Nicolas Poussin was the leading painter of the classical French Baroque style, although he spent most of his working life in Rome. Most of his works were on religious and mythological subjects painted for a small group of Italian and French collectors. He returned to Paris for a brief period to serve as First Painter to the King under Louis XIII and Cardinal Richelieu, but soon returned to Rome and resumed his more traditional themes. In his later years he gave growing prominence to the landscape in his paintings. His work is characterized by clarity, logic, and order, and favors line over color. Until the 20th century he remained a major inspiration for such classically-oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne.
Giovanni Francesco Barbieri, better known as (il) Guercino, was an Italian Baroque painter and draftsman from Cento in the Emilia region, who was active in Rome and Bologna. The vigorous naturalism of his early manner contrasts with the classical equilibrium of his later works. His many drawings are noted for their luminosity and lively style.
Francesco Maria Sforza Pallavicino or Pallavicini, was an Italian cardinal, philosopher, theologian, literary theorist, and church historian.
Francesco Barberini was an Italian Catholic Cardinal. The nephew of Pope Urban VIII, he benefited immensely from the nepotism practiced by his uncle. He was given various roles within the Vatican administration but his personal cultural interests, particularly in literature and the arts, meant that he became a highly significant patron. His secretary was the antiquarian Cassiano dal Pozzo who was also a discerning patron of the arts. Francesco was the elder brother of Cardinal Antonio Barberini and Taddeo Barberini who became Prince of Palestrina.
Cassiano dal Pozzo was an Italian scholar and patron of arts. The secretary of Cardinal Francesco Barberini, he was an antiquary in the classicizing circle of Rome, and a long-term friend and patron of Nicolas Poussin, whom he supported from his earliest arrival in Rome: Poussin in a letter declared that he was "a disciple of the house and the museum of cavaliere dal Pozzo." A doctor with interests in the proto-science of alchemy, a correspondent of major figures like Galileo, a collector of books and master drawings, dal Pozzo was a node in the network of European scientific figures.
The Diocese of Rimini is a Latin Church ecclesiastical territory or diocese of the Catholic Church in Emilia Romagna, Italy. From earliest times, it was a suffragan to the Holy See, despite repeated attempts by the Diocese of Ravenna to claim it as a suffragan diocese. Since 1604, however, it has been a suffragan of the Archdiocese of Ravenna-Cervia.
Mario Nuzzi, who went by the pseudonym, Mario de' Fiori was an Italian painter in the Baroque style. His paintings are all based around floral arrangements; hence the name Fiori (flowers).
The Catholic diocese of Sarsina was a Roman Catholic ecclesiastical territory in Emilia-Romagna, northern Italy, seated in Sarsina, in the province of Forlì, some 32 km south-southwest of Cesena. The diocese was founded in the 5th century, and was suffragan (subordinate) to the archbishop of Ravenna. The diocese existed until 1986, when it was united with the diocese of Cesena.
The Diocese of La Spezia-Sarzana-Brugnato is a Roman Catholic ecclesiastical territory in Liguria, northern Italy, created in 1929. It is a suffragan of the Archdiocese of Genoa.
The Diocese of Anagni-Alatri is a Latin Church ecclesiastical territory or diocese of the Catholic Church in Lazio, Italy. It has existed in its current form since 1986. In that year the Diocese of Alatri was united to the historical Diocese of Anagni. The diocese is immediately exempt to the Holy See.
The Pontificio Collegio Urbano de Propaganda Fide was established in 1627 for the purpose of training missionaries to spread Catholicism around the world.
Camillo Francesco Maria Pamphili was an Italian Catholic cardinal and nobleman of the Pamphili family. His name is often spelled with the final long i orthography; Pamphilj.
Giovanni Pietro Maffei (1533–1603), also anglicized as John Peter Maffei, was an Italian Jesuit and author. He wrote a life of Ignatius of Loyola, founder of the Society of Jesus, and also wrote about the activities of the Society in the Orient.
Anna Colonna (1601–1658) was an Italian noblewoman of the Colonna and Barberini families. She was also the Princess of Paliano.
The Diocese of Guardialfiera or Diocese of Guardia was a Roman Catholic diocese in Italy. The diocese was established in the second half of the 11th century, with seat of the diocese was located in the city of Guardialfiera in the Province of Campobasso in the region of Molise. In 1818, the diocese was suppressed, and its ecclesiastical territory was assigned to the Diocese of Termoli.
La finta pazza is an opera composed by Francesco Sacrati to a libretto by Giulio Strozzi. Its premiere in Venice during the Carnival season of 1641 inaugurated the Teatro Novissimo. It became one of the most popular operas of the seventeenth century.
Anna Maria Vaiani was an Italian engraver, who was most known for her botanical engravings and designs.
