The floor of the Cappella Borghese in Rome

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The arms of John Paul II and his motto is represented on the top, while the two bottom belong to Cardinal Furno, who was archpriest of the Basilica and the Order of the Holy Sepulchre. The present church dates mainly from the fifth century AD. Its construction is related to the Council of Ephesus in 431 AD which proclaimed Mary Theotokos, Mother of God, and was commissioned and funded by Sixtus III as Bishop of Rome. Entering it, one is overwhelmed by seeing its vastness, the splendor of its marbles and the richness of the decoration, the monumental effect is mainly due to the structure of the basilica and the harmony that reigns among the principal elements of its architecture . Built on the lines of "smart pace" of Vitruvius, the basilica is divided into three naves by two rows of columns on which runs an artistic precious entablature, interrupted at the apse of two arches erected for the construction of the Sistine Chapel, Pauline . Between the columns and the ceiling, the walls were punctuated by large windows which still remain, having been walled up the other half. Where were the windows, now you can see a series of frescoes that represent "the life story of Mary." Above the windows and frescos, a wooden frieze decorated with exquisite inlay of a series of riding bulls cupids joins the frame of the ceiling. The bulls are symbols of the Borgias and the arms of Calixtus III and Alexander VI, the Borgia popes, stand at the center of the ceiling. It is unclear what was the contribution of Callistus III to the implementation of this work, it is certain that those who created it was Alexander who put his hand when he was still archpriest of the Basilica: the ceiling was designed by Giuliano da Sangallo and completed by his brother Antonio. Tradition has it that the gold has been produced with the first gold brought from the Americas that Isabella and Ferdinand of Spain to Alexander VI. As a splendid carpet at our feet lies a mosaic floor made from marble masters Cosmas and offered to Eugene III in the twelfth century by Scotus Paparoni and his son John, the Roman nobleman. The uniqueness of Santa Maria Maggiore is, however, due to the splendid mosaics of the fifth century, commissioned by Sixtus III, that run along the nave and triumphal arch. The nave mosaics recount four cycles of Sacred History featuring Abraham, Jacob, Moses and Joshua as a whole, want to witness God's promise to the Jewish people of a land and its help to achieve it. The story, which does not follow a chronological order, starting on the left wall near the triumphal arch with the Sacrifice of Melchizedek, priest-king. This pane is clear Roman iconographic influence. Melchizedek, represented in the gesture of offering, and Abraham, wearing a Roman toga, is reminiscent of the equestrian statue of Marcus Aurelius. Subsequent panels illustrate episodes in the life of Abraham prior to the first box. This has long believed that each box was an end in itself until, in depth study of the mosaics, it was not that the decoration was planned and organized. The panel of Melchizedek serves to link the nave with those of the triumphal arch which recount the childhood of Christ the King and Priest.



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Daniele Davide, manager of Tredy Sas.

When You book an apartment in Rome Apartment in Rome , with us You'll realize how beautiful and magic this city is.


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Church of Sant'Andrea al Celio in Rome

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In the extraordinary and striking reality offered by the meeting of the Palatine Hill and Celio, no more than three hundred meters from the Coliseum on one side and the other from the Circus Maximus, stands, near the Basilica of St. Gregory the Great, the ancient chapel Saint Andrew with its two wonderful ambassadors of Santa Barbara, and Santa Silvia al Celio.
Ancient possession of the Patriarchal Basilica of Santa Maria Maggiore, this is a magnificent monument which is a historical entity, full of elements that, in addition to raising the spirit and the attention of connoisseurs and lovers of art history, leaves the visitor in a state of serene and peaceful contemplation, removing him from the frantic and frenetic life of the city. In this view, come down to this day thanks to the effective determination of famous figures of the past such as the Cardinal Caesar Baronius and Scipione Borghese, to name a few, unquestionably dominates the fascinating and father of Pope Gregory the Great. Everything here belongs to Celio to a size that almost by magic differs from the hectic and frenetic daily life in Rome. The visitor who crosses the entrance gate is suddenly immersed in a world that want the charm of the place, you want the contact with nature is almost unthinkable at the center of the city, unwittingly leads to extrapolate from the events of the world. The unitarian whole is the work of the architect Flaminio Ponzio. Despite the difficulties in standardizing the existing structures, Ponzio was able to plan with masterly skill that complex, quite rightly, was defined by the seventeenth-century chronicler Father Mini "beautiful harmonic theater" (History of the Holy Hermitage). Wise, in this context, harmonization of elements consisting of two side speakers connected to the central Chapel by a distinctive portico supported by four columns cipollino recovered from the Oratory of Santa Barbara.

