He was a major benefactor of the church. The painting is of the Annunciation to Our Lady , the dedication of the chapel, and is by Antoniazzo Romano who executed it in later than previously thought. Very unusually, this scene is combined with a depiction of a charism of the confraternity. Our Lady is giving bags of money as dowries to three little girls kneeling before her along with the cardinal.
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The lunette and vault frescoes, unfortunately damaged by the rain getting in, are by Cesare Nebbia. They depict scenes from the life of Our Lady. Flanking the altar are memorials to Cardinal Torquemada, to the left, and Cardinal Benedetto Giustiniani of to the right. Torquemada's cenotaph was erected in after the friars decided that such a benefactor deserved a suitable memorial and put up the money for it.
This is by Ambrogio Buonvicino , the pope had died in The sixth chapel on the right is the largest private one in the church. It was originally built by the Dominican Cardinal Matteo Orsini in , but was given over to the Aldobrandini family in Allegedly Cordier saw the potential, and re-worked it.
Below these statues are busts of Aldobrandini family members, the ones by the altar also by Mariani and the one under the pope by Buzzi. Their identity has been lost. The side walls are dominated by the tombs of the pope's parents, which are spectacularly over-the-top with polychrome marble decoration including Corinthian columns in verde antico.
Silvestro Aldobrandini is to the right, and Lesa Deti to the left, and they are depicted reclining on their sarcophagi in a way evoking ancient Etruscan funerary art. The designs are by Della Porta and the main sculptures by Cordier, but the angels are by Maderno.
The lunette and vault frescoes are by Cherubino Alberti , There is a fresco here of Christ in Glory over the recumbent effigy. On the left hand wall is a monument to Benedetto Sopranzi, in the style of Bregno. Other monuments are to Giuseppe Pighini , Angelo Galli The subject is rather creepy -these virgin martyrs are carrying bits of their anatomy, which their legends allege were removed before their deaths. St Lucy is carrying a plate with her eyes on it, and St Agatha one with her severed breasts.
Near this are memorials to Vitoldo Stablewski with a bust by one J.
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So this is the church's Polish Corner. The tiny Chapel of the Crucifix has its entrance round the corner of the right end of the transept. The doorway is a Gothic archway with an ogee curve and a crocketed gable, and a theory has it that the materials for this were scavenged from the mediaeval baldacchino over the high altar which was destroyed in The fresco underneath it features St Barnabas the Apostle.
The latter is next to the entrance of the following chapel. The chapel at the right end of the transept is the church's greatest treasure, Michelangelo's statue notwithstanding. The consecration was in Previously it had belonged to the Rustico family. The magnificent triumphal arch is attributed to Mino da Fiesole, Andrea del Verrocchio and Giuliano da Maiano with the last thought to have made the greatest contribution.
A pair of massive doubletted ribbed Corinthian pilasters support a pair of doubletted posts from which the semicircular archivolt springs. There are two statues of boys by Andrea Verrocchio on the posts either side of the archivolt, and these were scavenged from a dismantled monument to a member of the Tornabuoni family in the 17th century. The figure of the deceased ended up in a museum at Florence. The marble balustrade at the entrance is worth a glance, as the balusters are unusually long and thin. Filppino Lippi painted both the altarpiece in oils, and the wonderful frescoes on the wall and vault.
The damage to the bottom part of this fresco is a reminder of the Tiber floods.
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He is depicted seated in judgment over two defeated intellectual adversaries, identified as the heretics Arius and Sabellius. The former denied the divinity of Christ, and the latter the three persons in the Trinity.
The four female figures seated with St Thomas are allegories of Grammar, Rhetoric, Dialectic and Philosophy which were the four secular subjects of study in mediaeval universities. The saint himself is representing Theology. The vista to the left is of the old mediaeval Lateran Palace, with the equestrian statue of Marcus Aurelius before it was moved to the Campodoglio. The cross-vault has frescoes of sibyls, and used to be attributed to Raffaellino del Garbo.
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It is now thought that Lippi was responsible for these as well. The coat-of-arms of the Carafa family is in the centre. The floor of the chapel is original, in pietra dura. The book motif is the symbol of a Doctor of the Church. The chapel has its own English Wikipedia page here. Unfortunately, it was put rather high up on the wall -perhaps because the Camaiani monument was already there.
The work has a gabled Gothic canopy, with angels at the head and foot of his effigy. Privatus was traditionally the first bishop of Mende. Below it is the monument to Onorio Camaiani, , and nearby is a little entrance leading into the funerary chamber of Cardinal Carafa with four frescoes on its vault by Raffaellino del Garbo.
These depict a pagan sacrifice and the legend of Verginia.
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The chapel in the far right hand corner used to belong to the Vittori family, but passed to the Altieri. The side walls have matching monuments to Lorenzo Alitieri and Giovan Battista Altieri, the pope's father and brother respectively, with busts by Cosimo Fancelli.
dranpoiprecicac.ml In the floor are tomb slabs to an earlier Lorenzo Altieri , who died aged , and Angelo Altieri who was "only" ninety. The pope died aged 86, so the Altieri family had longevity in their genes. Over the pier between this chapel and the next is one of the two church organs, in an elaborate gilded Baroque case. The other one is in the corresponding position in the other end of the transept. The pair were assembled by Ennio Bonifazi in , with the cases being by Paolo Maruscelli. Cardinal Scipione Borghese paid for them. The instrument here is out of commission, but the left hand one was restored by the firm of Vegezzi Bosi at the start of the 20th century.
The chapel on the right hand side of the sanctuary is dedicated to Our Lady of the Rosary. It was the shrine chapel of St Catherine of Siena from until It was dedicated to the Annunciation in , and refitted by the noted humanist and theologian Cardinal Domenico Capranica whose memorial is by Bregno, The dedication to Our Lady of the Rosary was made in It is no longer believed that the altarpiece is by Fra Angelico. The frescoes on the wall show scenes from the life of St Catherine, and are by Giovanni de' Vecchi. The fresco panels in the richly stuccoed barrel-vaulted ceiling, , are by Marcello Venusti and depict The Mysteries of the Rosary.
The other monument in the chapel is to Pio Capranica, Georgina Masson in her magisterial guide to Rome referred to it as "a very poor thing". The high altar has no canopy. The work was designed by Giuseppe Fontana, and consists of a rectangular glass and gilded metal box having Gothic arches on three sides seven in front and two on the sides.
The arches frame windows, through which you can see the original effigy commissioned by St Antoninus of Florence in when he enshrined her in the Capranica Chapel. The metalwork was made by Ceccarini.
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It looks as if he used real babies as models. It is on a plinth with gilded angels and scrollwork flanking an epigraph, which dates from Before the end of the 20th century, the effigy was painted in polychrome rather like a plaster statue. However, the tomb was restored in for the Holy Year which involved cleaning off the 18th and 19th century paintwork, leaving the effigy unpainted, and restoring the gilding on the plinth.
The relics of the saint are known to be in a gilded silver urn, except for her head which was taken back to SIena in You met them as young men in a fresco in the Carafa Chapel. Maderno refitted the sanctuary and choir in a Baroque style in , but the 19th century restoration made it Gothic again. This restoration provided the three two-light windows in the apse, with stained glass of six saints executed by Bertini and Moroni.
The papal monuments are a matching pair. The statues of prophets and the bas-reliefs on the monuments are by Baccio Bandinelli.