line-height: 20px;">My new ROMAPEDIA blog with the most complete encyclopedia about the art and history of Rome and its surroundings is being published. New entries are being added everyday. Here is the link: </span><a href="http://www.romapedia.blogspot.it/" style="color: #336699; line-height: 20px;">romapedia.blogspot.it</a></span></h3>
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<span style="letter-spacing: 0px;"><a href="http://www.settemuse.it/viaggi_italia_lazio/RM_roma_citta/arte_roma_024_s_clemente.jpg"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><b>BASILICA S. CLEMENTE</b><span style="letter-spacing: 0.0px;"><b></b></span></span></a></span><br />
<span style="letter-spacing: 0.0px;"><b><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">St. Clement's Basilica</span></i></b></span><br />
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://maps.google.it/maps?q=41.889204,12.498085"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Piazza di S. Clemente</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>Domus</i> of the second half of the second century built next to a public building before the fire of AD 64 during Nero's reign. It is likely that this public building became later the MINT moved here by Domitian (81/96) from the original site on the <i>Arx</i>, according to some inscriptions from the time of Hadrian (118/138)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In the second century a mitHrAeUM, a place of worship for the followers of the mystery religion of Mithraism, was built in a courtyard of the <i>domus</i> and then maybe it became the <i>domus ecclesia </i>of Clement who was, according to tradition, a freed slave banned in Crimea under Trajan (97/118)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Clement apparently converted many people in Crimea and seventy-five churches were built after his preaching. Trajan, then, ordered Clement to be thrown into the sea with an anchor around his neck</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">After these events, each year on the anniversary of his death, the sea used to recede two miles, to reveal a shrine built "miraculously" that contained the bones of the martyr and allow the faithful to visit</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">He was later identified with his namesake Pope Clement I (88/97) the fourth pope, whose relics were brought to Rome by the Sts. Cyril and Methodius in 867 and kept in the basilica built, according to tradition, in the fourth century above the <i>domus ecclesia</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Sources on St. Clement are very fragmented and confusing, and perhaps add up in one personality two different Clements who lived in the first century AD</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The first reliable news that the church was active, however, date back only to 417/418</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">After the fire of 1084 the Norman church was buried underground to support the new basilica built in the years 1118/25, raised 5 m (17 feet) higher than the old basilica</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Because of the religious persecution in Ireland, it was granted in 1677 to the Irish Dominicans who still keep it today</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.settemuse.it/viaggi_italia_lazio/RM_roma_citta/arte_roma_025_s_clemente.jpg"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">UPPER BASILICA</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">1118/1125 commissioned by Paschal II (1099/1118)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Porch built in the eight or ninth century preceding the courtyard with portico on the four sides with a façade built in 1715/19 designed by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Stefano Fontana</span><span style="letter-spacing: 0.0px;"> (active 1700/about 1719), Carlo Fontana's son and Francesco Fontana's brother</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">BELL TOWER seventeenth century formerly located on the opposite side</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Today's internal appearance of the church dates back to 1713/19 when </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Stefano Fontana</span><span style="letter-spacing: 0.0px;"> gave it a late-baroque touch for Clement XI Albani (1700/21)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The liturgical apparatus known as "cosmatesco" in this church is the best preserved among those existing in Rome. It is the best example of the work of the first generation of the <i>Cosmati's family</i> and became the canonical type followed in Rome and in the Lazio region</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">There have been at least seven Cosmati, belonging to four different generations living between the twelfth and thirteenth century, famous for their architectural work, for their sculptures, but most of all for their mosaics and decorations in <i>opus sectile </i>especially for religious buildings</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Their ability as mosaicists was such that even today the techniques used by these masters and their imitators are referred to as <i>cosmatesque</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">On the portal "Fragment of lintel with the name of the Roman Emperor Trajan"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Above the portal eighteenth-century "Cantoria" made of wood gilded and painted </span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">cosmatesQUE Floor with discs known as <i>porfiretici </i>(<i>rotae</i>), made of red porphyry from Egypt</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In the center of the floor "Tombstone of Cardinal Vincentius Laureus" who died in 1592</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">ceiling 1715 designed by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Carlo Stefano Fontana</span><span style="letter-spacing: 0.0px;"> with fresco <a href="http://fe.fondazionezeri.unibo.it/foto/120000/104800/104459.jpg"><span style="color: #021eaa; letter-spacing: 0px;">"Glory of St. Clement"</span></a> 1714/19 masterpiece by the Roman </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Chiari </span><span style="letter-spacing: 0.0px;">(1654/1727) one of the favorite pupils of Carlo Maratta</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Frescoes on the walls above the cornice</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://v3.cache5.c.bigcache.googleapis.com/static.panoramio.com/photos/original/14572574.jpg?redirect_counter=2">On the right "Stories of St. Ignatius of Antioch", on the left "Stories of St. Clement"</a></span><span style="color: black; letter-spacing: 0.0px;"> 1711/16 by the best painters in Rome in the early eighteenth century:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Rasina </span><span style="letter-spacing: 0.0px;">"St. Cyril" and "St. Methodius" in the counter-façade</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #ff2600; letter-spacing: 0.0px;">Pier Leone Ghezzi</span><span style="letter-spacing: 0.0px;"> (1674/1755) on the right "Martyrdom of St. Ignatius in the Colosseum"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Domenico Piastrini</span><span style="letter-spacing: 0.0px;"> (1678/1740) on the right "Trajan sentences St. Ignatius to be eaten by the beasts"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #ff2600; letter-spacing: 0.0px;">Giacomo Triga</span><span style="letter-spacing: 0.0px;"> (1674/1746) on the right "St. Ignatius takes his leave from St. Polycarp, bishop of Smyrna, before embarking for Rome"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #ff2600; letter-spacing: 0.0px;">Tommaso Chiari</span><span style="letter-spacing: 0.0px;"> (1665/1773) Giuseppe Chiari's brother, on the right "Death of St. Servolo"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Odazzi</span><span style="letter-spacing: 0.0px;"> (1663/1731)</span><span style="color: #ff2600; letter-spacing: 0.0px;"> </span><span style="letter-spacing: 0.0px;">on the left "Translation of the body of St. Clement"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #ff2600; letter-spacing: 0.0px;">Sebastiano Conca</span><span style="letter-spacing: 0.0px;"> (1680/1764) on the left "Miracle of the spring of water by St. Clement in Crimea", "Apparition of the Angel" and "Miracle of the spring of water"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro de Pietri</span><span style="letter-spacing: 0.0px;"> (1663/1716) on the left "St. Clement presents the veil to St. Domitilla"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Antonio Grecolini</span><span style="letter-spacing: 0.0px;"> (1675/1725) on the left "Martyrdom of St. Clement"</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">RIGHT NAVE</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">1st RIGHT - CHAPEL OF St. DOMINIC</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Ancient precious marble pieces framing "Ecstasy of St. Dominic" and on the left "Resurrection of the young Napoleone Orsini" by an </span><span style="color: #ff2600; letter-spacing: 0.0px;">unknown eighteenth century artist</span><span style="letter-spacing: 0.0px;">, pupil of Sebastiano Conca</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">On the right "Miracle of St. Dominic in S. Sisto Vecchio" 1715 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Sebastiano Conca</span><span style="letter-spacing: 0.0px;"> (1680/1764)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Entrance to the Sacristy</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">In the vault "Glory of St. Servolo" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Rasina</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">CHAPEL OF Sts. Cyril and Methodius</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">1882/86 with <i>relics of St. Cyril</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Paintings "Stories of Sts. Cyril and Methodius" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Salvatore Nobili</span><span style="letter-spacing: 0.0px;"> with, at the center, an eighteenth-century copy of the extremely famous religious image "Madonna of prayer" by </span><span style="color: #ff2600; letter-spacing: 0.0px;">G.B. Salvi aka Sassoferrato</span><span style="letter-spacing: 0.0px;"> (1609/85)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">ON THE RIGHT END SIDE OF THE PRESBYTERY</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Monument to Giovanni Francesco Brusati" who died in 1485 (nephew of Cardinal Roverella) </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Capponi</span><span style="letter-spacing: 0.0px;"> and <a href="http://fe.fondazionezeri.unibo.it/foto/160000/146000/145761.jpg"><span style="color: #021eaa; letter-spacing: 0px;">"Funerary monument of Cardinal Bartolomeo Roverella"</span></a> who died in 1476 by Giovanni Duknovich aka </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giovanni Dalmata</span><span style="letter-spacing: 0.0px;"> (about 1440/1510) with maybe the help of Andrea Bregno (1418/1503)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Below the monument, fresco "Particular Judgment" from the eleventh century, moved here from the narthex of the lower basilica</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">At the end of the nave HEAD Chapel OF St. JOHN THE BAPTIST</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Statue of St. John the Baptist" end of 1500 maybe by an </span><span style="color: #ff2600; letter-spacing: 0.0px;">unknown artist follower of Andrea Sansovino</span><span style="letter-spacing: 0.0px;"> and frescoes "God Father between two musical angels" and "Beheading of St. John the Baptist" maybe by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Jacopo Zucchi</span><span style="letter-spacing: 0.0px;"> (about 1542/96)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">On the right pier OF THE ARCH</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Aedicula with relief "Cardinal Giacomo Caetani adoring the Virgin Mary" 1299, maybe by an </span><span style="color: #ff2600; letter-spacing: 0.0px;">artist from the school of Arnolfo di Cambio</span><span style="letter-spacing: 0.0px;"> (about 1245/1302)</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">CENTRAL NAVE</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">At the center of the nave Schola Cantorum moved here from the lower church adapted in the twelfth century with polished elements of Proconnesio marble executed in Constantinople or Rome by Byzantine artisans</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">They are dated to about 534 under Pope John II (533/535), the first pope who changed his name (he was called Mercury): his coat of arms is reproduced in the monogram plutei. It is the most significant document of the proto-byzantine sculpture in Rome and one of the most important of the Byzantine world from the period of Justinian</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">MAIN ALTAR with <i>fenestella confessionis</i> (window to allow contact with the relics) with inside <i>relics of Sts. Clement and Ignatius of Antioch</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Two AmboS (podiums for Bible readings) and spiral cosmatesque CANDLESTICK</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">PRESBYTERY with cosmatesque "Ciborium" and "Cattedra" (chair) of the twelfth century</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In the APSE <a href="http://i44.tinypic.com/jk86fm.jpg"><span style="color: #021eaa; letter-spacing: 0px;">high quality mosaic</span></a> about 1130: "Crucifix with twelve doves between the Virgin and St. John, deers drinking from the Four Rivers of Paradise (Pison, Gihon, Tigris and Euphrates) and four doctors of the Western Church (Sts. Augustine, Jerome, Gregory and Ambrose)" bearing no iconographic connection whatsoever with any other mosaic crosses ever made before</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">At the base the <i>titulus</i> says: "We represented the Church of Christ with this grapevine which the Law dries up but which the Cross makes green"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">BELOW THE ARCH "Garlands of flowers and fruit originated from jars with a central Christological monogram (<i>Chrismon</i>) between the letters A and Ω</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">triumphal arch "Christ with the symbols of the Evangelists", on the right "Sts. Peter and Clement with Jeremiah and the city of Jerusalem", on the left "Sts. Lawrence and Paul with Isaiah with the city of Bethlehem"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In the lower part "Agnus Dei with twelve sheep". Under the mosaic fresco "Christ, the Virgin and the Apostles" early fourtheenth century</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">LEFT NAVE</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Ceiling of the nave "Coronation of the Virgin" of the eighteenth-century by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Rasina</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">At the end of the nave HEAD Chapel OF THE HOLY SACRAMENT</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">"Madonna of the Rosary among the Sts. Dominic and Catherine" 1714 by </span><span style="color: #ff2600; letter-spacing: 0.0px;">Sebastiano Conca</span><span style="letter-spacing: 0.0px;"> (1680/1764)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Outside on the right "Madonna and Child with St. John" 1580 </span><span style="color: #ff2600; letter-spacing: 0.0px;">Jacopo Zucchi</span><span style="letter-spacing: 0.0px;"> (about 1542/96)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Entrance arch on the right "Jeremiah" and on the left "Isaiah" about 1617 and, inside, on the left "Stigmata of St. Francis" and on the right "Charity of St. Charles Borromeo" all attributed to </span><span style="color: #ff2600; letter-spacing: 0.0px;">artists of the Carracci school</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">On the left wall "Monument of Cardinal Antonio Venier" who died in 1479 maybe by the </span><span style="color: #ff2600; letter-spacing: 0.0px;">school of Isaia da Pisa </span><span style="letter-spacing: 0.0px;">(active 1447/64)</span><span style="color: #ff2600; letter-spacing: 0.0px;"> or Andrea Bregno</span><span style="letter-spacing: 0.0px;"> (1418/1503) with ancient columns and capitals reshaped in the early sixth century</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">CHAPEL OF St. Catherine of Alexandria</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><a href="http://www.tesoridiroma.net/foto_roma_gratis/chiese_medioevo/foto/chsclemente16.jpg">Frescoes</a></span><span style="letter-spacing: 0.0px;"> 1428/31 masterpiece of </span><span style="color: #ff2600; letter-spacing: 0.0px;">Masolino da Panicale</span><span style="letter-spacing: 0.0px;"> (about 1383/1440) for Cardinal Branda Castiglioni in collaboration with other Florentine artists (Masaccio? Paolo Uccello? Domenico Veneziano?). They brought to Rome of the new, revolutionary Renaissance style</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"He was the point of reference for those Florentine painters who dared not to look at Masaccio, at his dramatic humanity. For them the direction of "modern" was represented by Masolino, by his peaceful spirit" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>Outside the Chapel </i>"St. Christopher", "Annunciation", "Apostles"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>Vault </i>"Doctors of the Western Church and Evangelists"</span></span></div>
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<span style="color: black; letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>Altar wall</i> <a href="http://greaterthanorequalto.files.wordpress.com/2011/11/4179op759au7125.jpg"><span style="letter-spacing: 0px;">"Crucifixion"</span></a></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>Right wall</i> "<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAiPcmxB2-1UFL2zArAD6qPjCMrr5CXq3Qv3GV_PeQZQHQ2k9rng3oTuM4jEuNkoake2y6L76tNcp_8svoF3U5ne33fAaJ-mhd-VJduELSdH5S0-f9Tod0RwrF5cDn0Pu5IvCUrOWsDVQz/s1600/Masolino-Banquet_of_Herod.jpg"><span style="color: #021eaa; letter-spacing: 0px;">Stories of St. Ambrose</span></a>: birth, appointment as bishop of Milan, leaving the house of the rich, his study room and death"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>Left wall</i> "<a href="http://www.settemuse.it/pittori_opere_D/da_panicale_masolino/da_panicale_masolino_507_the_philosophers_of_alexandria.jpg"><span style="color: #021eaa; letter-spacing: 0px;">Stories of St. Catherine of Alexandria</span></a>: refusal to worship idols, dispute with the 50 philosophers of Alexandria, conversion, beheading, the miracle of the sprocket wheel and the miraculous transportation of the body to Sinai"</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://3.bp.blogspot.com/_71OM9lkGuVg/TSkSrfr2GGI/AAAAAAAAZgc/xbNJ3BM5P2o/s1600/5nef-E12-27.jpg"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">LOWER BASILICA</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Probably fourth century AD. The first reliable news that the church was active, however, date back only to 417/418</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Rediscovered in 1818 and excavated 1857/70 at the behest of Joseph Mullooly, prior of St. Clement</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Excavation completed 1912/14</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The recent renovations and restorations have greatly enhanced the pleasure of visiting this incredible place, quintessential in its representation of Rome's overlapping layers of history </span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">narthex</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">One fresco of the ninth century "Blessing Christ and Saints" and two frescoes of the eleventh century: "Miracle of St. Clement" with "St. Clement, the patron de Rapiza Beno and his family" below, and "Translation of the relics of St. Clement"</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">CENTRAL NAVE</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>On the left</i> frescoes of the time of Leo IV (847/855) "Assumption"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>Below</i> "Apostles"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>On the sides</i> "Leo IV (with square nimbus of living) and St. Vitus"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>Alongside</i> "Crucifixion" (with Christ alive) "Maries to the tomb", "Descent of Christ into Limbo", "Marriage of Cana"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>On the left wall</i> frescoes <a href="http://www.introiboadaltaredei.info/images/a8.bmp"><span style="color: #021eaa; letter-spacing: 0px;">"Legend of St. Alexis"</span></a> end eleventh or early twelfth century, with, <i>on the upper register</i> "Christ enthroned between angels and saints"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>Next on the left</i> <a href="http://a31.idata.over-blog.com/743x1024/2/14/62/78/immagini--3/fresco_clemente.jpg"><span style="color: #021eaa; letter-spacing: 0px;">"Legend of St. Clement and Sisinnio"</span></a> end eleventh or early twelfth century</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It is the very first Italian vernacular with "dirty word" <i>fili de le pute</i>: the prefect Sisinnio angry about the conversion and the vow of chastity of his wife Theodora, followed her with some soldiers. When he found her in a room while attending a mass celebrated by Pope Clement, he ordered his arrest, but God did not allow it and blinded Sisinnio and his soldiers. The soldiers found themselves dragging a column believing they were dragging Theodora. The prefect remained blind until his return home</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><i>Above</i> "St. Clement in the holy throne"</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"The Stories of the Saints Clement and Alexis are an isolated masterpiece. Toesca sees in them a vague memory of the Hellenistic murals; there is undoubted influence from the Ottonian miniature. The painter seems to have proposed to transpose in the scale of the wall not only the narration, but the refined linear and coloristic range of illuminated manuscripts. It is therefore a well educated kind of painting, combining cleverly different cultural experiences, and however intended to popularize its contents, to stimulate the imagination and the feelings among the most sensitive of the faithful" (Giulio Carlo Argan)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">RIGHT NAVE</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Mid-wall niche with eight or ninth century fresco "Madonna Enthroned with Child"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Further down the nave "Sarcophagus with Phaedra and Hippolytus" first century AD</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">LEFT NAVE</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Remains of a tomb maybe of St. Cyril</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The most important mission that was entrusted to the brothers Cyril and Methodius of Thessalonica was the one with the Slavs of Moravia and Pannonia. The ruler of Moravia, Rostislav, who later died as a martyr and was venerated as a saint, asked the Byzantine Emperor to send missionaries to his country, hiding behind religious motivations, his political concern of the German presence in his kingdom</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Cyril accepted the invitation and, once arrived, he began to translate passages from the Gospel of John inventing, according to a tradition not scientifically established, a new alphabet called <i>Glagolitic</i> (from "глаголь" which means "word"), now better known as the Cyrillic alphabet. It is the alphabet used to write various Slavic languages: Belarusian, Bosnian, Serbian, Bulgarian, Macedonian, Russian, Ruthenian, Serbian and Ukrainian as well as other non-Slavic languages</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In 867 Cyril and Methodius went to Rome to have some of their followers ordained priests. Adrian II (867/872) ordained Methodius and approved their translations of the Bible and liturgical texts into Slavonic. Cyril also gave him the relics of St. Clement, which he had found in Crimea</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In 869, during his stay in Rome, Cyril died and was buried in the Basilica of St. Clement. Methodius later returned to Moravia</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Baptistery and CONSIGNATORIUM</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The baptistery of the time of John II (533/535) was found during recent excavations north of the basilica in the cellar of the monastery. Another small room was found, hypothetically considered the <i>Consignatorium,</i> or the place where Confirmation was administered</span></span></div>
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://upload.wikimedia.org/wikipedia/commons/thumb/4/44/Mithreum_San_Clemente.jpg/1280px-Mithreum_San_Clemente.jpg"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Roman buildings and MitHrAeUM</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Rectangular building with short side of 29.60 m (97 feet) made of large blocks of tufa, made out of rooms with vaults and walls of mixed materials. It is likely it was the <i>mint</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It is separated from another building with a narrow gap</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The inner courtyard of this second building was transformed into a <i>mithraic temple</i> maybe in the second quarter of the third century</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Ara marble reliefs "Mithras and the bull, snake and two dadofori" third or fourth century AD</span></span></div>
David Macchihttp://www.blogger.com/profile/03680152527192773532noreply@blogger.com1tag:blogger.com,1999:blog-4279535645136556249.post-71634501873105280602011-04-04T13:47:00.005+02:002011-10-25T08:45:18.165+02:00La più accurata e dettagliata descrizione della Basilica di San Pietro<span class="Apple-style-span" style="color: rgb(51, 51, 51); font-family: Times, serif; "><span class="Apple-style-span"><h3 class="post-title entry-title" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; font-weight: bold; line-height: 1.1em; "><a href="http://davidmacchi.blogspot.com/2011/01/estratto-da-guida-di-roma-e-provincia.html" style="color: rgb(51, 51, 51); text-decoration: none; font-weight: bold; ">Estratto da "Guida di Roma e provincia"</a></h3><div class="post-header-line-1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0.75em; margin-left: 0px; line-height: 1.3em; "></div><div class="post-body entry-content" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0.75em; margin-left: 0px; line-height: 1.3em; "><a href="http://2.bp.blogspot.com/_BVRjA9qSdLE/TUFbsiUgHVI/AAAAAAAAAHw/ZWETFY0RqBY/s1600/Copertina%2BGuida%2Bdi%2BRoma%2Be%2Bprovincia%2Bgen11.jpg" style="color: rgb(51, 102, 153); "><img src="http://2.bp.blogspot.com/_BVRjA9qSdLE/TUFbsiUgHVI/AAAAAAAAAHw/ZWETFY0RqBY/s320/Copertina%2BGuida%2Bdi%2BRoma%2Be%2Bprovincia%2Bgen11.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5566831435091811666" style="border-top-width: 1px; border-right-width: 1px; border-bottom-width: 1px; border-left-width: 1px; padding-top: 4px; padding-right: 4px; padding-bottom: 4px; padding-left: 4px; border-top-style: solid; border-right-style: solid; border-bottom-style: solid; border-left-style: solid; border-top-color: rgb(204, 204, 204); border-right-color: rgb(204, 204, 204); border-bottom-color: rgb(204, 204, 204); border-left-color: rgb(204, 204, 204); float: right; margin-top: 0px; margin-right: 0px; margin-bottom: 10px; margin-left: 10px; cursor: pointer; width: 226px; height: 320px; " /></a><span class="Apple-style-span" style="font-family: georgia; ">Ecco un estratto di 10 pagine dal mio nuovo libro di 422 pagine "Guida di Roma e provincia". </span><span class="Apple-style-span" style="line-height: 21px; "><span class="Apple-style-span" style="font-family: georgia; ">E' un lavoro antologico e di sintesi delle fonti fattuali e critiche più autorevoli e attendibili.</span></span><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0.75em; margin-left: 0px; line-height: 1.3em; "><span class="Apple-style-span" style="line-height: 23px; font-family: Helvetica; "><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0.75em; margin-left: 0px; line-height: 1.3em; "><span class="Apple-style-span" style="line-height: 18px; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: georgia; ">Con 1194 voci in 422 pagine formato A4 comprende 477 chiese, 271 palazzi, 143 musei nonchè 94 località della provincia di Roma e innumerevoli edifici, monumenti e siti archeologici, costituendo una delle più ricche fonti di informazione artistica su Roma e la sua provincia.</span></span></span></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0.75em; margin-left: 0px; line-height: 1.3em; "><span class="Apple-style-span" style="line-height: 18px; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: georgia; ">Vi invito a consultare gratuitamente le prime 63 pagine con questo link</span></span><a href="http://ilmiolibro.kataweb.it/schedalibro.asp?id=571797" style="color: rgb(51, 102, 153); "><span class="Apple-style-span"><span class="Apple-style-span" style="color: rgb(51, 51, 255); "><span class="Apple-style-span" style="font-family: georgia; ">http://ilmiolibro.kataweb.it/schedalibro.asp?id=571797</span></span></span></a><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: georgia; "> dove è anche possibile acquistare il tomo per € 19,90</span></span></span></div><div style="margin-top: 0px; margin-right: 0px; margin-bottom: 0.75em; margin-left: 0px; line-height: 1.3em; "><span class="Apple-style-span" style="line-height: 18px; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: georgia; ">Al prezzo di copertina di € 30 è disponibile sul negozio on line di Feltrinelli </span></span></span><span class="Apple-style-span" style="line-height: 18px; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: georgia; ">e in tutte le librerie Feltrinelli d'Italia su ordinazione.</span></span></span></div></span><p style="margin-top: 0px; margin-right: 0px; margin-bottom: 1px; margin-left: 0px; font: normal normal normal 12px/normal Georgia; "><span style="letter-spacing: 0px; "><b><span class="Apple-style-span">Basilica S. Pietro</span></b></span></p><p style="margin-top: 0px; margin-right: 0px; margin-bottom: 1px; margin-left: 0px; text-align: justify; font: normal normal normal 8px/normal Georgia; "><span style="letter-spacing: -0.1px; "><span class="Apple-style-span">(Piazza S. Pietro)</span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">VECCHIA BASILICA</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Iniziata c.319/322, consacrata 326 per Costantino (306/337), compiuta c.349. Vennero costruiti <i>muri di sostruzione giganteschi</i> (il più alto di 11,50 m – 37,8 feet) per livellare la collina sul pendio della quale era il luogo esatto della tomba di S. Pietro che doveva coincidere con l'altare della Basilica. Questo <i>enorme sterro</i> della sommità della collina potrebbe essere prova sufficiente a dimostrare che la tomba di S. Pietro sia effettivamente sotto l'altare, poichè gli architetti di Costantino avrebbero potuto comodamente costruire la Basilica su terreno pianeggiante a poca distanza</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Bernardo Rossellino nel 1452 ne iniziò la ristrutturazione per Niccolò V Parentucelli (1447/55), ma poi ne venne decisa la distruzione, visto che dopo 1000 anni i pur notevoli lavori di fondazione costantiniani cominciavano a dare segni di cedimento</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">NUOVA BASILICA</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Iniziata il <i>18 aprile 1506 </i>con la cerimonia della posa della prima pietra durante la quale vennero deposte in una scodella di terracotta 12 medaglie con da un lato l'effigie di Giulio II e dall'altro l'immagine della Basilica progettata dal Bramante</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Fu consacrata il <i>18 novembre 1626</i></span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">13 architetti: Donato Bramante (1444/1514) (<i>8 anni 1506/14</i>) per Giulio II Della Rovere (1503/13)</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Alla base del primo progetto del Bramante c'è soprattutto la volontà di esprimere nella maniera più piena la filosofica religiosità dell'umanesimo. Seguendo la linea ideale che conduce da Leon Battista Alberti, a Giuliano da Sangallo, a Leonardo, a lui stesso, l'urbinate mira a realizzare nella completa organicità dell'edificio la corrispondenza con l'ordine armonico dell'universo, specchio della perfezione divina. Il tema prescelto è dunque quello prediletto dalla cultura umanistica per il suo valore assoluto, la pianta centrale, a cui la suggestione dei monumenti della classicità romana offre la grandiosa e magniloquente scala monumentale (BBG)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Raffaello Sanzio (1483/1520) con Fra' Giocondo e Giuliano Giamberti detto Giuliano da Sangallo (1445/1516) (<i>6 anni 1514/20</i>). Antonio Cordini detto Antonio da Sangallo il Giovane (1483/1546) con Baldassarre Peruzzi (1481/1536) fino al 1527 (<i>26 anni 1520/46</i>)</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Sangallo aveva individuato una soluzione di compromesso tra la pianta centrale di Bramante e quella longitudinale di Raffaello (BBG)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s2" style="letter-spacing: -0.2px; "><span class="Apple-style-span"><span class="Apple-style-span">Michelangelo Buonarroti (1475/1564) (<i>17 anni 1547/64</i>)</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Michelangelo, ricollegandosi alla concezione bramantesca, contrasse lo spazio interno della basilica in una unità semplice e organica, che sintetizzava i due motivi geometrici generatori della pianta, la croce greca e il quadrato, centrando l'una sull'altro. Inoltre, per dare omogeneità all'esterno, egli concepì la struttura muraria a un unico ordine gigante dalle colossali paraste corinzie, sormontato da un attico che, correndo lungo tutto il perimetro dell'edificio, lo configurò come una massa compatta (BBG)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Jacopo Barozzi detto Vignola (1507/73). Pirro Ligorio (c.1513/83) (<i>9 anni 1564/73</i>) Giacomo Della Porta (1533/1602) con Domenico Fontana (1543/1607) (<i>33 anni 1573/1607 – Della Porta fino al 1602</i>). Carlo Maderno (1556/1629) (<i>22 anni 1607/29</i>). Gian Lorenzo Bernini (1598/1680) (<i>c.50 anni 1629/80</i>)</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Carlo Maderno commise un clamoroso errore di progettazione: il prolungamento della Basilica è storto e tende verso sud. Il maestro se ne accorse in corso d'opera e cercò di correggere l'errore ma non ci riuscì completamente. Se si guarda la facciata si nota che obelisco, balcone centrale e costolone centrale della cupola non sono in asse. All'interno della Basilica si può vedere che le lastra marmoree del pavimento non sono sempre perfettamente allineate</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">Piazza</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">1657/67 Gian Lorenzo Bernini per Alessandro VII Chigi (1655/67). Elissi larga 240 m (790 feet), 52 m (170 feet) in più del Colosseo. <i>Capienza di circa 200.000 persone. </i>284 colonne</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Le colonne isolate del Bernini, con trabeazione diritta sono elementi immensamente scultorei. Quando si attraversa la piazza la prospettiva sempre mutevole delle colonne visibili a quattro a quattro sembra rivelare una foresta di unità individuali: e l'accordo di tutte queste forme statuarie chiaramente definite, produce la sensazione di una massa e potenza irresistibili. Si esperimenta quasi fisicamente che ogni colonna sposta e assorbe un po' dell'infinità dello spazio, e quest'impressione è rafforzata dagli sprazzi di cielo fra le colonne. Nessun'altra struttura italiana del periodo postrinascimentale mostra una altrettanto profonda affinità con la Grecia. Come succede con la maggior parte delle idee nuove e vitali, dopo aspri attacchi iniziali, i colonnati divennero della massima importanza per la storia dell'architettura posteriore nel corso di più di 250 anni (Rudolf Wittkower)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">140 statue di santi Alte 3,10 m (10,1 feet). <i>Sul colonnato:</i> 1667/73 Lazzaro Morelli, Giovanni Maria De Rossi, Agostino Cornacchini (S. Orsola 9° da d.), Filippo Carcani, Andrea Baratta, Francesco Mari e altri, molti dei quali ignoti</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span"><i>Sui bracci dritti</i> <i>verso la chiesa:</i> 1702/03 Jean Baptiste Théodon, Francesco Pincellotti, Simone Giorgini, Giovanni Maria Baratta, Lorenzo Ottoni, Francesco Marchionni, Michel Maille, Pierre Etienne Monnot e una quarantina d'altri. "6 enormi simboli araldici" di Alessandro VII</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Il colonnato era quasi completato alla morte di Alessandro VII nel 1667, mancando solo una parte della sezione s. Il successore Clemente IX lo fece finire sbrigativamente e non volle far applicare il simbolo Chigi sul soffitto interno, la mancanza del quale indica esattamente tuttora la sezione completata dopo la morte di Alessando VII</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Una raffinata sensibilità spaziale e una esperienza decennale riguardo ai problemi ottici e dimensionali guidò la realizzazione della piazza. La scelta simbolica delle maestose braccia del colonnato che Bernini stesso paragonò alle materne braccia della Chiesa crea una spettacolare situazione urbanistica: l'ambiente aperto e percorribile funge da elemento di raccordo tra chiesa e città (BBG)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">A d. "Statua di S. Paolo" 1838 Adamo Tadolini; a s. "Statua di S. Pietro" 1838 Giuseppe De Fabris, eseguite per la Basilica di S. Paolo e qui collocate nel 1847 al posto di due statue di uguale soggetto del 1462 di Paolo Taccone detto Paolo Romano (c.1415/77) ora nella Biblioteca di Sisto IV</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Nel pavimento meridiana<b> </b>con rosa dei venti 1817 dell'astronomo L. G. Gilij. I dischi vennero sostituiti negli anni 1852, c.1878 e 1924. Non sono quindi opera di Bernini come fa credere Dan Brown in <i>Angels and Demons: </i>un libro molto ben scritto e a cui i romani dovrebbero essere grati per aver promosso in maniera sostanziale il turismo a Roma, ma che è talmente inaccurato dal punto di vista fattuale (nonostante ciò che egli affermi nella nota iniziale) da risultare a tratti perfino imbarazzante</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">FontanA DI DESTRA costruita originariamente 1490 e rinnovata 1614 Carlo Maderno. FONTANA DI SINISTRA 1675 (61 anni dopo), impianto idrico collegato 1677, Carlo Fontana (1634/1714) sotto la direzione di Bernini</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">4 candelabri 1852 Antonio Sarti per Pio IX Mastai-Ferretti (1846/78) accesi il 12 ottobre 1854, i primi con il nuovo sistema di illuminazione a gas</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">scala regia Inizio 1500 Antonio da Sangallo il Giovane. Modificata da Bernini negli anni 1663/66</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"In aggiunta al suo uso della conoscenza prospettica, Bernini impiega di nuovo la luce naturale al servizio di scopi estetici. In questo caso per irrompere nella lunghezza simile a un tunnel delle scale, e alleviare la tendenza dell'architettura a creare un effetto telescopio (Howard Hibbard)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Obelisco Vaticano 25,36 m (83 feet), 41 m (134 feet) incluso il basamento e fino alla croce. Pesa c.290 tonnellate (320 tons). È <i>il secondo più alto tra gli 8 originali egizi presenti a Roma</i>, e l'unico sempre rimasto eretto. Secondo Plinio, originariamente eretto dal <i>faraone Nencoreo</i> (Nebkaure Amenemhet II) figlio di Sesotide (1992/1985 a.C.) a Heliopolis e rotto durante i lavori di allestimento romani del <i>Forum Iulium</i> ad Alessandria, compiuti da Cornelio Gallo prefetto d'Egitto sotto Augusto. L'obelisco Vaticano risalirebbe dunque a <i>c.4.000 anni </i>fa<i>, </i>anche se il fatto che sia anepigrafo fa pensare che sia stato fatto dai romani in Egitto. Era alto in origine 52,50 m (172 feet). Il fusto superiore, l'attuale obelisco, fu <i>trasportato a Roma da Caligola (37/41)</i> nel 37 con una nave enorme (usarono lenticchia egiziana come zavorra) affondata poi da Claudio per fondarvi un molo del porto artificiale vicino Ostia. Ornava il circo privato di Caligola sul Colle Vaticano con iscrizione dedicatoria, ancora visibile, a Cesare, Augusto e Tiberio</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">I "4 leoni bronzei" alla base sono di Prospero Antichi detto Bresciano e aiuti. "Aquile bronzee" 1713 Lorenzo Ottoni per Innocenzo XIII Conti (1721/24)</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span"><i>é sempre stato eretto sul lato s. della Basilica </i>a fianco dell'attuale Sagrestia dove una lapide sul pavimento ricorda il luogo esatto. <i>Fu spostato al centro della piazza </i>per Sisto V Peretti (1585/90) da Domenico Fontana in 13 mesi dal settembre 1585 al settembre 1586, operazione che gli valse il titolo di <i>Cavaliere della Guglia</i>. Nel colossale lavoro vennero impiegati 40 giganteschi argani, 907 uomini e 75 cavalli</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Le 4 epigrafi così recitano:</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s3" style="letter-spacing: 0px; "><span class="Apple-style-span"><span class="Apple-style-span">NorD - <i>Sixtus V Pont(ifex) Max(imus) Cruci Invictae Obeliscum Vaticanum Ab Impura Superstitione Expiatum Iustius Et Felicius Consecravit Anno MDLXXXVI Pont(ificatus) II = </i>Sisto V Pontefice Massimo l’obelisco Vaticano, purificato dall’impura superstizione, consacrò in modo più giusto e felice alla Croce invitta, nell’anno 1586, II del (suo) pontificato</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="Apple-style-span"><span class="Apple-style-span"><span class="s4" style="letter-spacing: -0.3px; ">OVEST - <i>Christus Vincit Christus Regnat Christus Imperat Christus Ab Omni Malo Plebem Suam Defendat</i> =</span><span class="s2" style="letter-spacing: -0.2px; "> Cristo vince, Cristo regna, Cristo impera. Cristo difenda il suo popolo da ogni male</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="Apple-style-span"><span class="Apple-style-span"><span class="s2" style="letter-spacing: -0.2px; ">Est - <i>Ecce Crux Domini Fugite Partes Adversae Vicit Leo De Tribu Iuda</i> =</span><span class="s3" style="letter-spacing: 0px; "><i> </i>Ecco la Croce del Signore. Fuggite, parti nemiche. Vince il leone della tribù di Giuda</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s3" style="letter-spacing: 0px; "><span class="Apple-style-span"><span class="Apple-style-span">SUD - <i>Sixtus V Pont Max Obeliscum Vaticanum Di(i)s Gentium Impio Culto Dicatum Ad Apostolorum Limina Operoso Labore Transtulit Anno MDLXXXVI Pont II =</i> Sisto V Pontefice Massimo, l’obelisco Vaticano, (già) dedicato con empio culto agli Dei dei popoli (pagani), trasferì con faticosa opera nella sede degli Apostoli l’anno 1586, II del (suo) pontificato</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s3" style="letter-spacing: 0px; "><span class="Apple-style-span"><span class="Apple-style-span">Nel medioevo si credeva che nella sfera sulla cima ci fossero le ceneri di Giulio Cesare. Sisto V nel 1586 sostituì la sfera con una nuova (la vecchia è ora nei Musei Capitolini con ancora i buchi causati dalle pallottole dei lanzichenecchi durante il Sacco di Roma del 1527), e aggiunse la croce e i tre monti del suo stemma, oltre ai leoni. <i>Ora nella sfera ci sono reliquie della croce di Gesù</i></span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s3" style="letter-spacing: 0px; "><i><span class="Apple-style-span"><span class="Apple-style-span">Dimensioni della basilica</span></span></i></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s3" style="letter-spacing: 0px; "><span class="Apple-style-span"><span class="Apple-style-span"><i>Lunga</i> 186,30 m (610 feet); compresi muri e portico è lunga 218,7 m (718 feet)</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s3" style="letter-spacing: 0px; "><span class="Apple-style-span"><span class="Apple-style-span"><i>Facciata</i> larga 114,69 m (376 feet) alta 47,3 m (155 feet) un metro più alta della Statua della Libertà a New York senza piedistallo. Più o meno simili a quelle di un campo di football americano (360 x 160 feet)</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s3" style="letter-spacing: 0px; "><span class="Apple-style-span"><span class="Apple-style-span"><i>Cupola</i> diametro interno 42,56 m (139 feet); esterno 58,90 m (193 feet). Incredibilmente non è la cupola più grande di Roma: la cupola del Pantheon ha infatti un diametro interno di 43,30 m (142 feet)</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s3" style="letter-spacing: 0px; "><span class="Apple-style-span"><span class="Apple-style-span"><i>Lunghezza</i> <i>transetto</i> 137,85 m (452 feet)</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s3" style="letter-spacing: 0px; "><span class="Apple-style-span"><span class="Apple-style-span"><i>Altezza interna</i> da pavimento a lanterna 117,57 m (386 feet) sufficiente a farci entrare il Colosseo due volte con una ventina di metri di avanzo</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s3" style="letter-spacing: 0px; "><span class="Apple-style-span"><span class="Apple-style-span"><i>Altezza esterna</i> fino alla croce 136,57 m (448 feet)</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s3" style="letter-spacing: 0px; "><span class="Apple-style-span"><span class="Apple-style-span"><i>L'area totale</i> è di 22.067 m² (5,5 acri!)</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s3" style="letter-spacing: 0px; "><span class="Apple-style-span"><span class="Apple-style-span">Dal 1989 è diventata la seconda chiesa più grande del mondo, superata nel Guinness dei primati dalla Basilique de Notre Dame de la Paix a Yamoussoukro, in Costa d'Avorio che ha un'altezza di 158 m (518 feet) e una superficie di 30.000 m² non però tutta coperta, determinando una capienza interna notevolmente inferiore di 7.000 persone</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s3" style="letter-spacing: 0px; "><span class="Apple-style-span"><span class="Apple-style-span">Si è calcolato che la Basilica può contenere al massimo <i>fino a 55.000 persone sedute e fino a 95.000 in piedi</i></span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s3" style="letter-spacing: 0px; "><span class="Apple-style-span"><span class="Apple-style-span">Il fregio con le scritte è largo 3 m (10 feet) come una strada a senso unico e lungo 593 m (1.950 feet). La penna di S. Marco sul pilastro della cupola è di 1,50 m (5 feet). L'apertura alare della colomba è 1,75 m (5,75 feet). <i>Le colonne sono c.500, gli altari 46 e le finestre 233</i></span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">Cupola</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Michelangelo Buonarroti la progettò e vi lavorò fino alla morte nel 1564 quando era arrivata solo al piano del tamburo. Fu poi completata <i>24 anni dopo</i> da Giacomo Della Porta assistito da Domenico Fontana in soli 22 mesi 1588/90 e fu finita il 14 maggio 1590. Il peso stimato è di 14.000 tonnellate (15.400 tons). Lavoro per palla e croce di Sebastiano Torrigiani finito il 18 novembre 1593. La palla ha un diametro di 2,47 m (8,10 feet), è vuota all'interno e può contenere fino a 16 persone. Per arrivare in cima ci sono <i>537 scalini</i> ma se si usa l'ascensore fino alla base della cupola gli scalini sono <i>323</i>. Le due Cupole minori sono di Jacopo Barozzi detto Vignola, finite da Giacomo Della Porta</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Nell'idearla, Michelangelo ha certamente pensato alla cupola del Brunelleschi per S. Maria del Fiore che, come diceva l'Alberti, era ampia da coprire con la sua ombra tutti i popoli toscani; la sua sarà ampia da coprire tutti i popoli cristiani. È come una ruota dentata che morda nello spazio libero del cielo. Al di sopra, la curva della calotta esprime a un tempo il peso della massa e il suo rianimarsi e tradursi in spinta verso l'alto con la tensione dei costoloni (Giulio Carlo Argan)"</span></span></i></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">Facciata</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">1607/14 Carlo Maderno per Paolo V Borghese (1605/21) anche se nel fregio c'è la data 1612. L'iscrizione sulla facciata tradotta dal latino dice: <i>Paolo V Pontefice Massimo romano della famiglia Borghese fece costruire (questa facciata) in onore del Principe degli Apostoli nel 1612, settimo anno del suo pontificato</i>. é sicuramente interessante e non casuale il fatto che tra tutte le parole dell'iscrizione quella che prende il posto d'onore al centro, proprio sopra al balcone dal quale ogni nuovo papa eletto appare, sia "Borghese", il nome della famiglia</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Scalinata tre ripiani del tempo di Sisto V Peretti (1585/90) che fece utilizzare marmo preso dal Colosseo. Ristrutturata 1667 Bernini</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">13 Statue sulla balaustra "Gesù, Battista e apostoli tranne S. Pietro e S. Paolo" (hanno le statue in piazza) 1612/14 vari artisti sotto la direzione di Ambrogio Buonvicino. Alte da 5,50 m (18 feet) (S. Giacomo Maggiore 5° da d.) a 7,50 m (24,6 feet) (Cristo al centro).