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Architects and artists have always acknowledged over the centuries that Rome is rightly called the 'eternal city'. Rome is eternal above all because it was always young, always 'in its prime'. Here the buildings that defined the West appeared over more than 2000 years, here the history of European architecture was written. The foundations were laid even in ancient Roman times, when the first attempts were made to design interiors and thus make space open to experience as something physical. And at that time the Roman architects also started to develop building types that are still valid today, thus creating the cornerstone of later Western architecture. In it Rome's primacy remained unbroken -- whether it was with old St Peter's as the first medieval basilica or new St. Peter's as the building in which Bramante and Michelangelo developed the High Renaissance, or with works by Bernini and Borromini whose rich and lucid spatial forms were to shape Baroque as far as Vienna, Bohemia and Lower Franconia, and also with Modern buildings, of which there are many unexpected pearls to be found in Rome. All this is comprehensible only if it is presented historically, i. e. in chronological sequence, and so the guide has not been arranged topographically as usual but chronologically.This means that one is not led in random sequence from a Baroque building to an ancient or a modern one, but the historical development is followed successively. Every epoch is preceded by an introduction that identifies its key features. This produces a continuous, lavishly illustrated history of the architecture of Rome -- and thus at the same time of the whole of the West. Practical handling is guaranteed by an alphabetical index and detailed maps, whose information does not just immediately illustrate the historical picture, but also makes it possible to choose a personal route through history.
When we consider the life of a celebrity, especially a Pope, who lived over four hundred years ago we must not make the mistake of looking at his life with our modern attitudes and prejudices. As a religious who assumed the papacy, Sixtus V brought with him the customs and attitudes of his vocation. Sixtus' spirit of poverty and obedience would present a challenge to the more worldly Roman court, and he had also come from a humble background. In addition, few Popes had been in obscurity-and even disgrace- for fourteen years prior to their election. Sixtus V has perhaps been overshadowed by the more famous Popes, Julius II and Pius V. We know of contemporary biographies, which appear to be official versions of his life. In this new biography, W. T. Selley shows how Sixtus V was outstanding in his creation of Renaissance Rome, only fifty years after it had been sacked. He was outstanding, from the point of view of good civic policy and he greatly facilitated the path of pilgrims visiting the churches of Rome. Sixtus was abstemious and devout, living quietly with his widowed sister and earning the nickname of the Hermit of Villa Montalto. He was also very intelligent in his diplomacy. Sixtus' contribution to papal administration survived virtually intact into our own time. One only needs to look at so many of the monuments of Rome, the obelisks and fountains, the frescoes and Church facades, to get an awareness of the measure of this great Pope.
A classic first published in 1941, this is an unparalleled work on the shaping of our architectural environment. In his discussions of leading architects and styles, Giedion examines the evolving of new traditions; the strengthening of its plastic tendencies and conditions for further evolution; the urban renewal boom of the fifties; and the development of regionalism by creatively oriented architects.
A celebration of the art, architecture, and timeless human passion of the Eternal City, Rome Is Love Spelled Backward explores Rome's best-known treasures, often revealing secrets overlooked in conventional guidebooks. With the ancient play on "Roma" and "Amor"—ROMAMOR—Testa invites readers to experience the world's long love affair with one of its most beautiful cities.
Celebrated at the heart of a notoriously unstable period, the Vacant See, papal funerals in early modern Rome easily fell prey to ceremonial chaos and disorder. Charged with maintaining decorum, papal Masters of Ceremonies supervised all aspects of the funeral, from the correct handling of the papal body to the construction of the funeral apparato: the temporary decorations used during the funeral masses in St Peter?s. The visual and liturgical centre of this apparato was the chapelle ardente or castrum doloris: a baldachin-like structure standing over the body of the deceased, decorated with coats of arms, precious textiles and hundreds of burning candles. Drawing from printed festival books and previously unpublished sources, such as ceremonial diaries and diplomatic correspondence, this book offers the first comprehensive overview of the development of early modern funeral apparati. What was their function in funeral liturgy and early modern festival culture at large? How did the papal funeral apparati compare to those of cardinals, the Spanish and French monarchy, and the Medici court in Florence? And most importantly, how did contemporaries perceive and judge them? By the late sixteenth century, new trends in conspicuous commemoration had rendered the traditional papal funeral apparati in St Peter?s obsolete. The author shows how papal families wishing to honor their uncles according to the new standards needed to invent ceremonial opportunities from scratch, showing off dynastic resilience, while modelling the deceased?s memoria after carefully constructed ideals of post-Tridentine sainthood.