This week’s Purse of the Week comes from Macy’s.

The Exotic Patchwork Tulip Tote by Giani Bernini is currently selling for $56.99.  This patchwork bag also comes in black.

The bag is nice sized tote with really long handles so it’ll easily hang off your shoulder.  It snaps shut, features a zippered divider inside, and three other pockets.

I really like the texture and design of this bag.  It looks fancy but easily works for everyday.  Plus, it’s incredibly reasonably priced, especially for a Macy’s bag.

[Source:  Macy's]

Of all the Greek myths, Persephone is probably one of the most well known. Aside from being used as an explanation for the changing of seasons, her tragic tale is often referenced in relation to the loss of innocence. According to myth, Persephone was the daughter of Demeter, Greek goddess of the earth, grain and fertility. Though she was beautiful and well desired by such gods as Ares, Hermes and Apollo, Demeter created a safe haven for her daughter away from the influences of the other gods, particularly the males vying for her attention. In this perfect bubble, Persephone lived a flighty and naive existence, frolicking through fields and dancing with nymphs until one day, Hades, god of the underworld, came and snatched her away. Whether devastated by her daughter’s abduction, or distracted by the search for Persephone, Demeter fails to let the earth produce causing nothing to grow, hence our winter.

Eventually, Zeus interfered, demanding that Hades return Persephone. But she would not leave the underworld for good. According to the law established by the Fates, anyone eating or drinking in the underworld is sentenced there for eternity. Tricked by Hades, Persephone ate pomegranate seeds, forcing her to return to the underworld for one season each year. During this time, the earth is barren.

I’ve read many different interpretations of this myth, ranging from the rape of Persephone to the meaning and symbollism of the pomegranate seeds. However you choose to look at it, you can find many modern parallelisms in stories that mirror or straight out retell the popular myth. Its themes are as real and prevalent today as they were in Ancient Greece. Some that stand out are Radiant Darkness by Emily Whitman, and Frayed Tapestry by Imogen Howson.

La carta è il parato in cuoio di Cordova nell’appartamento del cardinal Flavio a Palazzo Chigi ad Ariccia, disegno attribuito a Gian Lorenzo Bernini (Napoli 1598 – Roma 1680), da Art e Dossier 243, aprile 2008.
Perle dorate, irregolari bordate in vetro e tonde in legno

Lunghezza collana 130 cm

Lunghezza orecchini 82 mm

Enjoying the Roman folliage

An unexpectedly beautiful Saturday afternoon today in Rome. There was nothing to be done but go for an afternoon passagata around to some of the better-known churches in Rome.

Just across the street from Santa Susanna is Santa Maria della Vittoria, best known for Bernini’s sculpture of St. Teresa in Ecstasy, which he completed in 1652. The church itself is quintessential Baroque, overwhelming the senses. Built as a chapel for the Carmelites, it is currently the titular church of Cardinal Sean O’Malley of Boston.   

St. Teresa in Ecstasy, Chiesa Santa Maria della Vittoria

We also wanted to go in for a more casual perusal of Santa Susanna, but it was closed for the day. Likewise, San Pietro in Vincoli (Saint Peter in Chains) which we stopped at on our way from the Lay Centre. It is easy to forget about that three hour lunch break sometimes.

Not far from Susanna and Maria della Vittoria, on the pricey Via Veneto, is the church of Santa Maria della Concezione dei Cappuccini (St. Mary of the Conception of the Capuchins), the ossuary of which is generally known as the Capuchin Crypt. Famously macabre, the crypt is six rooms decorated almost entirely with the mortal remains of about 4000 Capuchin friars who died between the 16^th and 19^th century.

Capuchin Crypt

Cappuchin Crypt

“What you are now we used to be; what we are now you will be…”

inviato da: CSV centro servizi volontariato di Rovigo

Il 29 novembre 2009, alle 21.00 a Melara, in occasione della ricorrenza del centenario della morte del melarese Amos Bernini, dopo le pubblicazioni e le giornate di studio sia a Melara che a Rovigo, verrà scoperto il cippo davanti al busto che lo ricorda a Melara, in occasione del centenario. Per informazioni: info@mellaria.eu – www.mellaria.eu

This is a response to my last post on St. Peter’s where I mentioned the use of large proportions to create a look to the basilica that made it seem smaller than it actually is. Two of those ways are evident in these two pictures below (I feel my art historian coming out).

