6 10 149 https://baroque.dahvc.org/fall-2021/files/original/Guido_Reni_s_religious_paintings/The_Separation_of_Night_from_Day/NTI_KLA_1481201.jpeg da8e3144fb8f34067b5fe5365dd9e0b6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guido Reni's Religious Works Contributor An entity responsible for making contributions to the resource Jenny Chen Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Separation of Night from Day Description An account of the resource The Separation of Night from Day happens in the story of the Creation. A winged celestial being or spirit, who has variously been called Dawn or Twilight, separates two figures with two wands. Day, a scantily clad young man, moves swiftly towards the light, holding aloft a flaming red cloak, and looking back over his shoulder in the direction of Night from whom he has just withdrawn. Night, a woman, partially enveloped in clouds, raises her star-studded mantle as if to cover her nakedness, and gazes in the direction of retreating Day. This detached fresco is one of the earliest works by Reni, and one of very few by him in that medium. It was originally on a curved ceiling in the main saloon in Palazzo Zani, 56 via Santo Stefano, in Bologna, but was taken down, using a novel technique, strappo, or detaching the paint-infused plaster from the plaster behind, and reapplying it to canvas. In organizing the airy, cloudy space within a quadrilobe frame, and in showing a heroic male nude with a female figure caught in a swirl of drapery, Reni seems to have been emulating Annibale Carracci's Hercules guided by Virtue painted on a ceiling in Palazzo Zampieri, Bologna in 1593. The idea of representing time in movement while seizing on just one recurs magisterially in his 1614 decoration The Aurora in the Palazzo Pallavicini. This work demonstrates that Reni was working out a composition of simple, eloquent precision, where no figure overlaps another, and where the protagonists, rather than filling the space in depth, operate firmly on the surface plane. He was to exploit this technique of dynamic narrative - opting for lateral movement rather than recession - in many of the great works of his maturity, including Hippomenes and Atalanta. Creator An entity primarily responsible for making the resource Guido Reni Source A related resource from which the described resource is derived Cordellier, Dominique. “Guido Reni’s ‘Separation of Day and Night.’” The Burlington Magazine 129, no. 1007 (1987): 81–82. http://www.jstor.org/stable/882779. Sitwell, Christine. "The reinstatement of the separation of night and day by Guido Reni in the library at Kingston Lacy". ICON news (London) (1749-8988), (4), p. 53. Publisher An entity responsible for making the resource available ARTUK, "The Separation of Night from Day," https://artuk.org/discover/artworks/the-separation-of-night-from-day-100488# (accessed November 28, 2021). Date A point or period of time associated with an event in the lifecycle of the resource 1598 - 1599 - circa 1600 Contributor An entity responsible for making contributions to the resource Jenny Chen Rights Information about rights held in and over the resource This image can be used for non-commercial research or private study purposes, and other UK exceptions to copyright permitted to users based in the United Kingdom under the Copyright, Designs and Patents Act 1988, as amended and revised. Any other type of use will need to be cleared with the rights holder(s). Format The file format, physical medium, or dimensions of the resource 426.5 x 382.5cm Type The nature or genre of the resource Fresco Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant National Trust, Kingston Lacy, Wimborne Minster, Dorset BH21 4EA England https://baroque.dahvc.org/fall-2021/files/original/Still-Life_Painting_in_Baroque_Italy_/Pantry_Interior/GBR-Ruoppolo.jpeg 1c7727d6451d97a5f519e588279ca189 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still-Life Painting in Baroque Italy Subject The topic of the resource Still-Life Painting in Baroque Italy Contributor An entity responsible for making contributions to the resource Kayla Marr Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting; oil on canvas Physical Dimensions The actual physical size of the original image 84.5 x 118 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pantry Interior Creator An entity primarily responsible for making the resource Giovan Battista Ruoppolo Format The file format, physical medium, or dimensions of the resource 84.5 x 118 cm Type The nature or genre of the resource oil on canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo Diego Aragona Pignatelli Cortes, Intesa Sanpaolo Collection, Naples, Italy. Description An account of the resource <h2>The Artist</h2> Giovan Battista Ruoppolo was born in Naples in 1629 [1]. Giovan Battista’s father, Francesco Ruoppolo, was a majolica painter, and scholars such as Ulisse Prota-Giurleo assume that Giovan Battista might have worked in his father’s majolica workshop where one of Giovan Battista’s elder brothers also worked [2]. As a member of the majolica workshop, Giovan Battista may have painted designs of fish, birds, or fruits [3]. It was under Paolo Porpora’s training where Giovan Battista is assumed to have begun his venture in still life painting. Biographer Bernardo de Dominici claims that Ruoppolo was trained in Naples by <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/paolo-porpora" target="_blank" rel="noreferrer noopener">Paolo Porpora</a> prior to Porpora’s travels to Rome [4]. De Dominici claims that Giovan Battista quickly surpassed Porpora’s skill and began to specialize in the painting of fruits, particularly grapes [5]. However, there is currently no existing documentation that confirms that Giovan Battista was Porpora’s pupil [6]. Furthermore, uncertainty regarding attribution of Giovan Battista’s work exists because of his shared initials, “GBR,” with <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/giovan-battista-recco" target="_blank" rel="noreferrer noopener">Giovan Battista Recco</a>, another Neapolitan still life painter contemporary to Ruoppolo. However, Giovan Battista Ruoppolo’s particular specialization in painting fruits differentiates him from Recco, who appeared to have been more inclined towards marine life paintings. In De Dominici’s account of Giovan Battista’s life, he claims that members of the aristocracy and wealthy class of Naples were keen to collect Giovan Battista’s work [7]. Furthermore, De Dominici credits Giovan Battista with collaborating on four of the fourteen paintings created for the 1684 Corpus Domini exhibition commissioned by Marchese del Caprio, Viceroy of Naples from 1683 to 1687 [8]. Giovan Battista’s inclusion in this significant artististic project suggests the high renown that his still life works were held. Giovan Battista contributed to these large-scale paintings with his depiction of fruits, flowers, grapes, vegetables, and animals that complemented the figures created by history painters [9]. Source A related resource from which the described resource is derived Works Cited <ol> <li> Middione, Roberto. "Ruoppolo, Giovanni Battista." Grove Art Online. 