</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Da s. "S. Taddeo" Carlo Fancelli, "S. Matteo" Bernardo Cennini, "S. Filippo" e "S. Tommaso" Siméon Drouin, "S. Giacomo Maggiore" Egidio Moretti, "S. Giovanni Battista" Siméon Drouin, "Cristo Redentore" Cristoforo Stati completata da Siméon Drouin, "S. Andrea" Carlo Fancelli, "S. Giovanni Evangelista" Giovanni Antonio Paracca il Giovane detto il Valsoldino con Bernardo Cennini, "S. Giacomo Minore" Cristoforo Stati completata da Giuseppe Fontana, "S. Bartolomeo" Egidio Moretti, "S. Simone" Bernardo Cennini e "S. Mattia" Giuseppe Fontana</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="Apple-style-span"><span class="Apple-style-span"><span class="s2" style="letter-spacing: -0.2px; ">Altorilievo sotto il balcone "Consegna delle</span><span class="s1" style="letter-spacing: -0.1px; "> chiavi" 1612/14 Ambrogio Buonvicino</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="Apple-style-span"><span class="Apple-style-span"><span class="s1" style="letter-spacing: -0.1px; ">2 </span><span class="s4" style="letter-spacing: -0.3px; ">Orologi 1786/90 Giuseppe Valadier<b> </b>(1762</span><span class="s1" style="letter-spacing: -0.1px; ">/1839) con quadranti in mosaico: a s. "Orologio oltremontano" con fuso orario medio europeo, a d. "Orologio italiano" con ora di Roma</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">6 campane la più grande, il "campanone", rifatta da Luigi Valadier (si suicidò gettandosi nel Tevere per le malignità e le gelosie) e completata 1786 dal figlio Giuseppe Valadier</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">Portico</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">1608/12 Carlo Maderno. Pavimento in marmo c.1655/75 Bernini, restaurato negli anni '30 del 1900 per Pio XI Ratti (1922/39), quando si lasciarono in bianco i bordi dell'intarsio al centro della navata per nascondere l'errore di progettazione di Carlo Maderno</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">A d. <b>"Statua di Costantino"</b> iniziato 1654 completato 1670 Bernini; nelle nicchie "Chiesa e 3 virtù teologali Fede, Speranza e Carità" 1728/38 Giuseppe Frascari, G.B. De Rossi, Giuseppe Lironi e Bernardino Ludovisi</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"L'opera venne collocata sul pianerottolo della Scala Regia, sull'asse del portico di S. Pietro. Bernini ha progettato l'alto arco contenente il monumento equestre, e il monumento stesso con il suo immenso drappeggio di stucco colorato, come punto focale dell'asse del portico. Gli espedienti d'inquadratura ci collocano esattamente nel punto di vista giusto. Tali espedienti d'inquadratura sono particolarmente significativi, poichè si guarda, attraverso la delimitazione delle scure porte di bronzo, entro la zona brillantemente illuminata del pianerottolo (Rudolf Wittkower)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">A s. <b>"Statua di Carlo Magno"</b> 1725 Agostino Cornacchini; nelle nicchie "4 virtù cardinali Fortezza, Giustizia, Speranza e Carità" 1721/31 Lorenzo Ottoni, G.B. De Rossi, Giuseppe Lironi e Giuseppe Raffaelli</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Nella volta di c.3.500 m² (c.38.000 square feet) stucchi e <b>32</b> <b>riquadri</b> "Atti degli Apostoli e 31 statue di papi martiri" 1618/19 su cartoni di G.B. Ricci di Novara eseguiti da una squadra di 6 stuccatori ticinesi</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Poichè le eleganti e ricche decorazioni in stucco costituivano l'unico campo in cui i manieristi romani sotto Gregorio XIII Boncompagni (1572/85) e Sisto V Peretti (1585/90) avevano mostrato vera inventiva e originalità, Ricci attinse qui a una tradizione viva e vigorosa e creò un'opera la cui magnificenza è sempre stata elogiata (Rudolf Wittkower)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">PORTA MEDIANA 1439/45 <b>rilievi bronzei</b> "Cristo Pantocrator, Annunciazione, Ss. Pietro e Paolo e loro martirio" Antonio Averlino detto Filarete per Eugenio IV Coldumer (1431/47) storie del quale sono rappresentate nei 4 rilievi più piccoli collocati tra i 6 pannelli</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">sopra la porta MEDIANA <b>rilievo marmoreo</b> "Gesù affida a S. Pietro il gregge cristiano" 1646 Bernini e aiuti</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">di fronte al rilievo "Mosaico della navicella"<b> </b>1675, rifacimento maldestro di Vincenzo Manenti dall'originale di Giotto (1267/1337) per il Card. Jacopo Stefaneschi, del quale solo pochissimi particolari (bordo dorato della nave, vela e ritratto di qualche apostolo) sono originali. Era originariamente situato nella facciata interna del quadriportico davanti alla vecchia basilica</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">LE ALTRE PORTE a d. della mediana <b>"Porta dei Sacramenti"</b> 1965 Venanzio Crocetti, inaugurata da Paolo VI Montini (1963/78) in occasione della riapertura del Concilio Vaticano II</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Più a d. <b>"Porta Santa"</b> 1949 Vico Consorti per il Giubileo del 1950. Donata dal vescovo svizzero Francesco Von Streng perchè la Svizzera era stata risparmiata dalla II guerra mondiale. L'entrata fino al 1950 fu chiusa da un muro</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">A s. <b>"Porta del bene e del male"</b> 1975/77 Luciano Minguzzi, in occasione dell'ottantesimo compleanno di Paolo VI. Nella rappresentazione del male c'è un'immagine di martiri associata a una strage di partigiani nel 1943 a Casalecchio sul Reno durante la II guerra mondiale</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Più a s. <b>"Porta della morte"</b> 1947/58 Giacomo Manzù (1908/91), così detta perchè da qui entravano i cortei funebri con le salme dei papi. Papa Giovanni XXIII Roncalli (1958/63) bergamasco come Manzù eletto nel 1958 sbloccò subito i lavori per la porta che avevano trovato opposizioni tra i cardinali. Manzù lo rappresentò nei battenti interni mentre accoglie il vescovo Laurean Rugambwe, primo cardinale di colore in assoluto da lui creato</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Nei timpani delle porte "Cherubini" alcuni dei quali eseguiti da Francesco Borromini</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Tra le porte sono incastonate TRE ISCRIZIONI dalla vecchia Basilica: da s. "Donazione di 56 uliveti" di Gregorio II (715/731) per l'olio delle lampade che dovevano essere sempre accese attorno al sepolcro di S. Pietro; "Epitaffio di Adriano I (772/795)" dedicato da Carlo Magno al papa per la sua morte; <i>"Bolla Antiquorum habet fida relatio"</i> con la quale Bonifacio VIII (1294/1303) indisse il primo Giubileo del 1300</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">Navata Mediana</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Volta alta 44 m (142 feet), decorazione 1780 sotto Pio VI Braschi (1775/99) con suo stemma al centro</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Pavimento in marmo 1649 Bernini. Davanti alla porta centrale "Rota porfiretica" in porfido egizio, già collocata presso l'altare della vecchia Basilica, su cui venne eletto Carlo Magno nel giorno di Natale dell'anno 800. È l'unica rimasta delle 6 della vecchia Basilica</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">PILASTRI stucchi e marmi colorati 1647 Bernini con l'aiuto di 41 artisti tra cui Andrea Bolgi, Ercole Ferrata (1610/86), Ercole Antonio Raggi, Orfeo Boselli e altri: <i>56 medaglioni di papi martiri</i> da S. Pietro a Benedetto I (575/579), <i>192 cherubini e 104 colombe</i>. Lo sfondo in marmo rosso "cottanello" ha venature naturali che vengono assecondate e integrate dagli artisti per ottenere una superficie che, pure se tratta dalla natura, mostra connotazioni creativamente artificiali</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">estradosso dei grandi archi <b>"16 Virtù"</b> alte 6 m (20 feet) 1647/49 disegnate da Bernini ed eseguite da Giovanni Francesco De Rossi, Giacomo Antonio Fancelli, Cosimo Fancelli, Lazzaro Morelli, G.B. Morelli, Ruggero Bescapè, Ambrogio Buonvicino, Domenico Prestinaro, Bartolomeo Cennini, Niccolò Menghini e Andrea Bolgi</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">La decorazione a mosaico della Basilica iniziò nel 1578 con la Cappella Gregoriana e proseguì fino a inizio 1800 sotto le direzioni di Girolamo Muziano (1532/92), Paolo Rossetti, Marcello Provenzale, G.B. Calandra, Fabio Cristofari e Pietro Paolo Cristofari che nel 1727 iniziò lo <i>Studio del mosaico al Vaticano</i><b> </b>ancora oggi operante</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="Apple-style-span"><span class="Apple-style-span"><span class="s1" style="letter-spacing: -0.1px; ">FREGIO IN MOSAICO CON ISCRIZIONE completata al tempo di Pio IX Mastai-Ferretti (1846/78) con brani estratti dal Vangelo. è </span><span class="s3" style="letter-spacing: 0px; ">largo 3 m (10 feet) come una strada a senso unico e lungo 593 m (1.950 feet). </span><span class="s1" style="letter-spacing: -0.1px; ">Nella tribuna la scritta è ripetuta anche in greco essendo la lingua delle prime comunità cristiane: <i>Tu pasci gli agnelli, tu pascoli le pecorelle di Cristo</i></span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">CONTROFACCIATA 2 orologi 1787/90 Giuseppe Valadier: a s. <i>alla francese </i>(inizio conto ore da mezzanotte), a d. <i>all'italiana </i>(inizio conto ore dal tramonto con 4 giri completi della lancetta al giorno)</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Sul pavimento Marchi delle lunghezze di 28 chiese tra cui (2°) <i>St. Paul's Cathedral </i>Londra (28,2 m – 92,5 feet – più corta), (3°) <i>S. Maria del Fiore </i>Firenze, (4°) <i>Basilica del Sacro Cuore </i>Bruxelles, (5°)<i>Immacolata Concezione</i> Washington, (6°) <i>Cattedrale </i>Reims, (7°) <i>Cattedrale </i>Colonia, (8°) <i>Duomo </i>Milano, (9°) <i>Cattedrale </i>Spira, (10°) <i>Basilica di S. Petronio </i>Bologna, (11°) <i>Cattedrale </i>Siviglia, (12°) <i>Notre Dame</i>Parigi, (13°) <i>S. Paolo Fuori le Mura</i> Roma,... (25°) <i>Westminster Abbey </i>Londra, (26°) <i>Santa Sofia </i>Istambul, (27°) <i>Cattedrale di S. Croce</i> Boston, (28°) <i>Basilica di S. Maria</i> Danzica e (29°) <i>Cattedrale di S. Patrizio</i> New York</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="Apple-style-span"><span class="Apple-style-span"><span class="s1" style="letter-spacing: -0.1px; ">ACQUASANTIERE 1722/25 disegnate da Agostino Cornacchini </span><span class="s2" style="letter-spacing: -0.2px; ">con enormi putti scolpiti da Francesco Moderati e G.B. De Rossi</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">statue nELLE NICCHIE DELL'ORDINE INFERIORE fondatori di ordini religiosi: 1°d "S. Teresa di Gesù" 1754 Filippo Della Valle (1698/1768); 2°d "S. Vincenzo de' Paoli" 1754 Pietro Bracci (1700/73); 3°d "S. Filippo Neri" 1737 G.B. Maini – <b>"Statua di S. Pietro"</b>: c.1296/98 Arnolfo di Cambio (c.1245/1302) o sua bottega – 4°s "S. Francesco di Paola" 1732 G.B. Maini; 3°s "S. Ignazio" 1733 Camillo Rusconi (1658/1728) finita da Giuseppe Rusconi che aveva lo stesso cognome di Camillo ma non ne era parente; 2°s "S. Camillo" 1753 Pietro Pacilli; 1°s "S. Pietro d'Alcantara" 1753 Francisco Vergara y Bartual il Giovane</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">STATUE NELLE NICCHIE DELL'ORDINE SUPERIORE fondatori di ordini religiosi e congregazioni: 1°d "Maddalena Sofia Barat" 1934 Enrico Quattrini; 2°d "Giovanni Eudes" 1932 Silvio Silva; 3°d "G.B. de la Salle" 1904 Cesare Aureli; 4°d "Giovanni Bosco" 1936 Pietro Canonica; 4°s "Pietro Fourier" 1899 Studio Nicoli di Carrara; 3°s "Antonio Maria Zaccaria" 1909 Cesare Aureli; 2°s "Luigi Maria Grignion de Montort" 1948 Giacomo Parisini; 1°s "Lucia Filippini" 1949 Silvio Silva</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">Cupola interna</span></span></i></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"All'interno il ripetersi delle coppie di pilastri piatti del tamburo suggerisce un movimento rotatorio, centrifugo che dà alla cavità della calotta la continuità di un perenne girare intorno al centro prospettico–luminoso della lanterna. È precisamente, ma proiettata in altezza, la stessa idea spaziale che si esprimeva, più drammaticamente nel Giudizio; ma, appunto il dramma è più vicino alla conclusione, alla catarsi finale. La cupola è la catarsi del dramma dell'opera mai finita, la tomba di Giulio II. Sorge nello stesso sito, il monumento simbolico dell'ecumene cristiano (Giulio Carlo Argan)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">pennacchi mosaici "S. Marco" e "S. Matteo" 1599 Cesare Nebbia; "S. Giovanni" e "S. Luca" 1599 Giovanni De Vecchi. "Angeli" nei triangoli superiori 1600 Cristoforo Roncalli detto Pomarancio (1552/1626). Sia gli Evangelisti che gli angeli sono stati messi in opera 1599/1601 dai mosaicisti Paolo Rossetti, Lodovico Martinelli e Marcello Provenzale. Le penne degli evangelisti sono lunghe 1,50 m (5 feet)</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">16 costoloni mosaici 1603/13 Giuseppe Cesari detto Cavalier d'Arpino (1568/1640) e stuolo di mosaicisti diretti da Marcello Provenzale</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">4 Piloni 71 m (233 feet) di perimetro. Edificati da Bramante, completati da Michelangelo e attrezzati da Bernini 1928/39 per ospitare le più importanti reliquie della cristianità</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">4 STATUE nelle nicchie alla base dei piloni alte 5 m (16,4 feet):</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span"><b>"S. Longino"</b> 1635/38 Bernini</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Dopo la S. Bibiana, il Longino è il passo decisivo seguente nella conquista del corpo mediante il drappeggio drammaticamente concepito. Tre giri di pieghe si irradiano da un nodo sotto il braccio sinistro verso l'ampia cascata verticale del drappeggio guidando lo sguardo verso l'immagine marmorea della sacra lancia. Così il corpo del Longino è quasi soppresso sotto il peso del mantello che sembra seguire leggi proprie. É rappresentato nell'atto emozionante della conversione, momento culminante di drammaticità, mentre, guardando la Croce, esclama: veramente questo fu il figlio di Dio! (Rudolf Wittkower)"</span></span></i></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Espresse l'immediatezza prescritta da S. Ignazio nei suoi Esercizi spirituali (...) con un'empatia che per la prima volta identificava le personali aspirazioni religiose di un cattolico con un eroe spirituale della prima cristianità. Longino non è che il primo di una grande successione di peccatori la cui vita fu illuminata dalla rivelazione della divinità di Cristo (Howard Hibbard)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span"><b>"S. Elena"</b> 1629/39 Andrea Bolgi</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Lo stile del Bolgi mostra notevoli affinità con l'opera del Bernini in questo periodo. La S. Elena è infatti così vicina alla Contessa Matilde del Bernini, che quest'ultima fu spesso attribuita al Bolgi. Durante gli anni trenta Bernini stesso fece delle concessioni agli ideali classici sostenuti dalla cerchia Poussin–Sacchi. È perciò comprensibile che in quel periodo egli considerasse Bolgi come uno dei suoi assistenti più fidati (Rudolf Wittkower)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span"><b>"S. Veronica"</b> 1629/39 Francesco Mochi (1580/1654) che la eseguì lentamente per <i>sigillare la vecchiaia con opera memorabile,</i> come soleva dire</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Le opere del toscano suscitarono non poca meraviglia fra i contemporanei e degna considerazione da parte del giovane Bernini. Allievo di Santi di Tito, Mochi rivelò nuove componenti stilistiche di intensa dinamicità (BBG)"</span></span></i></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"La S. Veronica, la sua opera più spettacolare, sembra precipitare fuori della nicchia sospinta da un incontrollabile pathos rivelando una particolare veemenza e tensione nervosa. Straniero nel mutato clima di Roma, superato dal genio del Bernini e deluso, egli protestò invano contro l'ondata del gusto dominante (Rudolf Wittkower)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Bernini aveva fatto delle modifiche ai piloni aprendo le nicchie e scavando scale interne che si diceva avessero fatto aprire delle crepe. Mochi ebbe quindi buon gioco nel rispondere alla critica del Bernini che si lamentava dello svolazzamento eccessivo del panneggio della Veronica: "Colpa degli spifferi che passano attraverso le vostre crepe, maestro!". Forse fu una coincidenza, ma Mochi venne da allora emarginato</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s2" style="letter-spacing: -0.2px; "><span class="Apple-style-span"><span class="Apple-style-span"><b>"S. Andrea"</b> 1629/39 François Duquesnoy (1597/1643)</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Duquesnoy, Sacchi, Poussin e Algardi difendevano non una continuazione diretta del classicismo bolognese, ma una versione riveduta, influenzata fino a un certo punto dai grandi maestri (...). Confrontato con il classicismo del primo barocco, il nuovo classicismo fu dapprima piuttosto impetuoso e pittoresco; ha una fisionomia sua propria ed è questo stile che a buon diritto può essere denominato il classicismo del barocco (Rudolf Wittkower)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">BALCONATE con reliquie 1633/41 Bernini con vari collaboratori tra cui Guidobaldo Abbatini che disegnò i cartoni e fece le rifiniture pittoriche, Carlo Pellegrini, Matteo Bonarelli (marito di Costanza amante del Bernini), Stefano Speranza, Niccolò Menghini, Luigi Bernini e Domenico De Rossi. "8 colonne tortili" dalla vecchia Basilica meravigliosamente riverberate dalle simili ma gigantesche colonne nere del baldacchino berniniano</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">La <i>Testa di S. Andrea</i> fu donata nel 1966 da Paolo VI alla città di Patrasso, dove S. Andrea era morto</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">La <i>Lancia</i> fu donata a Innocenzo VIII Cybo (1484/92) da Bajazet figlio del sultano Maometto II</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Il <i>Volto Santo</i> è la reliquia più venerata ed è considerata in tutto l'occidente la più importante immagine di Cristo; è noto anche come <i>Vera Ikon </i>– vera icona – da cui prese il nome S. Veronica che in realtà si chiamava <i>Berenike</i>, ed è testimoniato dall'VIII sec.</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Il <i>Legno della Croce e i Chiodi della Crocifissione</i> furono portati a Roma da S. Elena. Dopo la donazione di vari frammenti a varie chiese, la reliquia fu ricostituita da Urbano VIII con altri frammenti da S. Anastasia e da S. Croce in Gerusalemme<b></b></span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">BALDACCHINO 1624/33 prima grande impresa di Bernini appena ventiseienne con la collaborazione di: François Duquesnoy, Stefano Maderno (1560/1636), Giacomo Antonio Fancelli, Giuliano Finelli (1602/53), Francesco Borromini (1599/1667) che forse progettò le volute a dorso di delfino</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Resto convinto che Borromini ebbe un importante ruolo creativo nella configurazione delle volute: quelle membrature a dorso di delfino di indubbia derivazione lombarda, che l'architetto ripetè poi in molte delle sue opere mentre non riappaiono mai nel repertorio berniniano. (...) Anche per quanto riguarda il coronamento quadriconcavo che sostiene la croce, prima apparizione a Roma del motivo che ritroveremo poi nelle lanterne di S. Carlino e S. Ivo (Paolo Portoghesi)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Inoltre Andrea Bolgi che fece 4 angeli sul tetto, Pietro Bernini (il padre) e Luigi Bernini (il fratello) con bronzo preso dai costoloni della cupola, da Venezia, da Livorno e dal pronao del Pantheon. Alto 29 m (95 feet). Gli stemmi Barberini nei plinti delle 4 colonne celano la rappresentazione di un parto con il volto di una giovane donna prima rilassato, poi contratto e infine sostituito dal volto di un bimbo: sembra che ciò sia dovuto al voto fatto da Urbano VIII di far costruire il baldacchino se una sua cara nipote, che rischiava di morire durante il parto, avesse partorito felicemente</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Fu un'idea brillante quella di ripetere nelle colonne giganti del Baldacchino, la forma delle colonne a spirale tardo–antiche ora nelle edicole sopra le balconate dei pilastri. Così le colonne a spirale bronzee trovano una quadruplice eco e non solo danno prova della continuità della tradizione, ma con le loro dimensioni gigantesche esprimono anche simbolicamente il cambiamento dalla semplicità dei primi cristiani allo splendore della chiesa della controriforma, con la sottintesa vittoria del cristianesimo sul mondo pagano. Le loro misure sono accuratamente rapportate all'architettura della chiesa, ma invece di creare una rivalità pericolosa, stabiliscono un contrasto drammatico con i pilastri diritti scanalati degli stipiti come pure con gli altri elementi strutturali in marmo bianco della costruzione (Rudolf Wittkower)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">ALTARE PAPALE 1594 per Clemente VIII Aldobrandini (1592/1605) con marmo preso dal Tempio di Minerva nel Foro di Nerva. Solo il papa può celebrare messa su questo altare</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">CONFESSIONE 1615/18 Carlo Maderno, 89 fiammelle in cornucopie bronzee dorate Mattia De Rossi (1637/95), nella <i>Nicchia dei Pallii </i>(fasce di lana bianca larghe 4/6cm – 1,5/2 inches – con sei croci di seta nera, insegna liturgica d'onore)<i> </i>mosaico "Cristo benedicente" del tempo di Leone IV (847/855), nel sottarco 3 affreschi con "Storie della tomba e della Basilica" 1615 G.B. Ricci</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span"><i>Navata destra</i><b></b></span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Nel 1727 molte pale d'altare vennero sostituite con mosaici. Sopra la Porta Santa, mosaico "S. Pietro" 1675 forse di Ciro Ferri (1634/89)</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">PRIMA CAPPELLA <i>(della Pietà)</i> Celeberrima <b>"Pietà"</b> agosto 1498/agosto 1499 di Michelangelo Buonarroti ventitreenne per il Card. Jean de Bilhères de Lagraulas ambasciatore di Carlo VIII re di Francia, piedistallo della statua di Francesco Borromini (1599/1667). Fu oggetto di un attentato nel 1972 da parte dello squilibrato austro–ungherese Laszlo Toth. Durante il restauro si scoprì una M disegnata dalle linee della mano d. della Vergine. Michelangelo aveva ascoltato non riconosciuto alcuni ammiratori della Pietà dubitare che fosse di sua mano attribuendola più plausibilmente a qualche scultore milanese; egli allora entrò nottetempo nella Basilica e incise sulla fascia del vestito della Madonna <i>Michael Angelus Bonarotus Florent Faciebat: </i>è l'unica opera che egli firmò in tutta la sua vita. Viene considerata universalmente come la statua più significativa e più bella al mondo</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"La Madonna tiene in grembo Cristo morto, come se fosse un bambino dormiente; ed è giovane come quando Cristo era bambino. Forse la statua vuole essere proprio questo: una visione o, piuttosto, la previsione o prefigurazione che la Vergine ha della Passione del Figlio. Alla previsione si lega subito il rimpianto: il gesto dimostrativo della mano della Madonna dice che la previsione si è purtroppo avverata. È un arco di tempo dal passato al futuro che esclude il momento del presente, della realtà del fatto. La composizione è chiusa in una piramide, quasi a indicare che tutto ciò rientra in un concetto divino, che trascende il dolore, la pietà umana (Giulio Carlo Argan)"</span></span></i></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Si riallaccia a una tipologia di raffigurazione derivata dalla religiosità popolare e dalla mistica tardomedievale, e diffusa fin dal XIV sec. soprattutto nell'Europa settentrionale con il nome di Vesperbild. La raffigurazione della Pietà era particolarmente idonea a richiamare visivamente il nesso tra l'incarnazione di Cristo, il suo farsi uomo, e il sacrificio eucaristico, la sua immolazione. Infatti la teologia medievale associava la Madonna sia alla nascita del Salvatore, sia all'altare sul quale veniva ripetuto il sacrificio di Cristo durante la messa. Il corpo di Cristo raffigurato disteso in grembo alla madre equivaleva dunque all'ostia che il prete sollevava durante l'eucarestia (Frank Zöllner)"</span></span></i></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"È la sua opera più accuratamente rifinita. Deve aver speso un tempo sterminato a passarvi sopra abrasivi, finchè la figura del Cristo non assunse un aspetto di politura quasi lucente, smaltato. Non si troveranno fori di trapano, ma studiando la testa di Cristo non potrà sfuggire che i capelli sono stati lavorati ampiamente a trapano (Rudolf Wittkower)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Nella volta al centro "Trionfo della Croce", ai lati "Episodi della Passione" Giovanni Lanfranco (1582/1647). La cupola di questa e delle altre due cappelle di questa navata hanno mosaici disegnati da Pietro Berrettini detto Pietro da Cortona (1597/1669) e Ciro Ferri</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">PRIMO PASSAGGIO A d. "Statua di Leone XII Sermattei (1823/29)" 1836 Giuseppe De Fabris; sotto c'è l'entrata per la <i>Cappella delle reliquie</i> di Bernini con "Crocifisso ligneo" forse Pietro de' Cerroni detto Pietro Cavallini (c.1240/c.1325); a s. <b>"Monumento a Cristina di Svezia"</b> 1691/1702 Carlo Fontana<b> </b>(1634/1714) eseguito da Jean Baptiste Théodon</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">SECONDA CAPPELLA (<i>di S. Sebastiano</i>) – Mosaico "Morte di S. Sebastiano" dall'originale del 1614 di Domenico Zampieri detto Domenichino (1581/1641) nella Pinacoteca Vaticana</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Il contrasto tra Vita e Morte gioca un ruolo formidabile nell'iconografia barocca, e una delle più caratteristiche innovazioni del periodo è quella che possiamo definirela "morte felicissima" – vale a dire, una scena nella quale l'agonia dell'essere umano morente e il lutto dei sopravvissuti si mescolano con un sentimento di suprema liberazione (Erwin Panofsky)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Sotto l'altare <i>corpo di Innocenzo XI</i><b> </b><i>Odescalchi (1676/89)</i>; a d. "Monumento di Pio XI Ratti (1922/39)" Francesco Nagni; a s. "Monumento di Pio XII Pacelli (1939/58)" Francesco Messina</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">SECONDO PASSAGGIO A d. <b>"Sepolcro di Innocenzo XII"</b> Pignatelli (1691/1700) Ferdinando Fuga (1699/1782), sculture "Papa" tra "Carità" e "Giustizia" 1746 di Filippo Della Valle (1698/1768)</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Nel corso del 1600 l'influenza politica del pontefice era andata gradualmente sfumando e ciò si riflette nei monumenti papali del periodo. Già il Clemente IX del Guidi in S. Maria Maggiore – 1675 – e il Clemente X del Ferrata in S. Pietro – c.1685 – avevano dimostrato un notevolmente indebolito gesto benedicente e una diminuzione di volume; questo processo proseguì finchè Filippo Della Valle fece del suo Innocenzo XII un fragile vecchio piuttosto che il capo simbolico della cristianità (Rudolf Wittkower)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">A s. <b>"Monumento della Contessa Matilde di Canossa"</b> 1634/37 Bernini, putti reggicartiglio sul sarcofago: a d. Luigi Bernini, a s. Andrea Bolgi autore anche del cartiglio. Matilde nacque nel 1046 e si trovò a possedere a 30 anni un territorio che andava dal Lazio al Lago di Garda. Sostenne Gregorio VII nella lotta per le investiture contro l'imperatore tedesco Enrico IV</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">CAPPELLA DEL SS. SACRAMENTO Cancello 1629/30 Francesco Borromini; 14 bassorilievi in stucco sulla volta e 7 sulle pareti con "Storie del Vecchio e Nuovo Testamento" 1623/27 G.B. Ricci; altare e<b>"Ciborio"</b> di bronzo dorato e lapislazzuli<b> </b>1674 Bernini commissionato 50 anni prima da Urbano VIII</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Marmi colorati, bronzo dorato e lapislazzuli si combinano in un quadro di sublime bellezza che esprime simbolicamente la perfezione immateriale del mondo angelico e lo splendore di Dio. Con il suo modo rivoluzionario di trattare colore e luce, il Bernini diede l'avvio a uno sviluppo di immense conseguenze (Rudolf Wittkower)"</span></span></i></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Versione barocca di un tema familiare; sembra probabile che la sua fonte di ispirazione sia stato un rilievo forse di Andrea Sansovino in S. Croce in Gerusalemme, che lui sicuramente conosceva (...). La piangente e umana adorazione degli angeli in contrasto con l'architettura senza tempo dell'edificio è tipica del tardo stile di Bernini. Nei suoi ultimi anni sembra che abbia trovato nelle inesorabili leggi dell'architettura una commovente antitesi al nostro transitorio stato umano (Howard Hibbard)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Dietro olio su lavagna <b>"Trinità"</b> 1632 Pietro Berrettini detto Pietro da Cortona unica pala d'altare non in mosaico; ai muri tele "Angeli" 1742 Giacomo Zoboli; a d. "2 colonne tortili della vecchia Basilica" con al centro copia in mosaico di "S. Francesco stigmatizzato" di Domenichino in S. Maria della Concezione; a s. organo del 1582. Cupola del vestibolo della cappella mosaici disegnati da Pietro Berrettini detto Pietro da Cortona</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">TERZO PASSAGGIO A d. <b>"Monumento di Gregorio XIII" </b>Boncompagni (1572/85) 1720/23 Camillo Rusconi (1658/1728) per Giacomo Boncompagni, rilievo con riforma Gregoriana del calendario del 1582</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Pur essendo profondamente legato alla concezione scultorea del Bernini, il Rusconi mescolò elementi dal Leone XI dell'Algardi (allegorie) e dall'Innocenzo XI del Monnot (bianchezza del monumento, sarcofago trapezoidale con rilievo e idea di collocare il papa seduto sul sarcofago) ma non fu una semplice ripetizione. Il suo monumento è sistemato asimmetricamente: il papa non è seduto sull'asse centrale, nè le allegorie seguono la consueta disposizione araldica. La tomba fu composta per essere vista da una sola parte e anche il drappeggio del Coraggio, visto da sinistra, crea una diagonale predominante che lega l'allegoria alla figura del papa. La tomba è una rara sintesi delle tendenze classicheggianti e barocche dell'Algardi e del Bernini, compiuta con successo nell'eroico tardo barocco del Rusconi (Rudolf Wittkower)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">A s. "Tomba di Gregorio XIV"<b> </b>Sfondrati (1590/91) con statue a s. "Religione" e a d. "Giustizia" di Prospero Antichi detto Bresciano: sono i modelli in stucco, appartenevano alla tomba provvisoria di Gregorio XIII e avrebbero dovuto essere realizzati in marmo o bronzo, ma il monumento non fu mai completato ed è l'unico nella Basilica senza la statua del papa. Anche l'urna era in stucco e quella attuale in marmo fu fatta nel 1842</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">Cappella Gregoriana</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">1583 Giacomo Della Porta per Gregorio XIII Boncompagni (1572/85). Sull'altare "Madonna del Soccorso" XI sec. già nella vecchia Basilica, sotto <i>sepolcro di S. Gregorio Nazianzeno</i> che dà il nome alla cappella, a d. "Tomba di Gregorio XVI" Cappellari (1831/46) 1854 Luigi Amici, a s. mosaico "Comunione di S. Girolamo" da originale di Domenico Zampieri detto Domenichino (1581/1641), sotto <i>corpo di Giovanni XXIII</i><b> </b><i>Roncalli (1958/63)</i>. Nella cupola della cappella mosaici disegnati 1772/75 da Salvatore Monosilio</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">PASSAGGIO AL TRANSETTO A d. <b>"Tomba di Benedetto XIV"</b> Lambertini (1740/58) 1769 Pietro Bracci (1700/73) con a s. "Sapienza sacra" e a d. "Disinteresse"</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Il Bracci fece un gran numero di tombe fra le quali quelle di Benedetto XIII in S. Maria sopra Minerva e questa di Benedetto XIV, oltre a molti ritratti a mezzo busto con fine penetrazione psicologica e un vibrante e magistrale modo di trattare la superficie. Ancora dipendente dall'idioma del Bernini, egli lo trasformò in uno stile settecentesco tenero e lirico, perfino qualche volta sentimentaleggiante (Rudolf Wittkower)"</span></span></i></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"L'idea di rappresentare il papa in piedi, rompendo con la tradizione precedente, compare in un disegno di Paolo Posi al quale Bracci potrebbe aver collaborato e che risale probabilmente al 1760 (Jennifer Montagu)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">A s. mosaico "L'ultima messa di S. Basilio" 1748/51 di 4 mosaicisti diretti da Luigi Vanvitelli da originale ora nella Basilica S. Maria degli Angeli e dei Martiri 1743/47 di Pierre Subleyras (1699/1749). Sotto<i>corpo di S. Giosafat</i><b> </b>qui traslato nel 1963, fondatore nel 1617 dell'Ordine Basiliano<b></b></span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">Transetto destro</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">ALTARE CENTRALE Mosaico 1737 "Martirio dei Ss. Processo e Martiniano" da originale di Jean Valentin (detto anche Valentin de Boulogne) nella Pinacoteca Vaticana; <i>reliquie dei Ss. Processo e Martiniano</i>dalla vecchia Basilica nella quale erano state portate da Pasquale I (817/824); secondo la tradizione erano i carcerieri di S. Pietro nel carcere mamertino; ai lati dell'altare centrale "2 colonne monolitiche di giallo antico" che con le altre 2 nel transetto opposto sono considerate uniche al mondo per grandezza ed esecuzione</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">A d. ALTARE DI S. VENCESLAO DI BOEMIA: Mosaico 1740 "S. Venceslao di Boemia" da originale 1632 di Angelo Caroselli al Kunsthistorisches Museum di Vienna – A s. ALTARE DI S. ERASMO: mosaico 1739 "Martirio di S. Erasmo" da originale 1628/29 di Nicolas Poussin (1594/1665) nella Pinacoteca Vaticana – Catino absidale: stucchi 1749 Luigi Vanvitelli (1700/73), 3 medaglioni "Storie di Ss. Pietro e Paolo" G.B. Maini</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Statue nelle nicchie A d. "S. Gaetano da Thiene" 1738 Carlo Monaldi, "S. Girolamo Emiliani" 1757 Pietro Bracci. A s. <b>"S. Brunone"</b> 1744 del francese Michelangelo Slodtz che visse a Roma per 17 anni</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Un avvenimento drammatico sostituì, dovunque era possibile, la semplice interpretazione della devozione e della visione. Slodtz scelse di rappresentare il drammatico rifiuto del santo della mitra e del pastorale. L'interesse per l'episodio sembra indebolire il contenuto superpersonale. Una simile figura illustra estremamente bene l'elegante tendenza del rococò francese nella scultura romana verso la metà del Settecento (Rudolf Wittkower)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">"S. Giuseppe Calasanzio" 1755 Innocenzo Spinazzi</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">STATUE NELL'ORDINE SUPERIORE A d. "Francesca Saverio Cabrini" (1850/1917 andò in America a 40 anni, prese la cittadinanza americana nel 1909, fu la prima a essere canonizzata – 1946 – dei 7 santi americani, la prima missionaria donna ed è la patrona degli emigranti) 1947 Enrico Tadolini, "Giovanna Antida Thouret" 1949 Carlo Quattrini ed Enrico Quattrini. A s. "Paolo della Croce" 1876 Ignazio Jacometti, "Bonfiglio Monaldi" 1906 Cesare Aureli</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s2" style="letter-spacing: -0.2px; "><span class="Apple-style-span"><span class="Apple-style-span">PASSAGGIO ALLA CAPPELLA SS. MICHELE E PETRONILLA A d. <b>"Monumento di Clemente XIII" </b>Rezzonico (1758/69) 1784/92 Antonio Canova (1757/1822) che sembra sia andato a Napoli per disegnare dal vero i leoni nel Giardino Reale</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Il solenne e impegnativo monumento è impostato su una composizione regolare ed equilibrata e il tema della morte vi è affrontato con serena meditazione. Le cupe allegorie barocche sulla morte si trasformano qui nell'immagine simbolica della religione cristiana e del genio funebre, con la fiaccola rovesciata, tenera allusione alla fugacità della vita terrena (BBG)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">A s. mosaico "Navicella degli apostoli" copia in mosaico di Pietro Paolo Cristofari del 1721 da originale 1627/28 di Giovanni Lanfranco (1582/1647) ora nella loggia delle benedizioni; aveva a sua volta rimpiazzato un affresco del 1605 del povero Bernardo Castello</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">Cappella Ss. Michele e Petronilla</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Sull'altare mosaico con "S. Michele Arcangelo" da originale di Guido Reni (1575/1642), a s. mosaico "Seppellimento e gloria di S. Petronilla" da originale 1623 di Giovanni Francesco Barbieri detto Guercino (1591/1666), sotto reliquie di S. Petronilla, sul pavimento lastra marmorea con <i>tomba dei due papi Della Rovere: Sisto IV (1471/84) e suo nipote Giulio II (1503/13)</i> qui traslati nel 1926 dalla Cappella del Coro assieme ai due parenti cardinali Galeotto Della Rovere e Fazio Santoro. Giulio II non è quindi sepolto nella sua tomba di S. Pietro in Vincoli che è vuota</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">PASSAGGIO ALL'ABSIDE A d. "Tomba di Clemente X"<b> </b>Altieri (1670/76) 1684 Mattia De Rossi<b> </b>(1637/95) per il Card. Paluzzo Paluzzi degli Albertoni nipote di Clemente X, eseguito da ex collaboratori di Bernini: "Statua del papa" di Ercole Ferrata (1610/86), a s. "Clemenza" Giuseppe Mazzuoli, a d. "Benignità" Lazzaro Morelli, bassorilievo "Apertura della Porta santa nel 1675" Leonardo Reti, "Putti" Filippo Carcani e agli angoli del sarcofago "Teschi con parrucche" Francesco Aprile. Nel 1962 fu oggetto di un attentato con una bomba a orologeria che esplose dopo la chiusura e che fortunatamente provocò pochi danni. A s. mosaico 1758/60 "S. Pietro risuscita la fanciulla Tabita" da originale 1736/40 in S. Maria degli Angeli e dei Martiri di Placido Costanzi che coprì un affresco rovinato del 1606 di Giovanni Baglione</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">Abside</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="Apple-style-span"><span class="Apple-style-span"><span class="s1" style="letter-spacing: -0.1px; ">Catino absidale Stucchi 1749 Luigi Vanvitelli, 3 medaglioni "Storie di Ss. Pietro e Paolo" G.B. Maini. <b>"Cattedra di S. Pietro"</b> 1656/65 per Alessandro VII Chigi (1655/67) Bernini con 35 collaboratori tra cui Ercole Ferrata (1610/86), Ercole Antonio Raggi e Lazzaro Morelli (la sedia lignea è in realtà un trono del 875 regalata da Carlo il Calvo a Giovanni VIII – 872/882 – in occasione della sua incoronazione qui),<i>dottori della </i></span><span class="s4" style="letter-spacing: -0.3px; "><i>Chiesa</i>: davanti a d. <i>S. Agostino</i>, a s. <i>S. Ambrogio</i> </span><span class="s1" style="letter-spacing: -0.1px; ">(chiesa latina), dietro a s. <i>S. Atanasio</i>, a d. <i>S. Giovanni Crisostomo</i> (chiesa greca), 74 tonnellate (81,5 tons) di bronzo. Finestra con "Colomba dello Spirito Santo" 1911 vetraio tedesco Hagle dal disegno originale di Giovanni Paolo Schor dipinto su vetro</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"La Cattedra come altri suoi lavori è stata progettata per una veduta principale inquadrata; fu concepita come quadro scolpito, pieno di colore di dimensioni enormi. Il principio compositivo che si cela qui dietro l'uso del colore è ovvio: il colore illumina, e diventa tanto più visionario, quanto più i personaggi e gli oggetti sono vicini alla regione celeste. La policromia ha quindi un significato soprannaturale (Rudolf Wittkower)"</span></span></i></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"I 4 Dottori della Chiesa in bronzo, con le espressioni cariche di pathos, con i gesti impetuosi, rivelano ancora un lontano richiamo alla grande pittura di Rubens, mentre la Gloria del Paradiso in stucco dorato, bronzo e vetro si pone a coronamento di ricerche figurative, sul tema dell'apparizione celeste e dello spazio incommensurabile, che avevano interessato, da Correggio in poi, gli artisti italiani da più di un secolo (Alessandro Angelini)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="Apple-style-span"><span class="Apple-style-span"><span class="s2" style="letter-spacing: -0.2px; ">A d. <b>"Monumento di Urbano VIII" </b>Barberini </span><span class="s1" style="letter-spacing: -0.1px; ">(1623/44) con statue di "Carità" (con le sembianze di <i>Costanza Bonarelli</i><b> </b>moglie di un collaboratore di Bernini e sua amante, fatta da lui sfregiare dopo aver saputo che era anche l'amante di suo fratello a sua volta punito con una bastonatura. La statua aveva originariamente il seno nudo che fu coperto a fine 1800) e "Giustizia" 1627/47 Bernini prima affermazione della tipologia di tomba barocca con raffigurazione dello scheletro che scrive l'epitaffio come <i>memento mori</i></span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="Apple-style-span"><span class="Apple-style-span"><span class="s1" style="letter-spacing: -0.1px; "><i>"</i></span><span class="s2" style="letter-spacing: -0.2px; "><i>La morte che scrive è un modo vivo e pulsante di sostituire il banale cartiglio epigrafico (Maurizio Fagiolo Dell'Arco)"</i></span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="Apple-style-span"><span class="Apple-style-span"><span class="s1" style="letter-spacing: -0.1px; "><i>"Il contrasto di materiali è significativo: tutto ciò che è in diretto contatto con il defunto, il sarcofago, la Morte, la statua papale stessa è realizzato in bronzo scuro, le allegorie delle Virtù invece sono in splendente marmo bianco: esse con le loro qualità umane, particolarmente la Carità, si pongono come mediatrici fra l'osservatore e il papa. Bernini, superando il compassato classicismo dei monumenti sepolcrali cinquecenteschi, </i></span><span class="s2" style="letter-spacing: -0.2px; "><i>infonde al tema funebre vitalità e nuova dinamicità spettacolare: crea l'archetipo della tomba barocca (BBG)"</i></span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="Apple-style-span"><span class="Apple-style-span"><span class="s1" style="letter-spacing: -0.1px; ">A s. <b>"Monumento di Paolo III" </b>Farnese (1534/49) con statue di "Giustizia" (Giulia Farnese, sorella di Paolo III, coperta nel 1595 con veste di metallo dipinta di bianco da Teodoro Della Porta figlio di Guglielmo) e "Prudenza" (Giovannella Caetani, madre di Paolo III) 1551/75 Guglielmo Della Porta, per il Card. Alessandro Farnese. <i>Giulia Farnese</i> era nota come <i>Giulia Bella </i>dagli occhi corvini, i capelli lunghissimi tinti di biondo e la carnagione candida che sembra lei amasse far risaltare dormendo solo su lenzuola di seta nera. Dall'età di 15 anni fu per 5 anni amante dell'allora cinquattottenne Card. Rodrigo Borgia poi divenuto papa Alessandro VI 1492/1503, nonostante si fosse appena sposata con Orso Orsini che era affetto da foruncolosi e orbo a un occhio. Divenne la concubina ufficiale del papa e fece diventare cardinale il fratellino Alessandro soprannominato <i>cardinale della gonnella</i>. Poi diventerà a sua volta papa con il nome di Paolo III. Tra le due statue preziosa "Maschera" in raro marmo nero portoro dagli Orti Farnesiani sul Palatino. Prima tomba papale a essere eretta nella Basilica. Fu spostata dal pilone di S. Andrea a questa posizione nel 1628 da Bernini. Gioacchino Belli in un sonetto descrive il motivo per la censura della statua della Giustizia: un <i>si</i></span><span class="s2" style="letter-spacing: -0.2px; "><i>gnore ingrese</i> (o forse un seminarista spagnolo) era stato sorpreso a </span><span class="s1" style="letter-spacing: -0.1px; ">masturbarsi di fronte al seducente nudo</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="Apple-style-span"><span class="Apple-style-span"><span class="s1" style="letter-spacing: -0.1px; "><i>"Si vuole che Guglielmo abbia eseguito l'opera sotto la direzione di Michelangelo. Al di là della conferma storica, michelangiolesca è la concezione della statua seduta del defunto e ancor più quella delle due allegorie distese sulle volute sottostanti, nitido richiamo alle Tombe Medicee nella Sagrestia </i></span><span class="s2" style="letter-spacing: -0.2px; "><i>Nuova di S. Lorenzo a Firenze (Alfredo Maria Pergolizzi)"</i></span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Era inevitabile che la Cattedra venisse posta nell'abside centrale tra le tombe dei due papi i cui pontificati incorniciano il periodo attivo della Controriforma. Niente simboleggia la nuova Ecclesia Triumphans più chiaramente (Howard Hibbard)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">STATUE NELLE NICCHIE A d. "Profeta Elia" 1727 Agostino Cornacchini, "S. Domenico" 1706 Pierre Legros. A s. "S. Benedetto" 1735 Antonio Montauti, "S. Francesco" 1727 Carlo Monaldi</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">STATUE NELL'ORDINE SUPERIORE A d. "Francesco di Sales" 1845 Adamo Tadolini, "Francesco Caracciolo" 1834 Francesco Massimiliano Laboureur e Innocenzo Fraccaroli. A s. "Francesca Romana" 1850 Pietro Galli allievo di Bertel Thorvaldsen, "Alfonso Maria de' Liguori" 1839 Pietro Tenerani (1789/1869)</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="Apple-style-span"><span class="Apple-style-span"><span class="s2" style="letter-spacing: -0.2px; ">PASSAGGIO ALL'ABSIDE A d. "Tomba di Alessandro</span><span class="s1" style="letter-spacing: -0.1px; "> VIII" Ottoboni (1689/91) 1725 Carlo Arrigo di San Martino per il pronipote del papa il Card. Pietro Ottoboni, bassorilievo "Consegna dei doni durante la canonizzazione del 1690 di vari santi tra cui S. Giovanni da Dio, Pasquale Baylon, Giovanni da S. Facondo e Lorenzo Giustiniani" Angelo De Rossi che aveva disegnato e modellato in stucco anche le statue del papa e le allegorie eseguite dopo la sua morte da Giuseppe Bertosi (papa) e Giuseppe Raffaelli (a s. "Religione" e a d. "Prudenza"). A s. mosaico "Ss. Pietro e Giovanni risanano un paralitico" da originale di Francesco Mancini ora nella Sala delle Benedizioni</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">Cappella della Madonna della Colonna</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Giacomo Della Porta, altare con reliquie di S. Leone Magno (440/461) con decorazioni di Francesco Borromini e pala marmorea (unica nella Basilica) <b>"Leone Magno che incontra Attila"</b> 1646/50 capolavoro di Alessandro Algardi (1598/1654) eseguito assieme all'allievo Domenico Guidi (1625/1701)</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"L'interpretazione dell'avvenimento è semplice e convincente: come nell'esempio di Raffaello, solo il papa e il re scorgono la miracolosa apparizione degli apostoli e la divisione in tre parti (s., d. e zona superiore) è mantenuta rigorosamente. Non si può non ammirare la logica compositiva e la chiarezza psicologica. La dimensione insolita (oltre 7 m di altezza) ha spesso indotto a credere erroneamente che il suo stile non abbia precedenti; ma in effetti la storia del rilievo illusionista risale ai primi giorni del rinascimento, a Donatello e a Ghiberti. In contrasto, però, con il rilievo stacciato del rinascimento Algardi rinunciò a creare un coerente spazio ottico e usò soprattutto gradazioni nella proiezione delle figure per produrre l'illusione di profondità. In modo più effettivo che la pittura illusionista il rilievo pittorico soddisfaceva il desiderio barocco di cancellare la linea di confine fra vita e arte, spettatore e figura (Rudolf Wittkower)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="Apple-style-span"><span class="Apple-style-span"><span class="s1" style="letter-spacing: -0.1px; ">Nel pavimento cerchio di marmo con <i>tomba di Leone XII Sermattei (1823/29)</i>. Nella cupola della cappella "Allegorie e simboli della Vergine" 1742 Giacomo Zoboli, lunette 1643/44 Giovanni Francesco Romanelli, pennacchi Andrea Sacchi (1599/1661) e Giovanni Lanfranco (1582/1647) – Sull'altare di fronte venerata "Madonna" XV sec. su un tronco di colonna di marmo di portasanta già nella vecchia Basilica. Sotto l'altare in un "Sarcofago cristiano" del IV sec. <i>spoglie dei papi Leone II (682/683), Leone III (795/816) e </i></span><span class="s4" style="letter-spacing: -0.3px; "><i>Leone IV (847/855)</i> </span><span class="s1" style="letter-spacing: -0.1px; ">raccolte da Pasquale II (1099/1118)</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="Apple-style-span"><span class="Apple-style-span"><span class="s2" style="letter-spacing: -0.2px; ">PASSAGGIO ALLA CAPPELLA DELLA CO</span><span class="s1" style="letter-spacing: -0.1px; ">LONNA A s. "Apparizione del Sacro Cuore di Gesù a S. Margherita Maria Alacoque" 1921/24 Carlo Muccioli ultima grande impresa musiva del 1900 che sostituì il dipinto su lavagna "Caduta di Simon Mago" di Francesco Vanni; avrebbe dovuto essere sostituita da quella di uguale soggetto di Pompeo Batoni, che però non fu mai qui messa in opera e che ora è Basilica di S. Maria degli Angeli e dei Martiri; fu temporaneamente sostituita da una copia del dipinto del Vanni eseguita da Pierre Charles Tremollière che ora si trova pure nella Basilica degli Angeli e dei Martiri.</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">A d. spettacolare <b>"Tomba di Alessandro VII"</b> Chigi (1655/67) 1672/78 Bernini con collaboratori: a s. "Carità" 1673/75 Giuseppe Mazzuoli, dietro la Carità "Busto della Prudenza" 1675/77 iniziata da Giuseppe Baratta e finita da Giulio Cartari, a d. "Verità" 1673/77 iniziata da Lazzaro Morelli e finita da Giulio Cartari, dietro la Verità "Busto di Giustizia" 1676 Giulio Cartari, "Papa" 1675/76 Michel Maille rifinito 1677 Giulio Cartari e Domenico Basadonna, parti in bronzo Girolamo Lucenti che fece assieme a Filippo Carcani anche la veste bronzea della "Verità" nel 1678 dopo che Innocenzo XI Odescalchi (1676/89) aveva protestato per la nudità; il<i> basamento in marmo di Portovenere</i> ha venature naturali che vengono assecondate e integrate a mosaico dall'artista per ottenere un materiale che, pure se tratto dalla natura, mostra connotazioni creativamente artificiali. Alessandro VII teneva a tal punto presente la morte incombente da dormire con la sua futura cassa da morto di piombo sotto al letto</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Nella tarda tomba di Alessandro VII il Bernini mise in risalto il contrasto fra la precarietà della vita (Morte con clessidra) e l'imperturbabile fede del papa che prega. Ma quest'idea, che corrispondeva così bene alle convinzioni del Bernini stesso sulla soglia della morte, era troppo personale per trovare molto seguito. Quando fu ripresa durante il 1700, il concetto era cambiato: la Morte non era più controbilanciata dalla certezza di salvarsi mediante la fede e non riservava altro che terrore a coloro che minacciava di eterna distruzione (Rudolf Wittkower)"</span></span></i></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">Transetto sinistro</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">ALTARE CENTRALE Mosaico 1963 "S. Giuseppe con Gesù Bambino" da originale a tempera 1962 Achille Funi; <i>reliquie dei Ss. Simone e Giuda</i><b> </b>in un "Sarcofago" del IV sec. dal Mausoleo di S. Costanza; ai lati dell'altare centrale "2 colonne monolitiche di giallo antico" che con le altre 2 nel transetto opposto sono considerate uniche al mondo per grandezza ed esecuzione</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">A d. ALTARE DI S. TOMMASO: mosaico 1806/22 "Incredulità di S. Tommaso" da originale di Vincenzo Camuccini; sotto l'altare <i>reliquie di S. Bonifacio IV (608/615)</i>, il papa che consacrò il Pantheon al culto cristiano –<b> </b>A s. ALTARE DI S. PIETRO: mosaico "Crocifissione di S. Pietro" da originale 1604/05 di Guido Reni (1575/1642) nella Pinacoteca Vaticana, originariamente dipinta per S. Paolo alle Tre Fontane; sotto l'altare <i>corpo di S. Leone IX (1049/54)</i><b> </b>in un sarcofago strigilato in marmo bianco – Catino absidale: stucchi 1749 Luigi Vanvitelli, 3 medaglioni "Storie di Ss. Pietro e Paolo" G.B. Maini</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">Statue nelle nicchie a d. "S. Giuliana Falconieri" 1740 Pietro Paolo Campi, "S. Norberto" 1767 Pietro Bracci (1700/73), a s. "S. Giovanni di Dio" 1745 Filippo Della Valle (1698/1768), "S. Pietro Nolasco" 1742 Pietro Paolo Campi</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">STATUE NELL'ORDINE SUPERIORE a d. "Angela Merici" 1866 Pietro Galli, "Guglielmo di Vercelli" 1878 Giuseppe Prinzi. A s. "Maria di S. Eufrasia Pellettier" 1942 Giovanni Nicolini, "Luisa de Marillac" 1954 Antonio Berti</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">PASSAGGIO PER LA CAPPELLA CLEMENTINA a d. "Monumento di Pio VIII"<b> </b>Castiglioni (1829/30) 1853/66 Pietro Tenerani (1789/1869) per il Card. Giuseppe Albani, con sotto entrata alla sagrestia affiancata da rilievi sempre del Tenerani: a d. "Prudenza" e a s. "Giustizia". A s. mosaico "Castigo dei coniugi Ananìa e Saffìra" da originale del 1606 di Cristoforo Roncalli detto Pomarancio (1552/1626) ora in S. Maria degli Angeli e dei Martiri. L'altare è chiamato <i>altare della bugia </i>per la storia di Ananìa e Saffìra che dopo aver venduto un podere avevano consegnato agli apostoli solo una parte del ricavato, affermando mendacemente di aver consegnato l'intera somma: per questa bugia furono uccisi da Dio</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">Cappella Clementina</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">1592/1605 Giacomo Della Porta per Clemente VIII Aldobrandini (1592/1605). Sopra l'altare mosaico "Miracolo di S. Gregorio Magno" da originale di Andrea Sacchi (1599/1661), sotto l'altare <i>tomba di S. Gregorio Magno</i>, di fronte <b>"Tomba di Pio VII" </b>Chiaramonti (1800/23)<b> </b>con a d. "Sapienza Celeste" e a s. "Forza Divina" 1823/31 Bertel Thorvaldsen unico artista protestante in S. Pietro per il Card. Ercole Consalvi; il progetto architettonico fu di Giuseppe Valadier</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="Apple-style-span"><span class="Apple-style-span"><span class="s1" style="letter-spacing: -0.1px; "><i>"Lo spiritualismo esangue del danese, il suo sottile arcaismo, che più tardi avrà dei punti in comune con le tendenze puristiche introdotte a Roma dai Nazareni, sembravano corrispondere alle esigenze poste dai </i></span><span class="s2" style="letter-spacing: -0.2px; "><i>più rigorosi teorici del bello ideale, a quella aspirazione verso una bellezza della quale (come scrisse Winckelmann)</i></span><span class="s1" style="letter-spacing: -0.1px; "><i> si potesse dire come dell'acqua presa da una sorgente che, quanto meno è saporosa, vale a dire priva d'ogni particella straniera, tanto più si stima salubre (BBG)"</i></span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">A s. mosaico "Trasfigurazione" da originale di Raffaello Sanzio (1483/1520)</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">Navata sinistra</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">TERZO PASSAGGIO A d. <b>"Monumento di Leone XI" </b>Medici (aprile 1605) 1634/52 Alessandro Algardi (1598/1654); nel bassorilievo del sarcofago a d. "Re Enrico IV abbraccia la fede cattolica" e a s. "Ratifica della pace di Vervins del 1598" episodi nei quali il futuro papa, all'epoca ancora Card. Alessandro d'Ottaviano de' Medici nunzio apostolico in Francia, ebbe un ruolo rilevante; a s. "Magnanimità" Ercole Ferrata (1610/86) e a d. "Liberalità" Giuseppe Peroni per il Card. Roberto Ubaldini nipote di Leone XI</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Di indubbia derivazione compositiva dalla tomba di Urbano VIII, concepita da Bernini sei anni prima, il monumento funebre di Algardi esprime però in modo autonomo le sue convinzioni estetico–formali. Algardi evitò l'uso di marmi policromi e adottò interamente il marmo bianco di carrara levigatissimo nelle superfici e uniforme e freddo negli incarnati; inoltre, invece di soffermarsi sul concetto della transitorietà della vita, rilevabile nella interpretazione berniniana, preferì conferire alle figure allegoriche e al papa stesso una condizione morale ideale permanente, espressa mediante la compostezza dei gesti e delle espressioni. Le dimensioni preponderanti delle figure rispetto alla struttura indicano la preferenza stilistica classica nei confronti della statuaria (BBG)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">A s. <b>"Monumento a Innocenzo XI"</b> Odescalchi (1676/89) con a d. "Fortezza" e a s. "Religione", bassorilievo "Liberazione di Vienna dai Turchi nel 1683 da parte del re polacco Giovanni Sobiesky" (voluta e sostenuta da Innocenzo XI) 1697/1701 disegnato da Carlo Maratta (1625/1713) ed eseguito, forse reinterpretando idee del Maratta, da Pierre Etienne Monnot per il nipote del papa Livio Odescalchi. Il corpo del papa è visibile nella 2° cappella a d. della Basilica</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Elementi che derivano sia dal Bernini che dall'Algardi sono qui riuniti: la tomba di Urbano VIII servì da modello per il trattamento policromo, ma per i tipi delle allegorie e il rilievo narrativo Monnot seguì la tomba di Leone XI. Egli però mise il rilievo non sul sarcofago vero e proprio, ma sul piedistallo della statua del papa. L'inserimento di questo piedistallo rese necessario ridurre considerevolmente le dimensioni della figura del papa in confronto a quella dell'Algardi. L'aumentata importanza degli elementi decorativi a spese delle figure fa luce sul cambiamento stilistico dal barocco al tardo barocco (Rudolf Wittkower)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">CAPPELLA DEL CORO progettata da Carlo Maderno; "Urna in granito" antica con <i>reliquie di S. Giovanni Crisostomo (m.407)</i>, nel 2004 Giovanni Paolo II donò parte delle reliquie al patriarca di Costantinopoli; stucchi 1626 G.B. Ricci e forse Carlo Maratta; mosaico "Immacolata Concezione assieme ai Ss. Francesco d'Assisi, Antonio da Padova e Giovanni Crisostomo" 1740 (originale in S. Maria degli Angeli e dei Martiri) Pietro Bianchi detto il Creatura (1694/1740) allievo romano di Benedetto Luti e del Baciccio. Sotto il pavimento <i>tomba di Clemente XI Albani (1700/21)</i>. Splendido coro ligneo intarsiato di G.B. Soria e Bartolomeo De Rossi. Nella cupola del vestibolo della cappella mosaici disegnati da Marcantonio Franceschini, Niccolò Ricciolini, Carlo Maratta e Ciro Ferri (1634/89)</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">SECONDO PASSAGGIO a d. "Monumento di S. Pio X Sarto (1903/14)" (ultimo papa santo, canonizzato nel 1954) 1923 Florestano Di Fausto, statua di Pier Enrico Astorri, sulla porta sottostante bassorilievi con "Storie di S. Pio X", a s. <b>"Tomba di Innocenzo VIII"</b> Cybo (1484/92) 1498 Antonio Benci detto Antonio del Pollaiolo (c.1432/98)</span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="Apple-style-span"><span class="Apple-style-span"><span class="s1" style="letter-spacing: -0.1px; "><i>"Nella destra tiene la sacra lancia, importante reliquia recuperata ai turchi. Questo modello tombale, per il suo potente impatto visivo, ebbe un grandissimo </i></span><span class="s2" style="letter-spacing: -0.2px; "><i>successo in ambito papale sino all'inizio del 1800 (BBG)"</i></span></span></span></p><p class="p3" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 8.5px; text-align: justify; text-indent: 19.8px; font: normal normal normal 8px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">"Considera la figura come un nucleo di massima intensità entro un alone luminoso. Il movimento ha la funzione di disarticolare la figura, di organizzare la luce secondo ritmi rapidi e discontinui. Proprio perchè la linea non può più avere una continuità di segno agisce liberamente a tutti i livelli, facendo levitare e ribollire la materia nella luce (Giulio Carlo Argan)"</span></span></i></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><span class="Apple-style-span"><span class="Apple-style-span">SECONDA CAPPELLA <i>(della Presentazione della Vergine)</i> sopra l'altare mosaico "Presentazione di Maria al Tempio" da originale 1642 di Giovanni Francesco Romanelli ora nella chiesa di S. Marco a Milano, eseguito 1726 da Pietro Paolo Cristofari da cartone di Luigi Vanvitelli (1700/73); sotto l'altare <i>corpo di S. Pio X Sarto (1903/14)</i> in un'urna di bronzo dorato del 1952 di Francesco Nagni; a d. "Monumento di Giovanni XXIII (1958/63)" 1967 Emilio Greco; a s. "Monumento di Benedetto XV Della Chiesa (1914/22)" 1928 Luca Beltrami (architetto della Pinacoteca Vaticana) statua di Pietro Canonica. Nella cupola del vestibolo della cappella mosaici "Incoronazione della Vergine e caduta di Lucifero" disegnati da Carlo Maratta (1625/1713) e dal suo allievo prediletto Giuseppe Chiari (1654/1727). Al centro del pavimento "Stemma di Giovanni Paolo II (1978/2005)" 1998 in l'occasione del restauro dell'intero pavimento</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="Apple-style-span"><span class="Apple-style-span"><span class="s1" style="letter-spacing: -0.1px; ">PRIMO PASSAGGIO a d. <b>"Monumento di Maria Clementina Sobieski"</b> moglie di Giacomo III Stuart re d'Inghilterra e nipote di Giovanni II re di Polonia morta a 30 anni nel 1735 (il cuore è nella Basilica dei Ss. Apostoli) 1742 Filippo Barigioni<b> </b>(1672/1753) allievo di Carlo Fontana, sculture Pietro Bracci (1700/73), parti in metallo Giovanni Giardini, mosaico Pietro Paolo Cristofari da originale di Ludovico Stern nella Galleria </span><span class="s2" style="letter-spacing: -0.2px; ">Nazionale dei Ritratti a Edimburgo; a s.</span><span class="s1" style="letter-spacing: -0.1px; "> <b>"Monumento degli ultimi Stuart"</b> ritratti di Giacomo III, Carlo Edoardo ed Enrico Duca di York 1817/19 Antonio Canova (1757/1822) per Giorgio IV re d'Inghilterra che, come commentò Stendhal, pagò il sepolcro di questi principi che avrebbe probabilmente decapitato se fossero caduti nelle sue mani. Il padre di Giacomo III, Giacomo II, fu duca di York prima di essere re di Inghilterra, Scozia e Irlanda e, come duca di York, fu comandante della Marina reale. Nel 1644 gli inglesi conquistarono il territorio olandese della Nuova Olanda e in suo onore ribattezzarono la città più importante, che si chiamava Nuova Amsterdam, in New York. Nel XIX sec. i due angeli scolpiti sulla tomba vennero forniti di calzoni metallici essendo considerati troppo scandalosi; vennero in seguito tolti</span></span></span></p><p class="p2" style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="Apple-style-span"><span class="Apple-style-span"><span class="s1" style="letter-spacing: -0.1px; ">BATTISTERO coperchio in bronzo dorato di Lorenzo Ottoni per il "Sarcofago" (in porfido rosso egiziano) forse dell'imperatore Adriano, poi usato come tomba dell'imperatore Ottone II e qui sistemato nel 1695 con mensole in marmo antico e porfido e "Teste di cheru</span><span class="s2" style="letter-spacing: -0.2px; ">bini" di Pierre Etienne Monnot da Carlo Fontana</span><span class="s1" style="letter-spacing: -0.1px; "> (1634/1714); al centro mosaico "Battesimo di Cristo" dall'originale in S. Maria degli Angeli e dei Martiri 1696/98 di Carlo Maratta (1625/1713) eseguito 1734 da G.B. Brughi e Pietro Paolo Cristofari; ai lati mosaici dagli originali a d. "Battesimo dei Ss. Processo e Martiniano" 1710/11 di Giuseppe Passeri l'allievo più amato da Carlo Maratta, a s. "S. Pietro battezza il centurione Cornelio" 1710 di Andrea Procaccini altro allievo di Maratta, eseguiti 1736/37 da Pietro Paolo Cristofari. Nel vestibolo della cappella cupola, pennacchi e lunette del vestibolo della cappella mosaici iniziati da G.B. Gaulli detto Baciccio (1639/1709) ma disegnati dopo la sua morte: 1713/23 pennacchi "4 continenti", 1732/37 lunette, 1738/45 cupola "Battesimo di Desiderio, di Sangue e di Acqua" da Francesco Trevisani (1656/1746); i cartoni originali sono in S. Maria degli Angeli e dei Martiri, i mosaici furono eseguiti da vari mosaicisti sotto la direzione di Pier Leone Ghezzi (1674/1755) e Pietro Paolo Cristofari</span></span></span></p><p class="p1" style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; text-align: justify; font: normal normal normal 9px/normal Georgia; "><span class="s1" style="letter-spacing: -0.1px; "><i><span class="Apple-style-span"><span class="Apple-style-span">Sagrestia</span></span></i></span></p><p style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 10px/normal Georgia; "><span class="Apple-style-span" style="font-family: Georgia, serif; "><span class="Apple-style-span" style="font-family: Georgia; "><span class="Apple-style-span"><span class="Apple-style-span">1776/84 Carlo Marchionni<b> </b>(1702/86), nel vestibolo elenco dei <i>148 papi sepolti in Basilica</i>; nella sagrestia comune (non visitabile) dipinti di Federico Zuccari, Giovanni Francesco Penni, Giulio Romano e Andrea Sacchi</span></span></span></span></p><p style="margin-top: 0px; margin-right: 0px; margin-bottom: 5px; margin-left: 0px; text-align: justify; font: normal normal normal 10px/normal Georgia; "><span class="Apple-style-span" style="font-family: Georgia, serif; "><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: Georgia; "></span>BBG nel testo = Bertelli, Briganti, Giuliano</span></span></p></div></div></span></span>David Macchihttp://www.blogger.com/profile/03680152527192773532noreply@blogger.com0tag:blogger.com,1999:blog-4279535645136556249.post-75451895064116638042011-02-27T18:21:00.008+01:002013-12-12T11:31:58.011+01:00The Colosseum according to David Macchi...<a href="http://2.bp.blogspot.com/-i9iScPrS50A/TWqJz2tG_CI/AAAAAAAAAH8/i1DBu7-ZOsc/s1600/Copertina%2BGuida%2Bdi%2BRoma%2Be%2Bprovincia%2Bgen11.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578422612402830370" src="http://2.bp.blogspot.com/-i9iScPrS50A/TWqJz2tG_CI/AAAAAAAAAH8/i1DBu7-ZOsc/s320/Copertina%2BGuida%2Bdi%2BRoma%2Be%2Bprovincia%2Bgen11.jpg" style="cursor: hand; cursor: pointer; float: right; height: 320px; margin: 0 0 10px 10px; width: 226px;" /></a><br />
