The Ripatransone Digital Library

Title & Details Artist: Lorenzo Lotto (c. 1480–1556), Italian Venetian Renaissance painter Medium: Oil on canvas Date: 1539 Location: Town Hall, Cingoli (MC) Description: This altarpiece depicts the Madonna and Child seated on a throne in the midst of a rose garden. Fifteen medallions frame the central scene, depicting the Mysteries of the Rosary. The altarpiece is read from bottom to top, with each tier presenting—from left to right—the five Joyful, Sorrowful, and Glorious Mysteries. The Madonna is engaged in a sacra conversazione (sacred conversation) with saints who honor her. Arranged across three tiers, we see Saint Dominic receiving the rosary; Saint Exuperantius, patron saint of Cingoli, offering a model of his city to the Madonna; Mary Magdalene alongside Catherine of Siena; and the Dominican saints Vincent Ferrer and Peter of Verona. At the bottom center, the infant Saint John the Baptist points to Christ, while two cherubs interact below—one offers a ros...

  La storia parte da lontano. Nel 1978 Foucault, in alcuni reportage da Teheran, volle difendere la Rivoluzione Islamica prossima a venire perché era una forma di resistenza all’Occidente, una frattura storica, la rottura di un ordine. Certo non poteva prevedere la successiva involuzione di quella Rivoluzione, ma quella presa di posizione nasceva da un equivoco ideologico e trascurava il problema dell’universalismo di alcuni valori, a prescindere da dove sono nati. Azar Nafisi, autrice di Leggere Lolita a Teheran, ricordava infatti uno slogan dalla prima manifestazione delle donne, nel 1979, contro la fatwa di Khomeini sull’obbligo del velo, quando migliaia di donne iraniane scesero in strada a Teheran: “La libertà non è né occidentale né orientale. La libertà è universale”. Perciò ritenere che sia occidentale il movimento di opposizione che periodicamente scuote il regime è per lei assolutamente paternalistico. Ora, non ha senso stilare classifiche tra le civiltà sparse sul globo ...

  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 ...