This first picture is of a baby cupid what was in a niche off of the central nave. According to our TA, the little cupid is about the same size, even possibly bigger than the average person. Yet the cupid doesn’t seem that big, because you are significantly below it.

This second picture is of Bernini’s central altar piece. I had studied it in my Italian Baroque art class, so I had seen many pictures of if and was SO excited to see it for the first time up close. I couldn’t believe how big it actually is. The posts that I include in my picture are 5 times the thickness I thought they would be.

The combination of these big objects all over are proportional to each other to give the overall impression that the space is much smaller than one believes it is.

O prazo de um ano é suficiente para que um vinil lavado readquira novamente sujeiras causadas pela presença de microorganismos. Mas isso pode acontecer muito antes: Ambientes muito úmidos, com umidade em torno de 80 a 90%, ou mesmo apenas a partir de 50% ou guardados em armários ou baús, podem receber leve infestação de fungos. Aí lave sempre que sentir cheiro de fungo ou visualizar seus pontos contra a luz (pontos de fungo). Não se preocupe com tantas lavagens: Isso não prejudica o LP. Mas como dissemos, vinis podem adquirir sujeira muito antes: O manuseio com mãos sujas, a própria saliva num ambiente de muita conversa e mesmo ambiente com muita poeira suspensa ou gordura de cozinha.

Enquanto as gravadoras esperam obter algum lucro e algo mais, produzir vinis ainda é, para muitos, mais uma questão de amor do que de obrigação. O custo de produção é 4 vezes mais caro do que produzir CDs e pode ser até maior, quando uma mídia de vinil mais pesada é usada. Um LP tradicional usa uma midia de vinil de 120 gramas, porém alguns selos utilizam gramatura de 180 gramas para lançamentos especiais, o que permite um som mais cheio e rico.

Seguindo a nova onda do LP, Monti Olson e Jeff Bowers criaram em dezembro de 2006 uma gravadora exclusivamente de LPs, a Original Recordings Group (ORG).
A era de ouro da música em Long Play está voltando. Os antigos LPs, que sempre foram amados pela geração Woodstock, está despertando interesse cada vez maior nos jovens e diante da demanda, a indústria se mobiliza para satisfazê-los.

Quando a campanhia da casa de Mont Olson toca no meio da noite, só pode significar uma coisa, é Jeff Bowers seu sócio na Original Recordings, batendo na porta para trazer uma prova final de algum vinil que precisa ser examinado antes de ir para a linha de montagem
A campainha de Olson está tocando com mais freqüência atualmente. Desde o começo do selo em 2006, devotado exclusivamente ao vinil, só agora ele está realmente emplacando. Até o fim do ano, o lucro terá sido nulo, apesar da movimentação bruta de 1 milhão de dólares. Em vista disto Olson, manteve seu emprego diurno como vice-presidente de uma Editora.

So, I recently graduated from a high school of the arts focusing in the visual arts program doing photography, printmaking, drawing and painting over the course of four years. When I was accepted to FSU I decided art wasn’t for me any more and chose communications as my major instead and hoped that was my true calling. Guess what. One semester passed and I’m now enrolled in the art program, once again. I guess I couldn’t stay away from it. To go along with the theme of Things That Make Me Happy, here’s a few examples of kick ass artists currently producing art in today’s society, followed up by some old school work that inspired me in high school while taking AP Art History senior year!

• Current works from Julian Beever: (this is all 2-D in chalk, btw….CRAZY)

Want to see more?

• This is work by Liu Bolin’s work (no photoshop tricks, legit painting skillz):

Holy smokes, that’s awesome!

Mooooore fun art blogs, if you’re interested:

Funky Fresh Jams

• Now to kick it old school, here’s some of my all time favorite pieces:

Bernini-
Now, check out this detail….keep in mind, this was made from marble….oh damn

Next up….Copely-

Watson and the shark….bad ass

Last, Greuze-

The Drunken Cobbler.

Do they not look like a bunch of party animals?!

