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Siena Cathedral façade Gargoyles and Saints on façade. The façade of Siena Cathedral is one of the most fascinating in all of Italy and certainly one of the most impressive features in Siena. [6] Each of the cardinal points (west, east, north, and south) has its own distinct work; by far the most impressive of these is the west façade.
It houses works of art and architectural fragments that were formerly in, or a part of, the Duomo of Siena (Siena Cathedral). These include a number of Italian Gothic sculptures by Giovanni Pisano and his school from the façade of the cathedral; the Maestà of Duccio di Boninsegna , which was the altarpiece from about 1311 until 1505 [ 1 ...
In the early part of 1367 he was employed, along with Giacomo di Mino, in the decoration of the Cathedral of Siena. In 1372 he rose to a position in the government of the city, and was sent to welcome the new Podestà on his approach to Siena. In 1381 he was himself made a member of the Council.
) Madonna on top of the Piccolomini altar in the Siena cathedral (1397–1400) Virgin and Child (Silvestri Madonna) (1403) - Marble, height 210 cm, Cathedral of Ferrara; St. Maurelius (c. 1403) - Cathedral of Ferrara. The tomb of Ilaria del Carretto (c. 1406) -Cathedral of Lucca; Fonte Gaia (1408–1419) - Siena
Wiener Neustadt Cathedral, Wiener Neustadt 1623 c. Sculpture Bronze 22 [26] Two Angels in Sant'Agostino: Basilica of Sant'Agostino, Rome 1626–1628 Sculpture Marble Life-size 23 [27] Bust of Francesco Barberini: National Gallery of Art, Washington, D.C. 1626 Sculpture Marble Height 80 cm (31 in) 24(a) [28] Bust of Camilla Barbadoni
The Statue of Alexander VII is a large sculpture of Fabio Chigi (Pope Alexander VII), designed by the Italian artist Gian Lorenzo Bernini and executed by a member of his studio, probably Antonio Raggi.
The image depicts three of the Graces of classical mythology. It is frequently asserted that Raphael was inspired in his painting by a ruined Roman marble statue displayed in the Piccolomini Library of the Siena Cathedral—19th-century art historian [Dan K] held that it was a not very skillful copy of that original—but other inspiration is possible, as the subject was a popular one in Italy.
Music in Art: International Journal for Music Iconography. 24 (1–2): 89–100. ISSN 1522-7464. Tononi, Fabio, “Intermediality and Immersion in Gaudenzio Ferrari’s Adoration of the Magi in Chapel V of the Sacred Mountain of Varallo”, PsicoArt: Rivista di Arte e Psicologia, Vol. 10 (2020), pp. 1–18.
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