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The choice lay between two other Roman churches, that of S. Maria del Popolo, where monuments to several members of the Della Rovere family existed, and that of S. Pietro in Vincoli, from which Julius II. had taken his cardinal's title. Michelangelo decided for the latter, on account of its better lighting.
Similar rows of fluted Doric columns of the same marble, ten on each side, adorn the Church of St. Pietro in Vincoli. They are ancient, and belonged to some temple or basilica of the Forum. There are also five ancient pillars of Hymettian marble in the upper Church of San Clemente, taken from the same prolific source.
The Tomb of Julius, as it now appears in the Church of S. Pietro in Vincoli in Rome, is a monument composed of two discordant parts, by inspecting which a sympathetic critic is enabled to read the dreary history of its production. As Condivi allows, it was a thing "rattoppata e rifatta," patched together and hashed up.
It took him weeks to summon energy to visit S. Pietro in Vincoli, although he knew that Michelangelo's "Moses" was there, and though he was weary with longing to see it. All the tense chords of Ibsen's nature were loosened. His soul was recovering, through a long and blissful convalescence, from the aching maladies of its youth.
Trajan's Gate The Appian Way The English Cemetery Catacombs of St. Calixtus Reflections on the Italian seat of government Churches S. Paolo Fuori le Mura Santa Maria Maggiore S. Pietro in Vincoli "Was St. Peter ever in Rome?" Fountains of Rome Dell' Aqua Felice Paulina Trevi Rome's famous Aqueducts Beggars Priests. Trajan's Gate, near the Coliseum, is a beautiful piece of architecture.
As it was, I drove callously away from Santa Maria Maggiore to San Pietro in Vincoli, where I expected to renew my veneration for Michelangelo's Moses.
Peter’s, the largest church in Christendom, were altered to embrace this huge monument, but a transept of the little church of San Pietro in Vincoli gave ample space for the final scheme, when it was set up in 1545.
The only statues we know belonging to it by Michael Angelo are the Moses and the two bound Slaves in the Louvre; the other six statues in San Pietro in Vincoli were finished by assistants.
The decline of religious faith, the vagueness of the prevailing religious philosophy, and the approach of the Reformation, are all to be predicated from the "Last Judgment" in the Sistine Chapel; the impending fall of Art is to be read in the form of the "Moses" of San Pietro in Vincoli; the luxury and pomp of the Papal Court and Church are manifest in the architecture of St.
Then S. Pietro in Vincoli, which has a delightful position, with its big palm and tower and a certain Romantic Catherine Sforza character; also, what always refreshes me in Rome, its early Renaissance character, before Jesuits, &c. &c., an imported thing from Tuscany, and the fact of the tomb of the Pollajuolos!
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