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Tiziano Aspetti
Tiziano Aspetti (15591606) was an Italian sculptor of the Renaissance. He was born in Padua and active mainly there and in Venice. He completed both large and small sculpture in bronze. Among his large works are bronze statues in the façade of San Francesco della Vigna and of ''Saint Anthony'' and many other sculptural decorations for the Basilica of Sant'Antonio of Padua. When Aspetti began his public career in the 1590s, Alessandro Vittoria had practically stopped sculpting and Girolamo Campagna had a monopoly on the main sculptural commissions. Although Aspetti beat Campagna to the commission for the Sant'Antonio altar, he was not so successful in Venice, producing nothing quite as powerful as Campagna's high altar for San Giorgio Maggiore (1590-1593) and the altar at San Salvatore (). However, he had no rivals in Florence for producing reliefs, other than perhaps Giovanni Battista Caccini and his contemporary Giambologna, which may have been Aspetti's reason for moving th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tiziano Aspetti
Tiziano Aspetti (15591606) was an Italian sculptor of the Renaissance. He was born in Padua and active mainly there and in Venice. He completed both large and small sculpture in bronze. Among his large works are bronze statues in the façade of San Francesco della Vigna and of ''Saint Anthony'' and many other sculptural decorations for the Basilica of Sant'Antonio of Padua. When Aspetti began his public career in the 1590s, Alessandro Vittoria had practically stopped sculpting and Girolamo Campagna had a monopoly on the main sculptural commissions. Although Aspetti beat Campagna to the commission for the Sant'Antonio altar, he was not so successful in Venice, producing nothing quite as powerful as Campagna's high altar for San Giorgio Maggiore (1590-1593) and the altar at San Salvatore (). However, he had no rivals in Florence for producing reliefs, other than perhaps Giovanni Battista Caccini and his contemporary Giambologna, which may have been Aspetti's reason for moving th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giovanni Grimani
Giovanni VI Grimani (8 July 1506, Venice - 3 October 1593, Venice) was an Italian bishop and patriarch of Aquileia. Life Nephew of Cardinal Domenico Grimani, brother of Marino Grimani and a member of the Venetian noble family of the Grimani, he was the fourth son of Gerolamo Grimani and Elena Priuli. He was bishop of Ceneda from 1520 to 1531 and from 1540 to 1545. He served as patriarch of Aquileia between 1545 and 1550 and 1585 and 1593. As patriarch he initiated two diocesan synods in 1565 and 1584.Giacomo Marcuzzi, ''Sinodi Aquileiesi'', Udine, Tipografia del Patronato, 1910, pp. 212-236 He was not made a cardinal since he was suspected of welcoming some Lutheran ideas contrary to Catholic orthodoxy. He defended himself in person against these accusations in person at the Council of Trent in 1563. An educated man and keen collector of classical art, he also commissioned the expansion of the Palazzo Grimani di Santa Maria Formosa The Palazzo Grimani of Santa Maria Formosa is ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vulcan (mythology)
Vulcan ( la, Vulcanus, in archaically retained spelling also ''Volcanus'', both pronounced ) is the god of fire including the fire of volcanoes, deserts, metalworking and the forge in ancient Roman religion and myth. He is often depicted with a blacksmith's hammer. The Vulcanalia was the annual festival held August 23 in his honor. His Greek counterpart is Hephaestus, the god of fire and smithery. In Etruscan religion, he is identified with Sethlans. Vulcan belongs to the most ancient stage of Roman religion: Varro, the ancient Roman scholar and writer, citing the Annales Maximi, records that king Titus Tatius dedicated altars to a series of deities including Vulcan. Etymology The origin of the name is unclear. Roman tradition maintained that it was related to Latin words connected to lightning (), which in turn was thought of as related to flames. This interpretation is supported by Walter William Skeat in his etymological dictionary as meaning ''lustre''. It has ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Palazzo Ducale, Venice