The oldest of the speakers and that of Triclinium, dedicated by Cardinal Baronius in Santa Barbara. On the back wall there is the sculpture by Nicolas Cordier, representing Pope Gregory the Great blessing. In the middle of the room can see the white marble table on which Gregory and his mother Saint Silvia lunch every day for twelve poor.

The second environment to compose the beautiful harmonic theater, is the Church of St. Andrew the Apostle. According to an ancient tradition, also based on findings and architectural evidence, this would be the first church established by St. Gregory in what had been his father's house. The medieval period, were some of the frescoes (not visible) located between the sloping roof and the ceiling.

The interior is a simple rectangular room, with no apse, decorated with a wooden coffered ceiling in the center of which stands the coat of arms of the Borghese family. The lateral walls are two large frescoes by Guido Reni and Domenichino, both representing some moments of the martyrdom of Saint Andrew the Apostle. The altarpiece is Pomarancio, while the figures on either side of the entrance door were designed by Giovanni Lanfranco.

Tradition has it that one day he appeared in a thirteenth figure of an angel. This event was revived as a predominant theme of the painter Antonio Viviani (called the Deaf of Urbino) in the cycle of frescoes in the Oratory.


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Daniele Davide, manager of Tredy Sas.

When You book an apartment in Rome Apartment in Rome , with us You'll realize how beautiful and magic this city is.


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The Library of the "Pontificio Istituto di Musica Sacra" in Rome

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The Library of the Pontifical Institute of Sacred Music is a service of educational activities, liturgical and Research Institute. The initial core of the collections has been steadily increased over time in order to respond appropriately to both the internal and teaching needs of scholars from outside are turning to the PIMS for their research and artistic music, musicology, liturgy and history. The Library preserves and provides access to different types of documents, from the library to those sounds, from photographic reproductions of musical and audiovisual sources.
In relation to its function as a school library, a significant section of the library consists of the assigned readings for the preparation of examination, essays and exercises Studiorum music provided by the Horde.

I cared more subject areas - in accordance with the themes of the courses set up at PIMS - are Gregorian chant and liturgical music, choral music, composition sacred liturgy, musicology, music history and the Church. Over the past year the Library has seen his role increase dramatically within the Institute: it was reorganized the reading room, which currently occupies the spacious rooms where he worked for the Commission the text of the Neo-Vulgate, and was organized a series of presentations of books related to sacred music.
In parallel, work began the automation of the catalog (both in terms of new acquisitions and for what concerns the partial recovery of prior learning material) and was set up a local network of personal computers, which allows querying the data base Bibliographic this from a location in the reading room.

In addition to the usual author and subject catalogs, are being implemented for those musical forms and organic vocal and instrumental music necessary for the execution of the works: you can thus select the musical compositions in the library, also based on these elements, facilitating the search for works that meet certain technical and / or formal.



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Daniele Davide, manager of Tredy Sas.

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Cappella Borghese in Rome

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Artistic jewel of rare beauty, is a place where it merges art and religious feeling: the icon of the Salus Populi Romani, the pious tradition, painted by the evangelist Luke welcomes his mother's eyes those who come to her. Saliva on the papal throne in 1605 Paul V (1605-1621) to whom we owe the Chapel of Our Lady, also known as Paolina Borghese, as opposed to the Sistine Chapel and its symmetric in the plant and in the architectural scheme. Although it is in fact a Greek cross, with the Corinthian and has four large arches, supported by pilasters, on which rests the dome.

It was built to guard the image of Our Lady "Salus Populi Romani", the order of Paul V, designed by the architect Flaminio Ponzio (1560-1618), between the years 1606 and 1612, the consecration took place on January 27, 1613 but the decorative work continued in subsequent years. It cost the Apostolic Chamber, the sum of 299,261 crowns and 61 cents. In just 25 years younger than the Sistine Chapel, the decoration free and impetuous. With its marble and the matching gold frames, with bronze angels (a radiant beauty) and stucco (which is soaring with wings and vibrant smile), with its majestic altar, whose deep blue enchants those who enjoy the details, with its grandiose monuments and refined, the Borghese signs indicative of the first occurrence of the Baroque which gives it a unique vibration of joy and life. The most famous artists of the time or manner competed nell'adornarla.