2003. <a href="https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000074501">https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.00</a><a href="https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000074501">01/oao-9781884446054-e-7000074501</a>. </li> <li> Damian Véronique. “Giovan Battista Ruoppolo.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 106-107. Paris, France: Galerie Canesso, 2007. </li> <li> Damian Véronique. “Giovan Battista Ruoppolo.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 106-107. Paris, France: Galerie Canesso, 2007. </li> <li> Dominici, Bernardo De', Fiorella Sricchia Santoro, and Andrea Zezza. Vite De' Pittori, Scultori e Architetti Napoletani. Napoli: Paparo, 2003. </li> <li> Dominici, Bernardo De', Fiorella Sricchia Santoro, and Andrea Zezza. Vite De' Pittori, Scultori e Architetti Napoletani. Napoli: Paparo, 2003. </li> <li> Damian Véronique. “Giovan Battista Ruoppolo.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 106-107. Paris, France: Galerie Canesso, 2007. </li> <li> Middione, Roberto. "Ruoppolo, Giovanni Battista." Grove Art Online. 2003. <a href="https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000074501">https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000074501</a>. </li> <li> Damian Véronique. “Giovan Battista Ruoppolo.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 106-107. Paris, France: Galerie Canesso, 2007. </li> <li> Damian Véronique. “Giovan Battista Ruoppolo.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 106-107. Paris, France: Galerie Canesso, 2007. </li> </ol> Publisher An entity responsible for making the resource available Museo Diego Aragona Pignatelli Cortes. Date A point or period of time associated with an event in the lifecycle of the resource unknown Contributor An entity responsible for making contributions to the resource Kayla Marr Rights Information about rights held in and over the resource Museo Diego Aragona Pignatelli Cortes. https://baroque.dahvc.org/fall-2021/files/original/Pope_Sixtus_V/Via_Felice_and_Sixtus_V_s_Roads_of_Rome/Image_12-1-21_at_5.32_PM.jpg 9865dcbb1a57e1d88e2faf7e160834d6 https://baroque.dahvc.org/fall-2021/files/original/Pope_Sixtus_V/Via_Felice_and_Sixtus_V_s_Roads_of_Rome/IMG_9841.jpg 3d11aa6495bf25f350483d6e6b447253 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pope Sixtus V Description An account of the resource This collection explores the extent to which Pope Sixtus V (born Felice Peretti Montalto) transformed Rome into a Baroque city. In the middle of the sixteenth century, Rome was still very much an ancient city with poor infrastructure. As the sixteenth century came to a close, Rome has undergone immense transformation, with the rebuilding and construction of churches, palaces, roads, aqueducts, and more. Although he was not the only pope involved in this transformation, Pope Sixtus V stands out as a key figure. Sixtus V was nothing short of a visionary, whose body of work highlights his innovative urban planning as head of the Catholic Church (1585-1590). In order to truly evaluate Sixtus V's impact, this exhibit pays note to context. Late sixteenth-century Rome's most powerful figure was its governing pope. Since each pope came from his own family and had unique interests and backgrounds, the changes made during a particular papacy heavily reflect the desires of that particular pope. Thus, this exhibit examines Sixtus V's predecessors and successors. Popes before him such as Sixtus IV, Julius III, Paul IV, Pius IV, Pius V, and Gregory XIII did not concentrate their efforts on urban design to the extent that Sixtus V did. Although they were focused on important issues such as wars, reformation, enforcing decrees from the Council of Trent, and the education of the clergy, their impact on Rome is not highlighted as much through urban structures and design. Popes after him such as Urban VII (1623-1644) seem to be inspired by Sixtus V, putting more emphasis on art patronage. Sixtus V still impacts Rome today through the lasting impact of his urban planning. This exhibition showcases Sixtus V's design of the city and analyzes his different mediums for reshaping Rome. This exhibit explores Sixtus V's remodeling of the streets, his building of the fountain Fontana Felice, the Lateran Palace, the Dome of Saint Peter's, the Vatican Library, his financing of the Pontine Marshes, and his moving of obelisks into key piazzas and streets. Creator An entity primarily responsible for making the resource Pope Sixtus V Date A point or period of time associated with an event in the lifecycle of the resource 2021 Contributor An entity responsible for making contributions to the resource Cameron DeChurch Source A related resource from which the described resource is derived Long, Pamela O. Engineering the Eternal City: Infrastructure, Topography, and the Culture of Knowledge in Late Sixteenth-Century Rome. Chicago: University of Chicago Press, 2018. Publisher An entity responsible for making the resource available Pope Sixtus V Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Via Felice and Sixtus V's Roads of Rome Description An account of the resource Sixteenth-century Rome had a surprisingly basic and outdated street system. Street traffic consisted primarily of horses, oxen, donkeys, carriages, and carts. Beggars and vendors crowded the streets as pedestrians, with smaller animals such as pigs and sheep scattered around. The roads were often plagued by sewage, overgrown vegetation, and waste. Fishmongers and butchers frequently threw their remains into the streets [1]. Popes before Sixtus all made efforts to address this problem. The bulls of Sixtus IV, Pius IV, and Gregory XIII prohibited the throwing of trash onto the streets, cleaned up overgrown vegetation and obstruction, and required street paving. [1] These reforms cleaned up the city and improved the health of Romans who relied on these streets daily. Pope Sixtus IV was in fact known as the "Urbis Restaurator" for his success with street repair, and he notably enlisted