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Santa Maria Maggiore, Florence
Santa Maria Maggiore di Firenze is a Romanesque and Gothic-style, Roman Catholic church in Florence, region of Tuscany, Italy. This is among the oldest extant churches in Florence. History The church was originally constructed in the 11th century and underwent extensive renovations to the facade and sides in the 13th century. The original church existed as early as the 8th century, and is first documented in 931. The legend assigning its foundation to Pope Pelagius II in 580 A.D. is not reliable. In 1176 it obtained the status of collegiate church and was one of Florence's priories. The church subsequently expanded its possessions and in 1183 it was put under papal direct protection by Lucius III in 1186, which it kept in the following century. Acquired by the Cistercians, in the 13th century the church was rebuilt (with the exception of the original external walls and the vaults) in Gothic style. Giorgio Vasari mentions one "Master Buono" as the designer of the new edifice; ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Santa Maria Maggiore
The Basilica of Saint Mary Major ( it, Basilica di Santa Maria Maggiore, ; la, Basilica Sanctae Mariae Maioris), or church of Santa Maria Maggiore, is a Major papal basilica as well as one of the Seven Pilgrim Churches of Rome and the largest Catholic Marian church in Rome, Italy. The basilica enshrines the venerated image of ''Salus Populi Romani'', depicting the Blessed Virgin Mary as the health and protectress of the Roman people, which was granted a Canonical coronation by Pope Gregory XVI on 15 August 1838 accompanied by his Papal bull ''Cælestis Regina''. Pursuant to the Lateran Treaty of 1929 between the Holy See and Italy, the Basilica is within Italian territory and not the territory of the Vatican City State.Lateran Treaty of 1929, Article 15 However, the Holy See fully owns the Basilica, and Italy is legally obligated to recognize its full ownership thereof and to concede to it "the immunity granted by International Law to the headquarters of the diplomatic age ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carmelites
, image = , caption = Coat of arms of the Carmelites , abbreviation = OCarm , formation = Late 12th century , founder = Early hermits of Mount Carmel , founding_location = Mount Carmel , type = Mendicant order of pontifical right , status = Institute of Consecrated Life , membership = 1,979 (1,294 priests) as of 2017 , leader_title = Motto , leader_name = la, Zelo zelatus sum pro Domino Deo exercituumEnglish: ''With zeal have I been zealous for the Lord God of hosts'' , leader_title2 = General Headquarters , leader_name2 = Curia Generalizia dei CarmelitaniVia Giovanni Lanza, 138, 00184 Roma, Italia , leader_title3 = Prior General , leader_name3 = Mícéal O'Neill, OCarm , leader_title4 = Patron saints , leader_name4 = Our Lady of Mt. Carmel, Elijah , parent_organization = Catholic Church , website = ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Masolino Da Panicale
, death_date = ''c.'' 1447 , death_place = Florence , nationality = Italian , field = Painting, fresco , training = , movement = Italian Renaissance , works = frescoes in the Brancacci Chapel , patrons = Pipo of OzoraCardinal Branda Castiglione , influenced by = Lorenzo Monaco, Ghiberti, Massacio , influenced = Masolino da Panicale (nickname of Tommaso di Cristoforo Fini; c. 1383 – c. 1447) was an Italian painter. His best known works are probably his collaborations with Masaccio: '' Madonna with Child and St. Anne'' (1424) and the frescoes in the Brancacci Chapel (1424–1428). Biography Masolino ("Little Tom") was possibly born in Panicale near Florence. He may have been an assistant to Ghiberti in Florence between 1403 and 1407. In 1423, he joined the Florentine guild ''Arte dei Medici e Speziali'' (Doctors and Apothecaries), which included painters as an independent branch. He may have been the first artist to cre ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carnesecchi Triptych
