CRUCIFIXION

As evidenced by various payments made to him, the sculptor Giovanni Teutonico was responsible for “il crocifisso bello?, the “beautiful crucifix” that was originally placed in the middle of the church. His commission for this work was due to the attention of the abbot Gaspare Giordani from Pavia. This sculptor from the North specialized in wooden crucifixes with particularly expressive features, which often included theatrical elements, such as moveable arms, a protruding tongue and a small bag in the rib cage for blood that spilled.

CRYPTE

Témoin précieux des origines de la basilique de San Pietro dans le Haut Moyen Âge, la crypte est constituée d’un environnement d’exèdre, ponctué de sept arcs aveugles à arcs arrondis. Là où les murs des niches ont cédé, on peut apercevoir un déambulateur derrière lequel quelques niches sont ignorées: cette structure, qui remonte à la période ottonienne, rappelle les formes du plan central des mausolées chrétiens, en particulier la typologie constantinienne de Martyria.

CRUCIFIX

Come ricordano alcuni pagamenti, nel 1478 lo scultore Giovanni Teutonico venne retribuito per l’esecuzione del « crocifisso bello », posizionato originariamente « nel mezzo della chiesa ». La sua commissione si deve all’interessamento dell’abate Gaspare Giordani da Pavia. Questo scultore di origini transalpine era specializzato nell’esecuzione di crocifissi lignei particolarmente espressivi e spesso dotati di espedienti drammaturgici quali la movimentazione delle braccia, della lingua e la sacca nel costato per la fuoriuscita del sangue.

LAMENTATION OVER THE DEAD CHRIST

This painting, which depicts the dead Christ held by Mary Magdalene, St. John and Joseph of Arimathea, was originally part of the extraordinary polyptych in the Church of Sant’Agostino in Perugia. Pietro Vannucci was commissioned to do the work in 1502. It remained unfinished at the time of his death in 1523. This painting, also called the Pietà, filled the upper register of the back of the polyptych, facing the choir. The structure stood on the main altar until about 1650, when it was dismantled, and the painted panels were placed on the walls of the choir.

CRUCIFIX

Le Crucifix en bronze actuellement conservé sur l’autel en grès de la sacristie fait traditionnellement référence à la Bolognaise Alessandro Algardi, l’un des plus grands représentants de la sculpture baroque très active à Rome, où il a réalisé, entre autres, la tombe de Léon XI et le monument. en bronze par Innocent X dans la basilique de San Pietro.

CHOIR

La chorale est le pivot de la vie spirituelle de la communauté monastique et occupe l’ensemble de l’abside. À l’origine, toutefois, elle devait s’inscrire le long de la nef centrale et être entourée d’une structure de mur ornée de peintures qui, en 1591, a été démolie, ce qui a amené le choeur à revenir à son emplacement actuel. Le magnifique travail en bois fut commandé à Bernardino Antonibi en 1526 mais il mourut au bout de quelques mois. Le travail fut repris en 1533 par Stefano da Bergamo qui termina les travaux en 1535 avec l’aide de sculpteurs toscans.

THE CRYPT

Invaluable evidence of the Early Medieval origins of the basilica of San Pietro, the crypt is a semi-circular chamber, punctuated by seven blind round arches. In the places where the wall niches have broken down, a covered walkway with niches along it can be glimpsed. This structure, dating from the era of the Emperor Otto, recalls the central plan of Christian mausoleums, in particular the Martyria of the time of Constantine. Gregory the Great recalls that the first burial of Saint Herculanus, after his martyrdom in 550 ca., was in San Pietro.

CHOIR

The choir is the fulcrum of the spiritual life of the monastic community and fills the entire area of the apse. It had, however, originally been in the central part of the church, and must have been surrounded by a wall structure decorated with paintings. The wall enclosure was taken down in 1591 and the choir was moved to its present location. The grandiose wooden structure was commissioned to Bernardino Antonibi in 1526, who died a few months later. In 1533 work was resumed by Stefano da Bergamo, who completed it in 1535 with the help of several Tuscan inlayers.

BAPTÊME DU CHRIST ET NAAMANN GUÉRIS DE LA LÈPRE

La toile fait partie d’un cycle axé sur la vie du Christ commandé par les pères bénédictins en 1593 au peintre d’origine grecque Antonio Vassilacchi, appelé Aliense. Dans la scène du Baptême du Christ, toute la contribution que l’art de Jacopo Tintoretto a apportée à la formation de l’Aliense est capturée.

BAPTISM OF CHRIST AND NAAMAN CURED OF LEPROSY

This canvas is part of a cycle of paintings centered on the life of Christ, commissioned by the Benedictines in 1593 to be executed by the painter of Greek origin, Antonio Vassilacchi, called l’Aliense. In the scene presented in the painting, The Baptism of Christ, the full contribution the skill of Jacopo Tintoretto contributed to the development of l’Aliense is apparent.

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