the "Maestri di Strada", a committee dedicated to the upkeep of the streets of Rome [2]. Pope Sixtus V built upon these elementary cleansing-based approaches and differentiated himself by implementing significant organizational reforms to redefine the structure and flow of Rome. Pope Sixtus V combined civic and papal Rome, created fifteen permanent congregation spaces, and increased the number of masters (assigned to take care of the city's structures and channels) from two to fourteen [1]. Sixtus V designed roads and avenues throughout Rome that were especially long and straight. He did this to connect religious landmarks by increasing the fluidity of the city, thereby facilitating the progression of pilgrims from church to church, initiating secular urban development, and cementing his legacy. Pope Sixtus V’s most notable street is the Via Felice, which connected the Trinità dei Monti on the Pincian Hill (which can be found today at the summit of the Spanish Steps) with Santa Maria Maggiore and extended to the Santa Croce in Jerusalem. The Via Felice was never completed, but was intended to continue from the Trinità dei Monti to the Piazza del Popolo. In modern day Rome, the Via Felice is the unison of Via Sistina, Via delle Quattro Fontane, and Via de Pretis. Sixtus V created the Via Felice with the goal of developing the Roman hills and establishing the basilica of Santa Maria Maggiore as a focal point of Rome [1]. Some of his other notable arteries are the Via Santa Croce, and Via Panisperna. The Via Santa Croce was opened by Sixtus V and was important for pilgrims as it connected Santa Maria Maggiore with the church of Santa Croce in Jerusalem. The Via Panisperna was also started by Sixtus and connects Santa Maria Maggiore and the Piazza della Colonna Traiana [3]. To further establish his new streets as prominent arteries in the city, Sixtus V granted special privileges to those who built on the new streets, such as exemption from taxes and property confiscation [1]. Sixtus V's innovative urban planning shines through his great attention to detail as he created each of these roads with intention and purpose. Giovanni Francesco Bordini (1536-1609), an ordained priest, published a book of poems that praised the work of Sixtus, and included an engraving of Sixtus V’s plan of the new streets. This system had multiple centers, one for each landmark (i.e. the Lateran Palace, the churches of Santa Croce and the Trinità dei Monti), with the Santa Maria Maggiore serving as the center star for pilgrimage [4]. Creator An entity primarily responsible for making the resource Pope Sixtus V Source A related resource from which the described resource is derived [1] Long, Pamela O. Engineering the Eternal City: Infrastructure, Topography, and the Culture of Knowledge in Late Sixteenth-Century Rome. Chicago: University of Chicago Press, 2018. [2] Blondin, Jill E. “Power Made Visible: Pope Sixtus IV as ‘Urbis Restaurator’ in Quattrocento Rome.” The Catholic Historical Review 91, no. 1 (2005): 1–25. http://www.jstor.org/stable/25026778. [3] Burroughs, Charles. “Opacity and Transparence: Networks and Enclaves in the Rome of Sixtus V.” RES: Anthropology and Aesthetics, no. 41 (2002): 56–71. http://www.jstor.org/stable/20167556. [4] Bordini, Giovanni Francesco. De Rebvs Praeclare Gestis a Sixto v. Pon. Max. Io. Francisci Bordini I.C. Et Praesbiteri Ro. Carminvm Liber Primvs. Romae: Zanetti, 1588. Publisher An entity responsible for making the resource available Pope Sixtus V Date A point or period of time associated with an event in the lifecycle of the resource 1585-1590 Contributor An entity responsible for making contributions to the resource Cameron DeChurch Format The file format, physical medium, or dimensions of the resource The Strada Felice (or Via Sistina) stretches 1.6 kilometers. The Via Santa Croce stretched 1.7 kilometers. The Via Panisperna stretches 1.4 miles. Type The nature or genre of the resource Roads Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Rome, Italy https://baroque.dahvc.org/fall-2021/files/original/Guido_Reni_s_religious_paintings/Aurora/Guido_Reni_-_L_Aurora_di_Guido_Reni_nelle_arti_decorative.jpg 96d27039835cc073bfa83efd0dd83d21 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guido Reni's Religious Works Contributor An entity responsible for making contributions to the resource Jenny Chen Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Aurora Publisher An entity responsible for making the resource available Wikimedia Commons contributors, "File:Guido Reni - L'Aurora di Guido Reni nelle arti decorative.jpg," Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Guido_Reni_-_L%27Aurora_di_Guido_Reni_nelle_arti_decorative.jpg&oldid=475059556 (accessed December 1, 2021). Creator An entity primarily responsible for making the resource Guido Reni Date A point or period of time associated with an event in the lifecycle of the resource circa 1612-1614 Contributor An entity responsible for making contributions to the resource Jenny Chen Format The file format, physical medium, or dimensions of the resource 280 × 700 cm Type The nature or genre of the resource Fresco Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Casino Rospigliosi Pallavicini, Rome, Italy Description An account of the resource The Aurora is a large Baroque ceiling fresco painted in 1614 by Guido Reni for the Casino, or garden house, adjacent to the Palazzo Pallavicini-Rospigliosi, in Rome. The casino and the fresco were commissioned by the Cardinal Scipione Borghese. The Aurora displayed within a painted frame and depicts from right to left, Aurora (the goddess of dawn) in a golden billowing dress with her garlands flies over a dim-lit landscape, leading a blond Apollo in his horse-drawn chariot, surrounded by a chain of female "hours", bringing light to the world. It could also be described as the Triumph of Apollo led by the Aurora. Above the quadriga, in the sky, flies the putto Phosphorus (morning star) with a torch. Zephyrs blow winds at either end. The Aurora belongs to Guido Reni’s second manner as it was passing into the latest phase, when his tones grew silvery and gray and his women became insipid and pretty. The fresco uses classic forms and warm, agreeable color. Reni’s treatment of the small, limp hands indicates a decadence from the heroic and noble women, to whom the old masters gave energized, shapely large hands. The style of the work is classically restrained and mimics poses from ancient Roman sarcophagi, that were on display in the cardinal's collection. The chariot procession recalls the central fresco in The Loves of the