The Ripatransone Digital Library

  The painting depicts the last of two visits made to the Assisi monastery of San Damiano by Pope Innocent IV to the sick Saint Clare, who would die two days later, on August 11, 1253. Only on the 9th of that month, with the papal bull Solet annuere, had the Pope approved the Rule of the Poor Clares, the order founded by Saint Clare and Saint Francis in 1212, the first Rule written by a woman in the history of the Church. The day after the nun's death, Innocent IV, accompanied by the cardinals and the entire Curia, returned to San Damiano to preside over her funeral. Convinced of Clare's sanctity, on October 18th, with the papal bull Gloriosus Deus, the Pope entrusted Bartolomeo Accoramboni, Bishop of Spoleto, with the initiation of the canonization process, which would be concluded two years later, in 1255, by his successor, Alexander IV. The presence of the Poor Clares in Ripatransone dates back to the time of Saint Clare: as early as 1256, the Bishop of Fermo gra...

  Gabriele D’Annunzio ha incarnato, nella sua epoca, un vero e proprio fenomeno culturale che ha affascinato l’immaginario collettivo e influenzato profondamente la letteratura italiana, contribuendo significativamente a plasmarla e segnando, al tempo stesso, un punto di rottura con la stessa attraverso la sua personalità poliedrica, le sue scelte di vita e la sua arte. Appartiene, questo grande abruzzese, al movimento culturale del Decadentismo, che concepisce l’Io non più come Soggetto universale operante nella Storia (come avveniva per esempio nel Romanticismo), ma ripiega in se stesso, nella sua unicità, e si ritrova solitario nel mondo, chiuso nel suo soggettivismo. È, questa, una concezione della vita che porta all’irrazionalismo, all’allontanamento dalla fede religiosa, ma anche dai valori dell’etica e della tradizione, e il mondo, in opposizione anche alla filosofia del positivismo, al clima di fiducia nell’evoluzione tecnico-scientifica e alle ingiustizie della società bor...

To celebrate the figure of Saint Francis eight hundred years after his death in Assisi on October 3, 1226, the Episcopal Conference of the Marche (CEM), together with the thirteen dioceses of the Marche and the Marche Region, have agreed on a series of events, all centered on the figure of the Saint, but each approached from a different perspective. Our diocese is offering a small exhibition that focuses not specifically on the figure of Saint Francis, but rather on Saint Francis through the spiritual message he conveyed to the communities and individuals who followed his path. The exhibition, which features only three works, but of great religious and historical-artistic significance, opens with a precious staurotheca (from the Franciscan Convent of Cossignano), one of many that Pope Nicholas IV (1227-1292), a Franciscan native of Ascoli Piceno, donated to the convents of the Franciscan communities in his homeland. A great patron of the arts, he commissioned extraordinary ...

  Oil on panel Provenance: San Benedetto del Tronto (AP) Costantini Brancadoro Collection The painting is an unpublished work by the Florentine painter Jacopino del Conte, a leading exponent of the second phase of Mannerism known as the "Grande Maniera." Jacopino trained in the workshop of Andrea del Sarto, alongside artists such as Francesco Salviati, with whom he shared a move to Rome and the fresco decoration of the Oratory of San Giovanni Decollato (ca. 1536-1541). This proves that the painting in question is unequivocally by Jacopino. In fact, the panel reproduces the central section of the fresco with the Baptism of Christ, dated 1541. The figure of Jesus is literally derived from the Roman fresco, as if the same material had been used. cartoon, only in reverse, and the pose of the Baptist is the same, simply reversed. Other similarities are found in the landscape setting and especially in the pose of one of the witnesses to the scene, with his gaze equally ...

  E' ormai un sentire condiviso che nella società odierna, per molti dei suoi aspetti regolata ormai dai “big data”, la vita si riveli a noi un’esperienza più angustamente vincolata che liberamente vissuta. Se ne avverte infatti con sempre maggiore smarrimento la natura oltremodo frenetica e assillante, se ne patisce il crescente efficientismo e la conseguente riduzione degli spazi da dedicare alla riflessione personale, alla ricerca di sé. Altra illustre vittima dell’oggi è la memoria, anch’essa sacrificata – a partire dall’istruzione scolastica – sull’altare delle soffocanti urgenze del presente, degli obiettivi produttivi da soddisfare, di un tempo sempre più compresso che trascina nel suo vortice l’intera nostra esistenza. Per resistere al malessere di siffatta modernità, al sacrificio del tempo e della memoria, all’alienante distrazione da noi stessi, sempre più incerti su chi siamo e chi vogliamo essere, i rimedi a disposizione appaiono in verità scarsi.  Tra i pochi aus...

 God the Father, at the center of the scene, wrapped in a large dark cloak, holds the lifeless body of Jesus in his arms, almost as if to display his Son's sacrifice for the salvation of mankind. Between the heads of the Eternal One and Jesus, the dove of the Holy Spirit completes the iconography of the Holy Trinity. Around, groups of angels hold the symbols of the Passion, offering them to the viewer's gaze, seeking their participation. This is a singular iconography of the Holy Trinity, after which the church, adjacent to the Poor Clare Monastery of Montalto, was dedicated. However, the painting, which was the altarpiece of the main altar, appears to be several years earlier, fitting perfectly into the figurative culture of the late 16th century, within the so-called "Sistine" style, which originated from the great Roman art movements of the time of Pope Sixtus V. The painting is of the highest quality, but cannot be attributed with certainty to one of t...