This will have to do for now. I think I’ll just leave a bunch of video links at the bottom again for your personal enjoyment, just incase you might be bored enough to check them out. Peace

• Just because she’s awesome and I attempted to be her for halloween: La Roux (Watch the video first then laugh at my attempt to be her below )

• This video, for all the Harry Potter fans, has Brad Neeley doing the voice over and it basically takes the piss out of Harry Potter #1. If you like what you see, look up Dear Reader on youtube. He narrates the entire first movie.

• And this video, well, it just makes me want to dance

Surgiu hoje (dia 18/11), no site da Ticketmaster, um novo lote de ingressos para o show da banda em São Paulo. Os ingressos são para a Arquibancada Vermelha Especial, somente inteira. Não se sabe ao certo de que tamanho é o lote, porém ele existe, já que antes, onde aparecia esgotado, agora aparece como opção de compra.

De acordo com o UOL, este novo lote começará a ser vendido a partir do meio dia desta quinta-feira, 19 de novembro.

Um orangotango com apenas 3 anos deidade chamado Roscoe, depois de perder os pais, entrou em depressão. Estava tão embaixo que não respondia a medicamentos e tratamentos. A sua vida parecia estar entregue à morte, segundo os seus veterinários

Até que algo veio mudar tudo isso. Um mero cão vadio que andava a vaguear pelos arredores do jardim zoológico onde se encontrava Roscoe foi apanhado. Depois de terem verificado que não havia qualquer doença, levaram-no para junto de Roscoe, o orangotango, para ver se o animava.

Em poucos dias, Roscoe começou a andar, a brincar, e a interagir com o cão. Um “mero” cão vadio tinha-se tornado a sua salvação, a sua nova razão para viver.

Actualmente, Roscoe tenta que o seu amigo cão o acompanhe em todas as suas actividades, incluindo natação!!

Ambos vivem agora no norte da Califórnia, nos Estados Unidos, e nadar na piscina é o desporto favorito de ambos. Roscoe precisa, no entanto, de se apoiar no seu amigo uma vez que ainda tem medo de atravessar a piscina sozinho.

As fotos, mais do que mil imagens, mostram toda esta amizade que há entre os dois.

On Sunday, for our last day in Rome, we (fittingly) decided to spend the day exploring the Vatican, seeing St. Peter’s Basilica and the Sistine Chapel, and trekking up to Castel Sant’ Angelo. We took the Metro to the Vatican (since it was a bit too far to walk) and arrived at the world’s smallest country at around 10A. For anyone that’s unaware, the Vatican is its own sovereign entity, separate from Rome; they can print their own money, they have their own post offices and the Swiss Guard patrols instead of the Roman police.

Fortunately for us, the line to get into the Vatican was incredibly minimal. We waited for about 10 minutes (as compared with stories of waiting in lines of 2+ hours!) before we made it inside.

Pictures can’t really capture how astounding the cathedral is. Not only is it huge, it’s incrediby ornate: amazing statues, gold fixtures... plus being that I’m Catholic (by association)  it carries such an amazing history that it was pretty breathtaking to actually be inside. Legend (and some historical evidence) hold that St. Peter is actually buried under the altar of the basilica. For this reason, a number of popes have been interred at St. Peter’s since early days. I, of course, grabbed some goodies for my grandma from the Vatican shop once we were done gazing — wish she could have been there to see it first hand!

After checking out St. Peter’s Basilica, we decided to head to the Musei Vaticani to check out the Vatican Museums and the Sistine Chapel.

Unfortunately (take note), the Sistine Chapel and the museums are closed on Sundays. If you’re planning on hitting up the Vatican and it’s important for you to see these things, make sure you go any other day! Although we were slightly disappointed, we grabbed a bite to eat and headed up to Castel Sant’ Angelo.

[Another tip: Do not eat in Vatican City. It is ridiculously overpriced -- head to the outskirts to grab lunch. We paid 10 euros for a mini pizza that we shared... in any other world it would have cost about 3 euros.]

In any case, we made it to Castel Sant’Angelo in about ten minutes and the view from the Castle was absolutely breathtaking!