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<span style="font-size: large;"><b style="letter-spacing: 0px; line-height: normal;"><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative"><b style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">Here's an</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">excerpt</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">from my</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">forthcoming</span> super comprehensive guide <span class="hps atn" title="Fai clic per visualizzare le traduzioni alternative">book about Rome</span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">.</span></span></b></span></span></b><b><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><div style="margin: 0px 0px 1px;">
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">It will be called ROMAPEDIA.</span></span></b></span></div>
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative"><br /></span></span></b></span><span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">The first edition was published in Italian as "Guida di Roma e provincia" in 2011 and the new enlarged edition is due to be released in 2014.</span></span></b></span></div>
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">There will also be an edition in English available.</span></span></b></span></div>
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-weight: normal;"><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">It is</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">a</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">work</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">synthesis</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">and</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">anthology</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of the</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">most authoritative </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">sources</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of facts and </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">reliable information</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">about</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">the art</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">Rome </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">and </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">its Province.</span></span></b></span></div>
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<b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0px;">It is an encyclopedic dictionary with 1,329 entries, including 483 churches, 278 palaces, and 152 museums.</span></span></b></b></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="letter-spacing: 0px;">It also includes a profusion of artistically or historically relevant buildings, monuments, archaeological sites as well as 95 towns in the province of Rome, constituting one of the richest sources of information available in a single book about the art and history of the Eternal City.</span></span></b></b></span></b></b></span></b></b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="letter-spacing: 0px;"><br /></span></span></b></b></span></b></b></span></b></b></span></div>
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">You can <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">check out</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">for free</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">the</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">first</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">63</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">pages</span> of the first edition <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">with this link</span><span class="" title="Fai clic per visualizzare le traduzioni alternative">:</span></span></span></b></span></div>
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<span style="color: #336699; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0px; line-height: 18px; text-decoration: none;"><a href="http://ilmiolibro.kataweb.it/schedalibro.asp?id=571797" style="color: #336699; letter-spacing: 0px; line-height: 18px; text-decoration: none;">http://ilmiolibro.kataweb.it/schedalibro.asp?id=57179</a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="line-height: 20px;">My new ROMAPEDIA blog with the most complete encyclopedia about the art and history of Rome and its surroundings is being published. New entries are being added everyday. Here is the link: </span><a href="http://www.romapedia.blogspot.it/" style="color: #336699; line-height: 20px;">romapedia.blogspot.it</a></span></h3>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><b><a href="http://www.davidmacchi.com/tourguide/Colosseo.html">COLOSSEO</a></b></span></span><br />
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://maps.google.it/maps?q=41.890386,12.491112"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Piazza del Colosseo</span></a></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Vespasian (69/79) began the construction in about 70/72 and dedicated it before his death in 79 AD, even if it was unfinished</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It was inaugurated almost complete in the year 80 by Titus (79/81)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The last finishing touches were given under Domitian (81/96)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It was restored by Alexander Severus (222/235) after a fire in 217 caused by lightning</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It was reopened only in 223 after 6 years</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The real name was FLAVIAN AMPHITHEATER from the name of the dynasty of emperors that had it built: Dad Vespasian (69/79) and his two sons Titus and Domitian</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Amphitheater" meant according to Professor Eugenio La Rocca, "Space for spectators around the arena", whereas according to Professor Filippo Coarelli it meant "Dual stage"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It was called <i>Colosseum</i> only in the Middle Ages (first mention in the eighth century) probably due to the vicinity of the 35 m (115 feet) high COLOSSUS, <i>the largest bronze statue ever made in the world</i> designed by the Greek sculptor Zenodorus in imitation, surpassing it in size, of the Colossus of Rhodes, made in the third century BC by Chares of Lindos, which was 32 m - 105 feet high. The statue was one of the seven Colossuses that sources mention existing in Rome</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0px;">At the time of Adrian (117/138) the massive statue was moved next to the amphitheater with the help of 24 elephants from its original position where now the </span><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><i>Temple of Venus and Rome</i></span><span style="letter-spacing: 0px;"> is</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The features of Nero, originally sculpted in the face of the statue, when it used to stand in the atrium of his <i>Domus Aurea</i>, were transformed into those of the Sun God <i>Helios</i></span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">One hundred years after that those features were temporarily transformed again into those of Commodus (180/192) with a lion's head in imitation of Hercules. Commodus was such a megalomaniac that he wanted to change the name of Rome itself into <i>Colonia Commodiana </i>(Colony of Commodus)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The first time one finds in the sources the term "Colosseum", rather than "Flavian Amphitheater", is the famous prophecy of the beginning of the eighth century. <i>"Quamdiu stat Colysaeus stat Roma; quando cadet Colysaeus cadet Roma et mundus"</i> or <i>"As long as the Colosseum is standing Rome will stand; when the Colosseum will fall, Rome will fall as well and the world with it"</i> written down in the <i>Collectanea</i> by the Venerable Bede, an Anglo-Saxon Monk</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">If we would go back in time and we would ask a passerby in ancient Rome: "Where is the Colosseum?" he would not know what we are talking about. It would be like if today in New York a time traveler from 3456 AD would ask a passerby: "Where is Susan?" and, after a speechless reaction, he would add: "You know... Susan! The huge white statue on an island with his arm raised!" - "The Statue of Liberty, you mean?" - "We call it Susan in 3456!"</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The Frangipane and Annibaldi families fought between 1100 and 1300 for its possession in order to transform it into a palace</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In 1312 it was returned to the Senate and people of Rome and in 1332 a show was staged during which eighteen knights of the Roman nobility died</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In 1349 a disastrous earthquake turned it into a quarry for building materials</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Among the buildings constructed in Rome certainly using marble from the Colosseum: </span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Palazzo della Cancelleria, Palazzo Farnese, Palazzo S. Marco, Palazzo Barberini, the stairs in front of the St. Peter's Basilica, S. Giovanni in Laterano, S. Agostino, Ponte Sisto and the Porto di Ripetta destroyed at the end of the nintheenth century</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Sacred dramas took place there with the representation of the Passion, however abolished in 1539 by Pope Paul III Farnese (1534/49) as the involvement of the audience generated episodes of intolerance towards Jews and some actors were even lynched</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">A 1714 renewal project of Carlo Fontana included a huge domed church dedicated to the martyrs in the Coliseum but it never started for lack of funds</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Benedict XIV Lambertini (1740/58) in 1749 decided to stop the destruction of the Colosseum caused by the need for construction materials, and declared it sacred to the martyrs</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">DIMENSIONS</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">48.50 m (159 feet) high, the longer diameter is 188 m (617 feet), the shorter diameter 156 m (512 feet)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The arena is about 80 x 50 m (263 x 164 feet)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It has been figured out that 100,000 cubic meters of travertine were used, as well as 300 tonnes (330 tons) of iron for the clamps that were fixed with lead to prevent oxidation</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It was reused as a quarry for travertine and as a mine for iron through the holes now visible</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0px;">SUPPORTING BUTTRESSES were built with bricks to prevent the building from falling down. On the right by </span><span style="color: #ff2600; letter-spacing: 0px;">Raffaele Stern</span><span style="letter-spacing: 0px;"> (1774/1820) or </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Camporese</span><span style="letter-spacing: 0px;"> in 1802, on the left (entrance) by </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Valadier</span><span style="letter-spacing: 0px;"> (1762/1839) in 1820/23</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0px;">INTERIOR RING ARCADES built by </span><span style="color: #ff2600; letter-spacing: 0px;">Luigi Canina</span><span style="letter-spacing: 0px;"> (1795/1856) in 1820</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It is estimated that on this space smaller than a football field from 250,000 to 500,000 people were killed and, some say, many more over the course of four centuries and a half. Perhaps there is no other place of this size on earth where more people died</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">There is not exact evidence regarding the CAPACITY</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The marble steps were about 40 to 45 and calculating 44 cm (17 inches) per person you get about 40,000 to 45,000 spectators sitting, plus about 5,000 more standing in the wooden porch above, for an approximate total capacity of 45,000 to 50,000 people</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Other calculations have been made with results of about 73,000, including standing room</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The FOUNDATIONS are unbelievable:</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It is a fifth-floor underground from 8 to 12 meters (26/40 feet) deep, consisting of travertine pillars resting on a platform of a large ring of concrete surrounding the surface of the arena. According to a recent study it would cost about 42,000,000 euros to build similar foundations now</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Four different large teams worked at the same time to speed up construction</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">There were three sectors <i>(MAENIANA)</i> plus a fourth one made of wood under a colonnade <i>(MAENIANUM SUMMUM IN LIGNAEIS)</i> in which there was an area for women since Augustus forbade promiscuity in places of entertainment for moral reasons</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">80 ARCHES on the ground floor with the number above corresponding to the number of ticket <i>(tessera)</i> that the spectators had, except the four corresponding to the main axes: the only preserved towards the Oppian Hill was the imperial one and probably had a front porch</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The shows were also an occasion for the Roman society to be able to see a small representation of itself ordered hierarchically, from senators and vestal virgins in the front rows to women and slaves in the top ring</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">It is assumed that the IMPERIAL BOX was at the center of one of the two long sides, probably the south one for its vicinity to the Palatine Hill, but scholars are divided on this</span></span></div>
<div style="margin-bottom: 6px; margin-left: 25.5px; text-align: justify; text-indent: 28.5px;">
<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"The aditus (entrance) for the public were sixty-eight, not counting the six entrances reserved for the authorities, at the extremities of the minor axis, and the same number for the protagonists of the games. Nothing remains of the tribunalia, the boxes for the authorities dismantled early in late antiquity" (Rossella Rea)</span></i></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">240 BRACKETS were used to hold the poles supporting the big curtain divided into wedges known as <i>VELARIUM. </i>It protected the spectators from the sun and was operated by a team of about 1,000 sailors from the naval base of Miseno allocated in a separate nearby barracks, the <i>Castra Misenatium</i></span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Each pole had to bear a weight of about 100 kg (220 pounds). The travertine stones still visible outside were probably functional to the curtain: winches were set in the holes to hold and pull the cables</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">60 <a href="http://www.davidmacchi.com/tourguide/Colosseo_files/Media/Colosseo%20DSC_0275/Colosseo%20DSC_0275.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">ELEVATORS</span></a> would lift to the arena gladiators, beasts and props for the shows from the <a href="http://www.davidmacchi.com/tourguide/Colosseo_files/Media/Colosseo%20DSC_0274/Colosseo%20DSC_0274.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">vast underground area</span></a> with extraordinary visual effects</span></span></div>
<div style="margin-bottom: 6px; margin-left: 25.5px; text-align: justify; text-indent: 28.5px;">
<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"All the pieces meshed into a compact, powerful elevator system, capable of quickly delivering wild beasts, scenery and equipment into the arena. At the peak of its operation the hypogeum contained 60 capstans, each two stories tall and turned by four men per level. 40 of these capstans lifted animal cages throughout the arena, while the remaining 20 were used to raise scenery sitting on hinged platforms measuring 12 by 15 feet. 28 smaller platforms (roughly 3 by 3 feet) identified around the outer rim of the arena (also used for scenery) were operated through a system of cables, ramps, hoists and counterweights" (Heinz-Jürgen Beste)</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">CHAPEL OF OUR LADY OF MERCY OF THE COLOSSEUM</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Known since 1192 as <i>SS. Salvatore de Rota Colisei</i> and since 1490 with its present name</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Renovated in 1622 when it was entrusted to the Arciconfraternita del Gonfalone (Archconfraternity of the Banner)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0px;">Rebuilt 1817 by </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Holl </span><span style="letter-spacing: 0px;">(1780/1855-56)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0px;">Relief "Our Lady of Sorrows" by an </span><span style="color: #ff2600; letter-spacing: 0px;">unknown nineteenth century artist</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Mass is celebrated here every Saturday afternoon and Sunday morning</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Next to the Colosseum the base of the <i>META SUDANS</i> is visible: a conical brick fountain dating back to the time of Domitian (81/96) demolished at the time of Mussolini so that it wouldn't interfere with the fascist parades</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The remains of the <i>LUDUS MAGNUS</i> were found in 1937 east of the Colosseum: barracks probably three-story high, surrounding a miniature amphitheater for gladiatorial training with a capacity of about 3,000 spectators. It was built under Domitian and restored under Trajan</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In 1939 an underground passage connecting it to the Colosseum was found. The area was confined as it is today in the years 1957/61</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">To the south of the remains of the Ludus Magnus similar but smaller barracks were found, maybe the <i>LUDUS MATUTINUS</i> for the <i>Bestiarii </i>who used to fight against animals. The <i>Ludus</i> had this name because events including <i>Bestiarii</i> generally took place in the morning</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">On the <i>Forma Urbis</i> it can be seen that the <i>LUDUS DACICUS</i> was north of the Ludus Magnus while the <i>LUDUS GALLICUS</i> was maybe in the immediate vicinity</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Also near the Colosseum there were other service buildings: the <i>SPOLIARUM</i> where the bodies of dead gladiators were stripped, the <i>SAMIARUM</i> hospital for gladiators, the <i>A</i>RMAMENTARIUM weapons' warehouse and the <i>SUMMUM CHORAGIUM</i> for machinery and props used on the amphitheater stage</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The Colosseum was used for gladiatorial combats <i>(munera) </i>until 438 (for 358 years) with Valentinian III (425/455) who authorized only the <i>venationes</i> (hunting), which continued at least until 523 (for 443 years)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">However, the tradition of <i>munera</i> was very old: the first mention of fighting gladiators in Rome dates back to 264 BC (702 years in total!) and the first <i>munera</i> at the expense of the state took place in 42 BC</span></span></div>
<div style="margin-bottom: 6px; margin-left: 25.5px; text-align: justify; text-indent: 28.5px;">
<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"For a long time it was believed that the origin of these events could be attributed to the Etruscans, considering especially on one hand, some etymological reasons (...), on the other some representations of duels in paintings and reliefs. The discovery of tombs at Paestum dating back to the first half of the fourth century BC with paintings depicting (...) duels between armed men made it possible to trace with more likelihood the origin of gladiatorial games to the Osco-Samnite area. However, it remains uncertain whether the Romans would have imported them from Campania(...) directly or through the mediation of the Etruscans. What seems certain is that in Rome the gladiatorial shows had, from their introduction (...) and at least until the early years of the empire, a private and funerary character. (...) It seems legitimate the hypothesis that the performances of gladiators began as funeral games, according to a custom that seems to have deep roots, common to other peoples of the Mediterranean basin" (Gian Luca Gregori)</span></i></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Massacres took place in the Colosseum: the inauguration celebrations lasted for one hundred days during which about 2,000 men and 9,000 animals were killed. The emperor under whom more animals were killed (11,000) was Trajan</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The TYPICAL'S DAY PROGRAM was:</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">At the beginning parade of presentation of the participants in the event, the so-called <i>pompa </i>(pomp)</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">During the morning, fights between animals and circus numbers and then <i>venationes</i> or fights between men and animals. Among the animals: elephants, crocodiles, bears, lions, leopards, ostriches, and even polar bears and seals</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">At lunchtime executions of criminals and slaves who had tried to escape, sometimes interspersed with comic numbers or athletics</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">In the afternoon <i>munera</i> or gladiator fights</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">There is no document, testimony or evidence that proves that Christians were killed in the Colosseum, although it is very possible that during the executions at lunch time Christians were actually killed in the years (thirteen in the entire history of Rome) of persecution</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">According to studies done on the tombstones, only 13% of the gladiators was normally killed during the <i>munera </i>and the fights were usually duels between two gladiators judged by a referee known as <i>Summa Rudis</i> and an assistant known as <i>Second Rudis</i>. There were strict rules and spectators greatly appreciated the beauty of movement, the courage of the fighters and especially their "fair play" according to the rules</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The gladiators were probably mostly slaves although it is impossible to determine exact statistics of slaves/free considering that the inscriptions identify them only with the surname and that does not exclude that they were free citizens who had chosen a "nom de guerre"</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">People condemned to death would rarely fight as gladiator and only a few slaves/gladiators could buy their freedom with money they earned</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">There were certainly many professionals (known as <i>auctorati</i>, gladiators volunteers) and therefore free citizens, so many that two laws in AD 11 and 19 had to ban senators, knights and their families from performing in the arena and walk the stage in theaters as well</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Fighting in the arena was considered a test of courage but it was considered unseemly for money. However, the gladiators were often very rich and famous</span></span></div>
<div style="margin-bottom: 6px; text-align: justify; text-indent: 18px;">
<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">A professional gladiator typically fought 2 or 3 fights per year and rarely exceeded 20 fights in his life</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The most outstanding exceptions were <i>Asteropeus</i> with 107 victories, <i>Columbus </i>with 88 and <i>Incitatus </i>with 80</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Gladiators were recruited when they were about 17/18 years old and their life expectancy was about 30 years, similar however to the average of the time</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">There were also performances by women gladiators, but Septimius Severus (193/211) forbade them</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Most of the gladiators were specialized with a particular type of weapon and rarely changed</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The CATEGORIES OF GLADIATORS were thirteen:</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Traci, Mirmilloni, Oplomachi, Reziari, Secutores, Equites, Provocatores, Essedarii, Dimachaeri, Veles, Laquearii, Paegnarii, Andabatae</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Various emperors have certainly fought in the arena: Caligula (37/41), Titus (79/81), Hadrian (117/138), Lucius Verus (161/169), Didius Julianus (193) and, of course, Commodus (180/192) who was however assassinated in his bath and not in the Colosseum as seen in the movie <i>Gladiator</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0px;">Augustus established the times of the year for </span><i style="letter-spacing: 0px;">munera</i><span style="letter-spacing: 0px;">: 2/8, 17/23 December and 19/23 March (19 DAYS ONLY </span>THROUGHOUT<span style="letter-spacing: 0px;"> THE YEAR) although there could be extra performances. The calendar of Furius Dyonisius Philocalus in AD 354 assigns 102 days to the theater, 64 to chariot races and only 10 days to munera out of the 176 registered days for festivities</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Gifts were distributed at the end of the shows and, for the inauguration, Titus had little wooden balls thrown with symbols that corresponded to gifts that could be withdrawn after the show</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The THUMB DOWN GESTURE is an unfounded popular belief generated by the Jean Léon Gérôme's painting "Thumbs Turned" now in Phoenix (Arizona) executed in 1872</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The only source who speaks of <i>pollice verso</i> (which anyway doesn't mean "thumbs down" but "turned over to oneself") is Juvenal, while other sources even use different adjectives</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The thumb in fact, if audiences wanted the death of the losing gladiator, was probably pointing upwards or horizontally towards the throat to indicate the kind of death that gladiators were given: they knelt down and waited for the sword straight at the throat</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">However very often people would save the gladiators who fought with courage and following the rules. A medallion found in France in 1997 indicates the gesture with the thumb of a referee within the clenched fist (not upwards!) to indicate the desire to save the loser</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Even the phrase <i>"Ave Caesar Morituri te salutant"</i> has no historical evidence whatsoever in the Colosseum: according to Suetonius, it was delivered before a ships' battle for gladiators on Lake Fucino, east of Rome. The myth was born with another painting by Gérôme</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Some ancient texts (Martial, Cassius Dio) mention NAVAL BATTLES in the Colosseum, though this seems impossible with the structures that were under the arena and that are still visible now. Perhaps, since these reports are dated at the time of Domitian (81/96), naval battles took place only when those structures were not yet built. Thus they maybe occurred in the Colosseum in the first few years and then continued to be held in stadiums built specifically for that purpose, the NAUMACHIE, which was also the name of the battles themselves</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0px;">Among the NAUMACHIE there was the <i>Pond of Agrippa</i> in the Campus Martius but especially the huge </span><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><i>Naumachia of Augustus</i></span><span style="letter-spacing: 0px;"> built in 2 BC (533 x 354 m - 1750 x 1161 feet- about three times the size of the Colosseum!) or, later, the <i>Naumachia of Trajan</i> in the Prati area</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">No more than two or three ships could enter in the Colosseum whereas in the Naumachia of Augustus there was space for 30 ships (<i>biremes</i> and <i>triremes</i>) plus other smaller ships with a total of about 3,000 soldiers fighting, not to mention thousands of rowers</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Some scholars believe that the Alsietino Aqueduct 33 km (20.5 miles) long which provided the Naumachia with water was built with the sole purpose of watching men killing each other on ships, because water was not drinkable</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Writing about two aquatic shows Cassius Dio mentions the scenario of the amphitheater, which Titus had filled with water for a display of animals and for the naval battle between Corfiotes and Corinthian. Recent discoveries in the basement of the Colosseum, where the febrile activities related to the final stages of preparation of the shows were happening, allow us to affirm that into the arena, during the inauguration, water games were carried out. The discovery of clear evidence of an arena with wooden substructures, functional only to the debut games, soon later replaced by brick structures, makes it understandable what happened: the wooden arena was reversible, allowing the flooding of the underground space" (Rossella Rea)</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">The gladiator SPARTACUS rebelled in 73 BC and his army of slaves was only defeated in 71 BC first by the legions of Crassus, and later by Pompey and Lucullus. About 60,000 slaves were killed and about 6,000 prisoners were crucified along the Appian Way between Rome and Capua, one every 30 m (100 feet) along 186 km (115 miles)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">When at the end of the eighteenth century the vegetation grown in the Colosseum was removed 420 different species were counted including many exotic plants</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">187 "Colosseums" have been identified in the territory of the Roman empire and it is estimated that in the third century AD there were certainly more than 200</span></span></div>
David Macchihttp://www.blogger.com/profile/03680152527192773532noreply@blogger.com0tag:blogger.com,1999:blog-4279535645136556249.post-28283943784989812652011-02-27T18:08:00.002+01:002013-12-12T11:35:11.039+01:00Il Colosseo come lo vedo io...<div style="font: 12.0px Georgia; margin: 0.0px 0.0px 1.0px 0.0px;">
<span style="letter-spacing: 0.0px;"><b><span class="Apple-style-span" style="color: #333333; font-family: Times, serif; font-size: 15.8333px; font-weight: normal; line-height: 25px;"><a href="http://2.bp.blogspot.com/_BVRjA9qSdLE/TUFbsiUgHVI/AAAAAAAAAHw/ZWETFY0RqBY/s1600/Copertina%2BGuida%2Bdi%2BRoma%2Be%2Bprovincia%2Bgen11.jpg" style="color: #336699;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5566831435091811666" src="http://2.bp.blogspot.com/_BVRjA9qSdLE/TUFbsiUgHVI/AAAAAAAAAHw/ZWETFY0RqBY/s320/Copertina%2BGuida%2Bdi%2BRoma%2Be%2Bprovincia%2Bgen11.jpg" style="border-bottom-color: rgb(204, 204, 204); border-bottom-style: solid; border-bottom-width: 1px; border-left-color: rgb(204, 204, 204); border-left-style: solid; border-left-width: 1px; border-right-color: rgb(204, 204, 204); border-right-style: solid; border-right-width: 1px; border-top-color: rgb(204, 204, 204); border-top-style: solid; border-top-width: 1px; cursor: pointer; float: right; height: 320px; margin-bottom: 10px; margin-left: 10px; margin-right: 0px; margin-top: 0px; padding-bottom: 4px; padding-left: 4px; padding-right: 4px; padding-top: 4px; width: 226px;" /></a></span></b></span></div>
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative"><br /></span></span></b></span><span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">The first edition was published in Italian as "Guida di Roma e provincia" in 2011 and the new enlarged edition is due to be released in 2014.</span></span></b></span><br />
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<b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; letter-spacing: 0px;">It is an encyclopedic dictionary with 1,329 entries, including 483 churches, 278 palaces, and 152 museums.</span></span></b></b></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="letter-spacing: 0px;">It also includes a profusion of artistically or historically relevant buildings, monuments, archaeological sites as well as 95 towns in the province of Rome, constituting one of the richest sources of information available in a single book about the art and history of the Eternal City.</span></span></b></b></span></b></b></span></b></b></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="line-height: 20px;">My new ROMAPEDIA blog with the most complete encyclopedia about the art and history of Rome and its surroundings is being published. New entries are being added everyday. Here is the link: </span><a href="http://www.romapedia.blogspot.it/" style="color: #336699; line-height: 20px;">romapedia.blogspot.it</a></span></h3>
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<span style="letter-spacing: 0px;"><a href="http://www.davidmacchi.com/tourguide/Colosseo.html"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><b>COLOSSEO</b><span style="letter-spacing: 0px;"><b></b></span></span></a></span><br />
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<span style="letter-spacing: 0.0px; text-decoration: underline;"><a href="http://maps.google.it/maps?q=41.890386,12.491112"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Piazza del Colosseo</span></a></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Vespasiano (69/79) fece iniziare la costruzione nel c. 70/72 d.C. e lo dedicò ancora incompleto prima della morte nel 79</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Fu inaugurato completo da Tito (79/81) nell'anno 80</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Fu ulteriormente perfezionato da Domiziano (81/96)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Restaurato da Alessandro Severo (222/235) dopo l'incendio del 217 causato da un fulmine. Fu riaperto solo nel 223 dopo sei anni</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Il vero nome era Anfiteatro Flavio dal nome della dinastia d'imperatori che lo aveva fatto costruire: papà Vespasiano (69/79) e i suoi due figli Tito e Domiziano</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Anfiteatro" significava secondo Eugenio La Rocca: "spazio per gli spettatori attorno all'arena", secondo Filippo Coarelli: "doppio teatro"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Venne chiamato <i>Colosseo</i> solo nel medioevo (VIII sec.) molto probabilmente per la vicinanza del Colossus di 35 m (115 feet) <i>la più grande statua in bronzo mai esistita al mondo</i> opera dello scultore greco Zenodoro che imitò, superandolo in dimensioni, il Colosso di Rodi del III sec. a.C. di Chares di Lindos che era alto 32 m - 105 feet. Era uno dei sette Colossi che le fonti dicono essere presenti a Roma</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Al tempo di Adriano (117/138) la statua fu spostata accanto all'anfiteatro con l'aiuto di 24 elefanti dalla sua posizione originaria dov'è ora il </span><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><i>Tempio di Venere e Roma</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Il volto di Nerone, che l'aveva originariamente fatto costruire e fatto porre nell'atrio della sua <i>Domus Aurea</i>, fu tramutato in quello del Dio Sole <i>Helios</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Verrà cento anni dopo ancora cambiato temporaneamente nel volto di Commodo (180/192) con la testa di leone in imitazione di Ercole. Commodo era talmente megalomane da voler cambiare il nome di Roma in <i>Colonia Commodiana</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">La prima volta in cui si trova nelle fonti il termine Colosseo, anziché Anfiteatro Flavio è la famosa profezia dell'inizio dell'VIII sec.: <i>"Quamdiu stat Colysaeus stat Roma; quando cadet Colysaeus cadet Roma et mundus"</i> ovvero<i> "Finchè rimarrà in piedi il Colosseo rimarrà in piedi Roma; quando cadrà il Colosseo cadrà Roma e il mondo intero" </i>messa per iscritto nei <i>Collectanea</i> da Beda il Venerabile, un monaco anglosassone</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Se tornassimo indietro nel tempo e chiedessimo a un passante nell'antica Roma: "Dov'è il Colosseo?" non saprebbe di che cosa stiamo parlando. Sarebbe come se oggi a New York un viaggiatore del tempo proveniente dal 3456 d.C. chiedesse: "Dov'è Susan?" e ad una risposta interlocutoria replicherebbe: "Ma come, Susan, l'enorme statua su un'isola con il braccio alzato!" - "Ma vuoi dire la Statua della Libertà?!" - "Noi nel 3456 la chiamiamo Susan!"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Le famiglie dei Frangipane e degli Annibaldi lottarono tra il 1100 e il 1300 per il suo possesso allo scopo di trasformarlo in palazzo</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Nel 1312 fu restituito al Senato e al popolo di Roma e nel 1332 vi si allestì uno spettacolo nel quale morirono diciotto cavalieri della nobiltà romana</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Nel 1349 un disastroso terremoto lo rese una cava di materiali da costruzione</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Tra gli edifici costruiti a Roma sicuramente usando marmo del Colosseo:</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Palazzo della Cancelleria, Palazzo Farnese, Palazzo S. Marco, Palazzo Barberini, le scale davanti alla Basilica di S. Pietro, S. Giovanni in Laterano, S. Agostino, Ponte Sisto e lo scomparso Porto di Ripetta</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Vi si svolgevano i <i>Sacri drammi</i> con la rappresentazione della Passione, aboliti però nel 1539 da Paolo III Farnese (1534/49) poiché per il troppo coinvolgimento degli spettatori si verificavano episodi d'intolleranza verso gli ebrei e alcuni attori vennero anche linciati</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Un progetto del 1714 di Carlo Fontana, mai realizzato per mancanza di fondi, prevedeva la costruzione di un'enorme chiesa dedicata ai martiri con cupola all'interno del Colosseo</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Benedetto XIV Lambertini (1740/58) fece finire nel 1749 la distruzione per materiali costruttivi e lo dichiarò sacro per i martiri</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">DIMENSIONI</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Alto 48,50 m (159 feet), diametro maggiore 188 m (617 feet), diametro minore 156 m (512 feet)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">L'arena è c. 80 x 50 m (263 x 164 feet)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Si usarono 100.000 m³ di travertino e 300 tonnellate (330 tons) di ferro per le grappe che venivano fissate a piombo per evitare l’ossidazione</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Venne riutilizzato come cava per il travertino e come miniera per il ferro tramite i buchi ora visibili</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Gli speroni con mattoni furono costruiti <i>a destra</i> nel 1802 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Raffaele Stern</span><span style="letter-spacing: 0.0px;"> (1774/1820) o </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Camporese</span><span style="letter-spacing: 0.0px;">, <i>a sinistra</i> (entrata) nel 1820/23 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Giuseppe Valadier</span><span style="letter-spacing: 0.0px;"> (1762/1839)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Arcate interne 1820 di </span><span style="color: #ff2600; letter-spacing: 0.0px;">Luigi Canina</span><span style="letter-spacing: 0.0px;"> (1795/1856)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Si stima che su questo spazio più piccolo di quello di un campo di football americano vennero uccise dalle 250.000 alle 500.000 persone e c'è chi dice molti di più nel corso di quattro secoli e mezzo: forse in nessun altro posto di queste dimensioni sulla terra è morta più gente</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Non si è sicuri sulla capienza:</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">I gradini in marmo erano 40/45 e calcolando 44 cm (17 inches) a persona si arriva a 40.000/45.000 spettatori seduti più altri c. 5.000 in piedi nel portico in legno superiore, totale 45.000/50.000</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Altri calcoli arrivano a c. 73.000 compresi i posti in piedi</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Le fondazioni sono allucinanti:</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Si tratta di un quinto piano sotterraneo profondo dagli 8 ai 12 metri (26/40 feet), costituito da pilastri di travertino, poggiante a sua volta su una platea di calcestruzzo, un grande anello di cemento che risparmia la superficie dell'arena. Secondo un recente studio costruire delle simili fondamenta ora costerebbe circa 42 milioni di euro</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Durante la costruzione vi lavorarono contemporaneamente quattro cantieri diversi</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">C'erano tre settori (<i>maeniana</i>) più un quarto di legno sotto un colonnato (<i>maenianum summum in ligneis</i>) in cui c'era un'area per le donne da quando Augusto, per ragioni morali, aveva proibito la promiscuità nei luoghi di spettacolo</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">80 arcate al pianterreno con sopra il numero corrispondente al numero di biglietto (<i>tessera</i>) che avevano gli spettatori, tranne le quattro corrispondenti agli assi principali; l'unica conservata verso l'Oppio era quella imperiale e probabilmente aveva davanti un portichetto</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Gli spettacoli erano anche un'occasione per la società romana di poter ammirare una rappresentazione in piccolo di se stessa ordinata gerarchicamente, dai senatori e le vestali nelle prime file, alle donne e gli schiavi nell'anello superiore</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Si presume che il palco imperiale fosse al centro di uno dei due lati lunghi, probabilmente il lato sud per la vicinanza con il Palatino ma gli studiosi sono divisi su questo</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Gli ADITUS per il pubblico erano sessantotto, escludendo dal computo i sei ingressi riservati alle autorità, posti all'estremità dell'asse minore, e gli altrettanti destinati ai protagonisti dei giochi. Nulla resta dei TRIBUNALIA, i palchi per le autorità, precocemente smantellati in epoca tardoantica" (Rossella Rea)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">240 mensole servivano a sorreggere i pali per il grande <i>velariUM</i> a spicchi per riparare gli spettatori dal sole che veniva manovrato da una squadra di c. 1.000 marinai del porto militare di Miseno stanziata in un'apposita caserma vicina, i <i>Castra Misenatium</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Ogni palo doveva sostenere un peso di c. 100 kg (220 pounds). I cippi di travertino esterni tuttora visibili erano probabilmente funzionali al velario con fori dov'erano fissati gli argani per tenere in tiro i cavi</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">60 <a href="http://www.davidmacchi.com/tourguide/Colosseo_files/Media/Colosseo%20DSC_0275/Colosseo%20DSC_0275.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">ascensori</span></a> portavano sull'arena uomini, bestie e macchinari scenici dalla <a href="http://www.davidmacchi.com/tourguide/Colosseo_files/Media/Colosseo%20DSC_0274/Colosseo%20DSC_0274.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">vasta area sotterranea</span></a> con straordinari effetti scenografici</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Tutti i pezzi combaciavano in un compatto, potente sistema di ascensori in grado di far apparire rapidamente bestie feroci, paesaggi e attrezzature nell'arena. Al culmine del suo funzionamento l'ipogeo conteneva 60 argani, ognuno alto come due piani e girato da quattro uomini per livello. 40 di questi argani sollevavano gabbie per animali in tutta l'arena, mentre i rimanenti 20 erano utilizzati per sollevare paesaggi appoggiati su piattaforme a battente di misura 3,5 per 4,5 metri. 28 piattaforme più piccole (circa 1 per 1 metro) identificate intorno al bordo esterno dell'arena (anch'esse utilizzate per il paesaggio) erano operate attraverso un sistema di cavi, rampe, ascensori e contrappesi" (Heinz-Jürgen Beste)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">CAPPELLA DELLA MADONNA DELLA PIETÀ DEL COLOSSEO</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Nota dal 1192 come <i>SS. Salvatore de Rota Colisei</i> e dal 1490 con il nome attuale</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Restaurata 1622 quando fu affidata all'Arciconfraternita del Gonfalone</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Ricostruita 1817 da </span><span style="color: #ff2600; letter-spacing: 0.0px;">Pietro Holl </span><span style="letter-spacing: 0.0px;">(1780/1855-56)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Rilievo "Madonna addolorata" di </span><span style="color: #ff2600; letter-spacing: 0.0px;">ignoto artista ottocentesco</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Vi si celebra messa ogni sabato pomeriggio e domenica mattina</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Accanto al Colosseo c'è la base della <i>Meta Sudans,</i> fontana conica in laterizio di età domizianea demolita in epoca fascista così che non interferisse con le sfilate fasciste</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">A est del Colosseo vennero trovati nel 1937 i resti del <i>Ludus Magnus, </i>caserma probabilmente a tre piani con anfiteatro in miniatura per l'allenamento dei gladiatori con capacità di c. 3.000 spettatori. Fu costruito sotto Domiziano e restaurato sotto Traiano</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Nel 1939 venne trovato un passaggio sotterraneo per collegarlo al Colosseo. L'area fu sistemata negli anni 1957/61</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">A sud del Ludus Magnus resti di caserma simile ma più piccola, forse il <i>Ludus Matutinus</i> destinato ai <i>bestiarii</i> che combattevano le fiere. Il <i>Ludus </i>aveva questo nome perché i combattimenti dei <i>Bestiarii </i>si svolgevano di solito di mattina</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">A nord del Ludus Magnus si evince dalla <i>Forma Urbis</i> il <i>Ludus Dacicus</i> mentre il <i>Ludus Gallicus</i> era forse nelle immediate vicinanze</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Inoltre nelle vicinanze del Colosseo c'erano altri edifici di servizio: lo <i>Spoliarum</i> dove erano spogliati i corpi dei gladiatori morti, il <i>Saniarum</i> ospedale per gladiatori, l'<i>Armamentarium</i> magazzino delle armi e il <i>Summum Choragium</i> per i macchinari scenici impiegati nell'anfiteatro</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Fu utilizzato per combattimenti tra gladiatori fino al 438 (per 358 anni) con Valentiniano III (425/455) che autorizzò solo le <i>venationes</i> (battute di caccia) che continuarono almeno fino al 523 (per 443 anni)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Tuttavia la tradizione dei <i>munera </i>era molto antica: la prima menzione di combattimenti gladiatori a Roma è del 264 a.C. (702 anni in totale!) e i primi combattimenti a spese dello stato sono del 42 a.C.</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"A lungo si è creduto che l'origine di questi spettacoli fosse da attribuire agli Etruschi, soprattutto sulla base, da un lato, di considerazioni di carattere etimologico (...), dall'altro di rappresentazioni di duelli in pitture e rilievi. La scoperta a Paestum di tombe della prima metà del IV sec. a.C. con pitture raffiguranti (...) duelli tra uomini armati ha consentito di ricondurre con maggiore verosimiglianza l'origine della gladiatura ad area osco-sannitica. Resta tuttavia incerto se i Romani l'abbiano importata dalla Campania (...) per via diretta o attraverso la mediazione etrusca. Quel che sembra certo è che a Roma gli spettacoli gladiatori ebbero, a partire dalla loro introduzione (...) e almeno fino ai primi anni dell'Impero, un carattere privato e funerario. (...) Sembra legittima l'ipotesi che le esibizioni di gladiatori siano nate come giochi funebri, secondo una consuetudine che pare avere radici lontane, comuni ad altri popoli del bacino del Mediterraneo" (Gian Luca Gregori)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Nel Colosseo avvenivano autentiche stragi soprattutto di animali: per inaugurarlo ci furono spettacoli per cento giorni consecutivi durante i quali rimasero uccisi c. 2.000 uomini e 9.000 animali. L'imperatore sotto il quale vennero uccisi più animali (11.000) fu Traiano</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Il programma della giornata era:</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">All'inizio corteo di presentazione dei partecipanti all'evento, la cosiddetta <i>pompa</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Durante la mattinata combattimenti tra animali e numeri circensi e poi <i>venationes</i> ovvero combattimenti tra uomini e animali. Tra gli animali utilizzati: elefanti, coccodrilli, orsi, leoni, leopardi, struzzi e perfino orsi polari e foche</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">All'ora di pranzo esecuzioni di criminali e schiavi che avevano tentato la fuga, a volte intervallate da numeri comici o gare di atletica</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Nel pomeriggio si tenevano i <i>munera </i>ovvero combattimenti di gladiatori</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Non esiste nessun documento o prova che testimonia o riporta che i cristiani venissero uccisi nel Colosseo, anche se è possibile che durante lo spettacolo d'intermezzo all'ora di pranzo i cristiani venissero effettivamente uccisi negli anni (tredici in tutta la storia di Roma) delle persecuzioni</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Secondo studi fatti sulle lapidi <i>solo il 13% dei gladiatori rimaneva ucciso</i> e i combattimenti erano di solito duelli a due con un arbitro chiamato <i>Summa Rudis</i> e un assistente <i>Seconda Rudis</i>. C'erano infatti regole ferree e gli spettatori apprezzavano tantissimo la bellezza dei movimenti, il coraggio dei combattenti e la soprattutto la loro correttezza</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">I gladiatori erano probabilmente in maggioranza schiavi anche se è impossibile stabilire una percentuale schiavi/liberi poiché il fatto che le iscrizioni li identificano solo con il <i>cognomen </i>non esclude che questi identifichino cittadini liberi che avevano scelto un "nome di battaglia"</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Raramente venivano fatti combattere dei condannati a morte e solo pochi schiavi/gladiatori riuscivano a comprarsi la libertà con i soldi guadagnati</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">C'erano sicuramente anche molti professionisti (i cosiddetti <i>auctorati</i>, gladiatori volontari) e quindi cittadini liberi, tanto che due leggi dell'11 e del 19 d.C. dovettero vietare a senatori, cavalieri e loro familiari di esibirsi nell'arena nonché di calcare la scena nei teatri</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Combattere nell'arena era considerata una prova di coraggio ma farlo per soldi era considerato disdicevole. In ogni caso i gladiatori erano famosissimi e spesso anche molto ricchi</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Un gladiatore professionista faceva di media due o tre combattimenti all'anno e raramente superava i 20 combattimenti in tutta la vita</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Le eccezioni più clamorose furono <i>Asteropeus</i> con 107 vittorie, <i>Columbus</i> con 88 e <i>Incitatus</i> con 80</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Venivano reclutati intorno ai 17/18 anni e la loro aspettativa di vita era di c. 30 anni analoga comunque a quella media dell'epoca</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">C'erano anche spettacoli con gladiatrici donne ma Settimio Severo (193/211) li proibì</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">La maggior parte dei gladiatori conservava la specializzazione con un determinato tipo di arma e raramente cambiava</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Le categorie di gladiatori erano tredici:</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Traci, Mirmilloni, Oplomachi, Reziari, Secutores, Equites, Provocatores, Essedarii, Dimachaeri, Veles, Laquearii, Paegnarii, Andabatae</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Vari imperatori hanno sicuramente combattuto nell'arena: Caligola (37/41), Tito (79/81), Adriano (117/138), Lucio Vero (161/169), Didio Giuliano (193) e, naturalmente, Commodo (180/192) che però morì assassinato nel suo bagno e non nel Colosseo come si vede nel film <i>Il Gladiatore</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Augusto stabilì i periodi dell'anno per i <i>munera</i>: 2/8, 17/23 dicembre e 19/23 marzo (solo 19 giorni l'anno in tutto) anche se ci potevano essere spettacoli extra. Il calendario di Furio Dionisio Filocalo del 354 d.C. per le 176 festività registrate ne assegna 102 al teatro, 64 alle corse dei carri e solo 10 ai <i>munera</i></span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Doni venivano distribuiti alla fine degli spettacoli e per l'inaugurazione Tito fece lanciare palline di legno con simboli che corrispondevano a regali che potevano essere ritirati dopo lo spettacolo</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Il pollice verso è un'infondata credenza popolare determinata dal dipinto del 1872 di Jean Leon Gérome "Thumbs turned" ora a Phoenix (Arizona)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Solo Giovenale parla di <i>pollice verso </i>(che non significa <i>volto in basso</i> ma <i>rigirato </i>o <i>volto verso se stesso</i>), mentre altre fonti usano addirittura aggettivi diversi</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Il pollice in realtà, se si voleva la morte del gladiatore perdente, veniva probabilmente puntato verso l'alto o verso la gola orizzontalmente a indicare il tipo di morte che i gladiatori sconfitti facevano: si inginocchiavano e attendevano il colpo di spada dritto alla gola</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Il popolo comunque quasi sempre salvava i gladiatori se avevano combattuto con coraggio e seguendo le regole. Un medaglione scoperto in Francia nel 1997 indica il gesto di un arbitro con il pollice dentro al pugno chiuso (non verso l'alto!) a indicare la volontà di risparmiare il perdente</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Anche della frase <i>Ave Cesare morituri te salutant</i> non abbiamo alcuna evidenza storica nel Colosseo: secondo Svetonio fu pronunciata prima di una battaglia navale tra gladiatori sul Lago Fucino, a E di Roma. Il mito nacque con un altro dipinto di Gérome</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Alcuni testi antichi (Marziale, Dione Cassio) parlano di battaglie navali nel Colosseo anche se con il notevole ipogeo, ciò sembra impossibile. Forse, essendo tali notizie limitate fino a Domiziano (81/96), le battaglie navali si svolsero solo quando l'ipogeo non era stato ancora costruito. Sarebbero avvenute quindi nel Colosseo solo nei primi anni e poi continuarono a tenersi negli stadi appositamente costruiti già da tempo, le Naumachie che era anche il nome delle battaglie stesse</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="letter-spacing: 0.0px;">Tra le NAUMACHIE c'era lo stagno di Agrippa in Campo Marzio ma soprattutto l'enorme </span><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><i>Naumachia di Augusto</i></span><span style="letter-spacing: 0.0px;"> del 2 a.C. (533 x 354 m - 1.750 x 1.161 feet - c. 3 volte il Colosseo!) o, in seguito, la </span><span style="color: #021eaa; letter-spacing: 0.0px; text-decoration: underline;"><i>Naumachia di Traiano</i> <i>o Vaticana</i></span><span style="letter-spacing: 0.0px;"> nella zona di Prati</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Nel Colosseo del resto, non potevano entrare più di due o tre navi mentre nella Naumachia di Augusto c'era posto per 30 tra biremi e triremi più altre navi più piccole con 3.000 soldati senza contare altre migliaia di rematori</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Alcuni studiosi ritengono che l'Acquedotto Alsietino di 33 km (20,5 miles) che forniva la Naumachia di acqua sia stato fatto costruire apposta per vedere uomini uccidersi tra di loro su delle navi, essendo l'acqua non potabile</span></span></div>
