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・ Santa Maria della Concezione in Campo Marzio
・ Santa Maria della Concordia, Naples
・ Santa Maria della Consolazione
・ Santa Maria della Consolazione (Todi)
・ Santa Maria della Croce, Crema
・ Santa Maria della Fava, Venice
・ Santa Maria della Ferraria
・ Santa Maria della Gancia, Palermo
・ Santa Maria della Grazia
・ Santa Maria della Grazie
・ Santa Maria della Luce, Rome
・ Santa Maria della Matina
・ Santa Maria della Mercede a Montecalvario, Naples
・ Santa Maria della Mercede e Sant'Alfonso Maria de' Liguori
・ Santa Maria della Neve, Pisogne
Santa Maria della Pace
・ Santa Maria della Pace, Brescia
・ Santa Maria della Pace, Milan
・ Santa Maria della Pace, Naples
・ Santa Maria della Passione
・ Santa Maria della Peste, Viterbo
・ Santa Maria della Piaggiola
・ Santa Maria della Piazza, Ancona
・ Santa Maria della Pietà
・ Santa Maria della Pietà in Camposanto dei Teutonici
・ Santa Maria della Pietà, Venice
・ Santa Maria della Pieve
・ Santa Maria della Pioggia, Bologna
・ Santa Maria della Pomposa, Modena
・ Santa Maria della Quercia, Rome


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Santa Maria della Pace : ウィキペディア英語版
Santa Maria della Pace

Santa Maria della Pace is a church in Rome, central Italy, not far from Piazza Navona. The building lies in rione Ponte.
==History==
The current building was built on the foundations of the pre-existing church of Sant'Andrea de Aquarizariis〔''Aquarizariis'': "of the water carriers" on whom Rome depended after the aqueducts were broken.〕 in 1482, commissioned by Pope Sixtus IV. The church was rededicated to the Virgin Mary to remember a miraculous bleeding of a Madonna image there in 1480. The author of the original design is not known, though Baccio Pontelli has been proposed.
In 1656–67 Pope Alexander VII had the edifice restored by Pietro da Cortona, who also added the famous Baroque façade projecting from its concave wings: this, devised to simulate a theatrical set, has two orders and is entered by a semi-circular pronaos with paired Doric columns. The church presses forward almost to fill its tiny piazza; several houses had to be demolished by Pietro da Cortona to create even this miniature trapezoidal space. This newly formed piazza, focussed on the church facade even in its architectural detailing, had the additional benefits of facilitating the turning of coaches which had become so fashionable with the Roman nobility of the time and creating an ingenious unified ensemble of the church in its urban setting.〔Anthony Blunt, ''Guide to Baroque Rome'', Granada, 1982, p. 103〕 The play of concave and convex forms at varying scales in and around the predominant main facade masks the neighbouring buildings, extends the apparent breadth of the facade and so increases the visual impact on the spectator physically confined by the small trapezoidal piazza. The monumental effect of the plasticity of forms, spatial layering and chiarascuro lighting effects belies the actual scale of this urban intervention.
The inscription around the porch architrave is taken from Psalm 72: SUSCIPIANT MONTES PACEM POPULO ET COLLES IUSTITIAM ("The mountains shall bring peace to the people; and the hills, justice"). This reference to the 'mountains' of the coat of arms of the Chigi family, to which Alexander VII belonged, is presumably an allusion to the benefits of his papal reign. Oak leaf motifs, another Chigi family emblem, can also be found on the facade. On the upper facade, Cortona had the curved travertine panels cut to make grained matching patterns, in an unusual use of this particular material. Through the tall central window, the circular window of the Quattrocento church facade is visible.

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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