Castel Sant’Angelo (below) was apparently built as Hadrian’s tomb in AD 170 or so, but has been reconstructed a number of times. It’s absolutely gorgeous and it sits right on the bank of the Tiber. The bridge in front is lined with a number of Bernini’s statues:

Afterwards, we crossed the bridge and spent some time in the city, finishing our day off with some gelato at the famed Giolitti. After a delicious break in the day, we began our trek home. After a ride on the Metro, a quick jaunt on the bus, a walk down to the station, a two-and-a-half hour plane ride, and a 60 minute Tube ride, we were back in London.

Arrivederci, Roma! It’s been real. I was able to scratch Rome off my list of places to see before I die, but I could definitely see myself making Rome a destination trip. Gotta go back again and drag the fam!

Lots of love,

]]> http://chicche.wordpress.com/2009/11/16/un-bernini-alla-fermata-del-tram/ Mon, 16 Nov 2009 14:53:12 +0000 Alice http://chicche.wordpress.com/2009/11/16/un-bernini-alla-fermata-del-tram/ http://boldstepforward.wordpress.com/2009/11/10/power-of-art-by-simon-schama/ Tue, 10 Nov 2009 16:47:49 +0000 contextual studies http://boldstepforward.wordpress.com/2009/11/10/power-of-art-by-simon-schama/

This is an eight part series written and narrated by Simon Schama. Schama looks at some of history’s most notorious and ground-breaking artists such as Caravaggio, Van Gogh and Picasso. This is not the most relevant video resource for BTEC Art & Design students but is none-the-less enlightening and exciting even for people from non-artistic fields.

The series follows the lives of eight famous artists. Famous for revolutionising art in their own field, be it religious painting, sculpture, landscape painting or abstract art, and infamous in their personal lives. The series features many reconstructions of scenes from the artist’s lives (for example where Caravaggio, forced into exile murdered another man in a brutal sword fight over a woman) interlaced with Schama’s own analyses and interpretations of the works produced by each artist.

Schama is articulate and exciting to listen to as he guides you through the lives of these eight notorious artists and his analyses and interpretations of the art works are absorbing. You will not look at these art works (as you have probably seen them many times before) in the same way again after watching this series. A true masterpiece in education and entertainment.

Simon Schama’sThe Power Of Art: The Complete BBC Series [DVD]

le 3 grazie di  Antonio Canova

Il comune di Perugia, insieme all’Assessorato alle Politiche Culturali, inaugurano il Museo della Città, presso il Palazzo della Penna. Collocato nel centro storico, a breve distanza dal possente bastione meridionale della monumentale Rocca Paolina. La vocazione di Palazzo della Penna a Museo della città è andata concretizzandosi negli ultimi anni attraverso una ininterrotta serie di attività culturali, preludio all’allestimento permanente di alcune raccolte civiche. Il processo di musealizzazione della raccolte ha preso avvio un anno fa con l’apertura al pubblico della Collezione Martinelli curata da Francesco Federico Mancini che comprende opere di ambiente barocco romano di piccolo formato, tra le quali spiccano alcuni eleganti bozzetti di G. L. Bernini; di recente vi si è aggiunto il nuovo ordinamento curato da Italo Tomassoni dell’opera che Joseph Beuys realizzò nel capoluogo umbro la sera del 3 aprile del 1980, un complesso “racconto” composto da sei grandi lavagne sulle quali sono illustrate per immagini le teorie sull’arte del grande artista tedesco, l’offerta museale si è arricchita  con una sezione dedicata alla cultura artistica perugina dell’Ottocento curata da Caterina Bon Valsassina, molto opportunamente ambientata nei saloni al piano nobile, affrescati da Antonio Castelletti (1812), che attinge, principalmente, a materiali provenienti dalla locale Accademia di Belle Arti, tra i quali si segnalano i gessi originali delle Tre Grazie di A. Canova e di un Pastorello di B. Tordhvalsen, oltre ad una ricca serie di dipinti di C. Labruzzi, J. B. Wicar, F.Faruffini, A. Brugnoli ed altri; accanto ad essa inaugura, contigua, una sezione monografica dedicata a Gerardo Dottori curata da Massimo Duranti, pittore perugino interprete delle istanze futuriste. Accanto ad alcune tra le sue opere più note Autoritratto, Incendio città, Trittico della velocità già di proprietà del Comune di Perugia, saranno esposti altri capolavori dell’areopittura dottoriana prestati per l’occasione da altre Istituzioni Pubbliche e Private umbre. Per le prenotazioni alle visite guidate si consiglia di prenotarsi con anticipo.