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<span style="letter-spacing: 0.0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">"Di due spettacoli acquatici Dione Cassio indica lo scenario dell'Anfiteatro, che Tito fece riempire d'acqua per un'esibizione di animali e per la battaglia navale tra corciresi e corinzi. I recenti rinvenimenti nei sotterranei del Colosseo, ove si svolgevano le febbrili attività connesse alle ultime fasi di preparazione degli spettacoli, consentono di affermare che nell'arena si siano eseguiti, nel corso dell'inaugurazione, giochi in acqua. La scoperta delle evidenti testimonianze di un'arena con sostruzioni lignee, funzionale al solo debutto, subito dopo sostituite da strutture in muratura, rende comprensibile le modalità di svolgimento dei giochi: l'arena di legno era reversibile, consentendo l'allagamento dello spazio ipogeo" (Rossella Rea)</span></i></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Il gladiatore Spartaco si ribellò nel 73 a.C. e il suo esercito di schiavi venne sconfitto solo nel 71 a.C. quando le legioni di Crasso prima, e di Pompeo e Lucullo poi, uccisero c. 60.000 schiavi. c. 6.000 prigionieri furono crocifissi sulla Via Appia tra Roma e Capua, uno ogni 30 m (100 feet) per 186 km (115 miles)</span></span></div>
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<span style="letter-spacing: 0.0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Quando a fine 1700 si estirpò la vegetazione cresciuta nel Colosseo si contarono 420 specie diverse tra cui molte piante esotiche</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;">Sono stati individuati 187 "colossei" nel territorio dell’impero e si stima che nel III sec d.C. ce n'erano sicuramente più di 200</span></span></div>
David Macchihttp://www.blogger.com/profile/03680152527192773532noreply@blogger.com0tag:blogger.com,1999:blog-4279535645136556249.post-91351605733506674482011-01-27T12:44:00.013+01:002013-12-12T11:05:30.744+01:00Estratto da "Guida di Roma e provincia"<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><a href="http://2.bp.blogspot.com/_BVRjA9qSdLE/TUFbsiUgHVI/AAAAAAAAAHw/ZWETFY0RqBY/s1600/Copertina%2BGuida%2Bdi%2BRoma%2Be%2Bprovincia%2Bgen11.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><br /></a></span>
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<a href="http://2.bp.blogspot.com/-i9iScPrS50A/TWqJz2tG_CI/AAAAAAAAAH8/i1DBu7-ZOsc/s1600/Copertina%2BGuida%2Bdi%2BRoma%2Be%2Bprovincia%2Bgen11.jpg" style="clear: right; color: #333333; float: right; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; margin-bottom: 1em; margin-left: 1em; text-decoration: none;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5578422612402830370" src="http://2.bp.blogspot.com/-i9iScPrS50A/TWqJz2tG_CI/AAAAAAAAAH8/i1DBu7-ZOsc/s320/Copertina%2BGuida%2Bdi%2BRoma%2Be%2Bprovincia%2Bgen11.jpg" style="border: 1px solid rgb(204, 204, 204); float: right; height: 320px; margin: 0px 0px 10px 10px; padding: 4px; width: 226px;" /></a><span style="font-size: large;"><b style="letter-spacing: 0px; line-height: normal;"><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative"><b style="letter-spacing: 0px;"><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">Here's an</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">excerpt</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">from my</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">forthcoming</span> super comprehensive guide <span class="hps atn" title="Fai clic per visualizzare le traduzioni alternative">book about Rome</span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">.</span></span></b></span></span></b><b><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><div style="margin: 0px 0px 1px;">
<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">It will be called ROMAPEDIA.</span></span></b></span><br />
<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative"><br /></span></span></b></span><span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">The first edition was published in Italian as "Guida di Roma e provincia" in 2011 and the new enlarged edition is due to be released in 2014.</span></span></b></span><br />
<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-weight: normal;"><span class="hps" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;" title="Fai clic per visualizzare le traduzioni alternative">There will also be an edition in English available.</span></span></b></span></div>
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<span style="letter-spacing: 0px;"><b><span class="Apple-style-span" style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-weight: normal;"><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">It is</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">a</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">work</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">synthesis</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">and</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">anthology</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of the</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">most authoritative </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">sources</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of facts and </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">reliable information</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">about</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">the art</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">of</span> <span class="hps" title="Fai clic per visualizzare le traduzioni alternative">Rome </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">and </span><span class="hps" title="Fai clic per visualizzare le traduzioni alternative">its Province.</span></span></b></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="letter-spacing: 0px;">It also includes a profusion of artistically or historically relevant buildings, monuments, archaeological sites as well as 95 towns in the province of Rome, constituting one of the richest sources of information available in a single book about the art and history of the Eternal City.</span></span></b></b></span></b></b></span></b></b></span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><b style="line-height: 1.1em;"><b><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><span style="letter-spacing: 0px;"><br /></span></span></b></b></span></b></b></span></b></b></span></div>
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<span style="font-size: large;"><br /></span><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: large;"><span style="line-height: 20px;">My new ROMAPEDIA blog with the most complete encyclopedia about the art and history of Rome and its surroundings is being published. New entries are being added everyday. Here is the link: </span><a href="http://www.romapedia.blogspot.it/" style="color: #336699; line-height: 20px;">romapedia.blogspot.it</a></span></h3>
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<span style="letter-spacing: 0px;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio.html"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>BASILICA S. PIETRO</b><span style="letter-spacing: 0px;"><b></b></span></span></a></span><br />
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://maps.google.it/maps?q=41.902245,12.45723"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Piazza S. Pietro</span></a></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">VECCHIA BASILICA</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Iniziata c. 319/322, consacrata nell'anno 326 per Costantino (306/337) anche se fu completata intorno all'anno 349</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"L'origine della basilica vaticana è collegata al nome dell'imperatore Costantino. Sebbene non documentato, il suo ruolo di fondatore dell'edificio è storicamente probabile, anche se di recente è stata avanzata l'ipotesi che il committente sia stato il figlio Costante. Ciò non modifica comunque l'idea di base: il legame tra la tomba dell'apostolo e il potere universale dell'imperatore romano di cui l'edificio era testimonianza. La sua imponenza era tale da assumere, da sola, il carattere di fonte di legittimazione di una tradizione" (Christof Thoenes)</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Vennero costruiti <i>muri di sostruzione giganteschi</i> (il più alto di 11,50 m - 37,8 feet) per livellare la collina sul pendio della quale era il luogo esatto della tomba di S. Pietro che doveva coincidere con l'altare della Basilica</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Quest'enorme sterro del pendio della collina potrebbe essere prova sufficiente a dimostrare che la tomba di S. Pietro sia effettivamente sotto l'altare, poiché gli architetti di Costantino avrebbero potuto comodamente costruire la Basilica su terreno pianeggiante a poca distanza</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Si interrò a valle la necropoli e parte dell'area originariamente occupata dal circo. Anche questo fatto poneva delle difficoltà: le tombe erano un 'locus religiosus', cioè sottoposto a vincoli di carattere giuridico-sacrale, e non potevano essere impunemente demolite o spostate. L'autorizzazione alle operazioni poteva essere data però dall'imperatore in quanto pontefice massimo, cioè detentore della massima carica sacerdotale pagana. In altre parole Costantino poté erigere la più famosa basilica cristiana di Roma solo in quanto sacerdote pagano" (Paolo Liverani)</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La vecchia basilica era costituita da un'aula rettangolare di c. 90 x 60 m (295 x 197 feet) divisa in cinque navate da quattro file di ventidue colonne ciascuna</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0px;">Bernardo Rossellino</span><span style="letter-spacing: 0px;"> (1409/64) nel 1452 ne iniziò la ristrutturazione per Niccolò V Parentucelli (1447/55), ma poi ne venne decisa la distruzione, visto che dopo 1000 anni i pur notevoli lavori di fondazione costantiniani cominciavano a dare segni di cedimento </span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">NUOVA BASILICA</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Iniziata il <i>18 aprile 1506 </i>con la cerimonia della posa della prima pietra durante la quale vennero deposte in una scodella di terracotta dodici medaglie con da un lato l'effigie di Giulio II e dall'altro l'immagine della Basilica progettata da Donato Bramante</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Fu consacrata il <i>18 novembre 1626</i></span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">TREDICI ARCHITETTI:</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0px;">Donato Bramante </span><span style="letter-spacing: 0px;">(1444/1514) per Giulio II Della Rovere (1503/13) - <i>8 anni 1506/14</i> </span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Alla base del primo progetto del Bramante c'è soprattutto la volontà di esprimere nella maniera più piena la filosofica religiosità dell'umanesimo. Seguendo la linea ideale che conduce da Leon Battista Alberti, a Giuliano da Sangallo, a Leonardo, a lui stesso, l'urbinate mira a realizzare nella completa organicità dell'edificio la corrispondenza con l'ordine armonico dell'universo, specchio della perfezione divina. Il tema prescelto è dunque quello prediletto dalla cultura umanistica per il suo valore assoluto, la pianta centrale, a cui la suggestione dei monumenti della classicità romana offre la grandiosa e magniloquente scala monumentale" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0px;">Raffaello Sanzio</span><span style="letter-spacing: 0px;"> (1483/1520) con </span><span style="color: #ff2600; letter-spacing: 0px;">Fra' Giocondo</span><span style="letter-spacing: 0px;"> e Giuliano Giamberti detto</span><span style="color: #ff2600; letter-spacing: 0px;"> Giuliano da Sangallo</span><span style="letter-spacing: 0px;"> (1445/1516) - <i>6 anni 1514/20</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Antonio Cordini detto </span><span style="color: #ff2600; letter-spacing: 0px;">Antonio da Sangallo il Giovane</span><span style="letter-spacing: 0px;"> (1483/1546) con </span><span style="color: #ff2600; letter-spacing: 0px;">Baldassarre Peruzzi</span><span style="letter-spacing: 0px;"> (1481/1536) fino al 1527 - <i>26 anni 1520/46</i></span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Sangallo aveva individuato una soluzione di compromesso tra la pianta centrale di Bramante e quella longitudinale di Raffaello" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0px;">Michelangelo Buonarroti</span><span style="letter-spacing: 0px;"> (1475/1564) - <i>17 anni 1547/64</i></span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Michelangelo, ricollegandosi alla concezione bramantesca, contrasse lo spazio interno della basilica in una unità semplice e organica, che sintetizzava i due motivi geometrici generatori della pianta, la croce greca e il quadrato, centrando l'una sull'altro. Inoltre, per dare omogeneità all'esterno, egli concepì la struttura muraria a un unico ordine gigante dalle colossali paraste corinzie, sormontato da un attico che, correndo lungo tutto il perimetro dell'edificio, lo configurò come una massa compatta" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0px;">Jacopo Barozzi detto</span><span style="letter-spacing: 0px;"> </span><span style="color: #ff2600; letter-spacing: 0px;">Vignola</span><span style="letter-spacing: 0px;"> (1507/73) e </span><span style="color: #ff2600; letter-spacing: 0px;">Pirro Ligorio</span><span style="letter-spacing: 0px;"> (c. 1513/83) - <i>9 anni 1564/73</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0px;">Giacomo Della Porta</span><span style="letter-spacing: 0px;"> (1533/1602) con </span><span style="color: #ff2600; letter-spacing: 0px;">Domenico Fontana</span><span style="letter-spacing: 0px;"> (1543/1607) - <i>33 anni 1573/1607 - Della Porta fino al 1602</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0px;">Carlo Maderno</span><span style="letter-spacing: 0px;"> (1556/1629) - <i>22 anni 1607/29</i></span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Carlo Maderno si dimostrò progettista capace e versatile, ma i suoi disegni erano privi di un concetto proprio. Si era conclusa l'epoca dei grandi progetti, tutti più o meno tragicamente naufragati, e a Maderno si propose di terminare l'opera su una linea di compromesso tra ideale e realtà. L'unità della basilica, in senso sia storico che spaziale, divenne il nuovo tema. Maderno riuscì a far originare in modo coerente dal corpo centrale la navata (solo un occhio esperto nota il punto di giunzione), fornita degli auspicati spazi ausiliari" (Christof Thoenes)</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Carlo Maderno commise un clamoroso errore di progettazione: il prolungamento della Basilica è storto e tende verso sud. Il maestro se ne accorse in corso d'opera e cercò di correggere l'errore ma non ci riuscì completamente. Se si guarda la facciata si nota che obelisco, balcone centrale e costolone centrale della cupola non sono in asse. All'interno della Basilica si può vedere che le lastra marmoree del pavimento non sono sempre perfettamente allineate</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0px;">Gian Lorenzo Bernini</span><span style="letter-spacing: 0px;"> (1598/1680) - <i>c. 50 anni 1629/80</i></span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8676/Basilica%20S.%20Pietro%20DSC_8676.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PIAZZA</span></i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">1657/67 </span><span style="color: #ff2600; letter-spacing: 0px;">Gian Lorenzo Bernini</span><span style="letter-spacing: 0px;"> per Alessandro VII Chigi (1655/67)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Elissi larga 240 m (790 feet), 52 m (170 feet) in più del Colosseo</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Lo spazio ovale è di 196 x 149 m (643 x 489 feet)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La capienza è di circa 200.000 persone</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Essendo la Chiesa di S. Pietro quasi matrice di tutte le altre doveva aver un portico che per l'appunto dimostrasse di ricevere a braccia aperte maternamente i cattolici per confermarli nella credenza, gli eretici per riunirli alla Chiesa e gli infedeli per illuminarli alla vera fede" (Gian Lorenzo Bernini)</span></i></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/DSCF0603%20-%202009-05-19%20at%2018-53-54/DSCF0603%20-%202009-05-19%20at%2018-53-54.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">284 COLONNE</span></a></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Le colonne isolate del Bernini, con trabeazione diritta sono elementi immensamente scultorei. Quando si attraversa la piazza la prospettiva sempre mutevole delle colonne visibili a quattro a quattro sembra rivelare una foresta di unità individuali: e l'accordo di tutte queste forme statuarie chiaramente definite, produce la sensazione di una massa e potenza irresistibili. Si esperimenta quasi fisicamente che ogni colonna sposta e assorbe un po' dell'infinità dello spazio, e quest'impressione è rafforzata dagli sprazzi di cielo fra le colonne. Nessun'altra struttura italiana del periodo postrinascimentale mostra una altrettanto profonda affinità con la Grecia. Come succede con la maggior parte delle idee nuove e vitali, dopo aspri attacchi iniziali, i colonnati divennero della massima importanza per la storia dell'architettura posteriore nel corso di più di 250 anni" (Rudolf Wittkower)</span></i></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/2003_0208AK/2003_0208AK.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">140 STATUE DI SANTI</span></a></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Alte 3,10 m (10,1 feet)</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sul colonnato:</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">1667/73 eseguite da molti scultori sotto la direzione di </span><span style="color: #ff2600; letter-spacing: 0px;">Bernini</span><span style="letter-spacing: 0px;"> anche se poche delle statue sul colonnato sono attribuite con sicurezza:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0px;">Lazzaro Morelli </span><span style="letter-spacing: 0px;">(1608/90)</span><span style="color: #ff2600; letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;">a cui vengono attribuite la maggioranza delle statue tra cui S. Maria Egiziaca (24° da destra, la prima dopo lo stemma papale, protettrice delle prostitute pentite) e S. Caterina da Siena (24° da sinistra, la prima dopo lo stemma papale, santa patrona dell'Italia e dell'Europa)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0px;">Giovanni Maria De Rossi</span><span style="letter-spacing: 0px;"> (c. 1636/m. dopo il 1670) a cui vengono attribuite tredici statue</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0px;">Agostino Cornacchini</span><span style="letter-spacing: 0px;"> (1683/1740) che fece S. Orsola 9° da destra, </span><span style="color: #ff2600; letter-spacing: 0px;">Filippo Carcani </span><span style="letter-spacing: 0px;">(attivo 1670/91), </span><span style="color: #ff2600; letter-spacing: 0px;">Andrea Baratta </span><span style="letter-spacing: 0px;">(c. 1595/1666), </span><span style="color: #ff2600; letter-spacing: 0px;">Francesco Mari</span><span style="letter-spacing: 0px;"> e altri, molti dei quali ignoti</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>Sui bracci dritti</i> <i>verso la chiesa:</i></span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">1702/03 a differenza di quelle sul colonnato, le statue sui bracci dritti sono attribuibili tutte con sicurezza a scultori epigoni del Bernini già inseriti nel periodo tardo barocco:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0px;">Jean-Baptiste Théodon </span><span style="letter-spacing: 0px;">(1646/1713)</span><span style="color: #ff2600; letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;">che fece S. Cecilia e S. Francesca Romana, 1° e 2° nel braccio di destra, </span><span style="color: #ff2600; letter-spacing: 0px;">Francesco Pincellotti</span><span style="letter-spacing: 0px;"> (c. 1672/1749), </span><span style="color: #ff2600; letter-spacing: 0px;">Simone Giorgini</span><span style="letter-spacing: 0px;"> (attivo a Roma 1677/1712), </span><span style="color: #ff2600; letter-spacing: 0px;">Giovanni Maria Baratta</span><span style="letter-spacing: 0px;"> (noto dal 1644/m. dopo il 1679), </span><span style="color: #ff2600; letter-spacing: 0px;">Lorenzo Ottoni</span><span style="letter-spacing: 0px;"> (1648/1736), </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Paolo Campi</span><span style="letter-spacing: 0px;"> (noto 1702/40), </span><span style="color: #ff2600; letter-spacing: 0px;">Francesco Marchionni</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Michel Maille </span><span style="letter-spacing: 0px;">detto Michele Maglia</span><span style="color: #ff2600; letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;">(attivo a Roma seconda metà del XVII sec.), </span><span style="color: #ff2600; letter-spacing: 0px;">Pierre-Étienne Monnot </span><span style="letter-spacing: 0px;">(1657/1733), </span><span style="color: #ff2600; letter-spacing: 0px;">Bernardino Cametti </span><span style="letter-spacing: 0px;">(1669/1736) e altri</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Cuppolone%20DSC_2247/Cuppolone%20DSC_2247.jpg?disposition=download">"Sei enormi simboli araldici"</a></span><span style="color: black; letter-spacing: 0px;"> di Alessandro VII</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il colonnato era quasi completato alla morte di Alessandro VII nel 1667, mancando solo una parte della sezione sinistra. Il successore Clemente IX lo fece finire sbrigativamente e non volle far applicare il simbolo Chigi sul soffitto interno, la mancanza del quale indica esattamente tuttora la sezione completata dopo la morte di Alessando VII</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Una raffinata sensibilità spaziale e una esperienza decennale riguardo ai problemi ottici e dimensionali guidò la realizzazione della piazza. La scelta simbolica delle maestose braccia del colonnato che Bernini stesso paragonò alle materne braccia della Chiesa crea una spettacolare situazione urbanistica: l'ambiente aperto e percorribile funge da elemento di raccordo tra chiesa e città" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8679/Basilica%20S.%20Pietro%20DSC_8679.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Statua di S. Paolo"</span></a> 1838 dell'allievo di Canova </span><span style="color: #ff2600; letter-spacing: 0px;">Adamo Tadolini</span><span style="letter-spacing: 0px;"> (1788/1868)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Romapedia%201%20DSC_4233/Romapedia%201%20DSC_4233.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Statua di S. Pietro"</span></a> 1838 di </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe De Fabris </span><span style="letter-spacing: 0px;">(1790/1860)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Furono eseguite per la Basilica di S. Paolo e qui collocate nel 1847 al posto di due statue di uguale soggetto del 1462 di Paolo Taccone detto Paolo Romano (c. 1415/77) ora nella Biblioteca di Sisto IV</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nel pavimento MERIDIANA<b> </b>con rosa dei venti 1817 dell'astronomo </span><span style="color: #ff2600; letter-spacing: 0px;">L. G. Gilij</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8944/Basilica%20S.%20Pietro%20DSC_8944.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Dischi con simboli"</span></a> vennero sostituiti negli anni 1852, c. 1878 e 1924</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Non sono quindi opera di Bernini come fa credere Dan Brown in <i>Angels and Demons: </i>un libro splendido, molto ben scritto e a cui i romani dovrebbero essere grati per aver promosso in maniera sostanziale il turismo a Roma, ma che è molto impreciso dal punto di vista fattuale, nonostante ciò che Dan Brown affermi nella nota iniziale</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/2003_0208AL/2003_0208AL.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">FONTANA DI DESTRA</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Costruita originariamente 1490 per Innocenzo VIII Cybo (1484/92) e rinnovata 1614 </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Maderno</span><span style="letter-spacing: 0px;"> (1556/1629)</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/DSCF0607%20-%202009-05-19%20at%2018-55-42/DSCF0607%20-%202009-05-19%20at%2018-55-42.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">FONTANA DI SINISTRA</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">1675 (61 anni dopo) di </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Fontana </span><span style="letter-spacing: 0px;">(1634/1714) sotto la direzione di </span><span style="color: #ff2600; letter-spacing: 0px;">Bernini</span><span style="letter-spacing: 0px;">. L'impianto idrico fu collegato solo nel 1677</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Le vasche centrali delle due fontane sono di granito orientale</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8943/Basilica%20S.%20Pietro%20DSC_8943.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">QUATTRO CANDELABRI</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">1852 </span><span style="color: #ff2600; letter-spacing: 0px;">Antonio Sarti</span><span style="letter-spacing: 0px;"> (1797/1880) per Pio IX Mastai-Ferretti (1846/78) accesi il 12 ottobre 1854, i primi con il nuovo sistema d'illuminazione a gas</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8678/Basilica%20S.%20Pietro%20DSC_8678.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SCALA REGIA</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Inizio 1500 </span><span style="color: #ff2600; letter-spacing: 0px;">Antonio da Sangallo il Giovane</span><span style="letter-spacing: 0px;">. Modificata da </span><span style="color: #ff2600; letter-spacing: 0px;">Bernini</span><span style="letter-spacing: 0px;"> negli anni 1663/66</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"In aggiunta al suo uso della conoscenza prospettica, Bernini impiega di nuovo la luce naturale al servizio di scopi estetici. In questo caso per irrompere nella lunghezza simile a un tunnel delle scale, e alleviare la tendenza dell'architettura a creare un effetto telescopio" (Howard Hibbard)</span></i></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8942/Basilica%20S.%20Pietro%20DSC_8942.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">OBELISCO VATICANO</span></a></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">25,36 m (83 feet), 41 m (134 feet) incluso il basamento e fino alla croce</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Pesa c. 290 tonnellate (320 tons)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>È</i> <i>il secondo più alto tra gli otto originali obelischi egizi presenti a Roma</i>, e l'unico sempre rimasto eretto</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Secondo Plinio il Vecchio, fu originariamente eretto dal <i>faraone Nencoreo</i> (Nebkaure Amenemhet II) figlio di Sesotide (1992/1985 a.C.) a Heliopolis in onore del sole come voto per aver recuperato la vista</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sarebbe stato tagliato in due durante i lavori di allestimento romani del <i>Forum Iulium</i> ad Alessandria, compiuti nel 40 d.C. da Cornelio Gallo prefetto d'Egitto sotto Augusto</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">L'obelisco Vaticano risalirebbe dunque a c. 4.000 anni<i> </i>fa<i>, </i>anche se il fatto che sia anepigrafo fa pensare che sia stato fatto dai romani in Egitto</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Era alto in origine 52,50 m (172 feet)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il fusto superiore, l'attuale obelisco, fu <i>trasportato a Roma da Caligola (37/41)</i> nell'anno 37 d.C. con una nave enorme, usando lenticchia egiziana come zavorra. La nave fu poi affondata da Claudio (41/54) per fondarvi un molo del porto artificiale vicino Ostia</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ornava il circo privato di Caligola presso il Colle Vaticano con iscrizione dedicatoria, ancora visibile, a Cesare, Augusto e Tiberio</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">I "Quattro leoni bronzei" alla base sono di Prospero Antichi detto </span><span style="color: #ff2600; letter-spacing: 0px;">Prospero Bresciano </span><span style="letter-spacing: 0px;">(attivo dal 1580/m. dopo 1592) e aiuti</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"Aquile bronzee" 1713 di </span><span style="color: #ff2600; letter-spacing: 0px;">Lorenzo Ottoni</span><span style="letter-spacing: 0px;"> (1648/1736) per Innocenzo XIII Conti (1721/24)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>È sempre stato eretto sul lato sinistro della Basilica </i>a fianco dell'attuale Sagrestia dove una lapide sul pavimento ricorda il luogo esatto</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;"><i>Fu spostato al centro della piazza </i>per Sisto V Peretti (1585/90) da </span><span style="color: #ff2600; letter-spacing: 0px;">Domenico Fontana</span><span style="letter-spacing: 0px;"> (1543/1607) in 13 mesi dal settembre 1585 al settembre 1586, operazione che gli valse il titolo di <i>Cavaliere della Guglia</i>. Nel colossale lavoro vennero impiegati 40 giganteschi argani, 907 uomini e 75 cavalli</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Le quattro EPIGRAFI così recitano:</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>NORD</i></span></span><br />
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>Sixtus V Pont(ifex) Max(imus) Cruci Invictae Obeliscum Vaticanum Ab Impura Superstitione Expiatum Iustius Et Felicius Consecravit Anno MDLXXXVI Pont(ificatus) II = </i>Sisto V Pontefice Massimo l’obelisco Vaticano, purificato dall’impura superstizione, consacrò in modo più giusto e felice alla Croce invitta, nell’anno 1586, II del (suo) pontificato</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>OVEST</i></span></span><br />
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>Christus Vincit Christus Regnat Christus Imperat Christus Ab Omni Malo Plebem Suam Defendat</i> = Cristo vince, Cristo regna, Cristo impera. Cristo difenda il suo popolo da ogni male</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>EST</i></span></span><br />
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>Ecce Crux Domini Fugite Partes Adversae Vicit Leo De Tribu Iuda</i> =<i> </i>Ecco la Croce del Signore. Fuggite, parti nemiche. Vince il leone della tribù di Giuda</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>SUD</i></span></span><br />
<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>Sixtus V Pont Max Obeliscum Vaticanum Di(i)s Gentium Impio Culto Dicatum Ad Apostolorum Limina Operoso Labore Transtulit Anno MDLXXXVI Pont II =</i> Sisto V Pontefice Massimo, l’obelisco Vaticano, (già) dedicato con empio culto agli Dei dei popoli (pagani), trasferì con faticosa opera nella sede degli Apostoli l’anno 1586, II del (suo) pontificato</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel medioevo si credeva che nella sfera sulla cima ci fossero le ceneri di Giulio Cesare</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sisto V nel 1586 sostituì la sfera con una nuova (la vecchia è ora nei Musei Capitolini con ancora i buchi causati dalle pallottole dei lanzichenecchi durante il Sacco di Roma del 1527), e aggiunse la croce e i tre monti del suo stemma, oltre ai leoni</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ora nella sfera ci sono reliquie credute parte della croce di Gesù</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">DIMENSIONI DELLA BASILICA</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Lunghezza</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">186,30 m (610 feet). Compresi muri e portico è lunga 218,7 m (718 feet)</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Facciata</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Larga 114,69 m (376 feet) alta 47,3 m (155 feet) un metro più alta della Statua della Libertà a New York senza piedistallo. Dimensioni più o meno simili a quelle di un campo di football americano (360 x 160 feet)</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Cupola</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Diametro interno 42,56 m (139 feet); esterno 58,90 m (193 feet). Incredibilmente non è la cupola più grande di Roma: la cupola del Pantheon ha infatti un diametro interno di 43,30 m (142 feet)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>Lunghezza</i> <i>transetto</i></span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">137,85 m (452 feet)</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Altezza interna</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Da pavimento a lanterna 117,57 m (386 feet) sufficiente a farci entrare il Colosseo due volte con una ventina di metri di avanzo. L'altezza interna delle quattro cupole minori è di 42 m (138 feet)</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Altezza esterna</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Fino alla croce 136,57 m (448 feet)</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Area totale</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">22.067 m² (5,5 acri!)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Dal 1989 è diventata la seconda chiesa più grande del mondo, superata nel Guinness dei primati dalla Basilique de Notre Dame de la Paix a Yamoussoukro, in Costa d'Avorio che ha un'altezza di 158 m (518 feet) e una superficie di 30.000 m² non però tutta coperta, determinando una capienza interna notevolmente inferiore di 7.000 persone</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Si è calcolato che la Basilica può contenere al massimo <i>fino a 55.000 persone sedute e fino a 95.000 in piedi</i></span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il fregio con le scritte è largo 3 m (10 feet) come una strada a senso unico e lungo 593 m (1.950 feet)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La penna di S. Marco sul pilastro della cupola è di 1,50 m (5 feet)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">L'apertura alare della colomba è 1,75 m (5,75 feet)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Le colonne sono c. 500, gli altari 46 e le finestre 233</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/DSCF5609/DSCF5609.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CUPOLA</span></i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #ff2600; letter-spacing: 0px;">Michelangelo Buonarroti</span><span style="letter-spacing: 0px;"> (1475/1564) la progettò e vi lavorò fino alla morte nel 1564 quando era arrivata solo al piano del tamburo</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Fu poi completata <i>24 anni dopo</i> da </span><span style="color: #ff2600; letter-spacing: 0px;">Giacomo Della Porta</span><span style="letter-spacing: 0px;"> (1533/1602) assistito da </span><span style="color: #ff2600; letter-spacing: 0px;">Domenico Fontana</span><span style="letter-spacing: 0px;"> (1543/1607) in soli 22 mesi 1588/90 e fu finita il 14 maggio 1590</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Il peso stimato è di 14.000 tonnellate (15.400 tons)</span><span style="letter-spacing: 0px;"><i> </i></span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Nell'idearla, Michelangelo ha certamente pensato alla cupola del Brunelleschi per S. Maria del Fiore che, come diceva l'Alberti, era ampia da coprire con la sua ombra tutti i popoli toscani; la sua sarà ampia da coprire tutti i popoli cristiani. È come una ruota dentata che morda nello spazio libero del cielo. Al di sopra, la curva della calotta esprime a un tempo il peso della massa e il suo rianimarsi e tradursi in spinta verso l'alto con la tensione dei costoloni" (Giulio Carlo Argan)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Lavoro per palla e croce di </span><span style="color: #ff2600; letter-spacing: 0px;">Sebastiano Torrigiani </span><span style="letter-spacing: 0px;">(noto da c. 1573/m. 1596) finito il 18 novembre 1593</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La PALLA ha un diametro di 2,47 m (8,10 feet), è vuota all'interno e può contenere fino a 16 persone</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Per arrivare in cima ci sono 537 scalini ma se si usa l'ascensore fino alla base della cupola gli scalini sono 323</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0px;">Le due CUPOLE MINORI sono di </span><span style="letter-spacing: 0px;">Jacopo Barozzi detto Vignola</span><span style="color: black; letter-spacing: 0px;">, finite da </span><span style="letter-spacing: 0px;">Giacomo Della Porta</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8680/Basilica%20S.%20Pietro%20DSC_8680.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">FACCIATA</span></i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">1607/14 </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Maderno</span><span style="letter-spacing: 0px;"> (1556/1629) per Paolo V Borghese (1605/21) anche se nel fregio c'è la data 1612</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">È larga 114,69 m (376 feet) e alta 47,3 m (155 feet)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Le due colonne che fiancheggiano l'entrata centrale sono di marmo africano ed erano state utilizzate anche nell'antica basilica. Nel XVI erano considerate simbolo degli apostoli Pietro e Paolo, le colonne della Chiesa</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">L'iscrizione sulla facciata tradotta dal latino dice: <i>Paolo V Pontefice Massimo romano della famiglia Borghese fece costruire (questa facciata) in onore del Principe degli Apostoli nel 1612, settimo anno del suo pontificato</i></span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">È sicuramente interessante e non casuale il fatto che tra tutte le parole dell'iscrizione quella che prende il posto d'onore al centro, proprio sopra al balcone dal quale ogni nuovo papa eletto appare, sia "Borghese", il nome della famiglia</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Passeggiata%20DSC_2760/Passeggiata%20DSC_2760.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SCALINATA</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A tre ripiani del tempo di Sisto V Peretti (1585/90) che fece utilizzare marmo preso dal Colosseo. Fu ristrutturata nel 1667 da </span><span style="color: #ff2600; letter-spacing: 0px;">Bernini</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8682/Basilica%20S.%20Pietro%20DSC_8682.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">TREDICI STATUE SULLA BALAUSTRA</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"Gesù, Battista e apostoli tranne S. Pietro e S. Paolo" (hanno le statue in piazza) 1612/14 vari artisti sotto la direzione di </span><span style="color: #ff2600; letter-spacing: 0px;">Ambrogio Buonvicino</span><span style="letter-spacing: 0px;"> (c. 1552/1622)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Alte da 5,50 m (18 feet) (S. Giacomo Maggiore 5° da destra) a 7,50 m (24,6 feet) (Cristo al centro)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Da sinistra:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"S. Taddeo" </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Fancelli</span><span style="letter-spacing: 0px;">, "S. Matteo" </span><span style="color: #ff2600; letter-spacing: 0px;">Bernardo Cennini,</span><span style="letter-spacing: 0px;"> "S. Filippo" e "S. Tommaso" </span><span style="color: #ff2600; letter-spacing: 0px;">Siméon Drouin</span><span style="letter-spacing: 0px;">, "S. Giacomo Maggiore" </span><span style="color: #ff2600; letter-spacing: 0px;">Egidio Moretti</span><span style="letter-spacing: 0px;">, "S. Giovanni Battista" </span><span style="color: #ff2600; letter-spacing: 0px;">Siméon Drouin</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"Cristo Redentore" di </span><span style="color: #ff2600; letter-spacing: 0px;">Cristoforo Stati</span><span style="letter-spacing: 0px;"> (1556/1619) completata da </span><span style="color: #ff2600; letter-spacing: 0px;">Siméon Drouin</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"S. Andrea" </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Fancelli</span><span style="letter-spacing: 0px;">, "S. Giovanni Evangelista" Giovanni Antonio Paracca il Giovane detto il </span><span style="color: #ff2600; letter-spacing: 0px;">Valsoldino</span><span style="letter-spacing: 0px;"> con </span><span style="color: #ff2600; letter-spacing: 0px;">Bernardo Cennini</span><span style="letter-spacing: 0px;">, "S. Giacomo Minore" </span><span style="color: #ff2600; letter-spacing: 0px;">Cristoforo Stati </span><span style="letter-spacing: 0px;">completata da </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Fontana</span><span style="letter-spacing: 0px;">, "S. Bartolomeo" </span><span style="color: #ff2600; letter-spacing: 0px;">Egidio Moretti</span><span style="letter-spacing: 0px;">, "S. Simone" </span><span style="color: #ff2600; letter-spacing: 0px;">Bernardo Cennini</span><span style="letter-spacing: 0px;"> e "S. Mattia" </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Fontana</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8684/Basilica%20S.%20Pietro%20DSC_8684.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">ALTORILIEVO SOTTO IL BALCONE</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"Consegna delle chiavi" 1612/14 di </span><span style="color: #ff2600; letter-spacing: 0px;">Ambrogio Buonvicino</span><span style="letter-spacing: 0px;"> (c. 1552/1622)</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8681/Basilica%20S.%20Pietro%20DSC_8681.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">DUE OROLOGI</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">1786/90 </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Valadier</span><span style="letter-spacing: 0px;"><b> </b>(1762/1839) con quadranti in mosaico: a sinistra "Orologio oltremontano" con fuso orario medio europeo, a destra "Orologio italiano" con ora di Roma</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il diametro degli orologi è di c. 4 m (13 feet)</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Romapedia%201%20DSC_4234/Romapedia%201%20DSC_4234.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SEI CAMPANE</span></a></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sono collocate sotto l'orologio di sinistra</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">La più grande, il <i>campanone</i>, rifatta da </span><span style="color: #ff2600; letter-spacing: 0px;">Luigi Valadier</span><span style="letter-spacing: 0px;"> (1726/85) (si suicidò gettandosi nel Tevere per le malignità e le gelosie) e completata 1786 dal figlio </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Valadier</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il peso del <i>campanone</i> è di c. 10 tonnellate (11 tons) e la circonferenza 7,5 m (24.6 feet)</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8685/Basilica%20S.%20Pietro%20DSC_8685.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PORTICO</span></i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">1608/12 </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Maderno</span><span style="letter-spacing: 0px;"> (1556/1629)</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8701/Basilica%20S.%20Pietro%20DSC_8701.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PAVIMENTO IN MARMO</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">c. 1655/75 </span><span style="color: #ff2600; letter-spacing: 0px;">Bernini</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Gli stemmi papali inseriti nel pavimento sono, a sinistra, di Clemente X Altieri (1670/76) che regnava quando fu completato, a destra, di Leone XIII Pecci (1878/1903) che lo fece restaurare nel 1888 e, al centro, di Giovanni XXIII Roncalli (1958/63) che lo fece ulteriormente restaurare nel 1962 </span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">STATUE EQUESTRI NEI LATI CORTI</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8709/Basilica%20S.%20Pietro%20DSC_8709.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Statua di Costantino"</span></a> iniziata nel 1654 e completata nel 1670 da </span><span style="color: #ff2600; letter-spacing: 0px;">Bernini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nelle nicchie statue in travertino "Chiesa e tre virtù teologali Fede, Speranza e Carità" 1728/38 di </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Frascari</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">G.B. De Rossi</span><span style="letter-spacing: 0px;">,</span><span style="color: #ff2600; letter-spacing: 0px;"> Giuseppe Lironi</span><span style="letter-spacing: 0px;"> (1689/1749) e </span><span style="color: #ff2600; letter-spacing: 0px;">Bernardino Ludovisi</span><span style="letter-spacing: 0px;"> (c. 1713/49)</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"L'opera venne collocata sul pianerottolo della Scala Regia, sull'asse del portico di S. Pietro. Bernini ha progettato l'alto arco contenente il monumento equestre e il monumento stesso con il suo immenso drappeggio di stucco colorato, come punto focale dell'asse del portico. Gli espedienti d'inquadratura ci collocano esattamente nel punto di vista giusto. Tali espedienti d'inquadratura sono particolarmente significativi, poiché si guarda, attraverso la delimitazione delle scure porte di bronzo, entro la zona brillantemente illuminata del pianerottolo" (Rudolf Wittkower)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/93px-Charlemagne_Agostino_Cornacchini_Vatican_2/93px-Charlemagne_Agostino_Cornacchini_Vatican_2.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Statua di Carlo Magno"</span></a> 1725 di </span><span style="color: #ff2600; letter-spacing: 0px;">Agostino Cornacchini</span><span style="letter-spacing: 0px;"> (1683/1740) scolpita in un unico blocco di marmo di Carrara. Il tendaggio dietro la statua è in marmo giallo antico della Tunisia</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nelle nicchie statue in travertino "Quattro virtù cardinali Fortezza, Giustizia, Speranza e Carità" 1721/31 </span><span style="color: #ff2600; letter-spacing: 0px;">Lorenzo Ottoni</span><span style="letter-spacing: 0px;"> (1648/1736), </span><span style="color: #ff2600; letter-spacing: 0px;">G.B. De Rossi</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Lironi</span><span style="letter-spacing: 0px;"> (1689/1749)</span><span style="color: #ff2600; letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;">e </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Raffaelli</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8700/Basilica%20S.%20Pietro%20DSC_8700.