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The four rooms known as the Stanze of Raphael formed part of the apartment situated on the second floor of the Pontifical Palace that was chosen by Julius II della Rovere (pontiff from 1503 to 1513) as his own residence and used also by his successors. The pictorial decoration was executed by Raphael and his school between 1508 and 1524.
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[/caption]두사람 모두 누군가를 기다리는 것 같네요.
오늘 오후 교황이 건강을 회복하고 창가에 모습을 드러내는 장면이 news 에 나왔습니다.
웹상에 그 장면을 풍자한 이미지가 있어 이렇게 올려봅니다.
Ponte Vecchio or The Old Bridge is the oldest bridge in Florence crossing the river Arno. Today, the bridge is home to numerous jewelry shops selling antique and designer jewelry. The central point of Ponte Vecchio opens up into an area with vaulted pillars and stunning views of the river Arno.
다리를 건너는 동안 Jewelry shop 이 많이 있었지만 시간이 부족해서 그냥 지나쳐 갔습니다.
내가 정말로 찍고 싶었던 것은 친구였을까?
냉정과 열정사이 (冷静と情熱のあいだ) 에 나온 대사의 일부입니다.
Two lovers promise to meet ten years later when they parted at 20. What has become of them during the ten years’ period?
오늘은 같은 한자리에서 찍은 두 사진이 대조를 이루어 이렇게 올려보았습니다.
왼쪽 사진에서 볼 수 있듯이 끝이 안보이는 긴줄에서 성당 내부를 보려는 관광객들의 열정을 볼 수 있었습니다.
그와 반대로 무더운 한여름의 열기를 식히려고 물을 뿌린후 아무도 없는 성당 앞에서 친구의 모습만 담고 냉정하게 그자리를 떠났습니다.
영화의 한장면입니다. 10년전의 약속을 잊지않고 만나게 된 두 사람.
바로 아래 사진에서 보면 알 수 있듯이 제가 맨위 두장을 찍었던 곳은 맨 아래 약간 왼쪽에서 성당 정면과 측면을 찍은 것입니다.
Considering that all the acts and works of a people who boast of an illustrious origin should bear the character of grandeur and wisdom, we order Arnolfo, director of the works of our commune, to make the model, or a design of the building, which shall replace the church of Santa Reparata. It shall display such magnificence that no industry nor human power shall surpass it… A government should undertake nothing unless in response to the desire of a heart more than generous, which expresses in its beatings the heart of all its citizens united in one common wish: it is from this point of view that the architect charged with the building of our cathedral must be regarded.”
It must be admitted that it would be difficult to express a more noble idea and a more elevated sentiment than this. The name of the Cathedral is evidently an allusion to the lily, the heraldic emblem of Florence. The ceremony of laying the first stone took place on September 8th, 1298; Pope Boniface VIII. was represented by his legate, Cardinal Pietro Valeriano. Arnolfo’s plan was a Latin cross with three naves, each nave divided into four arcades with sharp pointed arches. In the centre of the cross, under the vault of the dome, was reserved a space enclosed by a ringhiera, having open sides, with an altar in its axis, and in each of its little arms five rectangular chapels were placed. The walls were naked, and the architecture alone served for decoration; the effect, however, was altogether imposing.
Arnolfo did not finish his work; he died about 1230, leaving the church completed only as far as the capitals destined to support the arches. In 1332 Giotto was nominated to succeed him, and for about two hundred years the work was continued without interruption, under the direction of the most worthy men.
It is to Giotto that we owe that extraordinary annex to the Duomo, so celebrated throughout the world under the name of Campanile; its foundation was laid in 1334, after the little church of San Zanobio was razed. It is 85 metres high; Giotto, however, had calculated 94 metres in his plan and intended to finish the square column with a pyramid, like the Campanile of Saint Mark’s in Venice; but he was unable to complete his work, and his successor, Taddeo Gaddi, suppressed this appendix. The Campanile has six divisions; the first and the second, which are easily examined, are ornamented with sculpture executed by Andrea Pisano, after Giotto’s designs…
Even at the risk of banality, the saying attributed to Charles V. when he entered Florence after the siege should be mentioned here; he paused before the Campanile, contemplated it for a long while, and then exclaimed: “They should make a case for the Campanile and exhibit it as a jewel”. Mounting to the top of the tower, we can count, one by one, the domes, the towers, and the monuments, and gaze upon the beautiful landscape which surrounds the city of flowers. There are in this tower seven bells, the largest of which, cast in 1705 to replace the one that had been broken, does not weigh less than 15,860 pounds.
Among the architects who succeeded Giotto, we must count the master of masters, who was, perhaps, the most incontestably illustrious of the Fifteenth Century architects – Filippo Brunelleschi. It was in 1421 that he began the superb dome which crowns the Cathedral. This was his masterpiece, surpassing in audacity and harmony all the monuments of modern art. Everyone knows that this dome is double: the interior casing is spherical, and between it and the exterior dome are placed the stairways, chains, counter-weights, and all the accessories of construction which render it enduring. It was only fifteen years after the death of the great Philippo that this dome was finished (1461). It inspired Michael Angelo for Saint Peter’s in Rome, and Leon Battista Alberti took it for his model in building the famous temple of Rimini which he left unfinished. Andrea del Verocchio, the beautiful sculptor of the Enfant au dauphin and the Tomb of the Medicis in the old sacristy, designed and executed the ball, and Giovanni di Bartolo completed the node on which the Cross stands.
I have said that the walls are naked, that is to say that architecture does not play a great part on them, but the building contains a number of works of the highest order by Donatello, Michelozzo, Ghiberti, della Robbia, Sansovino, Bandinelli, and Andrea del Castagno. It was by the door of the Servi that Dominico di Michelino on January 30, 1465, painted Dante, a tribute paid tardily to the memory of the prince of poets by the society of Florentines, who were none other than the workmen employed in the construction of the Cathedral. Under these arches where Boccaccio made his passionate words resound to the memory of the author of the Divina Comedia, Michelino painted Dante clothed in a red toga and crowned with laurel, holding in one hand a poem and with the other pointing to the symbolical circles. The inscription states that the execution of this fresco is due to one of Dante’s commentators, Maestro Antonio, of the order of the Franciscans.
(Originally Published Early 1900′s )
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