Gods, painted by Annibale Carracci in the Farnese Palace, which depicts the Triumph of Bacchus and Ariadne; however, here there is far more classical sobriety in a restricted number of figures, with little emotion, without overemphasizing muscular anatomy, and hearkening beyond mannerism back to a high-renaissance restraint. There is little attention to the perspective. From the seventeenth-century on, Reni’s figures were praised for the “airs of the heads,” a notion with astrological and medical connotations, while the papal physician and art critic Giulio Mancini described Reni’s manner as “spirited,” a term suggestive of the airy movement Reni so powerfully represented in his Aurora[1]. Source A related resource from which the described resource is derived Clark, Anthony M. “A Late, Great Guido Reni.” The Art Institute of Chicago Quarterly 54, no. 2 (1960): 3–7. http://www.jstor.org/stable/4119872. Gage, Frances. " Air, Wind, Sun, Spirit", Nuncius 32, 3 (2017): 658-682, doi: https://doi.org/10.1163/18253911-03203007. Rowe, G. M. E. "THE MASTERPIECES OF PAINTING.: III. THE AURORA. GUIDO RENI." Congregationalist (1891-1901), Feb 23, 1893, 297, https://login.proxy.lib.duke.edu/login?url=https://www.proquest.com/magazines/masterpieces-painting/docview/124233812/se-2?accountid=10598. https://baroque.dahvc.org/fall-2021/files/original/Pope_Sixtus_V/Addition_to_Apostolic_Palace/Image_12-1-21_at_4.55_PM.jpg c67af84dc7c6110774a10acde949b717 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pope Sixtus V Description An account of the resource This collection explores the extent to which Pope Sixtus V (born Felice Peretti Montalto) transformed Rome into a Baroque city. In the middle of the sixteenth century, Rome was still very much an ancient city with poor infrastructure. As the sixteenth century came to a close, Rome has undergone immense transformation, with the rebuilding and construction of churches, palaces, roads, aqueducts, and more. Although he was not the only pope involved in this transformation, Pope Sixtus V stands out as a key figure. Sixtus V was nothing short of a visionary, whose body of work highlights his innovative urban planning as head of the Catholic Church (1585-1590). In order to truly evaluate Sixtus V's impact, this exhibit pays note to context. Late sixteenth-century Rome's most powerful figure was its governing pope. Since each pope came from his own family and had unique interests and backgrounds, the changes made during a particular papacy heavily reflect the desires of that particular pope. Thus, this exhibit examines Sixtus V's predecessors and successors. Popes before him such as Sixtus IV, Julius III, Paul IV, Pius IV, Pius V, and Gregory XIII did not concentrate their efforts on urban design to the extent that Sixtus V did. Although they were focused on important issues such as wars, reformation, enforcing decrees from the Council of Trent, and the education of the clergy, their impact on Rome is not highlighted as much through urban structures and design. Popes after him such as Urban VII (1623-1644) seem to be inspired by Sixtus V, putting more emphasis on art patronage. Sixtus V still impacts Rome today through the lasting impact of his urban planning. This exhibition showcases Sixtus V's design of the city and analyzes his different mediums for reshaping Rome. This exhibit explores Sixtus V's remodeling of the streets, his building of the fountain Fontana Felice, the Lateran Palace, the Dome of Saint Peter's, the Vatican Library, his financing of the Pontine Marshes, and his moving of obelisks into key piazzas and streets. Creator An entity primarily responsible for making the resource Pope Sixtus V Date A point or period of time associated with an event in the lifecycle of the resource 2021 Contributor An entity responsible for making contributions to the resource Cameron DeChurch Source A related resource from which the described resource is derived Long, Pamela O. Engineering the Eternal City: Infrastructure, Topography, and the Culture of Knowledge in Late Sixteenth-Century Rome. Chicago: University of Chicago Press, 2018. Publisher An entity responsible for making the resource available Pope Sixtus V Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Addition to Apostolic Palace Description An account of the resource While exploring the Apostolic, or Vatican Palace, it is important to note that it was not actually inhabited by the popes until Pope Innocent III built a papal residence near St. Peter’s in the late twelfth century [1]. The Popes re-established their residency at the Vatican in the fourteenth and fifteenth century following the Great Schism [1]. As the popes came back to reside in the Vatican, their fascinating influence in the city of Rome continued. These popes were the most primary governors of Rome, and all came from different backgrounds with varying interests [2]. The Apostolic Palace was built by a collection of popes, ranging from Sixtus IV (his papacy was 1471-1484) to Gregory XIII (his papacy was 1572-1585) and Sixtus V himself (his papacy was 1585-1590). In fact, many of these popes who constructed the Vatican, or Apostolic Palace also played a role in the lengthy construction process of St. Peter's. Their different opinions and viewpoints are reflected in their unique wings that combine to form the Vatican Palace that we know today. The collections of the Vatican Palace most notably began when Pope Julius II moved the statue of Apollo Belvedere to the Vatican in 1503 [3]. Following the establishments of Sixtus IV’s Sistine Chapel and Gregory XIII’s new wing added to the left of the obelisk, Pope Sixtus V wanted to construct an addition to the Apostolic Palace during his papacy (1585-1590). Sixtus V had Domenico Fontana build a new wing in 1589 to the east of Gregory XIII’s. This wing had a rather simple geometric design, being a large square building and creating the third side of the Cortile di San Damaso courtyard. Sixtus V’s square wing sits nicely alongside Gregory XIII’s and Bramante’s facade. This wing is particularly significant because it has remained the location of the papal residence and the pope’s Sunday blessings to this day [1]. Creator An entity primarily responsible for making the resource Pope Sixtus V and Domenico Fontana Source A related resource from which the described resource is derived [1] Boorsch, Suzanne. “The Building of the Vatican: The Papacy and Architecture.” The Metropolitan Museum of Art Bulletin 40, no. 3 (1982): 4–64. https://doi.org/10.2307/3258914. [2] Long, Pamela O. Engineering the Eternal City: Infrastructure, Topography, and the