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">VOLTA</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">c. 3.500 m² (c. 38.000 square feet) stucchi e trentadue riquadri con "Atti degli Apostoli" e trentuno statue di "Papi martiri" 1618/19 su cartoni di </span><span style="color: #ff2600; letter-spacing: 0px;">G.B. Ricci</span><span style="letter-spacing: 0px;"> (c. 1550/1624)</span><span style="color: #ff2600; letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;">di Novara eseguiti da una squadra di sei stuccatori ticinesi</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Poiché le eleganti e ricche decorazioni in stucco costituivano l'unico campo in cui i manieristi romani sotto Gregorio XIII Boncompagni (1572/85) e Sisto V Peretti (1585/90) avevano mostrato vera inventiva e originalità, Ricci attinse qui a una tradizione viva e vigorosa e creò un'opera la cui magnificenza è sempre stata elogiata" (Rudolf Wittkower)</span></i></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8694/Basilica%20S.%20Pietro%20DSC_8694.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PORTA MEDIANA</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">1439/45 Rilievi bronzei <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8697/Basilica%20S.%20Pietro%20DSC_8697.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Cristo Pantocrator, Annunciazione, "Ss. Pietro e Paolo"</span></a>, <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8695/Basilica%20S.%20Pietro%20DSC_8695.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Martirio di S. Pietro"</span></a> e <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8696/Basilica%20S.%20Pietro%20DSC_8696.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Martirio di S. Paolo"</span></a> di Antonio Averlino detto </span><span style="color: #ff2600; letter-spacing: 0px;">Filarete</span><span style="letter-spacing: 0px;"> (c. 1400/c. 1469) per Eugenio IV Coldumer (1431/47) storie del quale sono rappresentate nei quattro rilievi più piccoli collocati tra i sei pannelli</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In un pannello sul retro della porta, nella parte in basso a destra, c'è una rappresentazione del Filarete stesso che festeggia danzando con i suoi collaboratori in occasione della fine dei lavori per la porta</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La porta era anche la porta principale della vecchia basilica</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SOPRA LA PORTA MEDIANA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0px;">Rilievo marmoreo <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8699/Basilica%20S.%20Pietro%20DSC_8699.jpg?disposition=download"><span style="letter-spacing: 0px;">"Gesù affida a S. Pietro il gregge cristiano"</span></a> 1646 </span><span style="color: #ff2600; letter-spacing: 0px;">Bernini</span><span style="color: black; letter-spacing: 0px;"> e aiuti</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">DI FRONTE AL RILIEVO</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8698/Basilica%20S.%20Pietro%20DSC_8698.jpg?disposition=download">"Mosaico della navicella"</a></span><span style="letter-spacing: 0px;"><b> </b>1675, rifacimento maldestro di </span><span style="color: #ff2600; letter-spacing: 0px;">Vincenzo Manenti</span><span style="letter-spacing: 0px;"> (1600/74) dall'originale di </span><span style="color: #ff2600; letter-spacing: 0px;">Giotto</span><span style="letter-spacing: 0px;"> (c. 1267/1337) per il Card. Jacopo Stefaneschi, del quale solo pochissimi particolari (bordo dorato della nave, vela e ritratto di qualche apostolo) sono originali</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Era originariamente situato nella facciata interna del quadriportico davanti alla vecchia basilica</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">LE ALTRE PORTE</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A destra della mediana <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8703/Basilica%20S.%20Pietro%20DSC_8703.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Porta dei Sacramenti"</span></a> 1965 di </span><span style="color: #ff2600; letter-spacing: 0px;">Venanzo Crocetti</span><span style="letter-spacing: 0px;"> (1913/2003), inaugurata da Paolo VI Montini (1963/78) in occasione della riapertura del Concilio Vaticano II </span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Più a destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8686/Basilica%20S.%20Pietro%20DSC_8686.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Porta Santa"</span></a> 1949 di </span><span style="color: #ff2600; letter-spacing: 0px;">Vico Consorti</span><span style="letter-spacing: 0px;"> (1902/79) per il Giubileo del 1950</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nei pannelli "Storie dell'Antico e del Nuovo Testamento" e, tra i pannelli, stemmi dei papi che hanno aperto la porta nei 26 Anni Santi ordinari che sono stati finora celebrati</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Donata dal vescovo svizzero Francesco Von Streng perché la Svizzera era stata risparmiata dalla II guerra mondiale. L'entrata fino al 1950 fu chiusa da un muro</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Gli stipiti sono in marmo proveniente dall'isola greca di Chios. L'utilizzo di questo tipo di marmo in questo luogo così importante l'ha fatto definire come <i>marmo di portasanta</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8693/Basilica%20S.%20Pietro%20DSC_8693.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Porta del bene e del male"</span></a> 1975/77 di </span><span style="color: #ff2600; letter-spacing: 0px;">Luciano Minguzzi</span><span style="letter-spacing: 0px;"> (1911/2004), in occasione dell'ottantesimo compleanno di Paolo VI</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel battente di sinistra è rappresentato il bene, in quello di destra il male</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nella rappresentazione del male c'è un'immagine di martiri associata a una strage di partigiani nel 1943 a Casalecchio sul Reno durante la II guerra mondiale</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Più a sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8691/Basilica%20S.%20Pietro%20DSC_8691.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Porta della morte"</span></a> 1947/58 di </span><span style="color: #ff2600; letter-spacing: 0px;">Giacomo Manzù </span><span style="letter-spacing: 0px;">(1908/91), così detta perché da qui entravano i cortei funebri con le salme dei papi</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Papa Giovanni XXIII Roncalli (1958/63) bergamasco come Manzù eletto nel 1958 sbloccò subito i lavori per la porta che avevano trovato opposizioni tra i cardinali. Manzù lo rappresentò nei battenti interni mentre <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8940/Basilica%20S.%20Pietro%20DSC_8940.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">accoglie il vescovo Laurean Rugambwe, primo cardinale di colore in assoluto</span></a> da lui creato</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Manzù firmò il suo lavoro sul retro della porta, nell'impronta della mano aperta</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nei timpani delle porte <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8702/Basilica%20S.%20Pietro%20DSC_8702.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Cherubini"</span></a> alcuni dei quali eseguiti da </span><span style="color: #ff2600; letter-spacing: 0px;">Francesco Borromini</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">TRE ISCRIZIONI</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Incastonate tra le porte e provenienti dalla vecchia Basilica. Da s.:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8689/Basilica%20S.%20Pietro%20DSC_8689.jpg?disposition=download">"Donazione di 56 uliveti"</a></span><span style="letter-spacing: 0px;"> di Gregorio II (715/731) per l'olio delle lampade che dovevano essere sempre accese attorno al sepolcro di S. Pietro</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8688/Basilica%20S.%20Pietro%20DSC_8688.jpg?disposition=download">"Epitaffio di Adriano I (772/795)"</a></span><span style="letter-spacing: 0px;"> dedicato da Carlo Magno al papa per la sua morte. È in marmo nero del Belgio</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_esterno_e_atrio_files/Media/Basilica%20S.%20Pietro%20DSC_8687/Basilica%20S.%20Pietro%20DSC_8687.jpg?disposition=download"><i>"Bolla Antiquorum habet fida relatio"</i></a></span><span style="letter-spacing: 0px;"> con la quale Bonifacio VIII (1294/1303) indisse il primo Giubileo del 1300</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside.html"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">NAVATA MEDIANA</span></i></a></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8707/Basilica%20S.%20Pietro%20DSC_8707.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">VOLTA</span></a></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Alta 44 m (142 feet), decorazione 1780 sotto Pio VI Braschi (1775/99) con suo stemma al centro</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8757/Basilica%20S.%20Pietro%20DSC_8757.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PAVIMENTO IN MARMO</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">1649 </span><span style="color: #ff2600; letter-spacing: 0px;">Bernini</span><span style="letter-spacing: 0px;">, restaurato negli anni trenta del 1900 per Pio XI Ratti (1922/39), quando si lasciarono in bianco i bordi dell'intarsio al centro della navata per nascondere l'errore di progettazione di Carlo Maderno</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Davanti alla porta centrale "Rota porfiretica" in porfido egizio, già collocata presso l'altare della vecchia Basilica, su cui venne eletto Carlo Magno nel giorno di Natale dell'anno 800. È l'unica rimasta delle sei della vecchia Basilica</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nella navata centrale marchi delle <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8735/Basilica%20S.%20Pietro%20DSC_8735.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">LUNGHEZZE DI 28 CHIESE</span></a> tra cui:</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">(2°) <i>St. Paul's Cathedral </i>Londra (28,2 m - 92,5 feet - più corta della Basilica di S. Pietro), (3°) <i>S. Maria del Fiore </i>Firenze, (4°) <i>Basilica del Sacro Cuore </i>Bruxelles, (5°) <i>Immacolata Concezione</i> Washington, (6°) <i>Cattedrale </i>Reims, (7°) <i>Cattedrale </i>Colonia, (8°) <i>Duomo </i>Milano, (9°) <i>Cattedrale </i>Spira, (10°) <i>Basilica di S. Petronio </i>Bologna, (11°) <i>Cattedrale </i>Siviglia, (12°) <i>Notre Dame </i>Parigi, (13°) <i>S. Paolo Fuori le Mura</i> Roma...</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">...(23°) <i>St. Mary's Cathedral</i> Sydney,<i> </i>(24°) <i>Cattedrale di S. Paolo del Brasile, </i>(25°) <i>Westminster Abbey </i>Londra, (26°) <i>Santa Sofia </i>Istanbul, (27°) <i>Cattedrale di S. Croce</i> Boston, (28°) <i>Basilica di S. Maria</i> Danzica e (29°) <i>Cattedrale di S. Patrizio</i> New York</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PILASTRI</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Coperti da stucchi e marmi colorati negli anni 1646/49 da </span><span style="color: #ff2600; letter-spacing: 0px;">Bernini </span><span style="letter-spacing: 0px;">con l'aiuto di 41 artisti tra cui </span><span style="color: #ff2600; letter-spacing: 0px;">Andrea Bolgi</span><span style="letter-spacing: 0px;"> (1606/56), </span><span style="color: #ff2600; letter-spacing: 0px;">Ercole Ferrata</span><span style="letter-spacing: 0px;"> (1610/86), </span><span style="color: #ff2600; letter-spacing: 0px;">Ercole Antonio Raggi</span><span style="letter-spacing: 0px;"> (1624/86), </span><span style="color: #ff2600; letter-spacing: 0px;">Orfeo Boselli </span><span style="letter-spacing: 0px;">(c. 1600/67), </span><span style="color: #ff2600; letter-spacing: 0px;">Cosimo Fanzago </span><span style="letter-spacing: 0px;">(1591/1678), </span><span style="color: #ff2600; letter-spacing: 0px;">Lazzaro Morelli </span><span style="letter-spacing: 0px;">(1608/90) e altri</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8761/Basilica%20S.%20Pietro%20DSC_8761.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"56 medaglioni di papi da S. Pietro a Benedetto I (575/579), 192 cherubini e 104 colombe con rami d'ulivo nel becco"</span></a></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Si privilegiarono i colori rosso e verde e si scelsero le colombe con i rami d'ulivo in quanto rispettivamente colori e simboli araldici di Innocenzo X Pamphilj (1644/55)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Lo sfondo in marmo rosso "cottanello" ha venature naturali che vennero assecondate e integrate dagli artisti per ottenere una superficie che, pure se tratta dalla natura, mostra connotazioni creativamente artificiali</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">NEI RINFIANCHI DEI GRANDI ARCHI</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Cuppolone%20DSC_2226/Cuppolone%20DSC_2226.jpg?disposition=download">"Sedici Virtù"</a></span><span style="letter-spacing: 0px;"> alte 6 m (20 feet) 1647/49 dodici delle quali disegnate da </span><span style="color: #ff2600; letter-spacing: 0px;">Bernini</span><span style="letter-spacing: 0px;"> ed eseguite da quattordici artisti</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Le quattro virtù nei prospetti delle cappelle Gregoriana e Clementina erano già state eseguite negli anni 1599/1600</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sul lato destro:</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8736/Basilica%20S.%20Pietro%20DSC_8736.jpg?disposition=download">"Fortezza"</a></span><span style="color: black; letter-spacing: 0px;"> 1647 di </span><span style="letter-spacing: 0px;">Giovanni Francesco De Rossi </span><span style="color: black; letter-spacing: 0px;">(attivo 1640/77)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8737/Basilica%20S.%20Pietro%20DSC_8737.jpg?disposition=download">"Misericordia"</a></span><span style="color: black; letter-spacing: 0px;"> 1647 di </span><span style="letter-spacing: 0px;">Giovanni Francesco De Rossi </span><span style="color: black; letter-spacing: 0px;">con il padre </span><span style="letter-spacing: 0px;">Domenico De Rossi</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8738/Basilica%20S.%20Pietro%20DSC_8738.jpg?disposition=download">"Costanza"</a></span><span style="letter-spacing: 0px;"> e <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8739/Basilica%20S.%20Pietro%20DSC_8739.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Clemenza"</span></a> 1647 di </span><span style="color: #ff2600; letter-spacing: 0px;">Giacomo Antonio Fancelli </span><span style="letter-spacing: 0px;">(1619/71) autore della statua del Nilo nella Fontana dei Fiumi a Piazza Navona e del fratello </span><span style="color: #ff2600; letter-spacing: 0px;">Cosimo Fancelli </span><span style="letter-spacing: 0px;">(1620/88)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8740/Basilica%20S.%20Pietro%20DSC_8740.jpg?disposition=download">"Pace"</a></span><span style="letter-spacing: 0px;"> 1647 di </span><span style="color: #ff2600; letter-spacing: 0px;">Lazzaro Morelli </span><span style="letter-spacing: 0px;">(1608/90)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8741/Basilica%20S.%20Pietro%20DSC_8741.jpg?disposition=download">"Innocenza"</a></span><span style="color: black; letter-spacing: 0px;"> 1647 di </span><span style="letter-spacing: 0px;">G.B. Morelli</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8742/Basilica%20S.%20Pietro%20DSC_8742.jpg?disposition=download">"Fede"</a></span><span style="letter-spacing: 0px;"> e <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8743/Basilica%20S.%20Pietro%20DSC_8743.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Carità"</span></a> 1599 di </span><span style="color: #ff2600; letter-spacing: 0px;">Ruggero Bescapè </span><span style="letter-spacing: 0px;">(?/c. 1600). Aveva lavorato alle sculture del Teatro Olimpico di Vicenza</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sul lato sinistro:</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8746/Basilica%20S.%20Pietro%20DSC_8746.jpg?disposition=download">"Fortezza"</a></span><span style="letter-spacing: 0px;"> e <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8748/Basilica%20S.%20Pietro%20DSC_8748.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Giustizia"</span></a> 1599/1600 di </span><span style="color: #ff2600; letter-spacing: 0px;">Ambrogio Buonvicino</span><span style="letter-spacing: 0px;"> (c. 1552/1622)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8749/Basilica%20S.%20Pietro%20DSC_8749.jpg?disposition=download">"Pazienza"</a></span><span style="color: black; letter-spacing: 0px;"> 1647 di </span><span style="letter-spacing: 0px;">Domenico Prestinaro</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8750/Basilica%20S.%20Pietro%20DSC_8750.jpg?disposition=download">"Umiltà"</a></span><span style="color: black; letter-spacing: 0px;"> 1647 di </span><span style="letter-spacing: 0px;">Bartolomeo Cennini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8751/Basilica%20S.%20Pietro%20DSC_8751.jpg?disposition=download">"Obbedienza"</a></span><span style="letter-spacing: 0px;"> e <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8752/Basilica%20S.%20Pietro%20DSC_8752.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Verginità"</span></a> 1647/49 di </span><span style="color: #ff2600; letter-spacing: 0px;">Niccolò Menghini </span><span style="letter-spacing: 0px;">(c. 1610/55)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8753/Basilica%20S.%20Pietro%20DSC_8753.jpg?disposition=download">"Giustizia divina"</a></span><span style="color: black; letter-spacing: 0px;"> e <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8754/Basilica%20S.%20Pietro%20DSC_8754.jpg?disposition=download"><span style="letter-spacing: 0px;">"Autorità ecclesiastica"</span></a> 1647/48 di </span><span style="color: #ff2600; letter-spacing: 0px;">Andrea Bolgi</span><span style="color: black; letter-spacing: 0px;"> (1606/56)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Queste due virtù di Bolgi non piacquero a Innocenzo X Pamphilj (1644/55) e nel 1649 le fece modificare da </span><span style="color: #ff2600; letter-spacing: 0px;">Marco Antonio Inverno</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">ARCATE DEI TRANSETTI E DEI PASSAGGI NELLA TRIBUNA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0px;">1714/18 <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8803/Basilica%20S.%20Pietro%20DSC_8803.jpg?disposition=download"><span style="letter-spacing: 0px;">"Dodici figure allegoriche"</span></a> di </span><span style="color: #ff2600; letter-spacing: 0px;">Lorenzo Ottoni </span><span style="color: black; letter-spacing: 0px;">(1648/1736)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">DECORAZIONE A MOSAICO DELLA BASILICA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Iniziò nel 1578 con la Cappella Gregoriana e proseguì fino a inizio 1800 sotto le direzioni successive di </span><span style="color: #ff2600; letter-spacing: 0px;">Girolamo Muziano</span><span style="letter-spacing: 0px;"> (1532/92), </span><span style="color: #ff2600; letter-spacing: 0px;">Paolo Rossetti</span><span style="letter-spacing: 0px;"> (?/1621),</span><span style="color: #ff2600; letter-spacing: 0px;"> Marcello Provenzale </span><span style="letter-spacing: 0px;">(1575/1639),</span><span style="color: #ff2600; letter-spacing: 0px;"> G.B. Calandra</span><span style="letter-spacing: 0px;">,</span><span style="color: #ff2600; letter-spacing: 0px;"> Fabio Cristofari </span><span style="letter-spacing: 0px;">(c. 1615/89) e</span><span style="color: #ff2600; letter-spacing: 0px;"> Pietro Paolo Cristofari </span><span style="letter-spacing: 0px;">(1685/1743) che nel 1727 fondò l'istituzione nota come <i>Studio del mosaico al Vaticano</i><b> </b>ancora oggi operante</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La superficie totale dei mosaici nella Basilica è di c. 10.000 m² (2,5 acres)</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8708/Basilica%20S.%20Pietro%20DSC_8708.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">FREGIO IN MOSAICO CON ISCRIZIONE</span></a></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Completata al tempo di Pio IX Mastai-Ferretti (1846/78) con brani estratti dal Vangelo</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">è largo 3 m (10 feet) come una strada a senso unico e lungo 593 m (1.950 feet)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nella tribuna la scritta è ripetuta anche in greco a simboleggiare la continuità con il passato, essendo il greco la lingua delle prime comunità cristiane: <i>O Pastore della Chiesa tu pasci gli agnelli, tu pascoli le pecorelle di Cristo</i></span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nella cupola: <i>Tu sei Pietro e su questa pietra costruirò la mia Chiesa e ti darò le chiavi del regno dei cieli, Mt 16,18-19</i></span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Navata centrale, lato sinistro: <i>Io ho pregato per te, Pietro, affinché non venga meno la tua fede e tu, una volta ravveduto, conferma i tuoi fratelli, Lc 22,32</i></span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Navata centrale, lato destro: <i>Tutto ciò che avrai legato sulla terra sarà legato anche nei cieli; e tutto ciò che avrai sciolto sulla terra sarà sciolto anche nei cieli, Mt 16,19</i></span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Transetto di destra:<i> O Pietro, hai detto: Tu sei il Cristo, il Figlio del Dio vivente. Gesù rispose: Beato sei tu, Simone figlio di Giona, perché questo non ti è stato rivelato né dalla carne né dal sangue, Mt 16, 16-17</i></span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Transetto di sinistra:<i> Gesù dice per tre volte a te, o Pietro: mi ami? A lui per tre volte, o eletto, tu rispondi: o Signore tu conosci tutto e sai che ti amo, Gv 21,17</i></span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Facce interne dei piloni: <i>Da qui una sola fede risplende nel mondo, da qui sgorga l'unità del sacerdozio</i></span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8756/Basilica%20S.%20Pietro%20DSC_8756.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CONTROFACCIATA</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Due orologi 1787/90 di </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Valadier</span><span style="letter-spacing: 0px;"> (1762/1839):</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A sinistra <i>orologio alla francese o</i> <i>ultramontano </i>con inizio conto ore da mezzanotte</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A destra <i>orologio all'italiana </i>con inizio conto ore dal tramonto con quattro giri completi della lancetta al giorno. Era un bizzarro sistema di misurare il tempo usato a Roma fino al 1846</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8929/Basilica%20S.%20Pietro%20DSC_8929.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">ACQUASANTIERE</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">1722/25 disegnate da </span><span style="color: #ff2600; letter-spacing: 0px;">Agostino Cornacchini</span><span style="letter-spacing: 0px;"> (1683/1740) con enormi putti scolpiti da </span><span style="color: #ff2600; letter-spacing: 0px;">Francesco Moderati</span><span style="letter-spacing: 0px;"> (c. 1680/ dopo 1724) a sinistra e </span><span style="color: #ff2600; letter-spacing: 0px;">G.B. De Rossi </span><span style="letter-spacing: 0px;">a destra</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">STATUE NELLE NICCHIE DELL'ORDINE INFERIORE</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Fondatori di ordini religiosi:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">1°d <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8712/Basilica%20S.%20Pietro%20DSC_8712.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Teresa di Gesù"</span></a> 1754 di </span><span style="color: #ff2600; letter-spacing: 0px;">Filippo Della Valle</span><span style="letter-spacing: 0px;"> (1698/1768)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">2°d <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8715/Basilica%20S.%20Pietro%20DSC_8715.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Vincenzo de' Paoli"</span></a> 1754 di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Bracci</span><span style="letter-spacing: 0px;"> (1700/73)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">3°d <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8718/Basilica%20S.%20Pietro%20DSC_8718.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Filippo Neri"</span></a> 1737 di </span><span style="color: #ff2600; letter-spacing: 0px;">G.B. Maini</span><span style="letter-spacing: 0px;"> (1690/1752)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8728/Basilica%20S.%20Pietro%20DSC_8728.jpg?disposition=download">"Statua di S. Pietro"</a></span><span style="letter-spacing: 0px;"> c. 1296/98 di </span><span style="color: #ff2600; letter-spacing: 0px;">Arnolfo di Cambio</span><span style="letter-spacing: 0px;"> (c. 1245/1302) o sua bottega</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Cattedra marmorea del 1757. Due "Torciere bronzee con storie dei Ss. Pietro e Paolo" 1972 di </span><span style="color: #ff2600; letter-spacing: 0px;">Egidio Giaroli</span><span style="letter-spacing: 0px;"> (1912/2000). Medaglione in mosaico con "Pio IX Mastai-Ferretti (1846/78)" di </span><span style="color: #ff2600; letter-spacing: 0px;">Giovanni Ubizi </span><span style="letter-spacing: 0px;">da dipinto originale di </span><span style="color: #ff2600; letter-spacing: 0px;">Francesco Grandi</span><span style="letter-spacing: 0px;"> (1831/91)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0px;">4°s <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8725/Basilica%20S.%20Pietro%20DSC_8725.jpg?disposition=download"><span style="letter-spacing: 0px;">"S. Francesco di Paola"</span></a> 1732 di </span><span style="color: #ff2600; letter-spacing: 0px;">G.B. Maini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">3°s <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8729/Basilica%20S.%20Pietro%20DSC_8729.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Ignazio"</span></a> 1733 di </span><span style="color: #ff2600; letter-spacing: 0px;">Camillo Rusconi</span><span style="letter-spacing: 0px;"> (1658/1728) finita dall'allievo </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Rusconi</span><span style="letter-spacing: 0px;"> (1688/1758) che aveva lo stesso cognome di Camillo ma non ne era parente</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">2°s <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8731/Basilica%20S.%20Pietro%20DSC_8731.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Camillo"</span></a> 1753 di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Pacilli </span><span style="letter-spacing: 0px;">(1716/dopo 1769)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0px;">1°s <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8733/Basilica%20S.%20Pietro%20DSC_8733.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Pietro d'Alcantara"</span></a> 1753 di </span><span style="letter-spacing: 0px;">Francisco Vergara y Bartual il Giovane </span><span style="color: black; letter-spacing: 0px;">(1681/1753)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">STATUE NELLE NICCHIE DELL'ORDINE SUPERIORE</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Fondatori di ordini religiosi e congregazioni:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0px;">1°d <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8719/Basilica%20S.%20Pietro%20DSC_8719.jpg?disposition=download"><span style="letter-spacing: 0px;">"S. Maddalena Sofia Barat"</span></a> 1934 di </span><span style="color: #ff2600; letter-spacing: 0px;">Enrico Quattrini</span><span style="color: black; letter-spacing: 0px;"> (1863/1950)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">2°d <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8721/Basilica%20S.%20Pietro%20DSC_8721.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Giovanni Eudes"</span></a> 1932 di </span><span style="color: #ff2600; letter-spacing: 0px;">Silvio Silva</span><span style="letter-spacing: 0px;"> (1890/1955)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">3°d <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8722/Basilica%20S.%20Pietro%20DSC_8722.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. G.B. de la Salle"</span></a> 1904 di </span><span style="color: #ff2600; letter-spacing: 0px;">Cesare Aureli</span><span style="letter-spacing: 0px;"> (1843/1923)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">4°d <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8724/Basilica%20S.%20Pietro%20DSC_8724.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Giovanni Bosco"</span></a> 1936 di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Canonica</span><span style="letter-spacing: 0px;"> (1869/1959)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0px;">4°s <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8727/Basilica%20S.%20Pietro%20DSC_8727.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Pietro Fourier"</span></a> 1899 dello </span><span style="letter-spacing: 0px;">Studio Nicoli di Carrara</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0px;">3°s <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8730/Basilica%20S.%20Pietro%20DSC_8730.jpg?disposition=download"><span style="letter-spacing: 0px;">"S. Antonio Maria Zaccaria"</span></a> 1909 di </span><span style="color: #ff2600; letter-spacing: 0px;">Cesare Aureli</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0px;">2°s <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8732/Basilica%20S.%20Pietro%20DSC_8732.jpg?disposition=download"><span style="letter-spacing: 0px;">"S. Luigi Maria Grignion de Montort"</span></a> 1948 di </span><span style="color: #ff2600; letter-spacing: 0px;">Giacomo Parisini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0px;">1°s <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8734/Basilica%20S.%20Pietro%20DSC_8734.jpg?disposition=download"><span style="letter-spacing: 0px;">"S. Lucia Filippini"</span></a> 1949 di </span><span style="color: #ff2600; letter-spacing: 0px;">Silvio Silva</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nelle NICCHIE ALL'ESTERNO DELLA BASILICA dal 1999 al 2011 sono state collocate diciotto nuove statue di fondatori di ordini religiosi e congregazioni per volere di Giovanni Paolo II (1978/2005) e Benedetto XVI (2005/13) </span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8824/Basilica%20S.%20Pietro%20DSC_8824.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CUPOLA INTERNA</span></i></a></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"All'interno il ripetersi delle coppie di pilastri piatti del tamburo suggerisce un movimento rotatorio, centrifugo che dà alla cavità della calotta la continuità di un perenne girare intorno al centro prospettico-luminoso della lanterna. È precisamente, ma proiettata in altezza, la stessa idea spaziale che si esprimeva, più drammaticamente nel Giudizio; ma, appunto il dramma è più vicino alla conclusione, alla catarsi finale. La cupola è la catarsi del dramma dell'opera mai finita, la tomba di Giulio II. Sorge nello stesso sito, il monumento simbolico dell'ecumene cristiano" (Giulio Carlo Argan)</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PENNACCHI</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Mosaici con Evangelisti <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8839/Basilica%20S.%20Pietro%20DSC_8839.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Marco"</span></a> e <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8841/Basilica%20S.%20Pietro%20DSC_8841.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Matteo"</span></a> 1599 di </span><span style="color: #ff2600; letter-spacing: 0px;">Cesare Nebbia </span><span style="letter-spacing: 0px;">(1536/1614) e <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8842/Basilica%20S.%20Pietro%20DSC_8842.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Giovanni"</span></a> e <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8840/Basilica%20S.%20Pietro%20DSC_8840.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Luca"</span></a> 1599 di </span><span style="color: #ff2600; letter-spacing: 0px;">Giovanni De Vecchi </span><span style="letter-spacing: 0px;">(c. 1537/1615)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"Angeli" nei triangoli superiori 1600 di </span><span style="color: #ff2600; letter-spacing: 0px;">Cristoforo Roncalli detto Pomarancio</span><span style="letter-spacing: 0px;"> (1552/1626)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Sia gli Evangelisti che gli angeli sono stati messi in opera negli anni 1599/1601 dai mosaicisti </span><span style="color: #ff2600; letter-spacing: 0px;">Paolo Rossetti</span><span style="letter-spacing: 0px;"> (?/1621), </span><span style="color: #ff2600; letter-spacing: 0px;">Lodovico Martinelli</span><span style="letter-spacing: 0px;"> e </span><span style="color: #ff2600; letter-spacing: 0px;">Marcello Provenzale </span><span style="letter-spacing: 0px;">(1575/1639)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Le penne degli evangelisti sono lunghe 1,50 m (5 feet)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SEDICI COSTOLONI</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Mosaici con <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Cuppolone%20DSC_2197/Cuppolone%20DSC_2197.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Angeli"</span></a> 1603/13 di Giuseppe Cesari detto </span><span style="color: #ff2600; letter-spacing: 0px;">Cavalier d'Arpino</span><span style="letter-spacing: 0px;"> (1568/1640) e stuolo di mosaicisti diretti da </span><span style="color: #ff2600; letter-spacing: 0px;">Marcello Provenzale </span><span style="letter-spacing: 0px;">(1575/1639)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Dall'alto "Serafini" in stucco con teste dorate, ognuna circondata da sei ali bianche, "Cherubini" in mosaico con teste dorate, ognuna circondata da sei ali alternativamente bianco e azzurre, "Cristo", "S. Giovanni Battista", "Madonna", "S. Paolo e gli Apostoli". Più sotto nelle lunette "Patriarchi e Vescovi"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">LANTERNINO</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"Dio Padre" nella sommità eseguito in mosaico negli anni 1603/04 da </span><span style="color: #ff2600; letter-spacing: 0px;">Ranuccio Semprevivo</span><span style="letter-spacing: 0px;">. L'altezza del lanternino è, incredibilmente, ben 18 m (59 feet)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">QUATTRO PILONI</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">71 m (233 feet) di perimetro</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Edificati da </span><span style="color: #ff2600; letter-spacing: 0px;">Bramante</span><span style="letter-spacing: 0px;">, completati da </span><span style="color: #ff2600; letter-spacing: 0px;">Michelangelo</span><span style="letter-spacing: 0px;"> e attrezzati da </span><span style="color: #ff2600; letter-spacing: 0px;">Bernini</span><span style="letter-spacing: 0px;"> 1928/39 per ospitare le più importanti reliquie della cristianità</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">QUATTRO STATUE</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nelle nicchie alla base dei piloni alte 5 m (16,4 feet):</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8833/Basilica%20S.%20Pietro%20DSC_8833.jpg?disposition=download">"S. Longino"</a></span><span style="letter-spacing: 0px;"> 1635/38 di </span><span style="color: #ff2600; letter-spacing: 0px;">Bernini</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Dopo la S. Bibiana, il Longino è il passo decisivo seguente nella conquista del corpo mediante il drappeggio drammaticamente concepito. Tre giri di pieghe si irradiano da un nodo sotto il braccio sinistro verso l'ampia cascata verticale del drappeggio guidando lo sguardo verso l'immagine marmorea della sacra lancia. Così il corpo del Longino è quasi soppresso sotto il peso del mantello che sembra seguire leggi proprie. È rappresentato nell'atto emozionante della conversione, momento culminante di drammaticità, mentre, guardando la Croce, esclama: veramente questo fu il figlio di Dio!" (Rudolf Wittkower)</span></i></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Espresse l'immediatezza prescritta da S. Ignazio nei suoi Esercizi spirituali (...) con un'empatia che per la prima volta identificava le personali aspirazioni religiose di un cattolico con un eroe spirituale della prima cristianità. Longino non è che il primo di una grande successione di peccatori la cui vita fu illuminata dalla rivelazione della divinità di Cristo" (Howard Hibbard)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8827/Basilica%20S.%20Pietro%20DSC_8827.jpg?disposition=download">"S. Elena"</a></span><span style="letter-spacing: 0px;"> 1629/39 </span><span style="color: #ff2600; letter-spacing: 0px;">Andrea Bolgi</span><span style="letter-spacing: 0px;"> (1606/56)</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Lo stile del Bolgi mostra notevoli affinità con l'opera del Bernini in questo periodo. La S. Elena è infatti così vicina alla Contessa Matilde del Bernini, che quest'ultima fu spesso attribuita al Bolgi. Durante gli anni trenta Bernini stesso fece delle concessioni agli ideali classici sostenuti dalla cerchia Poussin-Sacchi. È perciò comprensibile che in quel periodo egli considerasse Bolgi come uno dei suoi assistenti più fidati" (Rudolf Wittkower)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8830/Basilica%20S.%20Pietro%20DSC_8830.jpg?disposition=download">"S. Veronica"</a></span><span style="letter-spacing: 0px;"> 1629/39 </span><span style="color: #ff2600; letter-spacing: 0px;">Francesco Mochi</span><span style="letter-spacing: 0px;"> (1580/1654) che la eseguì lentamente per "sigillare la vecchiaia con opera memorabile"<i>,</i> come soleva dire</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Le opere del toscano suscitarono non poca meraviglia fra i contemporanei e degna considerazione da parte del giovane Bernini. Allievo di Santi di Tito, Mochi rivelò nuove componenti stilistiche di intensa dinamicità" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"La S. Veronica, la sua opera più spettacolare, sembra precipitare fuori della nicchia sospinta da un incontrollabile pathos rivelando una particolare veemenza e tensione nervosa. Straniero nel mutato clima di Roma, superato dal genio del Bernini e deluso, egli protestò invano contro l'ondata del gusto dominante" (Rudolf Wittkower)</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Bernini aveva fatto delle modifiche ai piloni aprendo le nicchie e scavando scale interne che si diceva avessero fatto aprire delle crepe. Mochi ebbe quindi buon gioco nel rispondere alla critica del Bernini che si lamentava dello svolazzamento eccessivo del panneggio della Veronica: "Colpa degli spifferi che passano attraverso le vostre crepe, maestro!". Forse fu una coincidenza, ma Mochi venne da allora emarginato</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8832/Basilica%20S.%20Pietro%20DSC_8832.jpg?disposition=download">"S. Andrea"</a></span><span style="letter-spacing: 0px;"> 1629/39 </span><span style="color: #ff2600; letter-spacing: 0px;">François Duquesnoy</span><span style="letter-spacing: 0px;"> (1597/1643)</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Duquesnoy, Sacchi, Poussin e Algardi difendevano non una continuazione diretta del classicismo bolognese, ma una versione riveduta, influenzata fino a un certo punto dai grandi maestri (...). Confrontato con il classicismo del primo barocco, il nuovo classicismo fu dapprima piuttosto impetuoso e pittoresco; ha una fisionomia sua propria ed è questo stile che a buon diritto può essere denominato il classicismo del barocco" (Rudolf Wittkower)</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">BALCONATE CON RELIQUIE</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">1633/41 </span><span style="color: #ff2600; letter-spacing: 0px;">Bernini</span><span style="letter-spacing: 0px;"> con vari collaboratori tra cui </span><span style="color: #ff2600; letter-spacing: 0px;">Guidobaldo Abbatini </span><span style="letter-spacing: 0px;">(1600/56) che disegnò i cartoni e fece le rifiniture pittoriche, </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Pellegrini</span><span style="letter-spacing: 0px;"> (1605/49), </span><span style="color: #ff2600; letter-spacing: 0px;">Matteo Bonarelli</span><span style="letter-spacing: 0px;"> (marito di Costanza, amante del Bernini), </span><span style="color: #ff2600; letter-spacing: 0px;">Stefano Speranza</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Niccolò Menghini</span><span style="letter-spacing: 0px;"> (c. 1610/55), </span><span style="color: #ff2600; letter-spacing: 0px;">Luigi Bernini</span><span style="letter-spacing: 0px;"> (1612/81) e </span><span style="color: #ff2600; letter-spacing: 0px;">Domenico De Rossi</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Otto colonne tortili" in marmo pario (dall'isola greca di Paros) dalla vecchia Basilica meravigliosamente riverberate dalle simili ma gigantesche colonne nere del baldacchino berniniano</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Appartenevano al gruppo di dodici colonne che sostenevano la <i>pergula</i> nell'area della confessione di S. Pietro: sei furono donate da Costantino e le altre sei vennero donate a Gregorio III (731/741) dall'esarca Eutìchio di Ravenna</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Si credeva provenissero dal Tempio di Salomone a Gerusalemme</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ce ne sono altre due nella Cappella del Sacramento, un'altra nel Museo della Basilica mentre la dodicesima è scomparsa</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8838/Basilica%20S.%20Pietro%20DSC_8838.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;"><i>Testa di S. Andrea</i></span></a>, fratello di S. Pietro, fu donata nel 1966 da Paolo VI Montini (1963/78) alla città di Patrasso, dove S. Andrea era morto</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8835/Basilica%20S.%20Pietro%20DSC_8835.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;"><i>Lancia</i></span></a> fu donata a Innocenzo VIII Cybo (1484/92) da Bajazet figlio del sultano Maometto II</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8837/Basilica%20S.%20Pietro%20DSC_8837.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;"><i>Volto Santo</i></span></a> è la reliquia più venerata ed è considerata in tutto l'occidente la più importante immagine di Cristo; è noto anche come <i>Vera Ikon </i>- vera icona - da cui prese il nome S. Veronica che in realtà si chiamava <i>Berenike</i>, ed è testimoniato dall'VIII sec.</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8834/Basilica%20S.%20Pietro%20DSC_8834.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;"><i>Legno della Croce e i Chiodi della Crocifissione</i></span></a> furono portati a Roma da S. Elena. Dopo la donazione di vari frammenti a varie chiese, la reliquia fu ricostituita da Urbano VIII con altri frammenti da S. Anastasia e da S. Croce in Gerusalemme</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Durante la costruzione della nuova basilica le reliquie vennero collocate in una cappella all'interno del pilone della Veronica e le tre rimanenti sono tuttora lì. Vengono mostrate dal balcone della Veronica durante la Settimana Santa</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8825/Basilica%20S.%20Pietro%20DSC_8825.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">BALDACCHINO</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">1624/36 (fu inaugurato incompleto nel 1633) prima grande impresa di </span><span style="color: #ff2600; letter-spacing: 0px;">Bernini </span><span style="letter-spacing: 0px;">appena ventiseienne per Urbano VIII Barberini (1623/44)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Alto 29 m (95 feet), pesante 93 tonnellate (102 tons)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Bernini scelse l'immagine del baldacchino mobile usato nelle processioni fossilizzato come un ciborio di bronzo</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0px;">Ebbe la collaborazione di: </span><span style="letter-spacing: 0px;">François Duquesnoy</span><span style="color: black; letter-spacing: 0px;">, </span><span style="letter-spacing: 0px;">Stefano Maderno</span><span style="color: black; letter-spacing: 0px;"> (1560/1636), </span><span style="letter-spacing: 0px;">Giacomo Antonio Fancelli</span><span style="color: black; letter-spacing: 0px;">, </span><span style="letter-spacing: 0px;">Giuliano Finelli</span><span style="color: black; letter-spacing: 0px;"> (1602/53) e </span><span style="letter-spacing: 0px;">Francesco Borromini </span><span style="color: black; letter-spacing: 0px;">(1599/1667) che forse progettò le <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8896/Basilica%20S.%20Pietro%20DSC_8896.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">volute a dorso di delfino</span></a></span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Resto convinto che Borromini ebbe un importante ruolo creativo nella configurazione delle volute: quelle membrature a dorso di delfino di indubbia derivazione lombarda, che l'architetto ripeté poi in molte delle sue opere mentre non riappaiono mai nel repertorio berniniano. (...) Anche per quanto riguarda il coronamento quadriconcavo che sostiene la croce, prima apparizione a Roma del motivo che ritroveremo poi nelle lanterne di S. Carlino e S. Ivo" (Paolo Portoghesi)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Inoltre fu aiutato da </span><span style="color: #ff2600; letter-spacing: 0px;">Andrea Bolgi</span><span style="letter-spacing: 0px;"> (1606/56) che fece quattro angeli sul tetto, </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Bernini </span><span style="letter-spacing: 0px;">(1562/1629), il padre e </span><span style="color: #ff2600; letter-spacing: 0px;">Luigi Bernini</span><span style="letter-spacing: 0px;"> (1612/81), il fratello</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Il baldacchino svolgeva una triplice funzione di mediazione: estetica, in quanto costituiva un elemento intermedio tra il celebrante e l'immensità dello spazio circostante; storica, in quanto rievocava l'allestimento costantiniano della tomba; iconografica, in quanto coronava la tomba di Pietro con la croce di Cristo (nella versione originaria con la figura del Cristo risorto), ricollegandola alla tematica cristocentrico-escatologica dei mosaici della cupola. Tutto il vano centrale divenne così luogo di resurrezione e il 'pathos' dell'architettura bramantesca, in origine assoluto, fu messo al servizio di uno specifico messaggio teologico" (Christof Thoenes)</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il bronzo utilizzato fu preso dai costoloni della cupola, da Venezia e da Livorno. Quando si verificò che il bronzo non era ancora sufficiente Urbano VIII autorizzò la fusione del bronzo antico tolto dal soffitto del pronao del Pantheon</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il bronzo in eccesso venne utilizzato a quel punto per fare ottanta cannoni per Castel Sant'Angelo</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il fatto di aver utilizzato parte delle 200 tonnellate di bronzo (220 tons) del Pantheon provocò la famosa pasquinata "A Roma quello che non hanno fatto i barbari l'hanno fatto i Barberini"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Per le dorature venne usato oro zecchino battuto a martellate tra due lastre di cuoio in fogli finissimi di c. 4 millesimi di millimetro </span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Gli stemmi Barberini nei plinti delle quattro colonne celano la rappresentazione di un parto con il volto di una giovane donna prima rilassato, poi contratto e infine sostituito dal volto di un bimbo: sembra che ciò sia dovuto al voto fatto da Urbano VIII di far costruire il baldacchino se una sua cara nipote, che rischiava di morire durante il parto, avesse partorito felicemente</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Fu un'idea brillante quella di ripetere nelle colonne giganti del Baldacchino, la forma delle colonne a spirale tardo-antiche ora nelle edicole sopra le balconate dei pilastri. Così le colonne a spirale bronzee trovano una quadruplice eco e non solo danno prova della continuità della tradizione, ma con le loro dimensioni gigantesche esprimono anche simbolicamente il cambiamento dalla semplicità dei primi cristiani allo splendore della chiesa della controriforma, con la sottintesa vittoria del cristianesimo sul mondo pagano. Le loro misure sono accuratamente rapportate all'architettura della chiesa, ma invece di creare una rivalità pericolosa, stabiliscono un contrasto drammatico con i pilastri diritti scanalati degli stipiti come pure con gli altri elementi strutturali in marmo bianco della costruzione" (Rudolf Wittkower)</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Durante la costruzione si trovò un sarcofago sul cui coperchio era la statua di un gentile, <a href="http://www.imamuseum.org/sites/default/files/mars/03/036ce74c-0125-4e39-b201-132a76f078bb.jpg"><span style="color: #021eaa; letter-spacing: 0px;">"Flavio Agricola da Tivoli"</span></a> c. 160 d.C., che fu collocata prima a Palazzo Barberini e che ora è esposta nell'Indianapolis Museum of Arts negli USA</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Il canonico di S. Pietro Ugo Ubaldi non accenna neppure allo 'scandaloso' epitaffio di Flavio Agricola che esorta gli amici ad abbandonarsi ai piaceri di una vita epicurea; versi che vengono 'occultati e taciuti per le pene severissime e rigorosissima scomunica, ed orribilissime minacce del pontefice imposte e fatte a chi di tali versi avesse osato parlare'. Certo deve essere stato complicato giustificare l'imbarazzante e pericolosa contiguità tra il libertino pagano e i resti mortali di Pietro; è come se si fosse materializzato un curioso ossimoro che vede le fondazioni del baldacchino minare le fondamenta stesse dell'orbe cristiano" (Maria Grazia D'Amelio -Tra ossa, polveri e ceneri: il 'fuoriasse' del baldacchino di S. Pietro a Roma - Annali di Architettura - www.cisapalladio.org)</span></i></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8826/Basilica%20S.%20Pietro%20DSC_8826.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">ALTARE PAPALE</span></a></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">1594 per Clemente VIII Aldobrandini (1592/1605) con mensa in marmo pario e quattro lati in pavonazzetto, marmi presi dal Tempio di Minerva nel Foro di Nerva</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Solo il papa può celebrare messa su quest'altare</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/DSCF3135/DSCF3135.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CONFESSIONE</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">1615/18 </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Maderno</span><span style="letter-spacing: 0px;"> (1556/1629)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">89 fiammelle in cornucopie bronzee dorate di </span><span style="color: #ff2600; letter-spacing: 0px;">Mattia De Rossi</span><span style="letter-spacing: 0px;"> (1637/95)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nella <i>Nicchia dei Pallii </i>insegne liturgiche d'onore fatte di fasce di lana bianca larghe 4/6 cm - 1,5/2 inches - con sei croci di seta nera</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Mosaico "Cristo benedicente" del tempo di Leone IV (847/855)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nel sottarco tre affreschi con "Storie della tomba e della Basilica" 1615 </span><span style="color: #ff2600; letter-spacing: 0px;">G.B. Ricci</span><span style="letter-spacing: 0px;"> (c. 1550/1624). Sono gli unici dipinti in tutta la Basilica con quelli nella Cappella del SS. Sacramento e nella Cappella della Pietà</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">OTTO SALE OTTAGONE</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Otto sale di c. 110 m² (1.184 square feet) l'una, ricavate nei quattro enormi piloni della cupola a c. 24 m (79 feet) d'altezza. Non sono aperte al pubblico</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">DUE SALE OTTAGONE DELLA MADONNA DELLA COLONNA (<i>Ottagono dello Storpio</i> e <i>Ottagono di Simon Mago</i>)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Documenti dell'Archivio Storico Generale della Fabbrica di S. Pietro in c. 2.000 m (6.560 feet) di scaffalatura, tra cui carte firmate da Antonio da Sangallo, Michelangelo, Bernini, Vanvitelli e Valadier</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.atlantedellarteitaliana.it/immagine/00020/13294OP868AU21180.jpg">"Rilievi dal vecchio ciborio di S. Pietro"</a></span><span style="letter-spacing: 0px;"> 1471/78 forse di Maestro fiorentino vicino ad Antonio Rossellino o Maestro romano vicino a Mino da Fiesole o Paolo Taccone detto Paolo Romano per il Card. G.B. Mellini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Dipinti di </span><span style="color: #ff2600; letter-spacing: 0px;">Ugo da Carpi</span><span style="letter-spacing: 0px;"> (c. 1480/1532), </span><span style="color: #ff2600; letter-spacing: 0px;">Giacomo Zoboli</span><span style="letter-spacing: 0px;"> (1681/1767), </span><span style="color: #ff2600; letter-spacing: 0px;">Francesco Trevisani</span><span style="letter-spacing: 0px;"> (1656/1746), </span><span style="color: #ff2600; letter-spacing: 0px;">Agostino Ciampelli</span><span style="letter-spacing: 0px;"> (1565/1630)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">DUE SALE OTTAGONE DEI Ss. MICHELE E PETRONILLA</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Depositi per materiali legati alle necessità liturgiche della basilica</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">DUE SALE OTTAGONE DELLA CAPPELLA GREGORIANA</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ottagono di S. Basilio</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"Rilievi marmorei del monumento funerario di Paolo II Barbo (1464/71) 1475/77 di </span><span style="color: #ff2600; letter-spacing: 0px;">Mino da Fiesole</span><span style="letter-spacing: 0px;"> (1429/84) e Giovanni Duknovich detto </span><span style="color: #ff2600; letter-spacing: 0px;">Giovanni Dalmata</span><span style="letter-spacing: 0px;"> (c. 1440/1510)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il monumento era originariamente collocato nell'antica basilica e aveva un'altezza di c. 11 m (36 feet)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"Modello ligneo in scala 1:15 della cupola di S. Pietro" eseguito da </span><span style="color: #ff2600; letter-spacing: 0px;">Michelangelo Buonarroti</span><span style="letter-spacing: 0px;"> (1475/1564) e restaurato da </span><span style="color: #ff2600; letter-spacing: 0px;">Luigi Vanvitelli</span><span style="letter-spacing: 0px;"> (1700/73)</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ottagono di S. Girolamo</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Modello della Basilica di S. Pietro" 1539/46 secondo il progetto di Antonio da Sangallo il Giovane in scala 1:29 apribile e accessibile all'interno</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"Modelli di statue in gesso" di </span><span style="color: #ff2600; letter-spacing: 0px;">Antonio Canova</span><span style="letter-spacing: 0px;"> (1757/1822) e </span><span style="color: #ff2600; letter-spacing: 0px;">Bertel Thorvaldsen </span><span style="letter-spacing: 0px;">(1770/1844)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">DUE SALE OTTAGONE DELLA CAPPELLA CLEMENTINA (<i>Ottagono della Trasfigurazione </i>e <i>Ottagono della Bugia</i>)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Modelli lignei per la costruzione della Sagrestia del 1715" tra cui quelli di Filippo Juvarra e Nicola Michetti</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Pala d'altare dipinta a olio su lavagna "Caduta di Simon Mago" 1603 di </span><span style="color: #ff2600; letter-spacing: 0px;">Francesco Vanni</span><span style="letter-spacing: 0px;"> (c. 1563/1610)</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro.html"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">NAVATA DESTRA</span></i></a></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel 1727 molte pale d'altare vennero sostituite con mosaici</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Sopra la Porta Santa, mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8758/Basilica%20S.