THE CHILD JESUS BLESSING AMONG ANGELS, ST. JEROME AND ST. JOHN THE BAPTIST

The marble reredos in the Vibii family chapel has an inscription naming the person who commissioned it, the well-known jurist Baglione dei Montevibiani, and the date it was executed. Vasari recorded this work and credited it to Mino da Fiesole, one of the leading personalities of the Florentine season of great sculpture during the Renaissance. Mino was sensitive to the influence of Bernardo Rossellino as well as that of Luca della Robbia and Desiderio da Settignano.

AUTEL; CIBOIRE MONUMENTAL

L’autel principal en marbre polychrome a été réalisé selon les plans de Valentino Martelli; elle fut achevée vers 1610. Martelli était un interprète habile de la leçon de Michelangelo, qu’il avait réussi à combiner avec une sobriété nettement réformée. il a commencé son activité à San Pietro en 1591 en planifiant la rénovation de l’intérieur et la construction d’un cloître en face de la basilique.

BALDACHIN

The baldachin is a large structure made from diverse materials (poplar wood and canvas) that stands over the main altar, lending it a monumental aspect, and creating a unique theatrical effect at the end of the central aisle. It is an absolute expression of the Baroque and takes its inspiration, even in the detail of the dangling tassels, from the famous baldachin by Bernini in the Basilica of St. Peter in Rome, which was replicated in Umbria in the Cathedral of San Giovanale in Narni and in the Cathedral of San Feliciano in Foligno.

CUPBOARDS, WARDROBES

These cupboards or wardrobes in the sacristy of San Pietro are precious examples of Tuscan Renaissance artisanry. They were made, as the documents show, in 1472 by Giusto da Francesco d’Incisa and Giovanni di Filippo da Fiesole. They stand along the two long walls of the rectangular sacristy, and have a double register of recessed wooden panels with inlay decoration, a technique involving pieces of wood differing in color and kind placed next to one another to form a design.

ALBERO DELL’ORDINE BENEDETTINO

Questa imponente tela rappresenta una grandiosa celebrazione dell’Ordine benedettino. L’opera venne commissionata da Giacomo di San Felice da Salò, abate di San Pietro dal 1590, al pittore di origini greche Antonio Vassilacchi, detto l’Aliense. Nel contratto, stipulato a Venezia il 5 maggio 1592, si stabilì la consegna entro la Pasqua del 1593 e un compenso di 700 ducati. L’Aliense, formatosi nella bottega di Paolo Veronese, svolse la sua attività in Laguna al seguito di Jacopo Tintoretto con cui collaborò al cantiere di San Giorgio Maggiore.

ANNUNCIATION

This painting, the work of Giovan Battista Salvi, known as “Il Sassoferrato”, is one of a series of copies which could best be defined as intelligent re-proposals with variations on the theme by this painter from the Marches, created with the work of Raphael and Perugino in mind. In this case, the artist has chosen as his model The Annunciation on the left panel of the Oddi altar piece by Raphael. This piece, originally in the church of San Francesco in Perugia, was confiscated by the French in 1797.

ALTAR; MONUMENTAL CIBORIUM

The main altar in polychrome marble was executed according to the design of Valentino Martelli; it was completed in around 1610. Martelli was a fine interpreter of the skills learned from Michelangelo, which he successfully combined with a markedly modified sobriety. He began the work in San Pietro in 1591 by designing the restructuring of the interior and the construction of a cloister in front of the basilica. The altar, which houses the remains of St. Pietro Vincioli, is surmounted by an elegant, monumental ciborium, richly decorated with jasper and ancient green marble.

ANNONCIATION

Ce tableau, de Giovan Battista Salvi, connu sous le nom de Sassoferrato, fait partie d’une série de copies que nous pourrions mieux définir avec des variantes intelligentes, exécutées par le peintre des Marches, en gardant à l’esprit les œuvres de Raffaello et Perugino. Dans ce cas, le modèle auquel s’inspire l’artiste est l’Annonciation du compartiment gauche du retable Oddi de Raffaello, déjà à San Francesco in Perugia, enlevé par les Français en 1797, récupéré par Antonio Canova en 1815 et immédiatement après destiné à la Pinacothèque. Vaticana.

ADORATION DES MAGES

Eusebio da San Giorgio est mentionné par Giorgio Vasari comme l’un des principaux étudiants du Perugino. La seule œuvre à laquelle il se réfère est une Adoration des mages dans l’église de Sant ‘Agostino in Perugia, aujourd’hui dans la Galerie nationale de l’Umbria. C’est le même sujet traité par le peintre dans le panneau de San Pietro, pour lequel il reçoit des paiements en 1509 de Leonarda Olivieri Baglioni.

FAMILY TREE OF THE BENEDICTINE ORDER

This impressive canvas is a grandiose celebration of the Benedictine Order. The work was commissioned by Giacomo di San Felice da Salò, elected abbot of San Pietro in 1590, to the painter of Greek origin Antonio Vassilacchi, called ‘l’Aliense.’ The contract, drawn up in Venice on May 5th 1592, specified delivery of the work by Easter of 1593 for the sum of 700 ducats. Trained in the studio of Paolo Veronese, l’Aliense worked in the Venetian area, and was a disciple of Jacopo Tintoretto, with whom he worked on the construction of San Giorgio Maggiore.

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