Culture of Knowledge in Late Sixteenth-Century Rome. Chicago: University of Chicago Press, 2018. [3] Claridge, Amanda. Rome: An Oxford Archaeological Guide. Oxford: Oxford Univ. Press, 2010. Publisher An entity responsible for making the resource available Pope Sixtus V Date A point or period of time associated with an event in the lifecycle of the resource 1589 Contributor An entity responsible for making contributions to the resource Cameron DeChurch Format The file format, physical medium, or dimensions of the resource The Apostolic Palace covers 162,000 square meters. Type The nature or genre of the resource Building Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Apostolic Palace, Vatican City https://baroque.dahvc.org/fall-2021/files/original/Still-Life_Painting_in_Baroque_Italy_/Fish_Spiny_Lobster_Squid_and_Spider_Crab_on_a_Stone_Ledge/GBR-Recco.jpg 5a0404730deceb51a5627d3147e4430e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still-Life Painting in Baroque Italy Subject The topic of the resource Still-Life Painting in Baroque Italy Contributor An entity responsible for making contributions to the resource Kayla Marr Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paiting; oil on canvas Physical Dimensions The actual physical size of the original image 102 x 128.5 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fish, Spiny Lobster, Squid, and Spider Crab on a Stone Ledge Creator An entity primarily responsible for making the resource Giovan Battista Recco Date A point or period of time associated with an event in the lifecycle of the resource 1653 Contributor An entity responsible for making contributions to the resource Kayla Marr Format The file format, physical medium, or dimensions of the resource oil on canvas, 102 x 128.5 cm Type The nature or genre of the resource painting Description An account of the resource <div class="exhibit-block layout-text"> <h2>The Artist</h2> Giovan Battista Recco was born around 1615 in Naples, and he is assumed to be the brother of <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/giacomo-recco" target="_blank" rel="noreferrer noopener">Giacomo Recco</a> and thus also born into an intergenerational family workshop. Little is known about Giovan Battista Recco, as there are few works that are known to be signed or monogrammed by Giovan Battista [1]. Currently, there are only two paintings that are clearly signed in full and dated that serve to identify Giovan Battista’s work [2]. Additionally, there have been issues with attribution of Giovan Battista’s work, as he shares the same initials, “GBR,” as <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/giovan-battista-ruoppolo" target="_blank" rel="noreferrer noopener">Giovan Battista Ruoppolo</a>, another prominent Neapolitan still-life painter at the time. Furthermore, Giovan Battista Recco and Giovan Battista Ruoppolo both created still life paintings of similar subject matter, including kitchen interiors and pantry scenes [3]. This lack of clear attribution has led several works to be attributed to Giovan Battista simply through stylistic similarities alone. Beyond direct signatures on paintings, there are fewer than twenty works that are attributed to Giovan Battista based on seventeenth-century and eighteenth-century inventories that mention Giovan Battista under the nickname “Titta Recco” [4]. Giovan Battista is said to have been inspired by the work of Roman Caravaggesque painters and Spanish still-life paintings [5]. Some scholars have speculated that Giovan Battista may have been trained in Spain, but scholars such as Damian argue that it is more likely that Giovan Battista may have come into contact with Spanish painters residing in Naples and became influenced through that contact [6]. </div> <div class="exhibit-block layout-text"> <h2>Fish, Spiny Lobster, Squid, and Spider Crab on a Stone Ledge</h2> Fish, Spiny Lobster, Squid, and Spider Crab on a Stone Ledge is an oil on canvas painting measuring 102 by 128.5 centimeters created by Giovan Battista Recco in 1653. Signed and dated “Gio. Batta/1653,” on the upper right wooden strut of the work, this painting has been a key piece for scholars attempting to establish what works make up Giovan Battista’s body of work [7]. This marine still life painting depicts the fish and other marine life in a highly naturalistic form. The painting has a varied arrangement of the marine life spread out amongst kitchen ware such as copper bowls and woven baskets. The painting is set in a dimly lit setting, with glimmers of light reflecting off of the shimmering fish scales and slimy squid skins arranged around the painting. The light reflecting off of the marine life highlights the creatures in contrast with the painting’s dark background. </div> Source A related resource from which the described resource is derived Works Cited <ol> <li>Christie's. “Sardines Suspended from Twine and Onions on a Stone Ledge.” Giovan Battista Recco (Naples c. 1615-c. 1660). Christie's, 2006. <a href="https://www.christies.com/en/lot/lot-4836794">https://www.christies.com/en/lot/lot-4836794</a>.</li> <li>Damian Véronique, and Nicola Spinosa. “‘Natura in Posa’ in Seventeenth-Century Naples: Progress and Setbacks in Research.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 8–13. Paris, France: Galerie Canesso, 2007. </li> <li>Damian Véronique, and Nicola Spinosa. “‘Natura in Posa’ in Seventeenth-Century Naples: Progress and Setbacks in Research.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 8–13. Paris, France: Galerie Canesso, 2007. </li> <li>Christie's. “Sardines Suspended from Twine and Onions on a Stone Ledge.” Giovan Battista Recco (Naples c. 1615-c. 1660). Christie's, 2006. <a href="https://www.christies.com/en/lot/lot-4836794">https://www.christies.com/en/lot/lot-4836794</a>.</li> <li>Middione, Roberto. “Recco Family.” Oxford Art Online, 2003. <a href="https://doi.org/10.1093/gao/9781884446054.article.t071027">https://doi.org/10.1093/gao/9781884446054.article.t071027</a>.</li> <li>Damian Véronique. “Giovan Battista Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 34–35. Paris, France: Galerie Canesso, 2007.</li> <li>Damian Véronique. “Giovan Battista Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 34–35. Paris, France: Galerie Canesso, 2007.