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Updated: May 4, 2025
A famous set they were, a hundred or more bound in their old black polished calf, with a great gold medallion, and "Tenor: Decani," or "Contra-tenor: Cantoris", "Basso," or "Sopra," stamped in the middle of every cover.
But dear beyond all the others to Ridolfo was a disciple of Lorenzo di Credi, who was also with Andrea del Ceraiolo, called Michele, a young man of an excellent nature, who executed his works with boldness and without effort. This Michele, then, following the manner of Ridolfo, approached him so closely that, whereas at the beginning he received from his master a third of his earnings, they came to execute their works in company, and shared the profits. Michele looked upon Ridolfo always as a father, and loved him, and also was so beloved by him, that, as one belonging to Ridolfo, he has ever been and still is known by no other name but Michele di Ridolfo. These two, I say, loving each other like father and son, executed innumerable works in company. First, for the Church of S. Felice in Piazza, a place then belonging to the Monks of Camaldoli, they painted in an altar-piece Christ and Our Lady in the air, who are praying to God the Father for the people below, where some Saints are kneeling. In S. Felicita they painted two chapels in fresco, despatching them in an able manner; in one is the Dead Christ with the Maries, and in the other the Assumption of Our Lady, with some Saints. For the Church of the Nuns of S. Jacopo delle Murate they executed an altar-piece at the commission of Bishop de' Bonafè of Cortona: and for the Convent of the Nuns of Ripoli another altar-piece with Our Lady and some Saints. For the Chapel of the Segni, below the organ in the Church of S. Spirito, they painted, likewise in an altar-piece, Our Lady, S. Anne, and many other Saints; for the Company of the Neri a picture of the Beheading of S. John the Baptist; and for the Monachine in Borgo S. Friano an altar-piece of the Annunciation. In another altar-piece, for S. Rocco at Prato, they painted S. Rocco, S. Sebastian, and between them Our Lady; and likewise, for the Company of S. Bastiano, beside S. Jacopo sopra Arno, they executed an altar-piece containing Our Lady, S. Sebastian, and S. James; with another for S. Martino alla Palma. And, finally, they painted for S. Alessandro Vitelli a S. Anne in a picture that was sent to Citt
Though the style of San Luigi dei Francesi is better, more soberly elegant, the only thing that touched him even there was the thought of the heroic or saintly Frenchmen, who sleep in foreign soil beneath the flags. And as he sought for something Gothic, he ended by going to see Santa Maria sopra Minerva,* which, he was told, was the only example of the Gothic style in Rome.
This legend has been made the subject of artistic treatment by Michael Angelo, whose famous statue of our Lord as He appeared in the incident to St. Peter is in the church of Santa Maria sopra Minerva, and was for many years a favourite object of worship, until superseded by the predominant worship of Mary.
"It is down in the olive woods and quite near the lake, and you must go to it by a lane from the Galleria di Sopra, the upper road to Castel Gandolfo." After a momentary hesitation he added, "Scusi! But are you thinking of taking it, signore?" Jean started. It had not occurred to him that the house might be empty. "I don't know," he answered cautiously. "Has it been to let long?"
Near the Pantheon there is a pair of obelisks which were brought from the East, and stood together before the temple of Isis and Serapis, which is supposed to have been situated on the site of the Dominican Church of Santa Maria Sopra Minerva. They were found when digging the foundations of the church in 1667, along with an altar of Isis, now in the Capitoline Museum.
Nine years had now elapsed since the roof of the Sistine chapel had been finished, and during this time Michael Angelo had produced little except the "Christ" of S. Maria sopra Minerva. This new undertaking occupied him at intervals between 1521 and 1534, a space of time decisive for the fortunes of the Medici in Florence.
"Quando si guarda a quella corretta eleganza di profili e di proporzioni, a quella squisitezza d'ornamenti, a quel certo sapore antico che senza ombra d' imitazione traspareda tutta l' opera" &c. "Sopra ornatissimo zoccolo fornito di squisiti intagli s' alza uno stylobate" &c.
He finished his coffee, paid for it with a piece of silver, and waited to light a cigarette before he went out. Vincenzo sat still in the car, a model of patient impassivity, but he turned a hungry eye on his master as he came down the steps. "You can go and get something to eat. I shall drive up to the Galleria di Sopra, and you must follow me there. You will find the car at the side of the road.
Muratori, Storia d' Italia, vol. 7. p. 135. Leipsic, 1748. Muratori, Dissertazione sopra le Antichita Italiane, dissert. 4. Otto Frisingensis, lib. 1. cap. 23. Otto Frisingensis, ibid. Ibid. Otto Frisingensis, ibid. While Frederic was yet fighting his way home through Italy, Adrian had to face about and confront another foe in William, the Norman king of Sicily.
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