%20Pietro%20DSC_8758.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Pietro"</span></a> 1675 forse di </span><span style="color: #ff2600; letter-spacing: 0px;">Ciro Ferri</span><span style="letter-spacing: 0px;"> (1634/89) o di </span><span style="color: #ff2600; letter-spacing: 0px;">G.B. Ricci</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CUPOLA DEL VESTIBOLO DELLA PRIMA CAPPELLA A DESTRA <i>(Dedicata alla Passione di Cristo)</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Mosaico nella CUPOLA <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8760/Basilica%20S.%20Pietro%20DSC_8760.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Scena apocalittica di angeli che segnano la fronte degli eletti con il segno del Dio vivente"</span></a> disegnato nel 1668 da Pietro Berrettini detto </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro da Cortona </span><span style="letter-spacing: 0px;">(1597/1669) e dal suo allievo </span><span style="color: #ff2600; letter-spacing: 0px;">Ciro Ferri </span><span style="letter-spacing: 0px;">(1634/89) che completò l'opera dal 1669 al 1671, dopo la morte del suo maestro</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nei PENNACCHI mosaici con importanti figure dell'Antico Testamento:</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Noè con l'arca"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Sacrificio di Isacco"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Mosè con le tavole della Legge"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Profeta Geremia"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">1669/71 </span><span style="color: #ff2600; letter-spacing: 0px;">Ciro Ferri</span><span style="letter-spacing: 0px;">, tradotti in mosaico negli anni 1680/81 da </span><span style="color: #ff2600; letter-spacing: 0px;">Fabio Cristofari</span><span style="letter-spacing: 0px;"> (c. 1615/89)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nelle LUNETTE mosaici con sibille e profeti minori che hanno vaticinato la Passione:</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Sibilla Frigia"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Sibilla Cumana"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Profeta Amos"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Profeta Zaccaria"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Profeta Osea"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Profeta Isaia"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">1669/71 </span><span style="color: #ff2600; letter-spacing: 0px;">Ciro Ferri</span><span style="letter-spacing: 0px;">, tradotti in mosaico negli anni 1677/79 da </span><span style="color: #ff2600; letter-spacing: 0px;">Fabio Cristofari</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nel TAMBURO quattro statue in stucco "Angeli con simboli della Passione" 1712 di </span><span style="color: #ff2600; letter-spacing: 0px;">Lorenzo Ottoni </span><span style="letter-spacing: 0px;">(1648/1736)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PRIMA CAPPELLA A DESTRA (<i>della Pietà</i>)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Celeberrima <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Cuppolone%20DSC_2243/Cuppolone%20DSC_2243.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Pietà"</span></a> agosto 1498/agosto 1499 di </span><span style="color: #ff2600; letter-spacing: 0px;">Michelangelo Buonarroti</span><span style="letter-spacing: 0px;"> ventitreenne per il Card. Jean de Bilhères de Lagraulas ambasciatore di Carlo VIII re di Francia</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0px;">Il <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8763/Basilica%20S.%20Pietro%20DSC_8763.jpg?disposition=download"><span style="letter-spacing: 0px;">piedistallo della statua</span></a> è di </span><span style="color: #ff2600; letter-spacing: 0px;">Francesco Borromini</span><span style="color: black; letter-spacing: 0px;"> (1599/1667)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Viene considerata universalmente come la statua più significativa e più bella al mondo</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Fu collocata qui nel 1749. Era precedentemente collocata nella Cappella del Coro</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Fu oggetto di un attentato nel 1972 da parte dello squilibrato austro-ungherese Laszlo Toth: urlando "Sono Gesù Cristo rinato dai morti" diede 15 martellate alla statua prima di essere fermato. Fu ricoverato per due anni in un ospedale italiano e dopo il rilascio andò in Australia dove tuttora risiede</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Durante il restauro si scoprì una M disegnata dalle linee della mano destra della Vergine</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Michelangelo aveva ascoltato non riconosciuto alcuni ammiratori della Pietà dubitare che fosse di sua mano essendo troppo giovane, attribuendola più plausibilmente a qualche scultore milanese. Egli allora entrò di notte nella Basilica e incise sulla fascia del vestito della Madonna <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Cuppolone%20DSC_2245/Cuppolone%20DSC_2245.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;"><i>Michael Angelus Bonarotus Florent Faciebat</i></span></a><i>: </i>è l'unica opera che egli firmò in tutta la sua vita</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"La Madonna tiene in grembo Cristo morto, come se fosse un bambino dormiente; ed è giovane come quando Cristo era bambino. Forse la statua vuole essere proprio questo: una visione o, piuttosto, la previsione o prefigurazione che la Vergine ha della Passione del Figlio. Alla previsione si lega subito il rimpianto: il gesto dimostrativo della mano della Madonna dice che la previsione si è purtroppo avverata. È un arco di tempo dal passato al futuro che esclude il momento del presente, della realtà del fatto. La composizione è chiusa in una piramide, quasi a indicare che tutto ciò rientra in un concetto divino, che trascende il dolore, la pietà umana" (Giulio Carlo Argan)</span></i></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Michelangelo accentuò volutamente la giovinezza della Madonna discostandosi nettamente dalla consueta tradizione figurativa che voleva Maria rappresentata in età avanzata. Così ella viene a incarnare il simbolo della vite eterna. La Madonna, contemporaneamente Vergine e Madre, conserva l'immacolata giovinezza del volto, pur lasciando trasparire, dal suo assorto silenzio, tutto il dolore per la morte del Figlio, che appare dolcemente adagiato sul suo grembo, quasi senza peso. La figura di Cristo non ha la rigidità di un cadavere né mostra i segni delle ferite, come volevano raffigurarlo i realisti: è l'umanità perfetta del Dio-Uomo, non deformata dalla morte e non deturpata dai supplizi subiti" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Si riallaccia a una tipologia di raffigurazione derivata dalla religiosità popolare e dalla mistica tardomedievale, e diffusa fin dal XIV sec. soprattutto nell'Europa settentrionale con il nome di Vesperbild. La raffigurazione della Pietà era particolarmente idonea a richiamare visivamente il nesso tra l'incarnazione di Cristo, il suo farsi uomo, e il sacrificio eucaristico, la sua immolazione. Infatti la teologia medievale associava la Madonna sia alla nascita del Salvatore, sia all'altare sul quale veniva ripetuto il sacrificio di Cristo durante la messa. Il corpo di Cristo raffigurato disteso in grembo alla madre equivaleva dunque all'ostia che il prete sollevava durante l'eucarestia" (Frank Zöllner)</span></i></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"È la sua opera più accuratamente rifinita. Deve aver speso un tempo sterminato a passarvi sopra abrasivi, finché la figura del Cristo non assunse un aspetto di politura quasi lucente, smaltato. Non si troveranno fori di trapano, ma studiando la testa di Cristo non potrà sfuggire che i capelli sono stati lavorati ampiamente a trapano" (Rudolf Wittkower)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nella volta al centro affreschi <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Cuppolone%20DSC_2244/Cuppolone%20DSC_2244.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Trionfo della Croce"</span></a>, ai lati "Episodi della Passione" </span><span style="color: #ff2600; letter-spacing: 0px;">Giovanni Lanfranco</span><span style="letter-spacing: 0px;"> (1582/1647): unici dipinti in tutta la Basilica insieme con quelli nella Cappella del SS. Sacramento e nella Confessione</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PRIMO PASSAGGIO</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8766/Basilica%20S.%20Pietro%20DSC_8766.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monumento alla regina Cristina di Svezia (1626/89)"</span></a> 1691/1702 </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Fontana</span><span style="letter-spacing: 0px;"><b> </b>(1634/1714) con bassorilievo "Abiura al protestantesimo di Cristina di Svezia a Innsbruck nel 1655" di </span><span style="color: #ff2600; letter-spacing: 0px;">Jean-Baptiste Théodon </span><span style="letter-spacing: 0px;">(1646/1713) e "Angeli" di </span><span style="color: #ff2600; letter-spacing: 0px;">Lorenzo Ottoni </span><span style="letter-spacing: 0px;">(1648/1736)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La regina fu sepolta nelle Grotte della Basilica</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Divenuta regina di Svezia a 6 anni nel 1632, visse in maniera anticonformista, rifiutò di sposarsi e si convertì segretamente al cattolicesimo. Nel 1654 abdicò a favore del cugino e si recò a Roma dove visse fino alla sua morte nel 1689. È diventata una delle più celebri icone gay</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8764/Basilica%20S.%20Pietro%20DSC_8764.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Statua di Leone XII Sermattei (1823/29)"</span></a> con allegorie sopra la nicchia di "Religione" a sinistra e "Giustizia" a destra 1836 di </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe De Fabris </span><span style="letter-spacing: 0px;">(1790/1860)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Leone XII è in realtà sepolto nella Cappella della Madonna della Colonna </span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Nel 1825 Leone XII aveva celebrato il giubileo del 1825 e l'evento è ricordato nel monumento con il papa, stante e benedicente, attorniato, in un fuori scala di ascendenza neomedievale, dai cardinali Cappellari (futuro Gregorio XVI), Pacca, Odescalchi e Zurla" (Roberto Cassanelli)</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CAPPELLA DELLE RELIQUIE <i>(sotto la statua di Leone XII)</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Originariamente era un magazzino e fu trasformato in cappella c. 1664/71 da </span><span style="color: #ff2600; letter-spacing: 0px;">Bernini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Decorata c. 1750 da </span><span style="color: #ff2600; letter-spacing: 0px;">Luigi Vanvitelli</span><span style="letter-spacing: 0px;"> (1700/73) e restaurata 1887 da </span><span style="color: #ff2600; letter-spacing: 0px;">Andrea Busiri Vici</span><span style="letter-spacing: 0px;"> (1818/1911)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Sull'altare di fondo <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8769/Basilica%20S.%20Pietro%20DSC_8769.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Crocifisso ligneo"</span></a> forse Pietro de' Cerroni detto </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Cavallini</span><span style="letter-spacing: 0px;"> (c. 1240/1325) già nella prima cappella a destra e spostato qui nel 1749 quando dovette far posto alla "Pietà" di Michelangelo</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Altare a sinistra con pala in mosaico "S. Nicola" 1680 di </span><span style="color: #ff2600; letter-spacing: 0px;">Fabio Cristofari</span><span style="letter-spacing: 0px;"> (c. 1615/89)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Altare a destra con pala in mosaico "S. Giuseppe col Bambino Gesù" 1892 da un dipinto di </span><span style="color: #ff2600; letter-spacing: 0px;">Francesco Grandi</span><span style="letter-spacing: 0px;"> (1831/91)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sei grossi armadi settecenteschi per conservare le reliquie</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Al centro della cappella c'è un minuscolo ascensore installato durante il pontificato di Pio XI Ratti (1922/39) che collega la Basilica con il Palazzo Apostolico</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CUPOLA DEL VESTIBOLO DELLA SECONDA CAPPELLA A DESTRA <i>(Dedicata ai martiri)</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0px;">Mosaico nella CUPOLA <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8777/Basilica%20S.%20Pietro%20DSC_8777.jpg?disposition=download"><span style="letter-spacing: 0px;">"Scena apocalittica con schiera di martiri che procede con la palma del martirio verso l'Eterno in trono vicino all'Agnello"</span></a> disegnato 1652/62 da Pietro Berrettini detto </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro da Cortona </span><span style="color: black; letter-spacing: 0px;">(1597/1669) e dal suo allievo </span><span style="color: #ff2600; letter-spacing: 0px;">Ciro Ferri</span><span style="color: black; letter-spacing: 0px;"> (1634/89)</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Qui Pietro da Cortona, assistito da Ciro Ferri, mostra una significativa testimonianza di decorazione barocca, dove il dinamismo e la scioltezza pittorica dell'invenzione sono esaltati dalle sue capacità prospettiche e compositive" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nei PENNACCHI mosaici con:</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Abele offre un agnello in sacrificio"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Profeta Isaia con la sega strumento del martirio"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Profeta Ezechiele (o Geremia)"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Profeta Zaccaria"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nelle LUNETTE mosaici con martiri dell'Antico Testamento:</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Martirio dei sette fratelli Maccabei e della loro madre"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Mattatia uccide l'ebreo apostata"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Angelo reca le palme del martirio sopra i corpi delle due madri ebree e dei loro figli"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Vecchio Eleàzaro condannato a morte da Antioco perché si è rifiutato di mangiare la carne proibita"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Daniele nella fossa dei leoni"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"I tre fanciulli Sadràc, Mesàch e Abdènego condannati da Nabucodonosor a bruciare vivi nella fornace di Babilonia"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">1652/62 di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro da Cortona</span><span style="letter-spacing: 0px;"> e 1659/63 di </span><span style="color: #ff2600; letter-spacing: 0px;">Raffaele Vanni</span><span style="letter-spacing: 0px;"> (1587/1673) tradotti in mosaico negli anni 1654/60 da </span><span style="color: #ff2600; letter-spacing: 0px;">Matteo Piccioni</span><span style="letter-spacing: 0px;">,</span><span style="color: #ff2600; letter-spacing: 0px;"> Guidobaldo Abbatini </span><span style="letter-spacing: 0px;">(1600/56), </span><span style="color: #ff2600; letter-spacing: 0px;">Fabio Cristofari</span><span style="letter-spacing: 0px;"> (c. 1615/89) e </span><span style="color: #ff2600; letter-spacing: 0px;">Orazio Manenti</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nel TAMBURO quattro statue in stucco "Angeli con simboli del martirio" 1713 di </span><span style="color: #ff2600; letter-spacing: 0px;">Lorenzo Ottoni </span><span style="letter-spacing: 0px;">(1648/1736)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SECONDA CAPPELLA A DESTRA (<i>di S. Sebastiano</i>)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Copia in mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8770/Basilica%20S.%20Pietro%20DSC_8770.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Morte di S. Sebastiano"</span></a> 1736 di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0px;">(1685/1743) dall'originale del 1614 di Domenico Zampieri detto </span><span style="color: #ff2600; letter-spacing: 0px;">Domenichino</span><span style="letter-spacing: 0px;"> (1581/1641) nella Pinacoteca Vaticana</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Il contrasto tra Vita e Morte gioca un ruolo formidabile nell'iconografia barocca, e una delle più caratteristiche innovazioni del periodo è quella che possiamo definire la "morte felicissima" - vale a dire, una scena nella quale l'agonia dell'essere umano morente e il lutto dei sopravvissuti si mescolano con un sentimento di suprema liberazione" (Erwin Panofsky)</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sotto l'altare fino a maggio 2011 c'era <i>corpo di Innocenzo XI</i><b> </b><i>Odescalchi (1676/89)</i> che però ha il monumento nella navata sinistra</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel maggio 2011 il corpo di Innocenzo XI fu spostato nella Cappella Clementina e vi si pose la <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8773/Basilica%20S.%20Pietro%20DSC_8773.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomba di Giovanni Paolo II"</span></a> Wojtyla (1978/2005)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8772/Basilica%20S.%20Pietro%20DSC_8772.jpg?disposition=download"><span style="letter-spacing: 0px;">"Monumento di Pio XI Ratti (1922/39)"</span></a> 1965 di </span><span style="color: #ff2600; letter-spacing: 0px;">Francesco Nagni</span><span style="color: black; letter-spacing: 0px;"> (1897/1977)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il libro che tiene aperto con la mano è una citazione per l'attenzione mostrata da Pio XI per le biblioteche Ambrosiana e vaticana</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La statua sostituì il precedente monumento del 1949 di Pietro Canonica (1869/1959) che non era stato molto apprezzato e che fu spostato nel Palazzo del Laterano</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Pio XI firmò il Concordato tra Stato Italiano e Chiesa del 1929 pur avversando molti aspetti del fascismo. Si batté contro il nazismo scrivendo anche un'enciclica in tedesco "Con viva preoccupazione" condannando l'ideologia nazista. Quando Hitler visitò Roma, si recò a Castelgandolfo e fece chiudere i Musei Vaticani e fece spegnere tutte le luci del Vaticano</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8774/Basilica%20S.%20Pietro%20DSC_8774.jpg?disposition=download"><span style="letter-spacing: 0px;">"Monumento di Pio XII Pacelli (1939/58)"</span></a> 1961/64 di </span><span style="color: #ff2600; letter-spacing: 0px;">Francesco Messina</span><span style="color: black; letter-spacing: 0px;"> (1900/95)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Messina rappresentò il papa con la mitra, il copricapo dei vescovi, invece che con la tiara, il copricapo dei papi, a sottolineare l'importante e drammatico ruolo di vescovo di Roma che Pio XII ebbe durante la tragica seconda guerra mondiale</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Pio XII fu una figura controversa e criticata per la sua reazione più moderata al nazismo rispetto a quella del predecessore Pio XI</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Proseguendo la sua ricerca di forme naturali dal modellato solido e vibrante, realizzò la monumentale statua in marmo di S. Caterina da Siena nei giardini di Lungotevere Castello e per la Basilica di S. Pietro concepì il Monumento a Pio XII: una grande scultura pensata per rendere appieno, nella verticalità dei volumi e nella vitalità cromatica della superficie, la statura ecclesiastica del pontefice benedicente" (Rosanna Ruscio - Dizionario Biografico degli Italiani Treccani)</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SECONDO PASSAGGIO</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8779/Basilica%20S.%20Pietro%20DSC_8779.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Sepolcro di Innocenzo XII"</span></a> Pignatelli (1691/1700) progettato da </span><span style="color: #ff2600; letter-spacing: 0px;">Ferdinando Fuga</span><span style="letter-spacing: 0px;"> (1699/1782)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Sculture <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8780/Basilica%20S.%20Pietro%20DSC_8780.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Papa"</span></a> tra "Carità" e "Giustizia" 1746 di </span><span style="color: #ff2600; letter-spacing: 0px;">Filippo Della Valle</span><span style="letter-spacing: 0px;"> (1698/1768)</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Nel corso del 1600 l'influenza politica del pontefice era andata gradualmente sfumando e ciò si riflette nei monumenti papali del periodo. Già il Clemente IX del Guidi in S. Maria Maggiore - 1675 - e il Clemente X del Ferrata in S. Pietro - c. 1685 - avevano dimostrato un notevolmente indebolito gesto benedicente e una diminuzione di volume; questo processo proseguì finché Filippo Della Valle fece del suo Innocenzo XII un fragile vecchio piuttosto che il capo simbolico della cristianità" (Rudolf Wittkower)</span></i></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"L'intera composizione è una piccola gemma per l'impiego di marmi antichi e rari (giallo antico, verde antico, breccia di Sciro o di Settebassi). Le due allegorie, nonostante l'impostazione ancora classica, si animano e si completano con uno spirito tutto rococò, anche grazie alla presenza di vivaci e graziosi puttini. I personaggi femminili non presentano gli accenti naturalistici che si riscontrano nelle opere di Bernini, ma rimangono figure idealizzate, costruite con elegantissima morbidezza pittorica, nella pur solida struttura" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8781/Basilica%20S.%20Pietro%20DSC_8781.jpg?disposition=download"><span style="letter-spacing: 0px;">"Monumento della Contessa Matilde di Canossa"</span></a> 1634/37 di </span><span style="color: #ff2600; letter-spacing: 0px;">Bernini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8782/Basilica%20S.%20Pietro%20DSC_8782.jpg?disposition=download">Putti reggicartiglio</a></span><span style="letter-spacing: 0px;"> sul sarcofago: a destra di </span><span style="color: #ff2600; letter-spacing: 0px;">Luigi Bernini</span><span style="letter-spacing: 0px;"> (1612/81), fratello di Gian Lorenzo, a sinistra di </span><span style="color: #ff2600; letter-spacing: 0px;">Andrea Bolgi</span><span style="letter-spacing: 0px;"> (1606/56)</span><span style="color: #ff2600; letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;">autore anche del cartiglio</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Rilievo sul sarcofago con "Perdono concesso da Gregorio VII (1073/85) all'imperatore Enrico IV nel 1077 a Canossa, alla presenza della contessa Matilde, di suo figlio Amadeo e dell'abate Ugo di Cluny" 1634/36 di </span><span style="color: #ff2600; letter-spacing: 0px;">Stefano Speranza</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Putti in cima all'arco e stemma araldico di </span><span style="color: #ff2600; letter-spacing: 0px;">Matteo Bonarelli</span><span style="letter-spacing: 0px;"> (marito di Costanza, amante del Bernini),</span><span style="color: #ff2600; letter-spacing: 0px;"> Andrea Bolgi </span><span style="letter-spacing: 0px;">e</span><span style="color: #ff2600; letter-spacing: 0px;"> Lorenzo Flori</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Matilde nacque nel 1046 e si trovò a possedere a 30 anni un territorio che andava dal Lazio al Lago di Garda. Sostenne Gregorio VII nella lotta per le investiture contro l'imperatore tedesco Enrico IV</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CUPOLA DEL VESTIBOLO DELLA TERZA CAPPELLA A DESTRA <i>(Dedicata all'Eucaristia)</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0px;">Mosaico nella CUPOLA <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8785/Basilica%20S.%20Pietro%20DSC_8785.jpg?disposition=download"><span style="letter-spacing: 0px;">"Scena apocalittica con al centro altare d'oro degli olocausti, simbolo del sacrificio eucaristico, cosparso con incenso dagli angeli e con aromi profumati dai santi"</span></a> disegnato 1652/62 da Pietro Berrettini detto </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro da Cortona </span><span style="color: black; letter-spacing: 0px;">(1597/1669)</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Il progetto di decorazione era stato inizialmente affidato, nel 1640, a Niccolò Tornioli. Nel 1562 la Congregazione della Reverenda Fabbrica decise di trasferire l'incarico a Pietro da Cortona (...). Il tema iconografico dominante è il Mistero Eucaristico, una volontaria sottolineatura di un soggetto a quel tempo contestato dai protestanti e illustrato con grandi scene che riecheggiano le lotte religiose" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nei PENNACCHI mosaici con personaggi che hanno annunziato il sacrificio eucaristico:</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Melchisedek, re di Salem, offre il pane"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Elia nutrito da un angelo"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Un sacerdote distribuisce il pane cerimoniale"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Aronne riempie un vaso con la manna"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0px;">1653/63 di </span><span style="letter-spacing: 0px;">Ciro Ferri</span><span style="color: black; letter-spacing: 0px;"> (1634/89), </span><span style="letter-spacing: 0px;">Matteo Piccioni</span><span style="color: black; letter-spacing: 0px;">,</span><span style="letter-spacing: 0px;"> Guidobaldo Abbatini </span><span style="color: black; letter-spacing: 0px;">(1600/56), </span><span style="letter-spacing: 0px;">Fabio Cristofari</span><span style="color: black; letter-spacing: 0px;"> (c. 1615/89) e </span><span style="letter-spacing: 0px;">Orazio Manenti</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nelle LUNETTE mosaici con episodi di castigo per chi si ciba indegnamente dell'Eucarestia:</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Sommo sacerdote offre le primizie del grano"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Due dei dodici esploratori inviati da Mosè nel paese di Canaa ritornano con il grappolo d'uva"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Uzzà muore per aver toccato indegnamente l'Arca"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Un serafino purifica le labbra di Isaia con un carbone ardente"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Gionata, figlio di Saul, si nutre con un favo di miele"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"L'idolo di Dagon distrutto dall'Arca di Dio"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">1659/63 di </span><span style="color: #ff2600; letter-spacing: 0px;">Raffaele Vanni</span><span style="letter-spacing: 0px;"> (1587/1673) tradotte in mosaico da </span><span style="color: #ff2600; letter-spacing: 0px;">Orazio Manenti</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nel TAMBURO quattro statue in stucco "Angeli con simboli eucaristici" 1713 di </span><span style="color: #ff2600; letter-spacing: 0px;">Lorenzo Ottoni </span><span style="letter-spacing: 0px;">(1648/1736)</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/DSCF3076/DSCF3076.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CAPPELLA DEL SS. SACRAMENTO</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/DSCF3076/DSCF3076.jpg?disposition=download">Cancello di bronzo</a></span><span style="letter-spacing: 0px;"> 1629/30 di </span><span style="color: #ff2600; letter-spacing: 0px;">Francesco Borromini </span><span style="letter-spacing: 0px;">che progettò anche i due portali di marmo ai lati dell'altare della cappella</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Quattordici bassorilievi in stucco sulla volta e sette sulle pareti con "Storie del Vecchio e Nuovo Testamento" 1623/27 di </span><span style="color: #ff2600; letter-spacing: 0px;">G.B. Ricci</span><span style="letter-spacing: 0px;"> (c. 1550/1624)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Altare e <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8784/Basilica%20S.%20Pietro%20DSC_8784.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Ciborio"</span></a> di bronzo dorato e lapislazzuli<b> </b>1674 di </span><span style="color: #ff2600; letter-spacing: 0px;">Bernini</span><span style="letter-spacing: 0px;"> commissionato quasi cinquant'anni prima da Urbano VIII</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Marmi colorati, bronzo dorato e lapislazzuli si combinano in un quadro di sublime bellezza che esprime simbolicamente la perfezione immateriale del mondo angelico e lo splendore di Dio. Con il suo modo rivoluzionario di trattare colore e luce, il Bernini diede l'avvio a uno sviluppo di immense conseguenze" (Rudolf Wittkower)</span></i></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Versione barocca di un tema familiare; sembra probabile che la sua fonte di ispirazione sia stato un rilievo forse di Andrea Sansovino in S. Croce in Gerusalemme, che lui sicuramente conosceva (...). La piangente e umana adorazione degli angeli in contrasto con l'architettura senza tempo dell'edificio è tipica del tardo stile di Bernini. Nei suoi ultimi anni sembra che abbia trovato nelle inesorabili leggi dell'architettura una commovente antitesi al nostro transitorio stato umano" (Howard Hibbard)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Sull'altare olio su lavagna "Trinità" 1628/32 di Pietro Berrettini detto </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro da Cortona</span><span style="letter-spacing: 0px;"> unica pala d'altare non in mosaico in tutta la Basilica</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Nel 1627 la Congregazione della Reverenda Fabbrica aveva deciso di affidare l'esecuzione dell'opera per questa cappella a Guido Reni. A causa di opinioni divergenti (...) la trattativa fallì e in seguito all'improvvisa e polemica partenza del pittore per Bologna, nel febbraio dell'anno successivo la commissione passò al Cortona, grazie anche all'appoggio del cardinale Francesco Barberini. Tipica composizione barocca, dinamica, animata da molte figure ma allo stesso tempo armoniosamente raccolta, è diventata un modello iconografico ammirato a suo tempo e ripreso nel secolo successivo" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Ai muri tele "Angeli" 1742 di </span><span style="color: #ff2600; letter-spacing: 0px;">Giacomo Zoboli</span><span style="letter-spacing: 0px;"> (1681/1767)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A destra "Due colonne tortili" dalla vecchia Basilica con al centro copia in mosaico di "S. Francesco stigmatizzato" di Domenichino in S. Maria della Concezione</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A sinistra organo del 1582</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">TERZO PASSAGGIO</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">L'ingresso al passaggio è sormontato da sculture "Fama regge lo stemma di Innocenzo X Pamphilj (1644/55)" di </span><span style="color: #ff2600; letter-spacing: 0px;">Luigi Bernini</span><span style="letter-spacing: 0px;"> (1612/81) su disegno del fratello </span><span style="color: #ff2600; letter-spacing: 0px;">Gian Lorenzo Bernini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8786/Basilica%20S.%20Pietro%20DSC_8786.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monumento di Gregorio XIII"</span></a><b> </b>Boncompagni (1572/85) 1720/23 di </span><span style="color: #ff2600; letter-spacing: 0px;">Camillo Rusconi</span><span style="letter-spacing: 0px;"> (1658/1728) per il Card. Giacomo Boncompagni pronipote del papa</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Statue di allegorie: a sinistra "Religione" con tavole della Legge e libro dei Vangeli, a destra "Magnificenza nelle vesti di Minerva" appoggiata a scudo con firma di Camillo Rusconi</span></span></div>
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<span style="color: black; letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel rilievo sul sarcofago scena con la <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8788/Basilica%20S.%20Pietro%20DSC_8788.jpg?disposition=download"><span style="letter-spacing: 0px;">"Proclamazione della riforma Gregoriana del calendario del 1582"</span></a></span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Dal 4 ottobre 1582 si passò direttamente al 15 ottobre, cancellando 10 giorni, per ovviare allo sfasamento di 11 minuti e 14 secondi l'anno accumulatisi di tempi della riforma del calendario voluta da Giulio Cesare. I popoli cattolici l'adottarono immediatamente, i protestanti nel XVIII sec. e gli ortodossi più tardi</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Pur essendo profondamente legato alla concezione scultorea del Bernini, il Rusconi mescolò elementi dal Leone XI dell'Algardi (allegorie) e dall'Innocenzo XI del Monnot (bianchezza del monumento, sarcofago trapezoidale con rilievo e idea di collocare il papa seduto sul sarcofago) ma non fu una semplice ripetizione. Il suo monumento è sistemato asimmetricamente: il papa non è seduto sull'asse centrale, né le allegorie seguono la consueta disposizione araldica. La tomba fu composta per essere vista da una sola parte e anche il drappeggio del Coraggio, visto da sinistra, crea una diagonale predominante che lega l'allegoria alla figura del papa. La tomba è una rara sintesi delle tendenze classicheggianti e barocche dell'Algardi e del Bernini, compiuta con successo nell'eroico tardo barocco di Rusconi" (Rudolf Wittkower)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8789/Basilica%20S.%20Pietro%20DSC_8789.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomba di Gregorio XIV"</span></a><b> </b>Sfondrati (1590/91) con statue in stucco a sinistra "Religione" e a destra "Giustizia" di Prospero Antichi detto </span><span style="color: #ff2600; letter-spacing: 0px;">Prospero Bresciano </span><span style="letter-spacing: 0px;">(attivo dal 1580/m. dopo il 1592)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Gregorio XIV fu papa per solo 10 mesi</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Le due statue sono modelli in stucco, appartenevano alla tomba provvisoria di Gregorio XIII che era originariamente collocata qui e avrebbero dovuto essere realizzati in marmo o bronzo. Il monumento di Gregorio XIV non fu mai completato ed è l'unico nella Basilica senza la statua del papa</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Anche l'urna era in stucco e quella attuale in marmo fu fatta solo nel 1842</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I tre affreschi a monocromo fanno riferimento alla vita di Gregorio XIII</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8794/Basilica%20S.%20Pietro%20DSC_8794.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CAPPELLA GREGORIANA</span></i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">1583 </span><span style="color: #ff2600; letter-spacing: 0px;">Giacomo Della Porta</span><span style="letter-spacing: 0px;"> (1533/1602) per Gregorio XIII Boncompagni (1572/85)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Fu la prima cappella a essere utilizzata per la liturgia nella nuova basilica e la prima a essere decorata con mosaici:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nella <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8796/Basilica%20S.%20Pietro%20DSC_8796.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">CUPOLA</span></a> della cappella mosaici "Simboli mariani sostenuti da angeli tratti dalle Litanie Lauretane" eseguiti 1772/75 su disegni del siciliano </span><span style="color: #ff2600; letter-spacing: 0px;">Salvatore Monosilio </span><span style="letter-spacing: 0px;">(noto dal 1744/m. 1776)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nei <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8796/Basilica%20S.%20Pietro%20DSC_8796.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">PENNACCHI</span></a> mosaici con "S. Gregorio Magno", "S. Girolamo", "S. Gregorio Nazianzeno" e "S. Basilio"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nelle LUNETTE mosaici con "Maria Annunziata", "Arcangelo Gabriele", "Ezechiele" e "Isaia"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Furono eseguiti negli anni 1578/79 da </span><span style="color: #ff2600; letter-spacing: 0px;">artisti veneziani</span><span style="letter-spacing: 0px;"> su modelli di </span><span style="color: #ff2600; letter-spacing: 0px;">Girolamo Muziano</span><span style="letter-spacing: 0px;"> (1532/92). Furono restaurati negli anni 1758/79</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Il rivestimento delle pareti e delle volte con marmi policromi, stucchi e mosaici seguì la tradizione delle cappelle private romane, inaugurata da Raffaello nella Cappella Chigi in S. Maria del Popolo. Progressivamente i medesimi schemi decorativi si diffusero in tutta la basilica" (Christof Thoenes)</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SULL'ALTARE</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Madonna del Soccorso" risalente, secondo la tradizione, ai tempi di Pasquale II (1099/1118), già nella vecchia basilica. È la più antica e venerata immagine mariana della basilica</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SOTTO L'ALTARE</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>Sepolcro di S. Gregorio Nazianzeno</i> che dà il nome alla cappella, assieme a Gregorio XIII che ne fece traslare qui le spoglie nel 1580 dalla chiesa di S. Maria in Campo Marzio</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A DESTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8792/Basilica%20S.%20Pietro%20DSC_8792.jpg?disposition=download">"Tomba di Gregorio XVI"</a></span><span style="letter-spacing: 0px;"> Cappellari (1831/46) 1854 di </span><span style="color: #ff2600; letter-spacing: 0px;">Luigi Amici</span><span style="letter-spacing: 0px;"> (1817/97) in un piuttosto freddo stile purista. Il ritratto del pontefice è però effettivamente molto dignitoso e ricco di pathos</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Statue di allegorie: a sinistra "Sapienza" e a destra "Prudenza"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel bassorilievo sul sarcofago "Attività per le missioni cattoliche del Card. Cappellari come prefetto della Congregazione di Propaganda Fide"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Gli stipiti della porta del monumento sono di alabastro provenente dall'Egitto</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ai lati del monumento "Due colonne di marmo bigio africano" provenienti dal Tempio della Dea Roma nei pressi del Colosseo</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A SINISTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8791/Basilica%20S.%20Pietro%20DSC_8791.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Comunione di S. Girolamo"</span></a> da originale di Domenico Zampieri detto </span><span style="color: #ff2600; letter-spacing: 0px;">Domenichino</span><span style="letter-spacing: 0px;"> (1581/1641) ora nella Pinacoteca Vaticana. Fu eseguito nel 1730 da </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Paolo Cristofari</span><span style="letter-spacing: 0px;"> (1685/1743) con ritocchi di </span><span style="color: #ff2600; letter-spacing: 0px;">Alessandro Cocchi</span><span style="letter-spacing: 0px;"> e </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Ottaviani</span></span></div>
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<span style="color: black; letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sotto il mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8797/Basilica%20S.%20Pietro%20DSC_8797.jpg?disposition=download"><span style="letter-spacing: 0px;"><i>corpo di Giovanni XXIII</i><b> </b><i>Roncalli (1958/63)</i></span></a></span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Giovanni XXIII volle il Concilio Vaticano II che aggiornò la chiesa cattolica ai tempi e cambiò la liturgia. Conosciuto affettuosamente come "Il papa buono" e "Il più amato papa nella storia" è stato dichiarato Beato da Giovanni Paolo II il 3 settembre 2000, penultimo passo sulla strada della santità</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PASSAGGIO AL TRANSETTO DESTRO</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8795/Basilica%20S.%20Pietro%20DSC_8795.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomba di Benedetto XIV"</span></a> Lambertini (1740/58) 1769 di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Bracci</span><span style="letter-spacing: 0px;"> (1700/73) con figure allegoriche: a sinistra "Sapienza sacra" e a destra "Disinteresse" che rifiuta le ricchezze offerte da un putto con le ali di pipistrello. La figura del Disinteresse fu eseguite da </span><span style="color: #ff2600; letter-spacing: 0px;">Gaspare Sibilla</span><span style="letter-spacing: 0px;"> (c. 1723/82), allievo del Bracci </span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Il Bracci fece un gran numero di tombe fra le quali quelle di Benedetto XIII in S. Maria sopra Minerva e questa di Benedetto XIV, oltre a molti ritratti a mezzo busto con fine penetrazione psicologica e un vibrante e magistrale modo di trattare la superficie. Ancora dipendente dall'idioma del Bernini, egli lo trasformò in uno stile settecentesco tenero e lirico, perfino qualche volta sentimentaleggiante" (Rudolf Wittkower)</span></i></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"L'idea di rappresentare il papa in piedi, rompendo con la tradizione precedente, compare in un disegno di Paolo Posi al quale Bracci potrebbe aver collaborato e che risale probabilmente al 1760" (Jennifer Montagu)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A sinistra mosaico "L'ultima messa di S. Basilio nell'anno 372 alla presenza dell'imperatore Valente" 1748/51 di quattro mosaicisti diretti da Luigi Vanvitelli da originale 1743/47 di </span><span style="color: #ff2600; letter-spacing: 0px;">Pierre Subleyras</span><span style="letter-spacing: 0px;"> (1699/1749) ora nella Basilica S. Maria degli Angeli e dei Martiri</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sotto <i>corpo di S. Giosafat</i><b> </b>qui traslato nel 1963, fondatore nel 1617 dell'Ordine Basiliano</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8799/Basilica%20S.%20Pietro%20DSC_8799.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">TRANSETTO DESTRO</span></i></a></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">ALTARE CENTRALE</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8806/Basilica%20S.%20Pietro%20DSC_8806.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Martirio dei Ss. Processo e Martiniano"</span></a> 1737 di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0px;">(1685/1743) dal dipinto originale del 1630 di Jean Valentin detto anche </span><span style="color: #ff2600; letter-spacing: 0px;">Valentin de Boulogne</span><span style="letter-spacing: 0px;"> (c. 1591/1632) nella Pinacoteca Vaticana</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>Reliquie dei Ss. Processo e Martiniano</i> dalla vecchia Basilica nella quale erano state portate da Pasquale I (817/824): secondo la tradizione erano i carcerieri di S. Pietro nel carcere mamertino</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ai lati dell'altare centrale "Due colonne monolitiche di giallo antico" da Chemtou in Tunisia, che con le altre due nel transetto opposto sono considerate uniche al mondo per grandezza e lavorazione</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ovali ai lati con ritratti in mosaico "S. Antonio Maria Claret" e "S. Gioacchina de Vedruna" del XIX sec.</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Stucchi nella semicalotta della nicchia "Episodi della vita di S. Paolo" 1597/99</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A destra ALTARE DI S. VENCESLAO DI BOEMIA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8807/Basilica%20S.%20Pietro%20DSC_8807.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Venceslao di Boemia"</span></a> 1739/40 di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0px;">(1685/1743) e </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Ottaviani </span><span style="letter-spacing: 0px;">dal dipinto originale del 1632 di </span><span style="color: #ff2600; letter-spacing: 0px;">Angelo Caroselli</span><span style="letter-spacing: 0px;"> (1585/1652) al Kunsthistorisches Museum di Vienna</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel quadro è stato inserito un quadro da Caroselli con l'episodio del martirio di S. Venceslao: era il giovane re della Boemia nel X sec. e fu ucciso dal fratello minore mentre pregava. Il suo corpo è venerato nel Duomo di S. Vito a Praga da lui fondato</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ovali ai lati con ritratti in mosaico con "S. Cirillo" e "S. Metodio" del XIX sec.</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Stucchi nella semicalotta della nicchia "Episodi della vita di S. Tommaso" 1597/99</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A sinistra ALTARE DI S. ERASMO</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Mosaico 1737/39 <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8808/Basilica%20S.%20Pietro%20DSC_8808.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Martirio di S. Erasmo"</span></a> di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0px;">(1685/1743) e </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Ottaviani </span><span style="letter-spacing: 0px;">dal dipinto originale 1628/29 di </span><span style="color: #ff2600; letter-spacing: 0px;">Nicolas Poussin</span><span style="letter-spacing: 0px;"> (1594/1665) nella Pinacoteca Vaticana</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ovali ai lati con ritratti in mosaico con "S. Vladimiro" e "S. Olga" del XIX sec.</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Stucchi nella semicalotta della nicchia "Episodi della vita di S. Giacomo Maggiore" 1597/99</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8815/Basilica%20S.%20Pietro%20DSC_8815.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CATINO ABSIDALE</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Stucchi 1749 di </span><span style="color: #ff2600; letter-spacing: 0px;">Luigi Vanvitelli</span><span style="letter-spacing: 0px;"> (1700/73) e tre medaglioni "Storie di Ss. Pietro e Paolo" di </span><span style="color: #ff2600; letter-spacing: 0px;">G.B. Maini</span><span style="letter-spacing: 0px;"> (1690/1752)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Statue nelle nicchie DELL'ORDINE INFERIORE</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A DESTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8801/Basilica%20S.%20Pietro%20DSC_8801.jpg?disposition=download">"S. Gaetano da Thiene"</a></span><span style="letter-spacing: 0px;"> 1738 di </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Monaldi </span><span style="letter-spacing: 0px;">(c. 1690/1760</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8804/Basilica%20S.%20Pietro%20DSC_8804.jpg?disposition=download">"S. Girolamo Emiliani"</a></span><span style="color: black; letter-spacing: 0px;"> 1757 di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Bracci</span><span style="color: black; letter-spacing: 0px;"> (1700/73)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A SINISTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8809/Basilica%20S.%20Pietro%20DSC_8809.jpg?disposition=download">"S. Brunone"</a></span><span style="letter-spacing: 0px;"> 1744 del francese </span><span style="color: #ff2600; letter-spacing: 0px;">Michelangelo Slodtz</span><span style="letter-spacing: 0px;"> (1705/64) che visse a Roma per 17 anni</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Un avvenimento drammatico sostituì, dovunque era possibile, la semplice interpretazione della devozione e della visione. Slodtz scelse di rappresentare il drammatico rifiuto del santo della mitra e del pastorale. L'interesse per l'episodio sembra indebolire il contenuto superpersonale. Una simile figura illustra estremamente bene l'elegante tendenza del rococò francese nella scultura romana verso la metà del Settecento" (Rudolf Wittkower)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8811/Basilica%20S.%20Pietro%20DSC_8811.jpg?disposition=download">"S. Giuseppe Calasanzio"</a></span><span style="color: black; letter-spacing: 0px;"> 1755 di </span><span style="color: #ff2600; letter-spacing: 0px;">Innocenzo Spinazzi </span><span style="color: black; letter-spacing: 0px;">(1718/98)</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Allievo di G.B. Maini, volse la tradizione barocca verso soluzioni più asciutte, in un delicato equilibrio tra classicismo, naturalismo e grazia settecentesca, ancor più evidente nella sua successiva produzione" (Enciclopedia Treccani)</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">STATUE NELLE NICCHIE DELL'ORDINE SUPERIORE</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A DESTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8802/Basilica%20S.%20Pietro%20DSC_8802.jpg?disposition=download">"S. Francesca Saverio Cabrini"</a></span><span style="color: black; letter-spacing: 0px;"> 1947 di </span><span style="color: #ff2600; letter-spacing: 0px;">Enrico Tadolini </span><span style="color: black; letter-spacing: 0px;">(1884/1967)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nata nel 1850 andò in America a 40 anni, prese la cittadinanza americana nel 1909, fu la prima a essere canonizzata, nel 1946, dei sette santi americani, la prima missionaria donna ed è la patrona degli emigranti. Morì nel 1917</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8805/Basilica%20S.%20Pietro%20DSC_8805.jpg?disposition=download">"S. Giovanna Antida Thouret"</a></span><span style="color: black; letter-spacing: 0px;"> 1949 di </span><span style="letter-spacing: 0px;">Carlo Quattrini</span><span style="color: black; letter-spacing: 0px;"> ed </span><span style="letter-spacing: 0px;">Enrico Quattrini</span><span style="color: black; letter-spacing: 0px;"> (1863/1950)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A SINISTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8810/Basilica%20S.%20Pietro%20DSC_8810.jpg?disposition=download">"S. Paolo della Croce"</a></span><span style="color: black; letter-spacing: 0px;"> 1876 di </span><span style="color: #ff2600; letter-spacing: 0px;">Ignazio Jacometti </span><span style="color: black; letter-spacing: 0px;">(1819/83)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8812/Basilica%20S.%20Pietro%20DSC_8812.jpg?disposition=download">"S. Bonfiglio Monaldi"</a></span><span style="color: black; letter-spacing: 0px;"> 1906 di </span><span style="color: #ff2600; letter-spacing: 0px;">Cesare Aureli</span><span style="color: black; letter-spacing: 0px;"> (1843/1923)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PASSAGGIO ALLA CAPPELLA DEI SS. MICHELE E PETRONILLA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8813/Basilica%20S.%20Pietro%20DSC_8813.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monumento di Clemente XIII"</span></a><b> </b>Rezzonico (1758/69) 1784/92 di </span><span style="color: #ff2600; letter-spacing: 0px;">Antonio Canova</span><span style="letter-spacing: 0px;"> (1757/1822) con figure allegoriche: a sinistra "Religione" e a destra "Genio della Morte"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Canova andò a Caserta per disegnare dal vero i "Leoni" nel Giardino Reale della Reggia. Quello a destra rappresenta la Forza sempre sveglia, quello a sinistra la Mansuetudine che modera la forza</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Il solenne e impegnativo monumento è impostato su una composizione regolare ed equilibrata e il tema della morte vi è affrontato con serena meditazione. Le cupe allegorie barocche sulla morte si trasformano qui nell'immagine simbolica della religione cristiana e del genio funebre, con la fiaccola rovesciata, tenera allusione alla fugacità della vita terrena" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Con la purezza delle superfici e la semplicità delle linee compositive, quest'opera introduce nella Basilica Vaticana lo stile neoclassico. Il complesso scultoreo, eseguito in marmo di Carrara, ad eccezione delle basi in lumachella e dei due leoni in travertino, (...) ha come vertice il ritratto del papa in ginocchio, dal volto realisticamente animato. (...) Con grande minuzia Canova affrontò il virtuosistico lavoro di rifinitura del prezioso piviale: un riferimento ben appropriato perché questo pontefice (...) è ricordato nella storia dell'arte tessile per la preziosità e la ricchezza dei paramenti indossati" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A sinistra mosaico "Navicella degli apostoli" copia in mosaico di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0px;">(1685/1743) del 1721 da originale 1627/28 di </span><span style="color: #ff2600; letter-spacing: 0px;">Giovanni Lanfranco</span><span style="letter-spacing: 0px;"> (1582/1647) ora nella loggia delle benedizioni</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Il mosaico aveva a sua volta rimpiazzato un affresco del 1605 dell'egregio pittore genovese </span><span style="color: #ff2600; letter-spacing: 0px;">Bernardo Castello </span><span style="letter-spacing: 0px;">(c. 1557/1629). Per lui questo lavoro era il picco della sua carriera ma non fu ben ricevuto. Quando seppe della decisione di sostituire il dipinto nel 1626, ebbe un esaurimento nervoso che lo portò alla morte tre anni dopo </span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8814/Basilica%20S.