</li> </ol> https://baroque.dahvc.org/fall-2021/files/original/Guido_Reni_s_religious_paintings/Penitent_Magdalene/Guido_Reni_-_The_Penitent_Magdalene_-_Google_Art_Project.jpeg cc8e88511c95a7e637b9e8d21e243714 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guido Reni's Religious Works Contributor An entity responsible for making contributions to the resource Jenny Chen Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Penitent Magdalene Creator An entity primarily responsible for making the resource Guido Reni Publisher An entity responsible for making the resource available Wikimedia Commons contributors, "File:Guido Reni - The Penitent Magdalene - Google Art Project.jpg," Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Guido_Reni_-_The_Penitent_Magdalene_-_Google_Art_Project.jpg&oldid=595044812 (accessed December 1, 2021). Date A point or period of time associated with an event in the lifecycle of the resource ca. 1635 Contributor An entity responsible for making contributions to the resource Jenny Chen Format The file format, physical medium, or dimensions of the resource 90.8 x 74.3 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Walters Art Museum, Baltimore, Maryland, United States Description An account of the resource According to Christian tradition, after meeting Christ, Mary Magdalene regretted her former sinful ways. The claims that Mary Magdalene was a prostitute leading a promiscuous way of life before meeting Jesus and repenting of her sinful ways, are completely unfounded, and not supported by the canonical gospels. Nevertheless, the idea of a strong woman offering redemption was a powerful image, and the revival of the cult of Mary Magdalene during the late 16th-17th centuries was accompanied with numerous depictions in a variety of styles, of which, Guido Reni's is a personal favourite. In the painting, the beautiful Magdalene with her ivory skin and long golden hair turns her gaze toward heaven. Her cross and the skull suggests that she is meditating on the brevity of life and the salvation made possible by Christ's death. Reni’s idealized and classical style was influenced by ancient sculpture and by the Renaissance artist Raphael (1483-1520). This influence is visible in the Magdalene's rounded and even features. They are painted so smoothly that the strokes seem to disappear. In contrast, the drapery is depicted with the broad and energetic strokes, which are more typical of 17th-century painting. Images of female saints, sometimes depicted in a seductive manner, were very popular among some artists and patrons in the 17th century. Reni painted many versions of this composition. The composition is simple, striking, and powerful. Magdalene lifts her soft face toward the heavens, illuminated by a divine shaft of light. Her hair flows with power over her right shoulder. She clutches a hand to her breast in a show of humility as her robes drape and swirl. Depicting the cross above the skull could be a symbolic representation of the triumph of the divine over death. Placing the erect cross between her fingers could be a nod to her supposed lascivious former life which she is now turning away from, fixing her gaze toward god in the opposite direction. Reni's depiction is a masterpiece, and a subtle show of the power of both Christianity, and the Baroque. Source A related resource from which the described resource is derived Brady, Aoife. “The Studio of Guido Reni from 1620 to 1630: Formulating Compositions.” Getty Research Journal, no. 12 (2020): 1–28. https://www.journals.uchicago.edu/doi/pdf/10.1086/708313. Mahon, Denis, and Stephen Pepper. “Guercino and Reni: Reflections on the Interpretation of Documents and Paintings.” The Burlington Magazine 139, no. 1128 (1997): 178–87. http://www.jstor.org/stable/887393. “Penitent Magdalene.” Walters Art Museum, https://art.thewalters.org/detail/40183/the-penitent-magdalene-2/ https://baroque.dahvc.org/fall-2021/files/original/Pope_Sixtus_V/Addition_to_Vatican_Library/library.jpeg d90480b5b6cd24a3bc11ed0a98cf9929 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pope Sixtus V Description An account of the resource This collection explores the extent to which Pope Sixtus V (born Felice Peretti Montalto) transformed Rome into a Baroque city. In the middle of the sixteenth century, Rome was still very much an ancient city with poor infrastructure. As the sixteenth century came to a close, Rome has undergone immense transformation, with the rebuilding and construction of churches, palaces, roads, aqueducts, and more. Although he was not the only pope involved in this transformation, Pope Sixtus V stands out as a key figure. Sixtus V was nothing short of a visionary, whose body of work highlights his innovative urban planning as head of the Catholic Church (1585-1590). In order to truly evaluate Sixtus V's impact, this exhibit pays note to context. Late sixteenth-century Rome's most powerful figure was its governing pope. Since each pope came from his own family and had unique interests and backgrounds, the changes made during a particular papacy heavily reflect the desires of that particular pope. Thus, this exhibit examines Sixtus V's predecessors and successors. Popes before him such as Sixtus IV, Julius III, Paul IV, Pius IV, Pius V, and Gregory XIII did not concentrate their efforts on urban design to the extent that Sixtus V did. Although they were focused on important issues such as wars, reformation, enforcing decrees from the Council of Trent, and the education of the clergy, their impact on Rome is not highlighted as much through urban structures and design. Popes after him such as Urban VII (1623-1644) seem to be inspired by Sixtus V, putting more emphasis on art patronage. Sixtus V still impacts Rome today through the lasting impact of his urban planning. This exhibition showcases Sixtus V's design of the city and analyzes his different mediums for reshaping Rome. This exhibit explores Sixtus V's remodeling of the streets, his building of the fountain Fontana Felice, the Lateran Palace, the Dome of Saint Peter's, the Vatican Library, his financing of the Pontine Marshes, and his moving of obelisks into key piazzas and streets. Creator An entity primarily responsible for making the resource Pope Sixtus V Date A point or period of time associated with an event in the lifecycle of the resource 2021 Contributor An entity responsible for making contributions to the resource Cameron DeChurch Source A related resource from which the described resource is derived Long, Pamela O. Engineering the Eternal City: Infrastructure, Topography, and the Culture of Knowledge in Late Sixteenth-Century Rome. Chicago: University of Chicago Press, 2018. Publisher An entity responsible for making the resource available Pope Sixtus V Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Addition to Vatican Library Description An account of the resource A critical component to Sixtus V’s legacy is his construction