Orario d’apertura del museo:da mercoledi a lunedi dalle ore 10.00 alle ore 13.00 e dalle 15.00 alle 17.30. Chiuso il martedi.

L’ingresso è gratuito per i bambini fino a 6 anni, intero 3,00 €, ridotto 2,00 e 1,00 €.

Hello Believers,

This man stands second only to Davinci in my rankings!

Gian Lorenzo Bernini (also spelled Gianlorenzo or Giovanni Lorenzo; 7 December 1598 — 28 November 1680) was an Italian artist who worked principally in Rome during the 17th century. He was the leading sculptor of his age and also a prominent architect. In addition he painted, wrote plays, and designed metalwork and stage sets.

A student of Classical sculpture, Bernini possessed the unique ability to be able to capture, in marble, the essence of a narrative moment with a dramatic naturalistic realism which was almost shocking. This ensured that he effectively became the successor of Michelangelo, far outshining other sculptors of his generation, including his rival, Alessandro Algardi. His talent extended beyond the confines of his sculpture to consideration of the setting in which it would be situated; his ability to be able to synthesise sculpture, painting and architecture into a coherent conceptual and visual whole has been termed by the art historian, Irving Lavin, the ‘unity of the visual arts’.^[1] A deeply religious man, working in Counter Reformation Rome, Bernini used light as an important metaphorical device in the perception of his religious settings; often it was hidden light source that could intensify the focus of religious worship ^[2], or enhance the dramatic moment of a sculptural narrative.

Bernini was also a leading figure in the emergence of Roman Baroque architecture along with his contemporaries, the architect, Francesco Borromini and the painter and architect, Pietro da Cortona. Early in their careers they had all worked at the same time at the Palazzo Barberini, initially under Carlo Maderno and on his death, under Bernini. Later on, however, they were in competition for commissions and fierce rivalries developed, particularly between Bernini and Borromini. ^[3] Despite the arguably greater architectural inventiveness of Borromini and Cortona, Bernini’s artistic pre-eminence, particularly during the reigns of popes Urban VIII (1623-44) and Alexander VII (1655-1665), meant he was able to secure the most important commission in Rome of the day, St. Peter’s Basilica. His design of the Piazza San Pietro in front of the Basilica is one of his most innovative and successful architectural designs.

During his long career, Bernini received many important commissions, many associated with the papacy. At an early age, he came to the attention of the papal nephew, Cardinal Scipione Borghese, and in 1621, at the age of only twenty three, he was knighted by Pope Gregory XV. Following his accession to the papacy, Urban VIII is reported to have said, “Your luck is great to see Cardinal Maffeo Barberini Pope, Cavaliere; but ours is much greater to have Cavalier Bernini alive in our pontificate”. ^[4] Although he did not fare so well during the reign of Innocent X, under Alexander VII, he once again regained pre-eminent artistic domination and continued to be held in high regard by Clement IX.

Bernini and other artists fell from favour in later neoclassical criticism of the Baroque. It is only from the late nineteenth century that art historical scholarship, in seeking an understanding of artistic output in the cultural context in which it was produced, has come to recognise Bernini’s achievements and restore his artistic reputation.

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Was shown a portrait of Bernini’s sculpture of Saint Teresa in ecstasy during class. Nothing.

Prof started speaking at length about the position of her foot and arm and general limpness of her body. Nothing.

Prof continued speaking, describing seraph’s expression as “satisfied.” Nothing.

Prof continued speaking, pointing out presence of second arrow in seraph’s hand even though Teresa is already in ecstasy. Suggested that he had to finish up the job. Nothing.

Sniggered after he finished speaking.

Fail.

No algo, sino mucho se queda en el alma cuano un poeta se va...

Se despierta el Duende a las siete y media de la mañana y la luna redonda aún brilla suspendida por poniente. Pasos leves por la escalera. Es su nieta Marina, que asoma la cara con un peluche entre los brazos. No puede dormir más.  La mastina que guarda la casa ha tenido perritos, y qué niño puede dormir mucho sabiendo que al amanecer, como si fuera un panecillo recién horneado, podrá tocar y abrazar un peluche de verdad. Como aún colea el veranillo –no sabemos si el de san Miguel o el del membrillo- la niña sale con sólo una chaquetilla de punto sobre el pijama y se pone a jugar a la luz de la luna con los bebés perritos mientras el abuelo prepara el desayuno. Lenta, muy lentamente, el sol va subiendo su persiana.