The first model of the altar was made of pear wood in 1607 and a year after the smelter began Pompey Targon efforts to conclude in September 1612. The book glitters with gold-plated metal, airy and lively cast in the form of angels, which support the frame which encloses the Salus Populi Romani, shaped by Camillo Mariani: the richness of detail and the preciousness of the contrasts in light and shadow animate Mariani's Angels owe much to the Florentine Mannerist Sansovino, but can also result in a powerful lyric acute able to alleviate the high mass of architecture. Mariani also sculpted the statue of St. Giovanni Evangelista. Without a doubt the most interesting piece of decorative sculpture within membranature altar altar is a bas-relief on the front, by Stefano Maderno depicting Pope Liberius, which traces the perimeter of the basilica in the snow. Maderno is also responsible for the angels holding scrolls on the sides of the tombs. The altar table was offered in 1749 by the Princess Borghese Agnese Colonna, whose coat of arms engraved upon it.

Giuseppe Cesari, called the Cavalier d'Arpino, played in the lunette above the altar on the left, the painting represents the apparition of Our Lady and St John the Evangelist St. Gregory Healer, and to the right people bitten by the serpent of heresy and the Temple of God with a crowd of true believers. The same artist also painted in the spandrels of the dome of the great prophets Isaiah, looking thin, white hair and beard, in a blue tunic, red robe and bare feet; Jeremiah forehead bald, hoary beard, dresses in blue and yellow coat that surrounds him fall to his feet, Ezekiel young-looking, blond hair, rosy cheeks, beardless, in a red robe with blue lists, with no sleeves (thus resulting bare arms) and yellow coat that surrounds the person , Daniel Young seated, with long flowing hair, white complexion, blue dress embroidered in gold, sleeves rolled up, a purple cloak. The Cavaliere has painted, in the arch, the Saints Bishops Ignatius, Theophilus, Irenaeus and Cyprian.

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Daniele Davide, manager of Tredy Sas.

When You book an apartment in Rome Apartment in Rome , with us You'll realize how beautiful and magic this city is.


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Cappella Paolina in Rome

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For the last five years that the team led by Maestro Maurizio De Luca worked on the restoration of the Cappella Paolina. First, he spoke about the large party of gilded stucco and polychrome decoration and the frescoes by Lorenzo Sabatini and Federico Zuccari. The last segment of the work (with effect from the middle of last year, for ongoing commitment and exclusive to De Luca and his first assistant Maria Pustka) involved and continues to affect the two opposing wall of Michelangelo with the "Convert St. Paul "on a wall and the" Crucifixion of St. Peter "on the other.

It was important to start the company starting from the cleaning and painting from the integration of everything that is not Michelangelo. The altar is a coherent whole, a coexistence of multiple styles and artists who wanted to know and juxtaposition to the supreme master with discretion and intelligence, without competing with him but without contradicting the unitary character of the environment. It would be a mistake to put the emphasis on the two frescoes of Michelangelo, presenting them as exceptional testimony that overrides everything else, and already dark. If we did we would have done a disservice to history.

The painters, sculptors, decorators who intervened in the Pauline twenty years after Michelangelo had to feel especially intimidated but certainly flattered by the comparison with an artist who, after the "lives" by Giorgio Vasari, had assumed the aura of genius unique and almost the status of the "gods". Then wisely chose to stay subdued, camouflage as far as possible the style of Michelangelo (Sabatini in the Fall of Simon Magus, the same allegorical nudes Zuccari of time), but be careful not to create disharmony in the general stylistic context.

The restoration - our teachers have taught us - is first and foremost an act of criticism, it follows that the interpretation of history that has made the figure. This interpretation of history has produced the philosophy of intervention, developed and perfected by the direction of the work (with Arnold Nesselrath Maurizio De Luca and writer) is the basis of the restoration of Pauline.
The cleaning of Michelangelo's murals in the course take this into account and is adjusted in a way which is consistent with the color levels, with the tone and the "patina" of the collection. But to understand the reasons (and difficulties) of the restoration must first know the story complicated and contradictory construction of the Cappella Paolina events that are a direct consequence of the nature and destination of a sacred place full of very special symbolic values.