The Doge's Palace ( it, Palazzo Ducale; vec, Pałaso Dogal) is a palace built in Venetian Gothic style, and one of the main landmarks of the city of Venice in northern Italy. The palace was the residence of the Doge of Venice, the supreme authority of the former Republic of Venice. It was built in 1340 and extended and modified in the following centuries. It became a museum in 1923 and is one of the 11 museums run by the Fondazione Musei Civici di Venezia. History In 810, Doge Agnello Participazio moved the seat of government from the island of Malamocco to the area of the present-day Rialto, when it was decided a ''palatium duci'' (Latin for "ducal palace") should be built. However, no trace remains of that 9th-century building as the palace was partially destroyed in the 10th century by a fire. The following reconstruction works were undertaken at the behest of Doge Sebastiano Ziani (1172–1178). A great reformer, he would drastically change the entire layout of the St. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Libreria Marciana
The Marciana Library or Library of Saint Mark ( it, italic=no, Biblioteca Marciana, but in historical documents commonly referred to as ) is a public library in Venice, Italy. It is one of the earliest surviving public libraries and repositories for manuscripts in Italy and holds one of the world's most significant collections of classical texts. It is named after St Mark, the patron saint of the city. The library was founded in 1468 when the humanist scholar Cardinal Bessarion, bishop of Tusculum and titular Latin patriarch of Constantinople, donated his collection of Greek and Latin manuscripts to the Republic of Venice, with the stipulation that a library of public utility be established. The collection was the result of Bessarion's persistent efforts to locate rare manuscripts throughout Greece and Italy and then acquire or copy them as a means of preserving the writings of the classical Greek authors and the literature of Byzantium after the fall of Constantinople ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rialto Bridge
The Rialto Bridge ( it, Ponte di Rialto; vec, Ponte de Rialto) is the oldest of the four bridges spanning the Grand Canal in Venice, Italy. Connecting the ' (districts) of San Marco and San Polo, it has been rebuilt several times since its first construction as a pontoon bridge in 1173, and is now a significant tourist attraction in the city. History The first dry crossing of the Grand Canal was a pontoon bridge built in 1181 by Nicolò Barattieri. It was called the Ponte della Moneta, presumably because of the mint that stood near its eastern entrance. The development and importance of the Rialto market on the eastern bank increased traffic on the floating bridge, so it was replaced in 1255 by a wooden bridge. This structure had two ramps meeting at a movable central section, that could be raised to allow the passage of tall ships. The connection with the market eventually led to a change of name for the bridge. During the first half of the 15th century, two rows of s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bas-relief
Relief is a sculptural method in which the sculpted pieces are bonded to a solid background of the same material. The term '' relief'' is from the Latin verb ''relevo'', to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. When a relief is carved into a flat surface of stone (relief sculpture) or wood (relief carving), the field is actually lowered, leaving the unsculpted areas seeming higher. The approach requires a lot of chiselling away of the background, which takes a long time. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than a sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, particularly in stone. In other materials such as metal, clay, plaster stucco, ceramics or papier-mâché the form can be simply added to or raised up from the background. Monumental bronze relief ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Francesco De' Rossi (Il Salviati)
Francesco de' Rossi (1510–11 November 1563) was an Italian Mannerist painter who lived and worked in Florence, with periods in Bologna and Venice, ending with a long period in Rome, where he died. He is known by various names, usually the adopted one of Francesco Salviati or Il Salviati, after an early patron, but also Francesco Rossi and Cecchino del Salviati. He worked in fresco and oils, on ambitious history paintings, but also painted many portraits, and designed tapestries for the Medici. Biography Salviati was born in Florence. He apprenticed under Giuliano Bugiardini, Baccio Bandinelli, Raffaele Brescianino, and finally Andrea del Sarto in 1529–30. In 1531 he traveled to Rome, where he met another Bandinelli pupil, Giorgio Vasari, and helped to complete the frescoes on the ''Life of John the Baptist'' in the Palazzo Salviati for the Cardinal Giovanni Salviati. It is from his attachment to this household that he took on the surname. He frescoed an ''Annunciatio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Federico Zuccari