Son las cosas del campo.

Van cayendo los membrillos, tan bonitos por fuera como ásperos y a veces corroídos de pecado en su corazón. Y al Duende, que sigue aceptando retos, se le ocurre hacer dulce de membrillo. No tiene ni idea, pero en la casa abunda la literatura culinaria, y ahí está el teléfono para pedir auxilio a alguna asesora a distancia. Así que mientras la luna definitivamente nos deja, los demás duermen y la nieta juega  con los peluches animados bajo la mirada atenta y consentidora de la noble mastina, el Duende emprende la aventura del dulce de membrillo. Cuaje o no cuaje, siempre dejará como mínimo un aroma delicioso en la casa donde se cocina.

Son las cosas del campo.

Al hacerse la cama, el Duende percibe que entre la sábana bajera y el colchón se desliza uno de esos reptiles amables que caza insectos por la noche. ¿Una salamandra, un geco, una salamanquesa? Parece más torpe que sus primas las lagartijas, porque es de extremidades más grandes y más cabezón. Pero no será fácil inmovilizarle, meter la mano bajo la sábana, agarrarlo y depositarlo en el alféizar de la ventana para que se busque la vida al aire libre. Le queda a uno  la duda de saber si ha compartido lecho toda la noche con tan singular compañía, pero con la edad ningún bicho en el medio rural le asusta, y casi todos le parecen amigables. Son las cosas del campo…

Se durmió la noche anterior el Duende con un libro entre las manos. Su título es Dejado ir (Viajes y estancias). Su autor, José Antonio Muñoz Rojas, que con otro título como Las cosas del campo escribió precisa y preciosamente todo lo que un alma sensible puede ver y gozar en el campo. Aromas, temperos, colores, cantares, amaneceres y atardeceres, cielos estrellados, lluvias, sementeras, sentires de los campesinos, el baile de sus faenas, el primitivo –entonces-instrumental de sus laboreos, los sabores de sus frutos, el regusto de su lenguaje…  Debe de ser cierto que la poesía espera su liberación ahí, como la escultura, atrapadas la una en la naturaleza y la otra en la piedra o en el mármol. Debe de ser verdad que sólo hace falta la mano maestra del Bernini de turno o el espíritu exquisito de un José Antonio Muñoz Rojas para que trabajen sobre la sencillez, le den un brillo especial con su talento y nos transporten al éxtasis al resto del personal.

Dicen los periódicos que José Antonio se dejó ir la semana pasada, que no quería cumplir los cien años. Se dejó ir en La Casería del Conde, allá en la vega de Antequera, donde pasó tantos días de su larguísima vida, y donde es cierto que el entorno quizás obligue a ser al menos un poco poeta. Desde sus gustos a sus pasiones, desde sus alegrías a sus aflicciones, desde sus debilidades a sus  convicciones y, por ende, también sus dudas, todo pasó por el filtro de su escritura privilegiada, en prosa o en verso.

Su herencia es que nos despabila el alma cuando le leemos y, sobre todo, nos enseña a mirar alrededor. Y aún duda el Duende de que hoy la visión de la niña y los cachorillos a la luz de la luna, el aroma del membrillo o la travesura de la salamandra emboscada en su cama  le hubieran pellizcado sus ganas de escribir de no ser porque anoche leía fragmentos de Dejado ir. Le hemos dejado que se vaya  porque se merecía un descanso. Pero todos sabemos que los poetas se trenzan incluso con las hebras más insignificantes de la vida, y acaban siendo inmortales.