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Daniele Davide, manager of Tredy Sas.

When You book an apartment in Rome Apartment in Rome , with us You'll realize how beautiful and magic this city is.

Book Rome apartments , and You'll enjoy the unique atmosphere of this beautiful city

Roman Baths

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Beginning in the second century B.C., when they were small, strictly practical wash houses, and reserved for men only, public baths grew tremendously in size, in magnificence and in their amenities during the Empire. Merely to hint at their splendour fails to do justice to the impression they must have made upon all who saw them. The great majority of Romans, escaping from their small hovels or mean apartments to spend an hour or two or the whole day at one of thethermae, could not fail to be struck by the grandeur and beauty of these vast, richly decorated in marble and gold palaces provided for their enjoyment. For the Baths were no longer simply buildings where anyone could, by paying one quadrans (the smallest Roman coin), have a bath; rather they were enormous recreation centres, fully equipped with gymnasia, gardens, libraries and reading rooms in addition to the baths themselves. The energy and resources devoted to their construction and adornment have no parallel in the public buildings of modern times in whose rigorously controlled and mean construction avoidable expense is carefully spared. Magnificence, beauty and comfort were then the standards, not money budgets. During the Empire the Baths were open to men, women and children alike, and even the very modest charge of one quadrans was sometimes remitted by the generosity of the Emperor or of a rich man, who might make himself responsible for the entire cost of the baths for anything from a day to a year. One set of rooms was provided for men and another for women, although there was also some mixed bathing in the days of Nero, greatly to the scandal of the sterner Romans. A succession of orders against such licence by the Emperors Hadrian, Marcus Aurelius and Alexander Severus is the best evidence that it was difficult or impossible to restrain. Romans went to the Baths to meet others, to stroll about and talk, some to play ball and other games, some to take yet more violent exercise such as wrestling or to watch others at it, and of course to get cool in summer and warm in winter. There were cold baths in thefrigidarium, a warm room or the tepidarium and a heated chamber, the caIidarium, where there were warm baths and hot air to induce perspiration as in our modern Turkish bath. An even hotter room, the laconicum, was used mainly by invalids. The heat was provided by a fierce fire under the floors stoked by slaves with great quantities of wood. Bathers could enjoy any one or any of these in turn and in any order. Part of the treatment was to remove bodily impurities thrown off by perspiration by being scraped down with a metal, bone or wooden for the Romans lacked soap; 'scrape yourself with the curved blade, advised Martial, the fuller will not so often wear out your towels.

The bathers either brought slaves with them to carry their towels, to scrape, and to rub them down, or they hired such services at the Baths where there were also masseurs, anointers, depilators and perfumers. The poor, who could afford none of these attentions, rubbed and scraped themselves by hand or against a wall. It is important to say that the Baths also became social centres. They were notorious for the noise coming from them, for Romans liked to sing in their baths, to whistle, to talk and shout at their friends and acquaintances. After reclaiming their tunics and togas from the cloakroom attendant, if they had not been stolen or replaced by shoddy worn out clothes by some smart thief, as they sometimes were, they could lounge, talk and stroll, read or eat before they all went their ways: the rich in a closed litter and the poor on foot in the sun, rain or snow.
At first the Baths closed at sunset, but, from the multitude of lamps discovered in the Baths at Pompeii, it seems that bathing was extended into the night in the first century , although it is possible that the lamps were required merely to light otherwise dark corridors and enclosed rooms even in day-time. The Baths were set in gardens. Like most of the cultural interests in the life of the Romans, their love of gardens had been inspired by Greek examples. The Greeks in turn seem to have got the idea after Alexander the Great’s soldiers had seen the royal and princely gardens of Persia and the East. It was the Greeks who put gardens near or around their shrines, temples, porticoes, promenades and theatres, and the Romans copied them. It was something very new when outside the first permanent theatre in Rome, built by Pompey around 60 b.C., a grove or strip of trees was added. Greeks cities also had their public gardens. All these pleasant Greek practices were copied by the Romans so that during the Empire a number of public parks were created before the large thermae had been thought of Julius Caesar bequeathed his gardens across the Tiber to the Roman people. When his successor Augustus died, a park was provided around his great artificial lake he had created to stage the murderous naval battles (Naumachia), devised to vary the scenes into the night in the first century , although it is possible that the lamps were required merely to light otherwise dark corridors and enclosed rooms even in day-time. The Baths were set in gardens. Like most of the cultural interests in the life of the Romans, their love of gardens had been inspired by Greek examples. The Greeks in turn seem to have got the idea after Alexander the Great’s soldiers had seen the royal and princely gardens of Persia and the East. It was the Greeks who put gardens near or around their shrines, temples, porticoes, promenades and theatres, and the Romans copied them. It was something very new when outside the first permanent theatre in Rome, built by Pompey around 60 b.C., a grove or strip of trees was added. Greeks cities also had their public gardens. All these pleasant Greek practices were copied by the Romans so that during the Empire a number of public parks were created before the large thermae had been thought of Julius Caesar bequeathed his gardens across the Tiber to the Roman people. When his successor Augustus died, a park was provided around his great artificial lake he had created to stage the murderous naval battles (Naumachia), devised to vary the scenes of slaughter in which his subjects revelled. The older, purely Roman interest in a sacred grove of a few trees was enlarged and perpetuated in this way. The dark, black shade and coolness under thickly covered trees and bushes was especially valued for its sharp contrast with the glare and heat of a sunny Italian day.