%20Pietro%20DSC_8814.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CAPPELLA DEI Ss. MICHELE E PETRONILLA</span></i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">La CUPOLA è l'unica della basilica ad alternare mosaici a figure in stucco eseguite nel 1725 da </span><span style="color: #ff2600; letter-spacing: 0px;">Lorenzo Ottoni </span><span style="letter-spacing: 0px;">(1648/1736). Nei mosaici "Gloria angelica" 1726/29 di </span><span style="color: #ff2600; letter-spacing: 0px;">Fattori</span><span style="letter-spacing: 0px;">,</span><span style="color: #ff2600; letter-spacing: 0px;"> Gossoni</span><span style="letter-spacing: 0px;">,</span><span style="color: #ff2600; letter-spacing: 0px;"> Fiani</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Clori</span><span style="letter-spacing: 0px;">,</span><span style="color: #ff2600; letter-spacing: 0px;"> Enuò </span><span style="letter-spacing: 0px;">e </span><span style="color: #ff2600; letter-spacing: 0px;">Cocchi </span><span style="letter-spacing: 0px;">da disegni di </span><span style="color: #ff2600; letter-spacing: 0px;">Nicolò Ricciolini </span><span style="letter-spacing: 0px;">(1687/1772) degli anni 1721/26</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nelle LUNETTE mosaici con "Angeli e vita di S. Petronilla"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nei PENNACCHI mosaici con dottori e padri della chiesa greca e latina che hanno scritto opere sugli angeli: "Leone Magno" e "Dionigi l'Aeropagita" da dipinti di </span><span style="color: #ff2600; letter-spacing: 0px;">Andrea Sacchi</span><span style="letter-spacing: 0px;"> (1599/1661), "S. Bernardo" da un dipinto di </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Pellegrini</span><span style="letter-spacing: 0px;"> (1605/49) e "S. Gregorio Taumaturgo" da un dipinto di </span><span style="color: #ff2600; letter-spacing: 0px;">Giovanni Francesco Romanelli </span><span style="letter-spacing: 0px;">(1610/62)</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"La cappella può essere considerata la testimonianza della devozione dei re di Francia e del loro popolo per la Chiesa cristiana e per la basilica in particolare. Essa sostituisce la rotonda imperiale, già sita sul lato sinistro dell'antico S. Pietro, dove Paolo I (757/767) aveva sistemato i resti di S. Petronilla dopo la loro esumazione dalla Catacomba di S. Domitilla. (...) Nel 781 Carlo Magno battezzò nella rotonda il figlio Carlomanno e per i secoli seguenti i sovrani francesi, dai Carolingi sino ai Valois, la elessero loro chiesa nazionale, restaurandola e arricchendola di doni fino alla distruzione, decretata da Giulio II per far posto alla nuova basilica" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SULL'ALTARE</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/DSCF3941/DSCF3941.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Michele Arcangelo"</span></a> 1758 di </span><span style="color: #ff2600; letter-spacing: 0px;">Bernardino Regoli </span><span style="letter-spacing: 0px;">e </span><span style="color: #ff2600; letter-spacing: 0px;">Giovan Francesco Fiani </span><span style="letter-spacing: 0px;">dall'originale del 1635 di </span><span style="color: #ff2600; letter-spacing: 0px;">Guido Reni</span><span style="letter-spacing: 0px;"> (1575/1642) in S. Maria della Concezione</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Celeberrimo dipinto del quale ci sono centinaia di copie sparse per il mondo. Fu un omaggio di Reni al dipinto di Raffaello di uguale soggetto ora al Louvre: il volto del diavolo è quello di nientemeno che il Card. G.B. Pamphilj il quale nove anni dopo sarebbe diventato papa Innocenzo X e che aveva maltrattato lo stesso Reni e la famiglia Barberini, protettrice dell'artista</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A SINISTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Guercino_petronilla/Guercino_petronilla.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Seppellimento e gloria di S. Petronilla"</span></a> 1728/30 di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0px;">(1685/1743), </span><span style="color: #ff2600; letter-spacing: 0px;">Filippo Cocchi</span><span style="letter-spacing: 0px;"> e </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Ottaviani </span><span style="letter-spacing: 0px;">dal dipinto originale del 1623 di Giovanni Francesco Barbieri detto </span><span style="color: #ff2600; letter-spacing: 0px;">Guercino</span><span style="letter-spacing: 0px;"> (1591/1666)</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Anche se è uno dei primi mosaici eseguiti nella basilica, rimane il capolavoro dell'intera serie per l'alto valore artistico del dipinto riprodotto e per la sensibile capacità dei mosaicisti di mantenere fedelmente i rapporti cromatici e plastici dell'originale" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sotto l'altare <i>reliquie di S. Petronilla</i></span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sul PAVIMENTO lastra marmorea con <i>tomba dei due papi Della Rovere: Sisto IV (1471/84) e suo nipote Giulio II (1503/13)</i> qui traslati nel 1926 dalla Cappella del Coro assieme ai due parenti cardinali Galeotto Della Rovere e Fazio Santoro</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La famosissima tomba di Giulio II progettata da Michelangelo in S. Pietro in Vincoli è quindi vuota</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Al centro del pavimento "Stemma di S. Pio X Sarto (1903/14)" 1908 in marmi preziosi, eseguito in occasione del cinquantenario del suo sacerdozio</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PASSAGGIO ALL'ABSIDE</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8816/Basilica%20S.%20Pietro%20DSC_8816.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomba di Clemente X"</span></a><b> </b>Altieri (1670/76) 1684 di </span><span style="color: #ff2600; letter-spacing: 0px;">Mattia De Rossi</span><span style="letter-spacing: 0px;"><b> </b>(1637/95) per il Card. Paluzzo Paluzzi degli Albertoni nipote di Clemente X, eseguito da ex collaboratori di Bernini:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"Statua del papa" di </span><span style="color: #ff2600; letter-spacing: 0px;">Ercole Ferrata</span><span style="letter-spacing: 0px;"> (1610/86)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A sinistra "Clemenza" di </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Mazzuoli </span><span style="letter-spacing: 0px;">(1644/1725)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A destra "Benignità" di </span><span style="color: #ff2600; letter-spacing: 0px;">Lazzaro Morelli </span><span style="letter-spacing: 0px;">(1608/90)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Bassorilievo "Apertura della Porta santa nel 1675" di </span><span style="color: #ff2600; letter-spacing: 0px;">Leonardo Retti </span><span style="letter-spacing: 0px;">(attivo 1670/1709)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"Putti" di </span><span style="color: #ff2600; letter-spacing: 0px;">Filippo Carcani </span><span style="letter-spacing: 0px;">(attivo 1670/91)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Agli angoli del sarcofago "Teschi con parrucche" di </span><span style="color: #ff2600; letter-spacing: 0px;">Francesco Aprile </span><span style="letter-spacing: 0px;">(?/1685)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel 1962 fu oggetto di un attentato con una bomba a orologeria che esplose dopo la chiusura e che fortunatamente provocò pochi danni</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A sinistra mosaico "S. Pietro risuscita la fanciulla Tàbita" 1758/60 di </span><span style="color: #ff2600; letter-spacing: 0px;">Fiani</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Ottaviani</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Regoli </span><span style="letter-spacing: 0px;">e </span><span style="color: #ff2600; letter-spacing: 0px;">Paleat </span><span style="letter-spacing: 0px;">da originale 1736/40 di </span><span style="color: #ff2600; letter-spacing: 0px;">Placido Costanzi</span><span style="letter-spacing: 0px;"> (1702/59) in S. Maria degli Angeli e dei Martiri</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Coprì un affresco rovinato con lo stesso soggetto del 1606 di Giovanni Baglione: gli aveva valso il titolo onorifico del Cavalierato di Cristo ma era stato molto criticato da Caravaggio che l'aveva pubblicamente sbeffeggiato</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8817/Basilica%20S.%20Pietro%20DSC_8817.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">ABSIDE</span></i></a></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8819/Basilica%20S.%20Pietro%20DSC_8819.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CATINO ABSIDALE</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Stucchi 1749 di </span><span style="color: #ff2600; letter-spacing: 0px;">Luigi Vanvitelli</span><span style="letter-spacing: 0px;"> (1700/73) e tre medaglioni "Storie di Ss. Pietro e Paolo" di </span><span style="color: #ff2600; letter-spacing: 0px;">G.B. Maini</span><span style="letter-spacing: 0px;"> (1690/1752)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8821/Basilica%20S.%20Pietro%20DSC_8821.jpg?disposition=download">"Cattedra di S. Pietro"</a></span><span style="letter-spacing: 0px;"> 1656/65 straordinario capolavoro di </span><span style="color: #ff2600; letter-spacing: 0px;">Bernini</span><span style="letter-spacing: 0px;"> per Alessandro VII Chigi (1655/67)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sul dossale rilievi bronzei "Cristo affida a Pietro la guida della Chiesa", sul fianco sinistro "Consegna delle chiavi", sul fianco destro "Lavanda dei piedi"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Bernini ebbe 35 collaboratori tra cui </span><span style="color: #ff2600; letter-spacing: 0px;">Ercole Ferrata</span><span style="letter-spacing: 0px;"> (1610/86), </span><span style="color: #ff2600; letter-spacing: 0px;">Ercole Antonio Raggi </span><span style="letter-spacing: 0px;">(1624/86) e </span><span style="color: #ff2600; letter-spacing: 0px;">Lazzaro Morelli </span><span style="letter-spacing: 0px;">(1608/90)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La sedia lignea è in realtà un trono dell'anno 875 regalata da Carlo il Calvo a Giovanni VIII (872/882) in occasione della sua incoronazione qui</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Enormi statue bronzee di Dottori della Chiesa:</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Davanti a destra "S. Agostino", a sinistra "S. Ambrogio" (Chiesa latina)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Dietro a sinistra "S. Atanasio", a destra "S. Giovanni Crisostomo" (Chiesa greca)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La struttura pesa 74 tonnellate (81,5 tons) di bronzo per un'altezza di 14,74 m (48,3 feet). Le statue dei Dottori della Chiesa sono alte 5,35 m (17,5 feet)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Finestra con vetro dipinto <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8818/Basilica%20S.%20Pietro%20DSC_8818.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Colomba dello Spirito Santo"</span></a> 1911 del vetraio tedesco</span><span style="color: #ff2600; letter-spacing: 0px;"> Hagle</span><span style="letter-spacing: 0px;"> dal disegno originale di </span><span style="color: #ff2600; letter-spacing: 0px;">Giovanni Paolo Schor</span><span style="letter-spacing: 0px;"> (1615/74)</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"La Cattedra come altri suoi lavori è stata progettata per una veduta principale inquadrata; fu concepita come quadro scolpito, pieno di colore di dimensioni enormi. Il principio compositivo che si cela qui dietro l'uso del colore è ovvio: il colore illumina, e diventa tanto più visionario, quanto più i personaggi e gli oggetti sono vicini alla regione celeste. La policromia ha quindi un significato soprannaturale" (Rudolf Wittkower)</span></i></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"I quattro Dottori della Chiesa in bronzo, con le espressioni cariche di pathos, con i gesti impetuosi, rivelano ancora un lontano richiamo alla grande pittura di Rubens, mentre la Gloria del Paradiso in stucco dorato, bronzo e vetro si pone a coronamento di ricerche figurative, sul tema dell'apparizione celeste e dello spazio incommensurabile, che avevano interessato, da Correggio in poi, gli artisti italiani da più di un secolo" (Alessandro Angelini)</span></i></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Il vetro dipinto, al centro della composizione, è insieme luce e immagine pittorica senza che, in virtù della perfetta regia, l'occhio dell'osservatore sia turbato dal contrasto di toni" (Paolo Portoghesi)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">ALTARE bronzeo 1975 dello statunitense </span><span style="color: #ff2600; letter-spacing: 0px;">Albert Friscia </span><span style="letter-spacing: 0px;">(1911/89) coperto dall'altare mobile del 1907 di </span><span style="color: #ff2600; letter-spacing: 0px;">Costantino Annecher</span><span style="letter-spacing: 0px;"> decorato da un medaglione con busti di S. Pietro e S. Paolo </span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A DESTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8822/Basilica%20S.%20Pietro%20DSC_8822.jpg?disposition=download">"Monumento di Urbano VIII"</a></span><span style="letter-spacing: 0px;"><b> </b>Barberini (1623/44) 1627/47 di </span><span style="color: #ff2600; letter-spacing: 0px;">Bernini</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Statua a sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8864/Basilica%20S.%20Pietro%20DSC_8864.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Carità"</span></a> con le sembianze di <i>Costanza Bonarelli</i><b> </b>moglie di un collaboratore di Bernini e sua amante, fatta da lui sfregiare dopo aver saputo che era stata anche l'amante di suo fratello a sua volta punito con una bastonatura</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La statua aveva originariamente il seno nudo che fu coperto a fine 1800</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Statua a destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8864/Basilica%20S.%20Pietro%20DSC_8864.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Giustizia"</span></a></span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Prima affermazione della tipologia di tomba barocca erede delle Tombe Medici di Michelangelo</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sopra il sarcofago raffigurazione di uno scheletro che scrive l'epitaffio come <i>memento mori</i>. Si notano nei fogli anche le iniziali dei papi precedenti Urbano VIII: la G di Gregorio XV Ludovisi (1621/23) e la P di Paolo V Borghese (1605/21)</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"La morte che scrive è un modo vivo e pulsante di sostituire il banale cartiglio epigrafico" (Maurizio Fagiolo Dell'Arco)</span></i></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Il contrasto di materiali è significativo: tutto ciò che è in diretto contatto con il defunto, il sarcofago, la Morte, la statua papale stessa è realizzato in bronzo scuro, le allegorie delle Virtù invece sono in splendente marmo bianco: esse con le loro qualità umane, particolarmente la Carità, si pongono come mediatrici fra l'osservatore e il papa. Bernini, superando il compassato classicismo dei monumenti sepolcrali cinquecenteschi, infonde al tema funebre vitalità e nuova dinamicità spettacolare: crea l'archetipo della tomba barocca" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A SINISTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8823/Basilica%20S.%20Pietro%20DSC_8823.jpg?disposition=download">"Monumento di Paolo III"</a></span><span style="letter-spacing: 0px;"><b> </b>Farnese (1534/49) 1551/75 di </span><span style="color: #ff2600; letter-spacing: 0px;">Guglielmo Della Porta</span><span style="letter-spacing: 0px;"> (1515/77) per il Card. Alessandro Farnese</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il basamento era originariamente la tomba del vescovo di Bagnoregio Francesco de Solis (m. 1545)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;"><i>Statua a sinistra</i> <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8857/Basilica%20S.%20Pietro%20DSC_8857.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Giustizia"</span></a> con le sembianze di Giulia Farnese, sorella di Paolo III, coperta nel 1595 con veste di metallo dipinta di bianco da </span><span style="color: #ff2600; letter-spacing: 0px;">Teodoro Della Porta</span><span style="letter-spacing: 0px;"> (1567/1638) figlio di Guglielmo</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>Statua a destra</i> <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8858/Basilica%20S.%20Pietro%20DSC_8858.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Prudenza"</span></a> con le sembianze di Giovannella Caetani, madre di Paolo III</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Originariamente facevano parte del monumento anche "Abbondanza" e "Pace" ora a Palazzo Farnese</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Tra le due statue preziosa <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8856/Basilica%20S.%20Pietro%20DSC_8856.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Maschera"</span></a> in raro marmo nero portoro dagli Orti Farnesiani sul Palatino</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Fu la prima tomba papale monumentale a essere eretta nella Basilica</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Fu spostata dal pilone di S. Andrea a questa posizione nel 1628 da Bernini</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>Giulia Farnese</i> era nota come <i>Giulia Bella. </i>Aveva occhi corvini, capelli lunghissimi tinti di biondo e la carnagione candida che sembra lei amasse far risaltare dormendo solo su lenzuola di seta nera. Dall'età di 15 anni fu per cinque anni amante dell'allora cinquantottenne Card. Rodrigo Borgia poi divenuto papa Alessandro VI (1492/1503), nonostante si fosse appena sposata con Orso Orsini che era affetto da foruncolosi e orbo a un occhio</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Divenne la concubina ufficiale del papa e fece diventare cardinale il fratellino Alessandro soprannominato <i>cardinale della gonnella</i>. In seguito il fratellino diventerà a sua volta papa con il nome di Paolo III</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Gioacchino Belli in un sonetto descrive il motivo per la censura della statua della Giustizia: un <i>signore ingrese</i> (o forse un seminarista spagnolo) era stato sorpreso a masturbarsi di fronte al seducente nudo</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Si vuole che Guglielmo abbia eseguito l'opera sotto la direzione di Michelangelo. Al di là della conferma storica, michelangiolesca è la concezione della statua seduta del defunto e ancor più quella delle due allegorie distese sulle volute sottostanti, nitido richiamo alle Tombe Medicee nella Sagrestia Nuova di S. Lorenzo a Firenze" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Era inevitabile che la Cattedra venisse posta nell'abside centrale tra le tombe dei due papi i cui pontificati incorniciano il periodo attivo della Controriforma. Niente simboleggia la nuova Ecclesia Triumphans più chiaramente di questo" (Howard Hibbard)</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">STATUE NELLE NICCHIE DELL'ORDINE INFERIORE</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A DESTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8844/Basilica%20S.%20Pietro%20DSC_8844.jpg?disposition=download">"Profeta Elia"</a></span><span style="letter-spacing: 0px;"> 1727 di </span><span style="color: #ff2600; letter-spacing: 0px;">Agostino Cornacchini</span><span style="letter-spacing: 0px;"> (1683/1740)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8850/Basilica%20S.%20Pietro%20DSC_8850.jpg?disposition=download">"S. Domenico"</a></span><span style="letter-spacing: 0px;"> 1706 di </span><span style="color: #ff2600; letter-spacing: 0px;">Pierre Legros </span><span style="letter-spacing: 0px;">(1666/1719)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A SINISTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8845/Basilica%20S.%20Pietro%20DSC_8845.jpg?disposition=download">"S. Benedetto"</a></span><span style="letter-spacing: 0px;"> 1735 di </span><span style="color: #ff2600; letter-spacing: 0px;">Antonio Montauti</span><span style="letter-spacing: 0px;"> (1685/1740)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8852/Basilica%20S.%20Pietro%20DSC_8852.jpg?disposition=download">"S. Francesco"</a></span><span style="letter-spacing: 0px;"> 1727 di </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Monaldi </span><span style="letter-spacing: 0px;">(c. 1690/1760)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sotto la statua "Lapide a ricordo della proclamazione del dogma dell'Immacolata Concezione" l'8 dicembre 1854</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">STATUE ELLE NICCHIE DELL'ORDINE SUPERIORE</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A DESTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8848/Basilica%20S.%20Pietro%20DSC_8848.jpg?disposition=download">"S. Francesco di Sales"</a></span><span style="color: black; letter-spacing: 0px;"> 1845 di </span><span style="color: #ff2600; letter-spacing: 0px;">Adamo Tadolini</span><span style="color: black; letter-spacing: 0px;"> (1788/1868)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8851/Basilica%20S.%20Pietro%20DSC_8851.jpg?disposition=download">"S. Francesco Caracciolo"</a></span><span style="color: black; letter-spacing: 0px;"> 1834 di </span><span style="letter-spacing: 0px;">Francesco Massimiliano Laboureur</span><span style="color: black; letter-spacing: 0px;"> (1767/1831) e </span><span style="letter-spacing: 0px;">Innocenzo Fraccaroli</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A SINISTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8846/Basilica%20S.%20Pietro%20DSC_8846.jpg?disposition=download">"S. Francesca Romana"</a></span><span style="letter-spacing: 0px;"> 1850 di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Galli</span><span style="letter-spacing: 0px;"> (1804/77) allievo di Bertel Thorvaldsen</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_navata_mediana,_cupola_e_abside_files/Media/Basilica%20S.%20Pietro%20DSC_8853/Basilica%20S.%20Pietro%20DSC_8853.jpg?disposition=download">"S. Alfonso Maria de' Liguori"</a></span><span style="color: black; letter-spacing: 0px;"> 1839 di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Tenerani</span><span style="color: black; letter-spacing: 0px;"> (1789/1869)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PASSAGGIO ALL'ABSIDE</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8861/Basilica%20S.%20Pietro%20DSC_8861.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomba di Alessandro VIII"</span></a> Ottoboni (1689/91) 1725 di </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Arrigo di San Martino </span><span style="letter-spacing: 0px;">per il pronipote del papa il Card. Pietro Ottoboni</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Bassorilievo "Consegna dei doni durante la canonizzazione del 1690 di vari santi tra cui S. Giovanni da Dio, Pasquale Baylon, Giovanni da S. Facondo e Lorenzo Giustiniani" del genovese </span><span style="color: #ff2600; letter-spacing: 0px;">Angelo De Rossi</span><span style="letter-spacing: 0px;"> (1671/1715) che aveva disegnato e modellato in stucco anche le statue del papa e le allegorie eseguite dopo la sua morte da </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Bertosi</span><span style="letter-spacing: 0px;"> (papa) e </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Raffaelli</span><span style="letter-spacing: 0px;"> (a sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8867/Basilica%20S.%20Pietro%20DSC_8867.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Religione"</span></a> e a destra "Prudenza")</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Dietro alla tomba di Alessandro VIII c'è la piccola SAGRESTIA OTTOBONI recentemente restaurata con "Rilievi bronzei" e "Crocifisso" 1972 di</span><span style="color: #ff2600; letter-spacing: 0px;"> Francesco Messina</span><span style="letter-spacing: 0px;"> (1900/95) e due tele seicentesche di </span><span style="color: #ff2600; letter-spacing: 0px;">Francesco Perugini da Sermoneta</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A sinistra mosaico "Ss. Pietro e Giovanni risanano un paralitico" 1751/58 di </span><span style="color: #ff2600; letter-spacing: 0px;">Ottaviani</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Cocchi</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Enuò </span><span style="letter-spacing: 0px;">e </span><span style="color: #ff2600; letter-spacing: 0px;">Paleat </span><span style="letter-spacing: 0px;">degli anni 1746/49 dal dipinto originale di </span><span style="color: #ff2600; letter-spacing: 0px;">Francesco Mancini </span><span style="letter-spacing: 0px;">(1679/1758) ora nella Sala delle Benedizioni</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8870/Basilica%20S.%20Pietro%20DSC_8870.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CAPPELLA DELLA MADONNA DELLA COLONNA</span></i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Iniziata da </span><span style="color: #ff2600; letter-spacing: 0px;">Jacopo Barozzi detto Vignola</span><span style="letter-spacing: 0px;"> (1507/73) e completata da </span><span style="color: #ff2600; letter-spacing: 0px;">Giacomo Della Porta</span><span style="letter-spacing: 0px;"> (1533/1602)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nella <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8871/Basilica%20S.%20Pietro%20DSC_8871.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">CUPOLA</span></a> della cappella mosaici "Allegorie e simboli della Vergine" 1751/57 di </span><span style="color: #ff2600; letter-spacing: 0px;">Fattori</span><span style="letter-spacing: 0px;">,</span><span style="color: #ff2600; letter-spacing: 0px;"> Gossoni</span><span style="letter-spacing: 0px;">,</span><span style="color: #ff2600; letter-spacing: 0px;"> Regoli</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Paleat</span><span style="letter-spacing: 0px;">,</span><span style="color: #ff2600; letter-spacing: 0px;"> Ottaviani</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Polverelli </span><span style="letter-spacing: 0px;">e </span><span style="color: #ff2600; letter-spacing: 0px;">Volpini </span><span style="letter-spacing: 0px;">da disegni del 1742 di </span><span style="color: #ff2600; letter-spacing: 0px;">Giacomo Zoboli</span><span style="letter-spacing: 0px;"> (1681/1767)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nelle LUNETTE mosaici con "Re David", "Re Salomone", "Vergine Maria con il Bambino Gesù" e "Sogno di Giuseppe" 1643/44 del viterbese </span><span style="color: #ff2600; letter-spacing: 0px;">Giovanni Francesco Romanelli </span><span style="letter-spacing: 0px;">(1610/62) allievo di Pietro da Cortona, eseguite in mosaico 1645/47 da </span><span style="color: #ff2600; letter-spacing: 0px;">G.B. Calandra </span><span style="letter-spacing: 0px;">e </span><span style="color: #ff2600; letter-spacing: 0px;">Guidobaldo Abbatini </span><span style="letter-spacing: 0px;">(1600/56)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nei PENNACCHI mosaici con quattro dottori della Chiesa: "S. Germano" e "S. Bonaventura" di </span><span style="color: #ff2600; letter-spacing: 0px;">Giovanni Lanfranco</span><span style="letter-spacing: 0px;"> (1582/1647) ; "S. Giovanni Damasceno" e "S. Tommaso d'Aquino" di</span><span style="color: #ff2600; letter-spacing: 0px;"> Andrea Sacchi</span><span style="letter-spacing: 0px;"> (1599/1661) eseguiti in mosaico negli anni 1630/36 da </span><span style="color: #ff2600; letter-spacing: 0px;">G.B. Calandra</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SULL'ALTARE</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Venerata "Madonna" del XV sec. su un tronco di colonna di marmo portasanta già nella navata centrale della vecchia Basilica. La splendida cornice marmorea fu disegnata nel 1581 da </span><span style="color: #ff2600; letter-spacing: 0px;">Giacomo Della Porta </span><span style="letter-spacing: 0px;">(1533/1602)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Una copia di quest'immagine fu fatta collocare in mosaico al posto di una finestra del Palazzo Apostolico prospiciente Piazza S. Pietro per volere di Giovanni Paolo II in seguito all'attentato del 13 maggio 1981</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SOTTO L'ALTARE</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Sarcofago cristiano" del IV sec. con <i>spoglie dei papi Leone II (682/683), Leone III (795/816) </i>e<i> Leone IV (847/855)</i> raccolte da Pasquale II (1099/1118)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A DESTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Altare con <i>reliquie di S. Leone Magno (440/461)</i> con decorazioni di </span><span style="color: #ff2600; letter-spacing: 0px;">Francesco Borromini </span><span style="letter-spacing: 0px;">e pala marmorea (unica nella Basilica) <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8869/Basilica%20S.%20Pietro%20DSC_8869.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Leone Magno che incontra Attila"</span></a> 1646/50 capolavoro di </span><span style="color: #ff2600; letter-spacing: 0px;">Alessandro Algardi</span><span style="letter-spacing: 0px;"> (1598/1654) eseguito assieme all'allievo </span><span style="color: #ff2600; letter-spacing: 0px;">Domenico Guidi</span><span style="letter-spacing: 0px;"> (1625/1701)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il corpo di S. Leone Magno fu ritrovato integro nel 1607 nelle Grotte Vaticane, lì dove era stato originariamente sepolto</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"L'interpretazione dell'avvenimento è semplice e convincente: come nell'esempio di Raffaello, solo il papa e il re scorgono la miracolosa apparizione degli apostoli e la divisione in tre parti (sinistra, destra e zona superiore) è mantenuta rigorosamente. Non si può non ammirare la logica compositiva e la chiarezza psicologica. La dimensione insolita (oltre 7 m di altezza) ha spesso indotto a credere erroneamente che il suo stile non abbia precedenti; ma in effetti la storia del rilievo illusionista risale ai primi giorni del rinascimento, a Donatello e a Ghiberti. In contrasto, però, con il rilievo stacciato del rinascimento Algardi rinunciò a creare un coerente spazio ottico e usò soprattutto gradazioni nella proiezione delle figure per produrre l'illusione di profondità. In modo più effettivo che la pittura illusionista il rilievo pittorico soddisfaceva il desiderio barocco di cancellare la linea di confine fra vita e arte, spettatore e figura" (Rudolf Wittkower)</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel pavimento cerchio di marmo con <i>tomba di Leone XII Sermattei (1823/29)</i></span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PASSAGGIO ALLA CAPPELLA DELLA COLONNA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: black; letter-spacing: 0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8883/Basilica%20S.%20Pietro%20DSC_8883.jpg?disposition=download"><span style="letter-spacing: 0px;">"Apparizione del Sacro Cuore di Gesù a S. Margherita Maria Alacoque"</span></a> 1921/24 di </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Muccioli </span><span style="color: black; letter-spacing: 0px;">(1857/1931)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Fu l'ultima grande impresa musiva del 1900 che sostituì il dipinto su lavagna "Caduta di Simon Mago" di Francesco Vanni. Avrebbe dovuto essere sostituita da quella di uguale soggetto di Pompeo Batoni, che però non fu mai qui messa in opera e che ora è nella Basilica di S. Maria degli Angeli e dei Martiri; fu temporaneamente sostituita da una copia del dipinto del Vanni eseguita da Pierre Charles Tremollière che ora si trova pure nella Basilica degli Angeli e dei Martiri</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A destra spettacolare <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8879/Basilica%20S.%20Pietro%20DSC_8879.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomba di Alessandro VII"</span></a> Chigi (1655/67) 1671/78 </span><span style="color: #ff2600; letter-spacing: 0px;">Bernini</span><span style="letter-spacing: 0px;"> con collaboratori per il Card. Flavio Chigi, nipote del papa:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8876/Basilica%20S.%20Pietro%20DSC_8876.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Carità"</span></a> 1673/75 di </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Mazzuoli </span><span style="letter-spacing: 0px;">(1644/1725)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Dietro la Carità "Busto della Prudenza" 1675/77 iniziato da </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Baratta</span><span style="letter-spacing: 0px;"> e finito da </span><span style="color: #ff2600; letter-spacing: 0px;">Giulio Cartari </span><span style="letter-spacing: 0px;">(attivo 1665/78)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8873/Basilica%20S.%20Pietro%20DSC_8873.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Verità"</span></a> 1673/77 iniziata da </span><span style="color: #ff2600; letter-spacing: 0px;">Lazzaro Morelli </span><span style="letter-spacing: 0px;">(1608/90) e finita da </span><span style="color: #ff2600; letter-spacing: 0px;">Giulio Cartari</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sicuramente non è una coincidenza il fatto che l'allegoria della <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8882/Basilica%20S.%20Pietro%20DSC_8882.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">Verità calpesti con il piede sinistro l'Inghilterra protestante</span></a> odiata dalla cattolica Roma</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Dietro la Verità <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8875/Basilica%20S.%20Pietro%20DSC_8875.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Busto della Giustizia"</span></a> 1676 di </span><span style="color: #ff2600; letter-spacing: 0px;">Giulio Cartari</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8878/Basilica%20S.%20Pietro%20DSC_8878.jpg?disposition=download">"Alessandro VII"</a></span><span style="letter-spacing: 0px;"> 1675/76 di </span><span style="color: #ff2600; letter-spacing: 0px;">Michel Maille </span><span style="letter-spacing: 0px;">detto Michele Maglia</span><span style="color: #ff2600; letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;">(attivo a Roma seconda metà del XVII sec.) rifinito 1677 da </span><span style="color: #ff2600; letter-spacing: 0px;">Giulio Cartari</span><span style="letter-spacing: 0px;"> e </span><span style="color: #ff2600; letter-spacing: 0px;">Domenico Basadonna</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Le <i>parti in bronzo</i> sono di </span><span style="color: #ff2600; letter-spacing: 0px;">Girolamo Lucenti</span><span style="letter-spacing: 0px;"> (?/1698) che fece con </span><span style="color: #ff2600; letter-spacing: 0px;">Filippo Carcani </span><span style="letter-spacing: 0px;">(attivo 1670/91) anche la veste bronzea della "Verità" nel 1678 dopo che Innocenzo XI Odescalchi (1676/89) aveva protestato per la nudità</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">L'<i>eccezionale drappo rosa</i> è di travertino eseguito da </span><span style="color: #ff2600; letter-spacing: 0px;">Lazzaro Morelli </span><span style="letter-spacing: 0px;">e </span><span style="color: #ff2600; letter-spacing: 0px;">Michel Maille </span><span style="letter-spacing: 0px;">rivestito in diaspro di Sicilia da </span><span style="color: #ff2600; letter-spacing: 0px;">Gabriele Renzi</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il<i> basamento in marmo di Portovenere</i> ha venature naturali che vengono assecondate e integrate a mosaico dall'artista per ottenere un materiale che, pure se tratto dalla natura, mostra connotazioni creativamente artificiali</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Alessandro VII teneva a tal punto presente la morte incombente da dormire con la sua futura cassa da morto di piombo sotto il letto</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Nella tarda tomba di Alessandro VII il Bernini mise in risalto il contrasto fra la precarietà della vita (Morte con clessidra) e l'imperturbabile fede del papa che prega. Ma quest'idea, che corrispondeva così bene alle convinzioni del Bernini stesso sulla soglia della morte, era troppo personale per trovare molto seguito. Quando fu ripresa durante il 1700, il concetto era cambiato: la Morte non era più controbilanciata dalla certezza di salvarsi mediante la fede e non riservava altro che terrore a coloro che minacciava di eterna distruzione" (Rudolf Wittkower)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Il passaggio sotto al monumento di Alessandro VII conduce all'uscita sud della basilica con la "Porta della Preghiera" 1972 di </span><span style="color: #ff2600; letter-spacing: 0px;">Lello Scorzelli </span><span style="letter-spacing: 0px;">(1921/1997)</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/DSCF3113/DSCF3113.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">TRANSETTO SINISTRO</span></i></a></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"È questa la prima parte della basilica conclusa mentre Michelangelo era ancora in vita. Il rivestimento interno dell'abside di questo transetto fu eseguito nel 1558 sotto la direzione dell'artista toscano, e seppur modificato nell'attico tra il 1605 e il 1610, negli anni seguenti venne utilizzato come modello di decorazione architettonica per l'intero edificio" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">ALTARE CENTRALE</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Mosaico 1963 <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8884/Basilica%20S.%20Pietro%20DSC_8884.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"S. Giuseppe con Gesù Bambino"</span></a> da originale a tempera 1962 di</span><span style="color: #ff2600; letter-spacing: 0px;"> Achille Funi</span><span style="letter-spacing: 0px;"> (1890/1972)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><i>Reliquie degli apostoli Ss. Simone e Giuda</i><b> </b>in un "Sarcofago" del IV sec. dal Mausoleo di S. Costanza</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Ovali ai lati con ritratti in mosaico "S. Simone" e "S. Giuda" 1858 da dipinti originali del 1822 di </span><span style="color: #ff2600; letter-spacing: 0px;">Vincenzo Camuccini</span><span style="letter-spacing: 0px;"> (1771/1844)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Le colonne dell'edicola in porfido rosso provengono dal ciborio del XV sec. dell'antica basilica</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ai lati dell'altare centrale "Due colonne monolitiche di giallo antico" che con le altre due nel transetto opposto sono considerate uniche al mondo per grandezza ed esecuzione</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A destra ALTARE DI S. TOMMASO</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Mosaico 1806/22 <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8886/Basilica%20S.%20Pietro%20DSC_8886.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Incredulità di S. Tommaso"</span></a> da originale di </span><span style="color: #ff2600; letter-spacing: 0px;">Vincenzo Camuccini</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sotto l'altare <i>reliquie di S. Bonifacio IV (608/615)</i>, il papa che consacrò il Pantheon al culto cristiano</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ovali ai lati con ritratti in mosaico "S. Maria Domenica Mazzarello" e "S. Maddalena Gabriella di Canossa" del XIX sec.</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A sinistra ALTARE DI S. PIETRO</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Tradizionalmente considerato il luogo della crocifissione a testa in giù di S. Pietro e della sua morte</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8885/Basilica%20S.%20Pietro%20DSC_8885.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Crocifissione di S. Pietro"</span></a> da originale 1604/05 di </span><span style="color: #ff2600; letter-spacing: 0px;">Guido Reni</span><span style="letter-spacing: 0px;"> (1575/1642) nella Pinacoteca Vaticana, originariamente dipinta per S. Paolo alle Tre Fontane</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sotto l'altare <i>corpo di S. Leone IX (1049/54)</i><b> </b>in un sarcofago strigilato in marmo bianco</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ovali ai lati con ritratti in mosaico "S. Lorenzo Ruiz" e "S. Antonio Maria Gianelli" del XIX sec.</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_destro_files/Media/Basilica%20S.%20Pietro%20DSC_8815/Basilica%20S.%20Pietro%20DSC_8815.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CATINO ABSIDALE</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Stucchi 1749 di </span><span style="color: #ff2600; letter-spacing: 0px;">Luigi Vanvitelli</span><span style="letter-spacing: 0px;"> (1700/73) e tre medaglioni "Storie di Ss. Pietro e Paolo" di </span><span style="color: #ff2600; letter-spacing: 0px;">G.B. Maini</span><span style="letter-spacing: 0px;"> (1690/1752)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Statue nelle nicchie DELL'ORDINE INFERIORE</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A DESTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8887/Basilica%20S.%20Pietro%20DSC_8887.jpg?disposition=download">"S. Giuliana Falconieri"</a></span><span style="letter-spacing: 0px;"> 1740 di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Paolo Campi</span><span style="letter-spacing: 0px;"> (noto 1702/40)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8890/Basilica%20S.%20Pietro%20DSC_8890.jpg?disposition=download">"S. Norberto"</a></span><span style="letter-spacing: 0px;"> 1767 di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Bracci </span><span style="letter-spacing: 0px;">(1700/73)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A SINISTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8892/Basilica%20S.%20Pietro%20DSC_8892.jpg?disposition=download">"S. Giovanni di Dio"</a></span><span style="letter-spacing: 0px;"> 1745 di </span><span style="color: #ff2600; letter-spacing: 0px;">Filippo Della Valle</span><span style="letter-spacing: 0px;"> (1698/1768)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8894/Basilica%20S.%20Pietro%20DSC_8894.jpg?disposition=download">"S. Pietro Nolasco"</a></span><span style="color: black; letter-spacing: 0px;"> 1742 di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Paolo Campi</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">STATUE nelle nicchie DELL'ORDINE SUPERIORE</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A DESTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8888/Basilica%20S.%20Pietro%20DSC_8888.jpg?disposition=download">"S. Angela Merici"</a></span><span style="letter-spacing: 0px;"> 1866 di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Galli</span><span style="letter-spacing: 0px;"> (1804/77)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8891/Basilica%20S.%20Pietro%20DSC_8891.jpg?disposition=download">"S. Guglielmo di Vercelli"</a></span><span style="color: black; letter-spacing: 0px;"> 1878 di </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Prinzi</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A SINISTRA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8893/Basilica%20S.%20Pietro%20DSC_8893.jpg?disposition=download">"S. Maria di S. Eufrasia Pellettier"</a></span><span style="color: black; letter-spacing: 0px;"> 1942 di </span><span style="color: #ff2600; letter-spacing: 0px;">Giovanni Nicolini </span><span style="color: black; letter-spacing: 0px;">(1872/1956)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8895/Basilica%20S.%20Pietro%20DSC_8895.jpg?disposition=download">"S. Luisa de Marillac"</a></span><span style="color: black; letter-spacing: 0px;"> 1954 di </span><span style="color: #ff2600; letter-spacing: 0px;">Antonio Berti </span><span style="color: black; letter-spacing: 0px;">(1904/90)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PASSAGGIO PER LA CAPPELLA CLEMENTINA</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8897/Basilica%20S.%20Pietro%20DSC_8897.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monumento di Pio VIII"</span></a><b> </b>Castiglioni (1829/30) 1853/66 di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Tenerani</span><span style="letter-spacing: 0px;"> (1789/1869) per il Card. Giuseppe Albani, con sotto entrata alla sagrestia affiancata da rilievi sempre del Tenerani: a destra "Prudenza" e a sinistra "Giustizia"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Pio VIII volle abolire il nepotismo dei papi, lo spionaggio del Vaticano e condannò le associazioni segrete. Regnò solo venti mesi e quando morì a 69 anni ci furono voci di un suo avvelenamento</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A sinistra mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8898/Basilica%20S.%20Pietro%20DSC_8898.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Castigo dei coniugi Anania e Saffira"</span></a> 1721/28 di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Adami</span><span style="letter-spacing: 0px;"> da originale del 1606 di </span><span style="color: #ff2600; letter-spacing: 0px;">Cristoforo Roncalli detto Pomarancio </span><span style="letter-spacing: 0px;">(1552/1626) ora in S. Maria degli Angeli e dei Martiri</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">L'altare è chiamato <i>Altare della Bugia </i>per la storia di Anania e Saffira che, dopo aver venduto un podere, avevano consegnato agli apostoli solo una parte del ricavato, affermando mendacemente di aver consegnato l'intera somma: per questa bugia furono uccisi da Dio</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Il modo in cui qui venne sviluppato il racconto drammatico, attraverso poche figure relativamente tranquille ma potenti, senza lo stuolo di persone usato dagli imitatori degli Zuccari, sembrò indicare una nuova strada anche alla pala di soggetto storico che era arrivata a un punto morto sia tra i seguaci degli Zuccari che tra gli imitatori del Barocci. È significativo che la pittura romana, poco prima che a Roma si conoscesse il fenomeno dei Carracci, generasse da sola simili fenomeni" (Hermann Voss)</span></i></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8902/Basilica%20S.%20Pietro%20DSC_8902.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CAPPELLA CLEMENTINA</span></i></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">1592/1605 </span><span style="color: #ff2600; letter-spacing: 0px;">Giacomo Della Porta</span><span style="letter-spacing: 0px;"> (1533/1602) per Clemente VIII Aldobrandini (1592/1605)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nella <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8905/Basilica%20S.%20Pietro%20DSC_8905.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">CUPOLA</span></a> della cappella mosaici "Angeli, festoni e imprese che alludono alla dignità del papato e della famiglia Aldobrandini" 1599/1602 di quattordici mosaicisti</span><span style="color: #ff2600; letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;">da disegni di </span><span style="color: #ff2600; letter-spacing: 0px;">Cristoforo Roncalli detto Pomarancio </span><span style="letter-spacing: 0px;">(1552/1626)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nelle LUNETTE mosaici con "Profeta Malachia assistito da un angelo" di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Paolo Rossetti </span><span style="letter-spacing: 0px;">e </span><span style="color: #ff2600; letter-spacing: 0px;">Marcello Provenzale</span><span style="letter-spacing: 0px;">, "Profeta Daniele nella fossa dei leoni" di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Paolo Rossetti </span><span style="letter-spacing: 0px;">e </span><span style="color: #ff2600; letter-spacing: 0px;">Marcello Provenzale</span><span style="letter-spacing: 0px;">, "Vergine Maria e S. Giuseppe" di </span><span style="color: #ff2600; letter-spacing: 0px;">Marcello Provenzale </span><span style="letter-spacing: 0px;">e "S. Elisabetta" di</span><span style="color: #ff2600; letter-spacing: 0px;"> Ludovico Martinelli</span><span style="letter-spacing: 0px;"> 1599/1603 da disegni di </span><span style="color: #ff2600; letter-spacing: 0px;">Cristoforo Roncalli detto Pomarancio</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nei PENNACCHI mosaici con quattro dottori della Chiesa greca e latina rappresentati anche nella cattedra di S. Pietro: "S. Ambrogio", "S. Agostino", "S. Giovanni Crisostomo" e "S. Atanasio" 1599/1602 di quattordici mosaicisti</span><span style="color: #ff2600; letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;">da disegni di </span><span style="color: #ff2600; letter-spacing: 0px;">Cristoforo Roncalli detto Pomarancio </span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Sopra l'altare a destra mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8902/Basilica%20S.%20Pietro%20DSC_8902.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Miracolo di S. Gregorio Magno (590/604)"</span></a> 1770/72 di </span><span style="color: #ff2600; letter-spacing: 0px;">Alessandro Cocchi</span><span style="letter-spacing: 0px;">, il figlio </span><span style="color: #ff2600; letter-spacing: 0px;">Filippo Cocchi </span><span style="letter-spacing: 0px;">e </span><span style="color: #ff2600; letter-spacing: 0px;">Vincenzo Castellini </span><span style="letter-spacing: 0px;">da originale degli anni 1625/27 di </span><span style="color: #ff2600; letter-spacing: 0px;">Andrea Sacchi </span><span style="letter-spacing: 0px;">(1599/1661)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">L'episodio è in realtà originariamente attribuito dalla tradizione cristiana a S. Leone Magno: alcuni principi avevano considerato poco preziosa una reliquia di un frammento di dalmatica di S. Giovanni Evangelista e S. Gregorio Magno l'avrebbe tagliato con un coltello facendone sgorgare sangue per dimostrarne l'importanza e la veridicità</span></span></div>
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<span style="color: black; letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sotto l'altare <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/DSCF3137/DSCF3137.jpg?disposition=download"><span style="letter-spacing: 0px;"><i>tomba di S. Gregorio Magno </i></span></a></span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Dal 1725 al 1784 nella cappella c'erano tre grandi tele di Pier Leone Ghezzi con "Storie di S. Clemente" tolte quando fu costruita la Sagrestia. Una delle tre "L'annegamento di S. Clemente" è esposta nella Pinacoteca Vaticana</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Di fronte <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8903/Basilica%20S.%20Pietro%20DSC_8903.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomba di Pio VII"</span></a><b> </b>Chiaramonti (1800/23)<b> </b>con in alto statue alate rappresentanti a destra "Il Tempo" e a sinistra "La Storia"; le statue grandi rappresentano a destra "Sapienza Celeste" e a sinistra "Forza Divina" 1823/31 di </span><span style="color: #ff2600; letter-spacing: 0px;">Bertel Thorvaldsen </span><span style="letter-spacing: 0px;">(1770/1844) per il Card. Ercole Consalvi</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Il progetto architettonico fu di </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Valadier</span><span style="letter-spacing: 0px;"> (1762/1839)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La scelta del danese Thorvaldsen, che era l'unico artista protestante che abbia mai lavorato in S. Pietro, provocò molte critiche anche per la controversa scelta iconografica: la <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8904/Basilica%20S.%20Pietro%20DSC_8904.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">Sapienza Celeste che legge la Bibbia</span></a> e che con sembra stia meditando, come suggerirebbe il gesto del dito, è sicuramente più vicina a una visione protestante che non cattolica</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Lo spiritualismo esangue del danese, il suo sottile arcaismo, che più tardi avrà dei punti in comune con le tendenze puristiche introdotte a Roma dai Nazareni, sembravano corrispondere alle esigenze poste dai più rigorosi teorici del bello ideale, a quella aspirazione verso una bellezza della quale (come scrisse Winckelmann) si potesse dire come dell'acqua presa da una sorgente che, quanto meno è saporosa, vale a dire priva d'ogni particella straniera, tanto più si stima salubre" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A sinistra mosaico "Trasfigurazione" 1757/67 di </span><span style="color: #ff2600; letter-spacing: 0px;">Alessandro Cocchi </span><span style="letter-spacing: 0px;">assistito da otto mosaicisti dall'originale incompiuto degli anni 1517/20 di </span><span style="color: #ff2600; letter-spacing: 0px;">Raffaello Sanzio</span><span style="letter-spacing: 0px;"> (1483/1520). Per eseguire il mosaico venne fatta nel 1757 da </span><span style="color: #ff2600; letter-spacing: 0px;">Stefano Pozzi </span><span style="letter-spacing: 0px;">(1699/1768) una copia dipinta del capolavoro di Raffaello</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sotto l'altare della Trasfigurazione c'è dal 2011 l'urna di cristallo con il <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8907/Basilica%20S.%20Pietro%20DSC_8907.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;"><i>corpo del beato Innocenzo XI Odescalchi (1676/89)</i></span></a>. Era stato riesumato dal suo monumento nel 1956 in occasione della sua cerimonia di beatificazione e collocato sotto l'altare di S. Sebastiano ora occupato dalla tomba di Giovanni Paolo II</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Cuppolone%20DSC_2227/Cuppolone%20DSC_2227.jpg?disposition=download"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">NAVATA SINISTRA</span></i></a></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">TERZO PASSAGGIO</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">L'ingresso al passaggio è sormontato da sculture "Fama regge lo stemma di Innocenzo X Pamphilj (1644/55)" di </span><span style="color: #ff2600; letter-spacing: 0px;">Luigi Bernini</span><span style="letter-spacing: 0px;"> (1612/81) su disegno del fratello </span><span style="color: #ff2600; letter-spacing: 0px;">Gian Lorenzo Bernini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8909/Basilica%20S.%20Pietro%20DSC_8909.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monumento di Leone XI"</span></a><b> </b>Medici (aprile 1605) 1634/44, esposto al pubblico solo nel 1652, di </span><span style="color: #ff2600; letter-spacing: 0px;">Alessandro Algardi</span><span style="letter-spacing: 0px;"> (1598/1654) per il Card. Roberto Ubaldini, nipote del papa</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel bassorilievo del sarcofago <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8913/Basilica%20S.%20Pietro%20DSC_8913.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">a destra "Re Enrico IV abbraccia la fede cattolica" e a sinistra "Ratifica della pace di Vervins del 1598"</span></a> episodi nei quali il futuro papa, all'epoca ancora Card. Alessandro d'Ottaviano de' Medici nunzio apostolico in Francia, ebbe un ruolo rilevante</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A sinistra del monumento statua "Magnanimità" di </span><span style="color: #ff2600; letter-spacing: 0px;">Ercole Ferrata</span><span style="letter-spacing: 0px;"> (1610/86) e a destra "Liberalità" di </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Peroni </span><span style="letter-spacing: 0px;">(c. 1626/63) per il Card. Roberto Ubaldini nipote di Leone XI</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Le <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8914/Basilica%20S.%20Pietro%20DSC_8914.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">quattordici rose scolpite a rilievo</span></a> rappresenterebbero il numero di giorni in cui fu effettivamente papa, anche se il suo pontificato durò in totale ventisette giorni</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Di indubbia derivazione compositiva dalla tomba di Urbano VIII, concepita da Bernini sei anni prima, il monumento funebre di Algardi esprime però in modo autonomo le sue convinzioni estetico-formali. Algardi evitò l'uso di marmi policromi e adottò interamente il marmo bianco di carrara levigatissimo nelle superfici e uniforme e freddo negli incarnati; inoltre, invece di soffermarsi sul concetto della transitorietà della vita, rilevabile nella interpretazione berniniana, preferì conferire alle figure allegoriche e al papa stesso una condizione morale ideale permanente, espressa mediante la compostezza dei gesti e delle espressioni. Le dimensioni preponderanti delle figure rispetto alla struttura indicano la preferenza stilistica classica nei confronti della statuaria" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8912/Basilica%20S.%20Pietro%20DSC_8912.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monumento al Beato Innocenzo XI"</span></a> Odescalchi (1676/89) 1697/1701 disegnato da </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Maratta</span><span style="letter-spacing: 0px;"> (1625/1713) ed eseguito, forse reinterpretando idee del Maratta, da </span><span style="color: #ff2600; letter-spacing: 0px;">Pierre-Étienne Monnot </span><span style="letter-spacing: 0px;">(1657/1733) per il nipote del papa Livio Odescalchi</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A destra "Fortezza" e a sinistra "Religione"</span></span></div>