Non solo le piramidi egizie.
Nel 1629 papa Urbano VIII, nel pieno fiorire dell’arte barocca, desiderò realizzare un nuovo tabernacolo nella basilica di San Pietro. L’altare – disegnato dal Bernini – doveva cadere perpendicolare sulla tomba dell’apostolo. Nel preparare le fondazioni, l’architetto Alamanni incontrò delle sepolture. Con poca accortezza le ritenne pagane e non badò loro più di tanto. Non conosceva, evidentemente, una lettera scritta 1000 anni prima da papa Gregorio Magno. Vi era descritto il potentissimo sortilegio da cui era protetto il corpo dell’apostolo Pietro, cui nessuno poteva pensare di avvicinarsi senza la necessaria deferenza
Presto, tra gli uomini che avevano partecipato alla scavo, iniziarono le prime morti…

Dalla “Relazione di quanto é occorso nel cavare i fondamenti per le quattro colonne di bronzo eretta da Urbano VIII all’altare della basilica di s. Pietro…”

Come fu cominciato a cavar, e del timore che cagionò il caso della morte dell’Alamanni.

Venuto l’ordine preciso, che si cominciasse a cavare, il cav. Bernini senza toccare il pavimento di sopra nella parte sotterranea, visto e misurato dove venissero a cadere i siti dei pilastri, fece dar principio il giorno 29 giugno del 1626 a romper sotto quei muri che erano d’impedimento. Lontano dall’ umbilico della confessione palmi tredici, arrivati al pavimento si scoprì tutta quella parte piena di sepolcri e di tumuli. Fermatisi i manuali e dato avviso, intervennero nel principio per considerare e provvedere a quanto occorreva Monsignor Cavalier Vescovo di Sulmona Vicario della Basilica, Monsignor Angelo Georio coppiere del Pontefice canonico e altarista, Monsignor Mario Bovio canonico et sacristano maggiore della chiesa. A primi corpi che fossero aperti e levati vi fu chiamato e si trovò presente l’Alamanni, il quale e sopra il sito e sopra la qualità de’ sepolcri e le forme e figure de’ corpi fece vari discorsi, e giudizii, donde uscì fuori nuova voce poco considerata che quei primi potessero esser corpi di non santi; e ancora di persone non ecclesiastiche. Accadde questo ai X di luglio. Il giorno seguente cascò l’Alamanni in infermità grave, e subito giudicato mortale aggravandosi sempre il male nel quarto decimo venne a morte.
Non mancavano cognizioni naturali alle quali si potesse riferire questo accidente, senza che si attribuisse a miracolo; aveva in quell’estate l’Alamanni variato il modo e regola di vivere, si era affaticato in alcuni cimiterii in tempo et ore incomode, con occasione che si dovevano mandare alcuni corpi dei santi in Spagna. Fu però creduto comunemente che questi fossero i casi avvertiti da s. Gregorio, et una pubblica increpatione di aver poco avvedutamente con titolo di sospetti vani negletto e ributtato quanto in riguardo di quel santo luogo con zelo di sana pietà o religione era stato motivato. Crebbe questa credenza in vedere un D. Francesco Schiaderio cappellano segreto del medesimo pontefice immediatamente cadere in terra di breve infermità intimo suo amico e forse parente e partecipe d’ogni suo pensiero, e quasi nell’istesso tempo morire ancora Bartolomeo suo amanuense di straordinaria sorte di malattia, et un de’ servitori, ch’era rimasto, si vide non molto tempo dopo reo di morte per un omicidio in questo tempo commesso. Questi accidenti cagionarono grande alteration negli animi di molti, parendo che questi esempi nuovi confermassero gli antichi. Ma quello che più d’ogni altra cosa sollevò i pensieri fu che il Pontefice istesso in questi giorni occorse che stesse alquanto indisposto, et come varie sono in Roma le passioni, così vari erano i discorsi e diversi i pareri. Chi si turbava per rispetto divino, chi per riguardo umano, et all’opera non si dava più quell’applauso di prima. I preti medesimi della Basilica che nel principio stimavano grazia e privilegio il potere assistere a servire a quell’azione cominciarono a ritirarsi, e si interpretava irreverentia e quasi sacrilegio ciò che prima era stimato devoto e reverente ossequio. Non si parlava quasi l’altro che dell’epistola di s. Gregorio, la quale fu parimente in quei giorni nelle mani e nelle lingue de’ dotti, e degl’indotti; ma come 1′ intenzione del Pontefice era rettissima et in se l’azione stessa non aveva altro fine che l’onore e gloria di Dio, mosso da interno spirito con pari costanza e prudenza non giudicò per questi umori doversi ritirare dall’impresa, che prima non si vedesse da persone dotte e pie, se i casi riferiti nell’epistola di s. Gregorio erano i medesimi e nelle rnedesime circostanze, acciocché interpreti fuori dei loro termini quello é stato registrato da quel glorioso Pontefice per maggior culto e grandezza dei SS. Apostoli non fosse preso per occasione di lasciare i loro sepolcri inornati e gli altari scoperti.