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Pontifical Academy of Sciences in Rome

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The Pontifical Academy of Sciences is international in scope, multi-racial in composition, and non-sectarian in its choice of members. The work of the Academy comprises six major areas: Fundamental science; Science and technology of global problems; Science for the problems of the developing world; Scientific policy; Bioethics; Epistemology.

ORIGIN AND DEVELOPMENT

The Pontifical Academy of Sciences has its roots in the Academy of the Lynxes (Accademia dei Lincei) which was founded in Rome in 1603 as the first exclusively scientific academy in the world. The Accademia dei Lincei achieved international recognition, but did not survive the death of its founder, Federico Cesi. In 1847 Pope Pius IX reestablished the Academy as the Pontifical Academy of the New Lynxes. Pope Pius XI renewed and reconstituted the Academy in 1936, and gave it its present name. Since 1936 the Pontifical Academy of Sciences has grown increasingly international in character. While continuing to further the work of the separate sciences, it stresses the growing importance of interdisciplinary cooperation. Today the Academy's activities range from a traditional interest in pure research to a concern with the ethical and environmental responsibility of the scientific community.

THE PREMISES OF THE ACADEMY
The premises of the Academy are in the exquisite Casina Pio IV which was built in 1561 to serve as a summer residence for Pope Pius IV. Surrounded by the greenery of the Vatican gardens, the Casina is a well-preserved treasury of sixteenth century frescoes, stucco reliefs, mosaics and fountains.

WHO ARE THE PONTIFICAL ACADEMICIANS?
The Pontifical Academicians are eighty women and men from many countries who have made outstanding contributions in their fields of scientific endeavour. They are nominated by the Supreme Pontiff after being elected by the body of the Academicians.
The Pontifical Academicians participate in study groups and meetings organized by the Academy to examine specific issues. Their deliberations and scientific papers are published by the Academy. They assemble in the Vatican in the Casina Pio IV for Plenary Sessions.

RELATIONSHIP TO THE HOLY SEE
The Pontifical Academy of Sciences is an independent entity within the Holy See. Although its rebirth was the result of papal initiative, and though it is placed under the direct protection of the reigning Supreme Pontiff, the Academy defines its own goals with regard to its statuted aim:
"...to promote the progress of the mathematical, physical and natural sciences and the study of epistemological problems relating thereto" (Statutes 1:2). Pius XII underlined the Academy's freedom of inquiry in an address of 1940 to the Academicians: "To you noble champions of human arts and disciplines the Church acknowledges complete freedom in method and research...". Since the deliberations and studies which it undertakes are not influenced by any one national, political or religious point of view, the Academy constitutes an invaluable source of objective information upon which the Holy See and its various bodies can draw.


Book our Rome apartments , and You'll enjoy the unique atmosphere of this beautiful city

Daniele Davide, manager of Tredy Sas.

When You book an apartment in Rome Apartment in Rome , with us You'll realize how beautiful and magic this city is.


Book Rome apartments , and You'll enjoy the unique atmosphere of this beautiful city