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<span style="color: black; letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Bassorilievo <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8915/Basilica%20S.%20Pietro%20DSC_8915.jpg?disposition=download"><span style="letter-spacing: 0px;">"Liberazione di Vienna dai Turchi nel 1683 da parte del re polacco Giovanni Sobieski"</span></a> voluta e sostenuta da Innocenzo XI</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8907/Basilica%20S.%20Pietro%20DSC_8907.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">corpo del papa</span></a> è visibile nella Cappella Clementina sotto la Trasfigurazione</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Elementi che derivano sia dal Bernini che dall'Algardi sono qui riuniti: la tomba di Urbano VIII servì da modello per il trattamento policromo, ma per i tipi delle allegorie e il rilievo narrativo Monnot seguì la tomba di Leone XI. Egli però mise il rilievo non sul sarcofago vero e proprio, ma sul piedistallo della statua del papa. L'inserimento di questo piedistallo rese necessario ridurre considerevolmente le dimensioni della figura del papa in confronto a quella dell'Algardi. L'aumentata importanza degli elementi decorativi a spese delle figure fa luce sul cambiamento stilistico dal barocco al tardo barocco" (Rudolf Wittkower)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8916/Basilica%20S.%20Pietro%20DSC_8916.jpg?disposition=download">CUPOLA DEL VESTIBOLO DELLA TERZA CAPPELLA A SINISTRA</a></span><span style="color: black; letter-spacing: 0px;"> <i>(Dedicata alla glorificazione musicale di Dio)</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Mosaico nella CUPOLA "Visione dell'Apocalisse con gli Angeli, gli Eletti e i quattro animali del tetramorfo che circondano adoranti il trono dell'Eterno" 1712/16 di </span><span style="color: #ff2600; letter-spacing: 0px;">Cocchi</span><span style="letter-spacing: 0px;">,</span><span style="color: #ff2600; letter-spacing: 0px;"> Adami</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Fattori</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Ottaviani</span><span style="letter-spacing: 0px;"> e </span><span style="color: #ff2600; letter-spacing: 0px;">De Rossi</span><span style="letter-spacing: 0px;"> da originale disegnato prima da </span><span style="color: #ff2600; letter-spacing: 0px;">Ciro Ferri</span><span style="letter-spacing: 0px;"> (1634/89), poi, negli anni 1699/1711, da </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Maratta</span><span style="letter-spacing: 0px;"> (1625/1713) e infine negli anni 1711/16 dal bolognese </span><span style="color: #ff2600; letter-spacing: 0px;">Marcantonio Franceschini </span><span style="letter-spacing: 0px;">(1648/1729)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nei PENNACCHI mosaici con quattro cantori delle glorie divine 1699/1703 di </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Conti</span><span style="letter-spacing: 0px;">:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"Daniele circondato dai leoni mentre scrive" e "Abacuc e l'angelo" da cartone di </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Maratta</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"David" e "Giona" da cartone di </span><span style="color: #ff2600; letter-spacing: 0px;">Ciro Ferri</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nelle LUNETTE mosaici con cantici di lodi, vittorie e pianti dell'Antico Testamento 1719/23 di </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Ottaviani </span><span style="letter-spacing: 0px;">e </span><span style="color: #ff2600; letter-spacing: 0px;">Prospero Glori</span><span style="letter-spacing: 0px;">:</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Mosè in preghiera sul Sinai sostenuto da Aronne e Cur"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"Il sacerdote Azaria rimprovera il re Ozia" da cartoni di </span><span style="color: #ff2600; letter-spacing: 0px;">Nicolò Ricciolini</span><span style="letter-spacing: 0px;"> (1687/1772)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Giuditta consegna la testa di Oloferne per appenderla sulle mura"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"La profetessa Debora manda a chiamare Barak"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Geremia piangente sulla città santa"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"Debora e Barak" da cartoni di </span><span style="color: #ff2600; letter-spacing: 0px;">Marcantonio Franceschini</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nel TAMBURO quattro statue in stucco "Angeli con simboli eucaristici" 1713 di </span><span style="color: #ff2600; letter-spacing: 0px;">Lorenzo Ottoni </span><span style="letter-spacing: 0px;">(1648/1736)</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8918/Basilica%20S.%20Pietro%20DSC_8918.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">CAPPELLA DEL CORO</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Progettata da </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Maderno</span><span style="letter-spacing: 0px;"> (1556/1629)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">L'area di questa cappella nella vecchia basilica era nota come la <i>Cappella Sistina di S. Pietro</i> perché Sisto IV Della Rovere (1471/84) l'aveva fatta costruire nel 1477 e fatta dipingere da Pietro Perugino. La sua grandiosa tomba, eseguita da Antonio e Pietro Pollaiolo, rimase qui fino al 1635 </span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Cancellata in ferro, bronzo e cristalli 1758/60 di </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Giardoni</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Urna in granito" antica con <i>reliquie di S. Giovanni Crisostomo (m.407)</i></span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel 2004 Giovanni Paolo II donò parte delle reliquie al patriarca di Costantinopoli</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Stucchi 1626 di </span><span style="color: #ff2600; letter-spacing: 0px;">G.B. Ricci</span><span style="letter-spacing: 0px;"> (c. 1550/1624) e forse di </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Maratta </span><span style="letter-spacing: 0px;">(1625/1713)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Mosaico "Immacolata Concezione assieme ai Ss. Francesco d'Assisi, Antonio da Padova e Giovanni Crisostomo" 1744/47 di </span><span style="color: #ff2600; letter-spacing: 0px;">Ottaviani</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Onofri</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Enuò </span><span style="letter-spacing: 0px;">e </span><span style="color: #ff2600; letter-spacing: 0px;">Paleat </span><span style="letter-spacing: 0px;">da originale del 1740 di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Bianchi detto il Creatura </span><span style="letter-spacing: 0px;">(1694/1740), allievo romano di Benedetto Luti e del Baciccio, ora in S. Maria degli Angeli e dei Martiri</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">La parte inferiore del dipinto era stata completata nel 1744 da </span><span style="color: #ff2600; letter-spacing: 0px;">Gaetano Sardi </span><span style="letter-spacing: 0px;">allievo del Bianchi che non aveva completato l'opera. Era rimasta esposta incompleta poiché la parte inferiore del dipinto non era comunque all'epoca molto visibile essendovi esposta davanti la Pietà di Michelangelo</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">L'immagine della Madonna fu incoronata l'8 dicembre 1854 da Pio IX in occasione della promulgazione del dogma dell'Immacolata Concezione. Nel 1904 furono aggiunte attorno alla corona le nove stelle formate da preziosissimi brillanti donate da un comitato internazionale di dame facoltose</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Alle pareti "Pitture in monocromo con episodi dell'Antico e del Nuovo Testamento dalla Creazione al Battesimo di Cristo" 1762 di </span><span style="color: #ff2600; letter-spacing: 0px;">Giovanni Angeloni</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Stefano Pozzi </span><span style="letter-spacing: 0px;">(1699/1768) e del fratello </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Pozzi</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Sotto il pavimento <i>tomba di Clemente XI Albani (1700/21)</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Splendido <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8919/Basilica%20S.%20Pietro%20DSC_8919.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Coro ligneo"</span></a> intarsiato di </span><span style="color: #ff2600; letter-spacing: 0px;">G.B. Soria</span><span style="letter-spacing: 0px;"> (1581/1651) e </span><span style="color: #ff2600; letter-spacing: 0px;">Bartolomeo De Rossi</span><span style="letter-spacing: 0px;">. I piani del coro sono tre così come sono tre gli ordini del clero Vaticano: Canonici, Beneficiati e Chierici beneficiati </span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">L'organo è del 1626 rifatto dalla </span><span style="color: #ff2600; letter-spacing: 0px;">ditta Walker </span><span style="letter-spacing: 0px;">di Ludwigsburg</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SECONDO PASSAGGIO</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8924/Basilica%20S.%20Pietro%20DSC_8924.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monumento di S. Pio X"</span></a> Sarto (1903/14) 1923 di </span><span style="color: #ff2600; letter-spacing: 0px;">Florestano Di Fausto</span><span style="letter-spacing: 0px;"> (1890/1965) con statua di </span><span style="color: #ff2600; letter-spacing: 0px;">Pier Enrico Astorri </span><span style="letter-spacing: 0px;">(1882/1926)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Sulla porta sottostante bassorilievi con "Storie di S. Pio X" di </span><span style="color: #ff2600; letter-spacing: 0px;">Pier Enrico Astorri </span><span style="letter-spacing: 0px;">che fece anche i grandi rilievi bronzei ai lati della porta: a destra "Accettazione della dottrina della Chiesa contro l'eccessivo modernismo da parte dei dotti" e a sinistra "Comunione dei fanciulli". Pio X promosse la pratica della Comunione ed era noto come il <i>Papa dell'Eucarestia</i></span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Fu canonizzato nel 1954, ultimo papa a essere proclamato santo</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8922/Basilica%20S.%20Pietro%20DSC_8922.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Tomba di Innocenzo VIII"</span></a> Cybo (1484/92) 1498 di Antonio Benci detto </span><span style="color: #ff2600; letter-spacing: 0px;">Antonio del Pollaiolo</span><span style="letter-spacing: 0px;"> (c. 1432/98) per il Card. Lorenzo Cybo, nipote del papa</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ai lati del trono bassorilievi bronzei con "Virtù cardinali: Giustizia e Fortezza a sinistra e Temperanza e Prudenza a destra. Nella lunetta "Virtù teologali: Carità al centro, Fede a sinistra e Speranza a destra</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Prima del 1621 il sarcofago era collocato sopra la mensola nella parte superiore del monumento</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">L'iscrizione in pietra nera sotto al monumento risale alla sistemazione del 1621 e descrive erroneamente la scoperta dell'America come avvenuta durante il suo regno. In realtà Innocenzo VIII morì otto giorni dopo la partenza di Cristoforo Colombo</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Nella destra tiene la sacra lancia, importante reliquia recuperata ai turchi. Questo modello tombale, per il suo potente impatto visivo, ebbe un grandissimo successo in ambito papale sino all'inizio del 1800" (Carlo Bertelli, Giuliano Briganti, Antonio Giuliano)</span></i></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Considera la figura come un nucleo di massima intensità entro un alone luminoso. Il movimento ha la funzione di disarticolare la figura, di organizzare la luce secondo ritmi rapidi e discontinui. Proprio perché la linea non può più avere una continuità di segno agisce liberamente a tutti i livelli, facendo levitare e ribollire la materia nella luce" (Giulio Carlo Argan)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8926/Basilica%20S.%20Pietro%20DSC_8926.jpg?disposition=download">CUPOLA DEL VESTIBOLO DELLA SECONDA CAPPELLA A SINISTRA</a></span><span style="color: black; letter-spacing: 0px;"> <i>(Dedicata alla Vergine Maria)</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Mosaico nella CUPOLA "Sconfitta di Lucifero e Incoronazione di Maria sopra i cori degli angeli" 1686/89 di </span><span style="color: #ff2600; letter-spacing: 0px;">Fabio Cristofari </span><span style="letter-spacing: 0px;">(c. 1615/89) che lasciò il lavoro incompleto alla sua morte</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Fu continuato negli anni 1704/17 da </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Conti</span><span style="letter-spacing: 0px;"> e negli anni 1717/25</span><span style="color: #ff2600; letter-spacing: 0px;"> </span><span style="letter-spacing: 0px;">da </span><span style="color: #ff2600; letter-spacing: 0px;">Del Pozzo</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Gossoni</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Ottaviani</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Moretti</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Clori</span><span style="letter-spacing: 0px;"> e </span><span style="color: #ff2600; letter-spacing: 0px;">De Rossi</span><span style="letter-spacing: 0px;"> da originale disegnato negli anni 1675/86 da </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Maratta</span><span style="letter-spacing: 0px;"> (1625/1713) e dal suo allievo prediletto </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Chiari</span><span style="letter-spacing: 0px;"> (1654/1727) che fece La Sconfitta di Lucifero</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nei PENNACCHI mosaici con quattro profeti che prefigurarono la Madonna di </span><span style="color: #ff2600; letter-spacing: 0px;">Fabio Cristofari </span><span style="letter-spacing: 0px;">e </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Conti</span><span style="letter-spacing: 0px;"> da cartoni di </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Maratta</span><span style="letter-spacing: 0px;">:</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Noè con l'arca e la colomba della pace"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Aronne incensa la comunità d'Israele"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Balaam che mostra la stella di Giacobbe"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Gedeone col mistico vello bagnato dalla rugiada"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nelle LUNETTE mosaici con eventi dell'Antico Testamento interpretati come premonitori della Vergine Maria di </span><span style="color: #ff2600; letter-spacing: 0px;">Fabio Cristofari </span><span style="letter-spacing: 0px;">e </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Conti</span><span style="letter-spacing: 0px;"> da cartoni di </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Maratta</span><span style="letter-spacing: 0px;"> e </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Chiari</span><span style="letter-spacing: 0px;">:</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Giuditta con la testa di Oloferne"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Giaele, moglie di Eber, trafigge Sisara, capo dell'esercito di Iabin"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Giosuè ferma il sole"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"La profetessa Maria, sorella di Aronne, canta la liberazione degli israeliti"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Mosè si scioglie i sandali davanti al roveto ardente"</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Isaia invoca la nuvola perché lasci piovere giustizia"</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nel TAMBURO quattro statue in stucco "Angeli con simboli mariani" 1687 di </span><span style="color: #ff2600; letter-spacing: 0px;">Filippo Carcani</span><span style="letter-spacing: 0px;"> (attivo 1670/91)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SECONDA CAPPELLA A SINISTRA (<i>della Presentazione della Vergine)</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Sopra l'altare mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8925/Basilica%20S.%20Pietro%20DSC_8925.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Presentazione di Maria al Tempio"</span></a> da originale 1642 del viterbese </span><span style="color: #ff2600; letter-spacing: 0px;">Giovanni Francesco Romanelli </span><span style="letter-spacing: 0px;">(1610/62) allievo di Pietro da Cortona, ora nella chiesa di S. Marco a Milano, eseguito negli anni 1726/28 dal mosaicista </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0px;">(1685/1743) da cartone di Luigi Vanvitelli (1700/73)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Sotto l'altare <i>corpo di S. Pio X Sarto (1903/14)</i> in un'urna di bronzo dorato del 1952 di </span><span style="color: #ff2600; letter-spacing: 0px;">Francesco Nagni</span><span style="letter-spacing: 0px;"> (1897/1977)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8932/Basilica%20S.%20Pietro%20DSC_8932.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monumento di Giovanni XXIII"</span></a> Roncalli (1958/63) 1967 di </span><span style="color: #ff2600; letter-spacing: 0px;">Emilio Greco </span><span style="letter-spacing: 0px;">(1913/95)</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Semplice ed essenziale nell'impostazione, il monumento è caratterizzato dall'alto bassorilievo bronzeo sul quale sono narrati, in maniera contratta e nervosa, i momenti più importanti del pontificato di papa Giovanni, sia pastorali che umani. La zona superiore è animata da una Gloria di angeli, mentre quella inferiore richiama la presenza del papa tra i sofferenti, i malati, i carcerati. Sul fondo le sagome delle mitrie e le figure appena tracciate dei vescovi ricordano l'evento del Concilio Vaticano II" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8933/Basilica%20S.%20Pietro%20DSC_8933.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monumento di Benedetto XV"</span></a> Della Chiesa (1914/22) 1928 di </span><span style="color: #ff2600; letter-spacing: 0px;">Luca Beltrami</span><span style="letter-spacing: 0px;"> (1854/1933), architetto della Pinacoteca Vaticana, con statua di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Canonica</span><span style="letter-spacing: 0px;"> (1869/1959)</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"L'artista, rifiutando una rappresentazione celebrativa, ha voluto sottolineare l'aspetto umano di Benedetto XV, richiamando l'opera di condanna per la guerra ripetuta invano durante gli anni del suo pontificato. Modellato con finezza e volutamente privo dei paramenti solenni, il papa è raffigurato in atteggiamento di preghiera mentre implora la Regina Pacis contro gli orrori della guerra" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Al centro del pavimento "Stemma di Giovanni Paolo II (1978/2005)" 1998 in occasione del restauro dell'intero pavimento</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">PRIMO PASSAGGIO</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A destra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8927/Basilica%20S.%20Pietro%20DSC_8927.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monumento di Maria Clementina Sobieski"</span></a> moglie di Giacomo III Stuart re d'Inghilterra e nipote di Giovanni II re di Polonia morta a trent'anni anni nel 1735 (il cuore è nella Basilica dei Ss. Apostoli) 1742 di </span><span style="color: #ff2600; letter-spacing: 0px;">Filippo Barigioni</span><span style="letter-spacing: 0px;"> (c. 1680/1753) allievo di Carlo Fontana</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Sculture in marmo "Carità" e "Angioletti" di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Bracci</span><span style="letter-spacing: 0px;"> (1700/73)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Parti in metallo di </span><span style="color: #ff2600; letter-spacing: 0px;">Giovanni Giardini </span><span style="letter-spacing: 0px;">(1646/1721)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Mosaico di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0px;">(1685/1743) da originale di </span><span style="color: #ff2600; letter-spacing: 0px;">Ludovico Stern</span><span style="letter-spacing: 0px;"> (1709/77) nella Galleria Nazionale dei Ritratti a Edimburgo</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Maria Clementina Sobieski fu la terza e ultima donna a essere sepolta nella basilica</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A sinistra <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8930/Basilica%20S.%20Pietro%20DSC_8930.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Monumento degli ultimi Stuart"</span></a> con ritratti di Giacomo III (1688/1766), Carlo Edoardo Conte di Albany ed Enrico Duca di York e Vescovo di Frascati 1817/19 di </span><span style="color: #ff2600; letter-spacing: 0px;">Antonio Canova</span><span style="letter-spacing: 0px;"> (1757/1822) per Giorgio V re d'Inghilterra che, come commentò Stendhal, pagò il sepolcro di questi principi che avrebbe probabilmente decapitato se fossero caduti nelle sue mani</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La tomba vera e propria è nelle Grotte Vaticane commissionata nel 1939 dal re britannico Giorgio VI</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Canova infuse all'ispirazione neoclassica, caratterizzata da sfumature di carattere pagano, un vitalizzante lirismo cristiano. La morbidezza della patinatura della superficie in marmo lega i vari elementi della composizione, dai busti dei tre Stuart alle due figure di geni che, con le fiaccole rovesciate, spengono la fiamma della vita (...) simboleggiando la serena rassegnazione cristiana di fronte alla morte" (Alfredo Maria Pergolizzi)</span></i></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Il padre di Giacomo III, Giacomo II, fu duca di York prima di essere re d'Inghilterra, Scozia e Irlanda e, come duca di York, fu comandante della Marina reale. Nel 1644 gli inglesi conquistarono il territorio olandese della Nuova Olanda e in suo onore ribattezzarono la città più importante, che si chiamava originariamente Nuova Amsterdam, in New York</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel 1850 i due angeli nudi scolpiti sulla tomba vennero forniti di calzoni metallici da Pietro Galli (1804/77) allievo di Bertel Thorvaldsen, essendo considerati troppo scandalosi. I calzoni vennero in seguito tolti</span></span></div>
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<span style="letter-spacing: 0px;"><i><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">"Nel 1850 Pietro Galli fu nominato scultore della Reverenda Fabbrica di S. Pietro, dove si conservano le sue statue in marmo di S. Francesca Romana e di S. Angela Merici. Nello stesso anno il Galli compì in Vaticano un lavoro di 'purificazione', coprendo quelle figure che potevano 'fare onta alla naturale onestà'. Furono ritenute meritevoli di 'copertura' le statue della Carità dei sepolcri monumentali berniniani di Urbano VIII e di Alessandro VII; il Genio del sepolcro canoviano di Clemente XIII; i Geni del cenotafio eretto, sempre dal Canova, per gli ultimi esponenti della regia famiglia Stuart; i putti sostenenti i medaglioni con i ritratti dei pontefici sui pilastri voluti da Innocenzo X" (Emanuela Bianchi - Dizionario Biografico degli Italiani Treccani)</span></i></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8938/Basilica%20S.%20Pietro%20DSC_8938.jpg?disposition=download">CUPOLA DEL VESTIBOLO DELLA PRIMA CAPPELLA A SINISTRA</a></span><span style="letter-spacing: 0px;"> <i>(Dedicata al Battesimo come porta di salvezza per l'umanità)</i></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Mosaico nella CUPOLA "Dio Padre e Adamo ed Eva" 1738, "Battesimo di Desiderio del popolo che anela al battesimo purificatore" 1738/39, "Battesimo di Sangue da parte dei martiri" 1740/43, "Battesimo d'Acqua di S. Giovanni Battista" 1743 e "Gloria di angeli" 1744/45 eseguiti dai mosaicisti </span><span style="color: #ff2600; letter-spacing: 0px;">Fattori</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Gossoni</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Fiani</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Cardoni</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Clori</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Cocchi</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Enuò </span><span style="letter-spacing: 0px;">e </span><span style="color: #ff2600; letter-spacing: 0px;">Onofri </span><span style="letter-spacing: 0px;">sotto la direzione di </span><span style="color: #ff2600; letter-spacing: 0px;">Pier Leone Ghezzi</span><span style="letter-spacing: 0px;"> (1674/1755) e </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0px;">(1685/1743) da originali iniziati da </span><span style="color: #ff2600; letter-spacing: 0px;">G.B. Gaulli detto Baciccio</span><span style="letter-spacing: 0px;"> (1639/1709) ma disegnati dopo la sua morte negli anni 1713/45 da </span><span style="color: #ff2600; letter-spacing: 0px;">Francesco Trevisani</span><span style="letter-spacing: 0px;"> (1656/1746). I cartoni originali sono in S. Maria degli Angeli e dei Martiri</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nei PENNACCHI mosaici con quattro continenti:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"Europa col triregno" di </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Ottaviani</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"America cinta di penne e con la faretra" di </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Ottaviani</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"Africa con elefante" di </span><span style="color: #ff2600; letter-spacing: 0px;">Liborio Fattori</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"Asia con il turibolo" di </span><span style="color: #ff2600; letter-spacing: 0px;">G.B. Brughi</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nelle LUNETTE mosaici con eventi dell'Antico e del Nuovo Testamento simboleggianti o rappresentanti il battesimo:</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"Noè contempla l'arcobaleno dopo il diluvio" di </span><span style="color: #ff2600; letter-spacing: 0px;">Nicola Onofri </span><span style="letter-spacing: 0px;">e </span><span style="color: #ff2600; letter-spacing: 0px;">Bernardino Regoli</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"Mosè fa scaturire l'acqua dalla roccia" di </span><span style="color: #ff2600; letter-spacing: 0px;">Alessandro Cocchi </span><span style="letter-spacing: 0px;">e </span><span style="color: #ff2600; letter-spacing: 0px;">Bernardino Regoli</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"Cristo battezza S. Pietro" di </span><span style="color: #ff2600; letter-spacing: 0px;">Alessandro Cocchi </span><span style="letter-spacing: 0px;">e </span><span style="color: #ff2600; letter-spacing: 0px;">Giovanni Fiani</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"S. Pietro battezza il centurione Cornelio" di </span><span style="color: #ff2600; letter-spacing: 0px;">Nicola Onofri </span><span style="letter-spacing: 0px;">e </span><span style="color: #ff2600; letter-spacing: 0px;">Domenico Gossoni</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"S. Filippo battezza l'eunuco della regina Candàce" di </span><span style="color: #ff2600; letter-spacing: 0px;">Liborio Fattori </span><span style="letter-spacing: 0px;">e </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Cardoni</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"S. Silvestro battezza l'imperatore Costantino" di </span><span style="color: #ff2600; letter-spacing: 0px;">Enrico Enuò </span><span style="letter-spacing: 0px;">e </span><span style="color: #ff2600; letter-spacing: 0px;">Silverio de Lellys</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nel TAMBURO quattro statue in stucco "Angeli" 1712 di </span><span style="color: #ff2600; letter-spacing: 0px;">Lorenzo Ottoni</span><span style="letter-spacing: 0px;"> (1648/1736)</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8934/Basilica%20S.%20Pietro%20DSC_8934.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">BATTISTERO</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="color: #021eaa; letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8936/Basilica%20S.%20Pietro%20DSC_8936.jpg?disposition=download">"Coperchio in bronzo dorato con Trinità e Agnus Dei"</a></span><span style="letter-spacing: 0px;"> di </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Fontana</span><span style="letter-spacing: 0px;"> (1634/1714) eseguito da </span><span style="color: #ff2600; letter-spacing: 0px;">Lorenzo Ottoni</span><span style="letter-spacing: 0px;"> (1648/1736) per il "Sarcofago" in porfido rosso egiziano forse dell'imperatore Adriano, poi usato come tomba dell'imperatore Ottone II e qui sistemato nel 1697</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">"Teste di cherubini" di </span><span style="color: #ff2600; letter-spacing: 0px;">Pierre-Étienne Monnot </span><span style="letter-spacing: 0px;">(1657/1733)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Carlo Fontana vinse la commissione nel 1692 dopo una gara d'appalto a cui avevano partecipato più di venti artisti. Il lavoro durò cinque anni prima a causa del rifiuto del suo primo progetto respinto per le dimensioni e i costi eccessivi e poi per un incidente durante il trasporto: la conca di porfido si ruppe e dovette essere riparata</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Carlo Fontana incolpò il rivale Mattia De Rossi (1637/95) allora architetto soprastante della basilica ma che era stato uno degli artisti sconfitti dal Fontana nella gara d'appalto per il battistero </span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">La struttura è inserita in una conca voluta da Benedetto XIII Orsini (1724/30) nel 1725 a ricordare l'antica tradizione cristiana collegata al simbolismo dell'immersione</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Al centro mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8937/Basilica%20S.%20Pietro%20DSC_8937.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Battesimo di Cristo"</span></a> 1730 di </span><span style="color: #ff2600; letter-spacing: 0px;">G.B. Brughi </span><span style="letter-spacing: 0px;">(1660/1730) e 1731/34 di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0px;">(1685/1743) con l'aiuto di </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Ottaviani </span><span style="letter-spacing: 0px;">dall'originale degli anni 1696/98 di </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Maratta</span><span style="letter-spacing: 0px;"> (1625/1713) in S. Maria degli Angeli e dei Martiri</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A destra mosaico <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8935/Basilica%20S.%20Pietro%20DSC_8935.jpg?disposition=download"><span style="color: #021eaa; letter-spacing: 0px;">"Battesimo dei Ss. Processo e Martiniano"</span></a> iniziato nel 1726 da </span><span style="color: #ff2600; letter-spacing: 0px;">G.B. Brughi</span><span style="letter-spacing: 0px;"> e completato nel 1737 da </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Paolo Cristofari </span><span style="letter-spacing: 0px;">dall'originale degli anni 1710/11 di </span><span style="color: #ff2600; letter-spacing: 0px;">Giuseppe Passeri </span><span style="letter-spacing: 0px;">(1654/1714) l'allievo più amato da Carlo Maratta</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">A sinistra "S. Pietro battezza il centurione Cornelio" 1730/37 di </span><span style="color: #ff2600; letter-spacing: 0px;">Pietro Paolo Cristofari</span><span style="letter-spacing: 0px;"> e del fratello </span><span style="color: #ff2600; letter-spacing: 0px;">Filippo Cristofari</span><span style="letter-spacing: 0px;"> da originale del 1710 di </span><span style="color: #ff2600; letter-spacing: 0px;">Andrea Procaccini </span><span style="letter-spacing: 0px;">(1671/1734) altro allievo di Maratta</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nel CUPOLINO stucchi con "Dio Padre benedicente" 1699 di </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Giorgio Roncati</span><span style="letter-spacing: 0px;"> e dipinti in monocromo con "Angeli con candelabri" di </span><span style="color: #ff2600; letter-spacing: 0px;">Paolo Albertoni</span></span></div>
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<span style="letter-spacing: 0px; text-decoration: underline;"><a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8901/Basilica%20S.%20Pietro%20DSC_8901.jpg?disposition=download"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">SAGRESTIA</span></a></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">1776/84 </span><span style="color: #ff2600; letter-spacing: 0px;">Carlo Marchionni</span><span style="letter-spacing: 0px;"><b> </b>(1702/86)</span></span></div>
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<span style="letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Per costruirla fu demolita l'antica chiesa <i>S. Maria della Febbre</i> cosiddetta per un'immagine sacra che veniva considerata protettrice contro la febbre malarica. L'edificio della chiesa era uno dei due mausolei funebri del IV sec. d.C. costruiti sul fianco della basilica ed era noto anche come <i>Rotonda di S. Andrea</i>. L'altro mausoleo era la <i>ROTONDA DI S. PETRONILLA</i></span></span></div>
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<span style="color: black; letter-spacing: 0px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Nel vestibolo <a href="http://www.davidmacchi.com/tourguide/Basilica_S._Pietro_lato_sinistro_files/Media/Basilica%20S.%20Pietro%20DSC_8900/Basilica%20S.%20Pietro%20DSC_8900.jpg?disposition=download"><span style="letter-spacing: 0px;">elenco dei 148 papi sepolti in Basilica</span></a></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="letter-spacing: 0px;">Nella sagrestia comune (non visitabile) dipinti di </span><span style="color: #ff2600; letter-spacing: 0px;">Federico Zuccari</span><span style="letter-spacing: 0px;">, </span><span style="color: #ff2600; letter-spacing: 0px;">Giovanni Francesco Penni</span><span style="letter-spacing: 0px;"> (c. 1496/1528), </span><span style="color: #ff2600; letter-spacing: 0px;">Giulio Romano</span><span style="letter-spacing: 0px;"> (1499/1546) e </span><span style="color: #ff2600; letter-spacing: 0px;">Andrea Sacchi</span></span></div>
David Macchihttp://www.blogger.com/profile/03680152527192773532noreply@blogger.com1tag:blogger.com,1999:blog-4279535645136556249.post-17348059268026044522011-01-23T21:46:00.004+01:002011-01-23T21:54:39.378+01:00Nuovo libro "Guida di Roma e provincia"<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhR_b9cy1RZr6UmuWJkUeOGPBxDaFYkslWbobL-Lm6cXC22uvY1NdhTTyl_rTrHtjbIaiCVH0L2Y0h2mMBK3OGa-KXMfDX4MoTFFZRFfaM3kuv7yPSfy20IJc7NLczCtA6s7RkusHZEA/s1600/Copertina+Guida+di+Roma+e+provincia+gen11.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 283px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhR_b9cy1RZr6UmuWJkUeOGPBxDaFYkslWbobL-Lm6cXC22uvY1NdhTTyl_rTrHtjbIaiCVH0L2Y0h2mMBK3OGa-KXMfDX4MoTFFZRFfaM3kuv7yPSfy20IJc7NLczCtA6s7RkusHZEA/s400/Copertina+Guida+di+Roma+e+provincia+gen11.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5565486119950450914" /></a><span class="Apple-style-span" style="font-family:georgia;"><br /></span><div style="font-family:Helvetica;font-size:medium;"><span class="Apple-style-span" style="font-family:georgia;">Sono David Macchi, guida autorizzata di Roma. Ho messo assieme in 4 anni di lavoro un libro enciclopedico sull'arte di Roma e della provincia.</span></div><div style=" ;font-family:Helvetica;font-size:medium;"><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><span class="Apple-style-span" style="border-collapse: separate; color: rgb(0, 0, 0); font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; font-family:Helvetica;font-size:medium;"><div style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><div><span class="Apple-style-span" style="line-height: 18px; "><span class="Apple-style-span" style="font-family:georgia;">E' un lavoro antologico e di sintesi delle fonti fattuali e critiche più autorevoli e attendibili. </span></span></div><div><span class="Apple-style-span" style="line-height: 18px; "><span class="Apple-style-span" style="font-family:georgia;">Con 1194 voci in 422 pagine formato A4 comprende 477 chiese, 271 palazzi, 143 musei nonchè 94 località della provincia di Roma e innumerevoli edifici, monumenti e siti archeologici, costituendo una delle più ricche fonti di informazione artistica su Roma e la sua provincia.</span></span></div><div><span class="Apple-style-span" style="line-height: 18px; "><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="line-height: 18px; "><span class="Apple-style-span" style="font-family:georgia;">Vi invito a consultare gratuitamente le prime 63 pagine con questo link </span><a href="http://ilmiolibro.kataweb.it/schedalibro.asp?id=571797"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="color:#3333FF;">http://ilmiolibro.kataweb.it/schedalibro.asp?id=571797</span></span></a><span class="Apple-style-span" style="font-family:georgia;"> dove è anche possibile acquistare il tomo per €19,90. </span></span></div><div><span class="Apple-style-span" style="line-height: 18px; "><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="line-height: 18px; "><span class="Apple-style-span" style="font-family:georgia;">Al prezzo di copertina di € 30 è disponibile sul negozio on line di Feltrinelli </span></span><span class="Apple-style-span" style="line-height: 18px; "><span class="Apple-style-span" style="font-family:georgia;">e in tutte le librerie Feltrinelli d'Italia su ordinazione.</span></span></div><div><span class="Apple-style-span" style="line-height: 18px; "><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="line-height: 18px; "><span class="Apple-style-span" style="font-family:georgia;">Grazie per l'attenzione! </span></span><a href="http://www.davidmacchi.com/"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="color:#3333FF;">www.davidmacchi.com</span></span></a></div><div><br /></div></div></span></div></div>David Macchihttp://www.blogger.com/profile/03680152527192773532noreply@blogger.com0tag:blogger.com,1999:blog-4279535645136556249.post-69877277540682926382009-05-25T09:06:00.003+02:002009-05-25T23:57:52.946+02:00Il cantante più grande - The greatest singer<p><span style="color: rgb(0, 0, 153);">Ettore Bastianini nacque il 24 settembre 1922 a </span><span style="color: rgb(204, 0, 0);">Siena</span><span style="color: rgb(0, 0, 153);"> nella contrada della Pantera, e morì a Sirmione sul lago di Garda il 25 gennaio 1967. Era figlio di padre ignoto e sua madre era tutto quello che lui aveva di più importante al mondo. La sua voce era molto bella naturalmente e iniziò subito dopo la guerra una breve carriera <img src="http://users.libero.it/davidmac/ImmaginiBas/Boheme2.jpg" align="left" height="350" width="241" /> come basso che però stentava a decollare, ma poi, convinto dal suo </span><span style="color: rgb(204, 0, 0);">maestro Luciano Bettarini</span><span style="color: rgb(0, 0, 153);">, studiò per sei mesi da baritono nel 1951 a 29 anni. Era però molto povero e non poteva permettersi le lezioni, ma il suo maestro gli fece le lezioni a credito convinto che lo avrebbe ripagato, come infatti fece in seguito quando divenna ricco.</span></p> <p><span style="color: rgb(0, 0, 153);">Era talmente povero che si doveva fare la barba per una settimana con la stessa lametta! Ci volle poco però perchè arrivasse il </span><span style="color: rgb(204, 0, 0);">debutto come baritono</span><span style="color: rgb(0, 0, 153);"> nella sua Siena nel gennaio del 1952 e poi nel dicembre dello stesso anno al Comunale di Firenze nella "Dama di picche" di Ciaikovskij. Nel 1953 esordì poi a Torino nello "Chenier" e poi quello stesso dicembre era già al </span><span style="color: rgb(204, 0, 0);">Metropolitan di New York</span><span style="color: rgb(0, 0, 153);"> in "Traviata" dove ricevette una vera ovazione alla fine della sua aria!!! La sua voce era così bella che venne paragonata al bronzo e al velluto poichè era potente e solida ma morbida allo stesso tempo.</span></p> <p><span style="color: rgb(0, 0, 153);">Si avviò quindi ad una </span><span style="color: rgb(204, 0, 0);">folgorante carriera</span><span style="color: rgb(0, 0, 153);"> che andò di trionfo in trionfo e nel 1955 era alla </span><span style="color: rgb(204, 0, 0);">Scala di Milano</span><span style="color: rgb(0, 0, 153);"> nella leggendaria produzione di Visconti di "Traviata" con Maria Callas e Giulini sul podio. Cantò poi, nella sua pur breve carriera di poco più di 10 anni, in ben 20 opere diverse alla Scala come baritono principale. Diventò quindi il baritono principale dei principali teatri del mondo: la Scala, Vienna e New York oltre a frequenti apparizioni a Covent Garden a Londra, Salisburgo, Chicago.</span></p> <p><span style="color: rgb(0, 0, 153);">Poi proprio quando, nel 1962, sembrava che avesse trovato in una giovane ragazza chiamata Manuela la donna della sua vita, </span><span style="color: rgb(204, 0, 0);">la terribile diagnosi</span><span style="color: rgb(0, 0, 153);"> fattagli a Chicago: </span><span style="color: rgb(204, 0, 0);">cancro alla gola</span><span style="color: rgb(0, 0, 153);">! Non disse niente a nessuno e si tenne per sè il terribile segreto, considerato anche che la sua cara madre era appena morta ed era solo. Disse alla sua fidanzata che non potevano continuare insieme senza dirle il perchè. Continuò la sua carriera ma doveva sottoporsi alle terribili radiazioni poichè aveva rinunciato ad una operazione chirurgica che se poteva forse farlo vivere fino a tarda età, gli avrebbe d'altra <img src="http://users.libero.it/davidmac/ImmaginiBas/BasPalio.jpg" align="right" height="201" width="270" />parte tolto la sua principale ragione di vita: l'espressione artistica del canto lirico.</span></p> <p><span style="color: rgb(0, 0, 153);">Naturalmente la sua voce non era più quella di prima ma nessuno sapeva perchè e alla fine accadde l'inevitabile: il 10 aprile 1962 </span><span style="color: rgb(204, 0, 0);">venne fischiato alla Scala</span><span style="color: rgb(0, 0, 153);"> in Rigoletto dove la sua voce cominciò a non rispondere più ai comandi. Seguì un penoso declino che venne solo interrotto dalla gioia di veder vincere la sua contrada della Pantera nel Palio di Siena proprio nell'anno in cui lui ne era diventato il Presidente. Nelle foto in questa pagina potete vedere Ettore portato in trionfo dai suoi contradaioli e con il cavallo che vinse il Palio e che lui in seguito comprò e ribattezzò, naturalmente, "Ettore".</span></p> <p><span style="color: rgb(0, 0, 153);">Poi tornò il dolore e i grandi teatri, uno dopo l'altro chiusero il contratto con lui e il destino volle che </span><span style="color: rgb(204, 0, 0);">l'ultima scena</span><span style="color: rgb(0, 0, 153);"> che lui cantò nel 1965 nei tre grandi teatri di New York, Milano e Vienna sia stata proprio quella della </span><span style="color: rgb(204, 0, 0);">morte del</span><span style="color: rgb(0, 0, 153);"> </span><span style="color: rgb(204, 0, 0);">Marchese di Posa nel Don Carlo di Verdi</span><span style="color: rgb(0, 0, 153);">, il nobilissimo ruolo che lui aveva sempre cantato così bene...</span></p> <p><span style="color: rgb(0, 0, 153);">Il pubblico, la critica, i suoi stessi colleghi e tutto il mondo della lirica si interrogarono su questo misterioso calo di un cantante di poco più di 40 anni e fu con<img src="http://users.libero.it/davidmac/ImmaginiBas/Bascaval.jpg" align="left" height="225" width="299" /> stupore e dolore che si apprese la notizia della sua malattia quando ormai era in punto di morte. </span><span style="color: rgb(204, 0, 0);">Morì a Sirmione il 25 gennaio 1967 a 44 anni</span><span style="color: rgb(0, 0, 153);"> e fu solo per una pura coincidenza che la ragazza che lui aveva amato, Manuela, che aveva voluto lasciare 5 anni prima, che non aveva più visto e che si era anche sposata, si trovò lì sola con lui a raccogliere il suo ultimo respiro. Due giorni dopo ricevette a Siena dei funerali a cui fu presente tutta la città. Ricevette gli onori di Capitano in carica della contrada della Pantera e fu </span><span style="color: rgb(204, 0, 0);">un cerimoniale di funerale di stato</span><span style="color: rgb(0, 0, 153);">. Quando il funerale passò davanti ad una delle aperture su Piazza del Campo, la bara venne girata verso la Torre del Mangia per un ultimo saluto mentre la campana del Palazzo Comunale suonava a morto.</span> </p><span style="color: rgb(0, 0, 153);">La memoria della sua arte non è però mai morta e prosegue viva in tutto il mondo tra chi ama VERAMENTE la musica, chi la studia, la canta, la segue a teatro cercando disperatamente di trovare qualcosa di buono tra le <span style="color: rgb(204, 0, 0);">troppe voci di cartone</span> che ci sono in giro, specialmente tra gli uomini. E' triste che l'arte lirica così bella stia affogando anche per colpa di troppi cantanti <span style="color: rgb(204, 0, 0);">SENZA PALLE<span style="color: rgb(0, 0, 153);">! Ettore Bastianini vivrà per sempre nella nostra memoria.<br />-----------------------------------------------------------------------------------------------------------------<br /></span></span></span><p><span style="color: rgb(0, 0, 153);">Ettore Bastianini was born on the 24th of September 1922 in </span><span style="color: rgb(204, 0, 0);">Siena</span><span style="color: rgb(0, 0, 153);"> in the district ("contrada") called Pantera (the Panther), and he died in Sirmione on Lake Garda on the 25th of January 1967. He was son of an unknown father and his mother was all he had of any importance in this world. He voice was naturally very beautiful and he started right after world war two a short carrer as a bass. He wasn't going anywhere really, but one day he was convinced by his teacher </span><span style="color: rgb(204, 0, 0);">Maestro Luciano Bettarini</span><span style="color: rgb(0, 0, 153);"> to try to study for six months as a baritone. It was 1951 and he was 29. He was very poor though, and he couldn't afford to pay for the lessons, but his teacher said to him that he would have paid him later when he would have been rich and famous, and that's exactly what happened!</span></p> <p><span style="color: rgb(0, 0, 153);">He was so poor that he had to shave himself with the same razor for a whole week, because he couldn't even afford to buy new razors! It didn't take long to get to his </span><span style="color: rgb(204, 0, 0);">debut as a baritone</span><span style="color: rgb(0, 0, 153);"> in his Siena on January 1952 and then, that same year, on December at the Teatro Comunale in Florence in "The queen of spades" by Tciaikovskij. In 1953 he sang in Turin in "Andrea Chenier" and then, on December of that same year, he was already at the Metropolitan Theatre of New York in "Traviata" where he received an ovation after his aria!!! His voice was so beautiful that was compared to </span><span style="color: rgb(204, 0, 0);">bronze and velvet</span><span style="color: rgb(0, 0, 153);"> because it was powerful but soft at the same time. </span></p> <p><span style="color: rgb(0, 0, 153);">He was on his way then to a great carrer, going </span><span style="color: rgb(204, 0, 0);">from triumph to triumph</span><span style="color: rgb(0, 0, 153);">, and in 1955 he was at La Scala in Milan in the legendary Visconti production of "Traviata" with Maria Callas and Giulini as conductor. He would sing then, in his short but very intense carrer (just over 10 years), for the </span><span style="color: rgb(204, 0, 0);">Teatro alla Scala</span><span style="color: rgb(0, 0, 153);"> in 20 different operas as the principal baritone. He became then the principal baritone of the most important theatres of the world: La Scala, Vienna Staatsoper and New York apart from frequent performances in all the others including London, Salzburg, Chicago...</span></p> <p><span style="color: rgb(0, 0, 153);">Then, just when in 1962, he thought he had found finally the woman of his life, a young girl called Manuela, the </span><span style="color: rgb(204, 0, 0);">terrible condamn to death</span><span style="color: rgb(0, 0, 153);"> in Chicago: </span><span style="color: rgb(204, 0, 0);">cancer in the throath</span><span style="color: rgb(0, 0, 153);">! He never said anything to anyone and he kept for himself the horrible secret. His dear mother had died in that same period and he was alone. He said to his girlfriend that he couldn't go on with her anymore without telling her why. He kept going with his carrer but he had to undergo the terrible radiations because he had refused to have an operation that, if it might have made him live until old age, he would have taken away, on the other hand, his main reason to live: the artistic expression of singing.</span></p> <p><span style="color: rgb(0, 0, 153);">Of course his voice wasn't the same anymore but nobody knew why, and eventually the inevitable happened: </span><span style="color: rgb(204, 0, 0);">he got booed at La Scala</span><span style="color: rgb(0, 0, 153);"> in "Rigoletto" as his voice wasn't responding anymore to the orders of his will. A sad decline followed and the only happy moment was the victory of his district "The Panther" in the horse race of Siena "Il Palio" while he was President and Captain. In the pictures in this page you can see Ettore in triumph after the victory and with the winning horse. He bought the horse afterwards and he called him "Ettore", of course.Then sorrow and pain came back and the great theatres one after another finished the contracts with him. Destiny wanted that </span><span style="color: rgb(204, 0, 0);">the last scene</span><span style="color: rgb(0, 0, 153);"> he sang in 1965 in the three greatest theatres of Vienna, Milan and New York was </span><span style="color: rgb(204, 0, 0);">the death scene of Marquis of Posa in "Don Carlo" by Verdi</span><span style="color: rgb(0, 0, 153);">, the noble role he had sung so well in the past...</span></p> <p><span style="color: rgb(0, 0, 153);">Public, critics, his colleagues and everybody in the opera world wondered about this misterious decline of a singer just over 40 years old who had been so good before, and it was with surprise and sorrow that the news of his illness was received, when he was already about to die. </span><span style="color: rgb(204, 0, 0);">He died in Sirmione on the 25th of January 1967 at only 44</span><span style="color: rgb(0, 0, 153);"> and it was for pure coincidence that the girl he had loved, Manuela, the one he had wanted to leave 5 years before, the one he had never seen anymore since, the one who even had married in the meantime, was the only one there with him when he gave his last breath. Two days later all the town of Siena was there for his funeral. He received the honours of Captain of the "Contrada della Pantera" and it was the procedure of </span><span style="color: rgb(204, 0, 0);">a funeral of State</span><span style="color: rgb(0, 0, 153);">. When the funeral passed close to one of the openings on Piazza del Campo, the coffin was turned toward the Tower of Mangia for a last goodbye as the bell of the Palazzo Comunale stroked death tolls.</span> </p><span style="color: rgb(0, 0, 153);">The memory of his Art has never died though. It goes on alive all over the world among the REAL music lovers, the people who study it , who sing it, who listen to it, who goes to the theatre hoping desperately to find something decent among the too many <span style="color: rgb(204, 0, 0);">CARDBOARD VOICES</span> around, especially male singers. It is really SAD that the wonderful art of opera singing is drowning into oblivion and one of the reasons is definetely the fact that there are too many singers with NO BALLS! Ettore Bastianini will always live in our memory.</span>David Macchihttp://www.blogger.com/profile/03680152527192773532noreply@blogger.com0