Federico Zuccaro, also known as Federico Zuccari (c. 1540/1541August 6, 1609), was an Italian Mannerist painter and architect, active both in Italy and abroad. Biography Zuccaro was born at Sant'Angelo in Vado, near Urbino (Marche). His documented career as a painter began in 1550, when he moved to Rome to work under Taddeo, his elder brother. He went on to complete decorations for Pius IV, and help complete the fresco decorations at the Villa Farnese at Caprarola. Between 1563 and 1565, he was active in Venice with the Grimani family of Santa Maria Formosa. During his Venetian period, he traveled alongside Palladio in Friuli. He was involved in the following fresco projects: * Decoration of the Casina Pio IV, Rome * Grimani Chapel, San Francesco della Vigna, Venice *Monumental staircase, Palazzo Grimani, Venice * Pucci Chapel in the church of Trinità dei Monti, Rome * San Marcello al Corso, Rome * Cathedral of Orvieto (1570) * Oratorio del Gonfalone, Rome (1573) * '' T ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giovanni Da Udine
150px, Portrait in Vasari's Vite Giovanni Nanni, also Giovanni de' Ricamatori, better known as Giovanni da Udine (1487–1564), was an Italian painter and architect born in Udine. A painter also named ''Giovanni da Udine'' was exiled from his native city in 1472. Biography As a student and assistant of Raphael, he was responsible for most of the "decorative" (i.e. non-narrative) elements of the major Raphaellesque projects in Rome, and he was a specialist in fresco and stucco grotesque decorations. These included the stucco work in the Loggia di Raffaello (Vatican, 1517–1519) and the heavy fruit-laden wreaths in the ''loggia di psiche'' in the Villa Farnesina. He also assisted in the construction of a few monumental fountains, which are now destroyed. He is also known for his drawings of birds and fruit. 180 px, Decoration for Loggia of Cardinal Bibbiena left, 170px, Loggia di Psiche frescoes Stucco discovery One of his well-known discoveries is the art of Stucco, that Giova ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Santa Maria Formosa
Santa Maria Formosa, formally The Church of the Purification of Mary, is a church in Venice, northern Italy. It was erected in 1492 under the design by Renaissance architect Mauro Codussi. It lies on the site of a previous church dating from the 7th century, which, according to tradition, was one of the eight founded by San Magno, bishop of Oderzo. The name "formosa" relates to an alleged appearance of the Holy Virgin disguised as a voluptuous woman1. Exterior The plan is on the Latin cross, with a nave and two aisles. The two façades were commissioned in 1542, the Renaissance-style one facing the canal, and 1604, the Baroque one facing the nearby square. The dome of the church was rebuilt in after falling during an earthquake in 1688. Santa Maria Formosa Facciata e campanile2.jpg, West facade Santa Maria Formosa - Monumento di Vicenzo Cappello - Domenico di Pietro Grazioli.jpg, Monument to Vincenzo Cappello 0 Venise, grotesque en pierre sculptée - Santa Maria Formosa.JPG ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Palazzo Grimani Di Santa Maria Formosa
The Palazzo Grimani of Santa Maria Formosa is a State museum, located in Venice in the Castello district, near Campo Santa Maria Formosa. History The palace can be reached by land from Ruga Giuff(map) The water entry, very used in ancient times, is located on the San Severo canal. The Palazzo constitutes for the city of Venice a particularly precious novelty for the originality of the architecture, for the decorations and for its history. The original medieval building was built at the confluence of the canals of San Severo and Santa Maria Formosa, and purchased later by Antonio Grimani, who became a doge in 1521, and subsequently passed on as a legacy, in the third decade of the 16th century, to the grandsons Vettore Grimani, ''Procurator de Supra'' for the Venetian Republic, and Giovanni Grimani, Patriarch of Aquileia, who refurbished the old structure inspired by architectural models taken from classicism. The two brothers wanted to give "modern" forms to the building and ha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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