The Carnesecchi Triptych was an altarpiece of by Masolino, Masaccio and others, depicting the Madonna and Child with Saints Catherine of Alexandria and Julian the Hospitaller. It seems to mark the beginning of Masolino and Masaccio's collaboration. Dismembered in the 17th century, it is now totally lost except for panel showing Saint Julian (in the diocesan museum of Santo Stefano al Ponte in Florence) and one of the three panels of the predella. That predella panel was long thought to be the painting by Masolino now in the Ingres Museum in Montauban, but recent expert studies by the Opificio delle Pietre Dure have instead identified it as a painting by Masaccio in the Museo Horne in Florence. See also * List of major paintings by Masaccio Masaccio is important for developing naturalistic depiction of 3D space containing figures conceived as accurate plastic objects. In his paintings the newly discovered laws of perspective were applied, the drawing of foreshortened par ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tino Di Camaino
300px, Tomb of Antonio d'Orso, in Santa Maria del Fiore, Florence.">Florence.html" ;"title="Santa Maria del Fiore, Florence">Santa Maria del Fiore, Florence. Tino di Camaino (c. 1280 – c. 1337) was an Italian sculptor. Born in Siena, the son of architect Camaino di Crescentino, he was a pupil of Giovanni Pisano, whom he helped work on the façade of the Cathedral of Siena. Later Tino followed his master to Pisa, where in 1311 he became responsible for the work on the cathedral. In July 1315, Tino departed Pisa for Siena, where he executed the funerary monument of Emperor Henry VII, leaving the funerary monument of Arrigo VII in Pisa unfinished. Subsequently, he executed similar works in Siena and Florence, including the famous tomb of Bishop Orso at Santa Maria del Fiore and the tomb of Gastone della Torre in the museum of Santa Croce. From 1323 he worked in Naples, under King Robert of Anjou. Again he executed several funerary monuments, including those of Catherine of A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Brunetto Latini
Brunetto Latini (who signed his name ''Burnectus Latinus'' in Latin and ''Burnecto Latino'' in Italian; –1294) was an Italian philosopher, scholar, notary, politician and statesman. Life Brunetto Latini was born in Florence in 1220 to a Tuscan noble family, the son of Buonaccorso Latini. He belonged to the Guelph party. He was a notary and a man of learning, much respected by his fellow citizens and famed for his skill as an orator. He expounded the writings of Cicero as guidance in public affairs. He was of sufficient stature to be sent to Seville on an embassy to Alfonso el Sabio of Castile to seek help for Florence against the Sienese; the mission was unsuccessful. On his return from Spain, travelling along the Pass of Roncesvalles, he describes meeting a student from Bologna astride a bay mule, who told him of the defeat of the Guelphs at the Battle of Montaperti. As a result, Latini was exiled from his native city. He took refuge in France from 1261 to 1268 while working ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Coppo Di Marcovaldo
Coppo di Marcovaldo (c. 1225 – c. 1276) was a Florentine painter in the Italo-Byzantine style, active in the middle of the thirteenth century, whose fusion of both the Italian and Byzantine art, Byzantine styles had great influence on generations of Italian artists. Biography Coppo di Marcovaldo is one of the better-known Duecento artists and is the first Florence, Florentine artist whose name and works are well documented. One of the earliest references to Coppo is found in the Book of Montaperti where his name is listed amongst Florentines soldiers for the war with Siena, which ended at the Battle of Montaperti on September 4, 1260. It is speculated by many historians that Coppo was taken prisoner by the Sienese where he was then held at the church of Santa Maria dei Servi (Siena), Santa Maria dei Servi. It was here in 1261 that he painted his most famous work The ''Madonna del Bordone'' for the order of the Servites. Assumed to be a prisoner of war, the question is r ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Matteo Rosselli
Matteo Rosselli (10 August 1578 – 18 January 1650) was an Italian painter of the late Florentine Counter- Mannerism and early Baroque. He is best known however for his highly populated grand-manner historical paintings. Biography He first apprenticed with Gregorio Pagani. On 26 February 1599, he was inducted to the Accademia del Disegno, and in 1605 traveled to Rome to work with Domenico Passignano for six months. He completed some frescoes on ''The Legend of the Origin of the Servite Order'' (1614–1618) in the Palazzo Pitti and in the Cloister of the Basilica della Santissima Annunziata; a ''Madonna and child with St Francis'' altarpiece for the Church of Santa Maria Maggiore in Florence; and an ''Adoration of the Magi'' (1607) for the Church of Sant'Andrea in Montevarchi. He painted a ''Crucifixion'' (1613) now in the parish church at Scarperia. He painted a ''Last Supper'' (1614) now in Conservatorio di San Pier Martire. Upon the French monarch's death, he was commiss ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bernardino Poccetti