Woensdag was de laatste dag van ons verblijf. De extatische Theresa wachtte op ons in de Santa Maria della Vittoria (wat zal ik die prachtige namen missen…) en ze stelde ons niet teleur. De  bottenverzameling der Capucijner monniken (“look at them dry bones..”) was merkwaardig maar vooral macaber. In het inmiddels vertrouwde marstempo naar de Villa Borghese waar in de Galleria onvoorstelbaar mooie beelden en schilderijen staan/hangen (Bernini, Caravaggio). Bram, Floor en ik deden daarna nog de nabijgelegen Galleria nazionale d’arte moderna e contemporanea aan (wat zal ik die prachtige namen missen…). Helaas was de afdeling rond DADA en surrealisme dicht. Geen readymades van Duchamp. Wel mooi dat de een ontroerd raakt van Apollo en Dafne en de ander van een urinoir.  Of van allebei…

De middag was vrij. Via Cavour en Piazza del Popolo waren gewilde bestemmingen. De laatste Euri werden besteed aan souvernirs en kado’s voor de achterblijvers.

In het vliegtuig hing iedereen als een zak Capucijner botten in zijn stoel, maar eenmaal geland op 16hoven raakten we in extase bij het zien van onze geliefde familieleden.

We gaan de komende dagen nog wat fotootjes plakken!  Commentaar schrijven mag hoor!!!!!

This is something I would never have thought possible…ever since I first studied the sculpture of Bernini in my college Art History course (remember that fat Janssen book?), I have been a devoted follower.  And now, having settled into a rented flat in Rome, I realize that I live just down the street from one of his probably lesser-known works, the “Blessed Ludovica.”

Actually, the Blessed Ludovica doesn’t live on my street but in the church on the piazza at the end of my street.  My street is called via San Francesco a Ripa, which is also the name of the piazza and the church.  The church of San Francesco a Ripa is dedicated to Saint Francis of Assisi because the adjacent convent hosted his visit to Rome in 1229.  The term “ripa” refers to the nearby river-edge of the Tiber.

I decided I wanted to find out more about my new neighbor.

The church dates back to a Franciscan convent existing in Trastevere since the 10th or the 12th century.  The church was decorated with the (now lost, sadly) St Francis cycle by Pietro Cavallini. This cycle probably served as prototype for the famous Legend of St Francis frescoes, ascribed to Giotto di Bondone, in the Upper Basilica of St Francis in Assisi.

The construction of the present church was begun in 1603 by Onorio Longhi, starting from the apse. The facade was finished in 1681-1701 with design by Mattia de Rossi. From 1873 to 1943 the church was used as barracks by the Bersaglieri, a elite group of sharpshooters created in 1836 as part of the Italian Army.  This brings war and peace together in a somewhat disturbing way.

Ludovica Albertoni (d.1533) is considered a blessed person in Christianity. Her feast day is 31 January.  I missed it this year, but will mark it on my calendar for the future.

She is also known as Louisa Albertoni and Ludovica Albertoni Cetera.  Born into a wealthy and prominent family, she was married to Giacomo de Citara, and three children, and was widowed in 1506.  As a Franciscan tertiary, she spent her fortune and ruined her health in caring for the poor.  She was renowned for her religious ecstasies, and became known as a miracle worker, and, according to accounts, had the gift of levitation.  She reminds of me another work by Bernini, “The Ecstasy of St. Theresa,” in the church of Santa Maria della Vittoria.

To some, Santa Theresa appears to be in the throes of sexual ecstasy but to others (including scholars of Bernini), it is merely the throes of divine spiritual love.  Ludovica has a similar expression and her body appears to me somewhat contorted….but maybe she is just getting ready to levitate.

She died on January 31, 1533 of natural causes. On January 28, 1671, she was beatified by Pope Clement X.  Her cause for canonization is still pending.