Crucifixion

Crucifixion

Fresco
Unknown author
cm 100×150

 

A fresco from San Leonardo Church. It shows a crucifixion with the Madonna, Mary Magdalene and St. John. At the base the commissioner is shown in minor proportions.

St. Mark of Balletta

St. Mark of Balletta

Tempera on panel Francesco d’Antonio Zacchi of Viterbo named “Il Balletta” Date: before 1476 cm 44 x 103   The work has a late Gothic style typical of Balletta during the last part of his life. Balletta was active from about 1430 and the work is probably a later one. St. Mark (San Marco) is…

Madonna della Carbonara

Madonna della Carbonara

Tempera on panel late 12th – early 13th century Unknown of Roman school cm. 40×80   Icon of Byzantine influence representing the Madonna Hodegetria, particular half-lenght portrait of the Madonna holding the Blessing Infant with the Holy Scriptures. The Latin writing on the bottom says: THE VIRGIN GAVE BIRTH TO HIM WHO FALSE WISDOM DENIED…

Madonna and Child by Benvenuto di Giovanni

Madonna and Child by Benvenuto di Giovanni

Tempera on panel 15th century Benvenuto di Giovanni cm. 60×43   Painted on gold leaf, with typical symbols of 15th century Italian art such as the star on Mary’s right shoulder, a symbol of virginity and a goldfinch,a symbol of Christ’s passion. The words “AVE GRATIA PLENA DOM(ini)” are inscribed inside the Madonna’s halo. The…

Penitent Magdalen

Penitent Magdalen

Oil painting on canvas
Giuseppe Sandri
Second half of the 19th century
cm. 105 x 75

 

The copy of an original Guido Reni done by Giuseppe Sandri for Cardinal Gaetano Bedini, bishop of Viterbo.
In the foreground a female figure identified as the penitent Magdalen while in the upper right there are two angels.
The scene takes place at sunset in a rocky landscape in the countryside. The Magdalen is dressed in white and covered with a long, grey cape. Her head leans on the right hand and is encircled by a thin golden halo through which the rocky wall behind her can be seen.
The long chestnut hair falls softly onto her shoulders and she reaches out her left arm to touch a skull, a traditional attribute of the penitent saint. Her feet are crossed, legs lightly extended giving dynamism to the figure even if seated and apparently still. The saint has an absent look and is surrounded by various objects set on the rock such as vegetables and two books next to the skull and cross. The angels come down to the saint and one of them opens his arms to accept the penitent’s prayers. The first angel with a green veil is sustained by the second one with half closed eyes. Behind them in the distance we see a tree without leaves and the sunset.

The inscription on the retro reads:

“Bolognese Giuseppe Sandri did this commission for S.E. Monsignor G. Bedini Commission Pontificia Straordinaria for the Legations and Prolegato of the Province of Bologna”

 

BIBLIOGRAPHY

– F. Pietrini, I vescovi e la diocesi di Viterbo,Viterbo 1948, pp. 107-108.
– Archivio Diocesano di Viterbo, Inventario del capitolo e della mensa vescovile, Viterbo 1865.
– Archivio Diocesano di Viterbo, Inventario dei mobili esistenti nei palazzi vescovili di Viterbo,Toscanella e Palanzana, Cancelleria vescovile di Viterbo 1866, n 232. prot. gen.

 

 

Capital of Magister Guilelmus

Capital of Magister Guilelmus

Marble Magister Guilelmus XII sec. cm. 30 x 27 x 23   This capital was found during the restoration of S. Silvestro church (today called Gesù church) where it was recycled as acroterio on the top of the façade. It is decorated with an Adoration of the Magi and signed on the base in Gothic…

Arch Of Ciborium

Arch Of Ciborium

Peperino VIII-IX sec. cm. 130×55   It is difficult to define Ciborium for while it generally means a fixed rectangular structure above the altar, usually open on all sides, its use has been enlarged to indicate other parts such as the tabernacle. This arc has intertwined decorations with two facing peacocks. The peacock became a…

Archaeological digs

Archaeological digs

XII-XIII d.C.   With the inauguration of the Museum in the Jubilee year 2000, several changes were made to prepare the structure for new use. During these works the cemetery area and a few tombs in situ emerged and were saved from the restoration works. The burials of the loggetta type, are datable in the…