Bernardino Poccetti (26 August 1548 – 10 October 1612), also known as Barbatelli, was an Italian Mannerist painter and printmaker of etchings. Biography Born in Florence, he was initially trained as a decorator of facades and ceilings, enrolling in 1570 in the Florentine painters guild for such work, the Accademia delle Arti del Disegno, (''Academy of the Arts of Drawing''). He is also referred to as: ''Bernardino Barbatelli'' or ''Bernardino delle Grottesche'', ''delle Facciate'', or ''delle Muse''. He initially worked in the shop of Michele Tosini, and he participated in the broadly shared decoration of the Chiostro Grande of Santa Maria Novella in the 1580s. In 1583–85, he helped decorate panegyric frescoes for the Palazzo Capponi. He also completed frescoes in San Pier Maggiore in San Pierino. In 1592–93, he worked on frescoes in the Certosa di Galluzzo relating to '' Life and Death of San Bruno''. He painted scenes from the life of founder of the Convent of the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Groin Vault
A groin vault or groined vault (also sometimes known as a double barrel vault or cross vault) is produced by the intersection at right angles of two barrel vaults. Honour, H. and J. Fleming, (2009) ''A World History of Art''. 7th edn. London: Laurence King Publishing, p. 949. The word "groin" refers to the edge between the intersecting vaults. Sometimes the arches of groin vaults are pointed instead of round. In comparison with a barrel vault, a groin vault provides good economies of material and labor. The thrust is concentrated along the groins or arrises (the four diagonal edges formed along the points where the barrel vaults intersect), so the vault need only be abutted at its four corners. Groin vault construction was first exploited by the Romans, but then fell into relative obscurity in Europe until the resurgence of quality stone building brought about by Carolingian and Romanesque architecture. It was superseded by the more flexible rib vaults of Gothic architectur ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ogee
An ogee ( ) is the name given to objects, elements, and curves—often seen in architecture and building trades—that have been variously described as serpentine-, extended S-, or sigmoid-shaped. Ogees consist of a "double curve", the combination of two semicircular curves or arcs that, as a result of a point of inflection from concave to convex or ''vice versa'', have ends of the overall curve that point in opposite directions (and have tangents that are approximately parallel). First seen in textiles in the 12th century, the use of ogee elements—in particular, in the design of arches—has been said to characterise various Gothic and Gothic Revival architectural styles. The shape has many such uses in architecture from those periods to the present day, including in the ogee arch in these architectural styles, where two ogees oriented as mirror images compose the sides of the arch, and in decorative molding designs, where single ogees are common profiles (see opening image) ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tympanum (architecture)
A tympanum (plural, tympana; from Greek and Latin words meaning "drum") is the semi-circular or triangular decorative wall surface over an entrance, door or window, which is bounded by a lintel and an arch. It often contains pedimental sculpture or other imagery or ornaments. Many architectural styles include this element. Alternatively, the tympanum may hold an inscription, or in modern times, a clock face. History In ancient Greek, Roman and Christian architecture, tympana of religious buildings often contain pedimental sculpture or mosaics with religious imagery. A tympanum over a doorway is very often the most important, or only, location for monumental sculpture on the outside of a building. In classical architecture, and in classicising styles from the Renaissance onwards, major examples are usually triangular; in Romanesque architecture, tympana more often has a semi-circular shape, or that of a thinner slice from the top of a circle, and in Gothic architecture they ha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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