of a new Vatican Library [1]. The Vatican libraries date to the 15th century, and grew in significance as the Popes moved from the Lateran Palace to the Vatican. In 1588, Pope Sixtus V sponsored the construction of a new wing across the Cortile del Belvedere [2]. He collaborated with his notable architect Domenico Fontana, who designed the building [3]. His construction of the Vatican Library both adds a new component to his impact through the facilitating of learning and education resources, and also reveals an interesting interpersonal connection with the papacy before him, notably Pope Julius. The specific location of this library was not ideal from a space standpoint. It was cluttered between the large steps and courts, and the south facade felt more cluttered and repetitive as compared to the designs and preferences of Bramante, who constructed the corridors of the Belvedere [3]. Yet, instead of building the library in the spacious west courtyard, Sixtus V chose this location. He did this because even more important the style of the library was the repudiation of what the Cortile del Belvedere had come to symbolize. Julius had a theatre, pleasure gardens, and an overall return to classical ideals, which Sixtus V saw as "pagan" and "inappropriate". Thus, Sixtus V constructed this library to erase Julius's Atrio del Piacere [3]. Sixtus V’s Vatican Library was very impactful both by establishing a new wing to the Vatican’s library construction, and also because the three levels of the Cortile del Belvedere adopted individual identities and purposes as a result. In fact, the court never held another performance like the ones with masses of spectators in the courtyard under Julius [3]. The Vatican Library is especially insightful into Sixtus V’s plans for Rome because not only do they reflect his impressive initiative with construction, but they highlight his desire for a reform in the way religious sites were constructed, specifically with regards to abstinence from “pagan” customs. Creator An entity primarily responsible for making the resource Domenico Fontana Source A related resource from which the described resource is derived [1] Long, Pamela O. Engineering the Eternal City: Infrastructure, Topography, and the Culture of Knowledge in Late Sixteenth-Century Rome. Chicago: University of Chicago Press, 2018. [2] MACDONALD, ANGUS S. “THE DISASTER IN THE VATICAN LIBRARY.” Scientific American 146, no. 4 (1932): 226–27. http://www.jstor.org/stable/24965901. [3] Boorsch, Suzanne. “The Building of the Vatican: The Papacy and Architecture.” The Metropolitan Museum of Art Bulletin 40, no. 3 (1982): 4–64. https://doi.org/10.2307/3258914. Publisher An entity responsible for making the resource available Pope Sixtus V Date A point or period of time associated with an event in the lifecycle of the resource 1588 Contributor An entity responsible for making contributions to the resource Cameron DeChurch Format The file format, physical medium, or dimensions of the resource The Apostolic Palace covers 162,000 square meters. Type The nature or genre of the resource Library Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Apostolic Palace, Vatican City https://baroque.dahvc.org/fall-2021/files/original/Reinterpreting_the_Bible_Guido_Reni_s_religious_paintings/Saint_Sebastian/Saint_Sebastian.jpg 890edcd7fe605f83cc7003cc29f768e2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Guido Reni's Religious Works Contributor An entity responsible for making contributions to the resource Jenny Chen Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saint Sebastian Creator An entity primarily responsible for making the resource Guido Reni Publisher An entity responsible for making the resource available Museo Nacional del Prado, "Saint Sebastian," https://www.museodelprado.es/en/the-collection/art-work/saint-sebastian/d98d334e-a7f4-44eb-9d7c-7cfc689a6d5b (accessed November 28, 2021). Date A point or period of time associated with an event in the lifecycle of the resource 1617 - 1619 Contributor An entity responsible for making contributions to the resource Jenny Chen Format The file format, physical medium, or dimensions of the resource 170 × 133 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo Nacional del Prado, Madrid, Spain Description An account of the resource Guido Reni uses one of his most iconic compositions in this work. Sebastian was a Roman soldier who suffered martyrdom for his Christian faith under the reign of Diocletian and Maximian at the end of the third century. He became a patron saint of the city of Rome, and his cult became popular throughout Europe since he was invoked in times of plague. Sebastian is usually depicted to be bound to a tree and shot with arrows in what turned out to be a first failed attempt at killing him[1]. Reni painted innumerable images - at least seven - of the saint which attempted to make visible his powerful faith - a triumphant faith which survived overwhelming odds. Four of these works are located in Auckland City Art Gallery, New Zealand; Musee du Louvre, Paris; Museo de Prado, Madrid; and Museo de Arte de Ponce, Puerto Rico[2]. They show the saint with his hands tied behind his back with slight variations. When polyester film sheets with the outline of the torso of each work are overlaid, the outlines are almost identical. Although the canvas measurements differ and the number of tiny figures in the middle ground on the right-hand side vary in number from three to four, it is suggested that they have stemmed from the same cartoon[2]. In this work, Reni paints the flesh tones with great skill over a reddish-brown ground. He uses a dense criss-crossing of strokes of ivory white in the highlighted areas, such as the shoulders and chest, whereas he paints the half-shadows in thin and transparent glazes over the ground. Reni's distinctive silvery flesh tones intensify the saint's almost impenetrable aura of piety and devotion. His ecstatic pose is closely based on Michelangelo's Rebellious Slave, who like Sebastian, searches the heavens for strength and support in his time of trial. Source A related resource from which the described resource is derived Finaldi, G., Guido Reni 'Saint Sebastian' En:. Italian masterpieces from Spain's royal court, Museo del Prado, National Gallery of Victoria Thames & Hudson, 2014, p.102 Hillary, Sarah, and Mary Kisler. “Auckland’s St Sebastian by Guido Reni.” Journal of the Institute of Conservation 32, no. 2 (September 2009): 205–18. doi:10.1080/19455220903059818. Spear, Richard E., The Divine Guido. Religion, Sex, Money and Art in the World, Yale University Press, New Haven - Londres, 1997, pp. 374. https://baroque.dahvc.org/fall-2021/files/original/Pope_Sixtus_V/Re-claiming_the_Pontine_Marshes/Image_12-1-21_at_2.33_PM.jpg 4b81ddfd7f5f14d063921cb63ba2e1cd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pope Sixtus V Description An account of the resource This collection explores the extent to which Pope Sixtus V (born Felice Peretti Montalto) transformed Rome into a Baroque city. In the middle of the sixteenth century, Rome was still very much an ancient city with poor infrastructure. As the sixteenth century came to a close, Rome has undergone immense transformation, with the rebuilding and construction of churches, palaces, roads, aqueducts, and more. Although he was not the only pope involved in this transformation, Pope Sixtus V stands out as a key figure. Sixtus V was nothing short of a visionary, whose body of work highlights his innovative urban planning as head of the Catholic Church (1585-1590). In order to truly evaluate Sixtus V's impact, this exhibit pays note to context. Late sixteenth-century Rome's most powerful figure was its governing pope. Since each pope came from his own family and had unique interests and backgrounds, the changes made during a particular papacy heavily reflect the desires of that particular pope. Thus, this exhibit examines Sixtus V's predecessors and successors. Popes before him such as Sixtus IV, Julius III, Paul IV, Pius IV, Pius V, and Gregory XIII did not concentrate their efforts on urban design to the extent that Sixtus V did. Although they were focused on important issues such as wars, reformation, enforcing decrees from the Council of Trent, and the education of the clergy, their impact on Rome is not highlighted as much through urban structures and design. Popes after him such as Urban VII (1623-1644) seem to be inspired by Sixtus V, putting more emphasis on art patronage. Sixtus V still impacts Rome today through the lasting impact of his urban planning. This exhibition showcases Sixtus V's design of the city and analyzes his different mediums for reshaping Rome. This exhibit explores Sixtus V's remodeling of the streets, his building of the fountain Fontana Felice, the Lateran Palace, the Dome of Saint Peter's, the Vatican Library, his financing of the Pontine Marshes, and his moving of obelisks into key piazzas and streets. Creator An entity primarily responsible for making the resource Pope Sixtus V Date A point or period of time associated with an event in the lifecycle of the resource 2021 Contributor An entity responsible for making contributions to the resource Cameron DeChurch Source A related resource from which the described resource is derived Long, Pamela O. Engineering the Eternal City: Infrastructure, Topography, and the Culture of Knowledge in Late Sixteenth-Century Rome. Chicago: University of Chicago Press, 2018. Publisher An entity responsible for making the resource available Pope Sixtus V Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Re-claiming the Pontine Marshes Description An account of the resource Pope Sixtus V’s work on reshaping Rome extended beyond its city walls. Sixtus V drained the Pontine Marshes, malarial wetlands, located south of Rome along the Appian way and connecting to the Terracina [1]. The Pontine Marshes are low-lying plains with intersecting canals surrounded by mountains, and after winter floods, the land is very fertile and brings the potential for incredible production as Rome's granary [2]. The Roman emperors continuously tried to claim this land for themselves, but failed due to harsh weather conditions such as flooding. After centuries of failed attempts to reclaim the land, Pope Sixtus came onto the scene in 1585 with the beginning of his papacy and he hired his own engineer, Ascanio Fenizzi, to reclaim this land [2]. They plotted and constructed a subsidiary canal, the Sisto canal, to collect runoff from the mountains and carry it to sea. This was a very innovative design and was impressively executed considering this was a world without automatic pumps [2].Without electricity, moving masses of water was very difficult and costly to maintain [2]. This reclamation is particularly significant because the Pontine Marshes were very fertile and could be very advantageous for grain crops, something that Rome’s growing population desperately needed [1]. This reflects Sixtus V's care and commitment towards helping the poor Romans, and not just the elite. The Pontine marshes provided agriculture and productivity for commoners. In fact, Sixtus V led a victory procession to Terracina after its reclamation [1]. Unfortunately, the Tiber River flood of 1589 undid much of Sixtus V’s work in the Pontine Marshes, and he passed away in 1590 before he could work towards a resolution. Attached is a stamp that reproduces the image on a medal created during Pope Sixtus V’s papacy after his successful reclamation of the Pontine Marshes [3]. Pope Sixtus V’s impact on the city of Rome and its citizens is particularly impressive because he took action outside the city walls as well, a mission that leaders before and after him rarely attempted. Creator An entity primarily responsible for making the resource Pope Sixtus V and Ascanio Fenizzi Source A related resource from which the described resource is derived [1] Long, Pamela O. Engineering the Eternal City: Infrastructure, Topography, and the Culture of Knowledge in Late Sixteenth-Century Rome. Chicago: University of Chicago Press, 2018. [2] Frost, Ruth Sterling. “The Reclamation of the Pontine Marshes.” Geographical Review 24, no. 4 (1934): 584–95. https://doi.org/10.2307/208848. [3] “15 Lire Draining of Pontine Marshes by Pope Sixtus V Single.” 15 lire Draining of Pontine Marshes by Pope Sixtus V single | National Postal Museum. Accessed December 9, 2021. https://postalmuseum.si.edu/object/npm_2008.2009.328. [4] Kallis, Aristotle. “The ‘Third Rome’ of Fascism: Demolitions and the Search for a New Urban Syntax.” The Journal of Modern History 84, no. 1 (2012): 40–79. https://doi.org/10.1086/663287. Date A point or period of time associated with an event in the lifecycle of the resource 1585 Contributor An entity responsible for making contributions to the resource Cameron DeChurch Format The file format, physical medium, or dimensions of the resource 310 square miles Publisher An entity responsible for making the resource available Pope Sixtus V Rights Information about rights held in and over the resource This is land that anyone can see. Type The nature or genre of the resource Marsh land Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Pontine Marshes, Lazio, Italy