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Updated: June 3, 2025
Sabine desired that the stone which was to be tied to him when thrown in the river should be buried with his body, and this might have been done in the case of other martyrs. The stones in the church of SS. Cosma e Damiano are supposed to have been the very ones that were fastened to the necks of these devoted Christians when they were thrown into the Tiber in the reign of Maximian.
The Sala del Cambio at Perugia may also be cited as rich in tarsia-work designed by Perugino, while the church of S. Pietro de' Cassinensi outside the city is a museum of masterpieces executed by Fra Damiano da Bergamo and Stefano da Bergamo from designs of Raphael. Not less beautiful are the inlaid wood panels in the Palace of Urbino, by Maestro Giacomo of Florence.
Probably the Madonna and Child, with SS. Cosimo and Damiano, now extant in the chapel, formed an integral part of the successive schemes. One thing is certain, that the notion of placing the tombs in the middle of the sacristy was soon abandoned.
He went back to the king at Napoli, and for many years he was the scourge of the banditti of Campania; for the King made him a general, and San Damiano was a name feared by the lawless and loved by the peaceful, until he was killed in a battle down by Mormanno. "And La Luna?
Two other stones may be seen in the quaint old church of SS. Cosma e Damiano at the south-eastern angle of the Roman Forum, composed of portions of three pagan temples. They are inserted in the plain whitewashed walls on both sides of the circular arch through which you pass from the round vestibule into the interior of the church.
The side walls of the splendid staircase of the Bracchi Palace are sheathed with a very rare and beautiful variety, remarkable for the delicacy of its veins and its brilliant polish. The veneer was produced by slicing down two ancient columns discovered near the Temple of Romulus Maxentius in the Forum, converted into the Church of SS. Cosma e Damiano.
The Madonna, perhaps Michael Angelo’s finest work in sculpture, was also carved by his own hand; the two other works, now in the chapel representing the patron saints of the Medici family, Cosmo and Damiano, were carved by Montelupo and Montorsoli; they do not seem to have anything of Michael Angelo about them, not even in design.
In the year 1529, Damiano de Goes, a Portuguese, travelled over all Spain, and went from Flanders into England and Scotland, being at the courts of the kings of these countries; after that he returned into Flanders, and travelled through Zealand, Holland, Brabant, Luxemburgh, Switzerland, and through the cities of Cologne, Spires, Strasburg, Basil, and other parts of Germany, and so back to Flanders.
Cardinal Damiano, in a letter to Pope Nicholas II., written about the year 1060 tells the story of how a priest, who had left his mother ill at Beneventum, went on his homeward way to Naples past the crater of Vesuvius, and heard issuing therefrom the voice of his mother in great agony. He afterward found that her death coincided exactly with the time at which he had heard her voice.
Wherefore, almost before he was known, various designs with most beautiful and imaginative fantasies were seen to issue from his hand, executed for the most part at the request of M. Francesco Guicciardini, at that time Governor of Bologna, and for others of his friends; which designs were afterwards put into execution in tinted woods inlaid after the manner of tarsia, by Fra Damiano da Bergamo, of the Order of S. Domenico in Bologna.
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