Vincenzo Leonardi was an Italian illustrator of natural history, who for some 20 years collaborated with Cassiano dal Pozzo (1588-1657), a prominent member of the Lincean Academy and noted art collector from Turin.
Agostino Mascardi was an Italian rhetorician, historian and poet.
Ludovico Settala was an Italian physician during the Renaissance.
Reverend Giovanni Baptista Ferrari | |
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Born | 1584 |
Died | 1 February 1655 70–71) | (aged
Nationality | Italian |
Occupation(s) | Jesuit priest, orientalist, university teacher, botanist |
Academic background | |
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Influences |
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Academic work | |
Discipline | Syriacist,Ancient Near Eastern Linguist,Botanist |
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Notable students | Isaac Sciadrensis |
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Giovanni Baptista (also Battista) Ferrari (1584 in Siena – 1 February 1655 in Siena),was an Italian Jesuit,orientalist,university teacher and botanist. Linguistically highly gifted and an able scientist,at 21 years of age Ferrari knew a good deal of Hebrew and spoke and wrote excellent Greek and Latin. He became a professor of Hebrew and Rhetoric at the Jesuit College in Rome and in 1622 edited a Syriac-Latin dictionary (Nomenclator Syriacus). [2]
Giovanni Baptista Ferrari was born to an affluent Sienese family and entered the Jesuit Order in Rome at the age of 19 in April 1602. After studying metaphysics,logic and natural philosophy with Giuseppe Agostini (and after the usual four years of theology),he was sent to the Maronite college in Rome in 1615/16 – where he learnt Syriac. The early progress reports at the Collegio Romano are complimentary about his literary and Hebraic talents,but rather critical of what appears to have been his somewhat frail state of health and melancholy character. [3]
By the schoolyear of 1619-20 he was teaching Arabic and Hebrew at the Roman College. His first published work was a Syriac Dictionary,or Nomenclator,which he published in 1622 (but with an approval from Mutio Vitelleschi and Francesco Donati of 1619). The chief object of the author is to explain the Syriac words in the Bible,in which he was assisted by some learned Maronites. [4] Although pretty innovative for its time,Ferrari's Nomenclator was not a very successful effort,and has not enjoyed much esteem in the subsequent literature (Bochart was especially cutting in his judgment). It is,however,interesting for its introduction,with its long list of profuse acknowledgements to various members of the Maronite college,especially Petrus Metoscita,and for its brief insight into the working procedures and resources of a Syriac scholar of those days. [5]
His Orationes,first printed in Lyons in 1625,and several times reprinted, [6] including two London editions in the 1650s and 1660s,are especially remarkable for four very noteworthy orations on the subject of Hebrew language and Hebrew literary style. In the oration on Hebraicae linguae suavitas Ferrari asserts the stylistic capabilities of Hebrew,and defends it against charges that it was limited and coarse;in the chapters Hebraicae Musae sive de Disciplinarum omnium Hebraica origine and Hebraicae litteraturae securitas,sive De arguto dicendi genere usurpando he justifies the difficulties of learning the language,and puts forward the case for studying it. [7]
His knowledge of the ancient authors,Greek and Latin,was extensive as was his command of the Semitic languages. Indeed,Ferrari was a member of the Papal Commission charged with translating the Bible into Arabic. [8]
He was honoured in 1759,when botanist Philip Miller published Ferraria ,which is a genus of monocotyledonous flowering plants in the family Iridaceae and native to tropical and southern Africa. [9]
Ferrari's interests were not limited to Oriental languages. He devoted himself till 1632 to the study and cultivation of ornamental plants,and published De Florum Cultura, [10] which was illustrated with copperplates by,amongst others,Anna Maria Vaiani,possibly the first female copper-engraver. The first book deals with the design and maintenance of the garden and garden equipment. The second book provides descriptions of the different flowers,while the third book deals with the culture of these flowers. The fourth book,continues with a treatise on the use and beauty of the flower species,including their different varieties and mutations.
Through his acquaintance with Cassiano dal Pozzo,secretary of Cardinal Francesco Barberini,he was appointed to manage the new garden at the Barberini Palace. The plants featured in Ferrari's research came from Cardinal Francesco Barberini's private botanical garden,the Horti Barberini,a garden which was under the care of Ferrari.
Ferrari dedicated the Latin edition of De Florum Cultura to Cardinal Francesco Barberini. Ludovico Aureli translated the book into Italian and dedicated this edition,which is entitled Flora,overo Cultura di Fiori (1638) or simply Flora,to Barberini's sister-in-law,Anna Colonna. [11] [12] Ferrari became Horticultural Advisor to the Papal family. [2] Ferrari was also closely associated with the Lincei,and in Book 1,chapter 2 of his Flora,he expressly thanks Federico Cesi for his “erudite additions”(“erudite aggiunte”) and the Accademia for incurring “liberal expenses”(“liberale spesa”) in connection with this book. [13]
Another work is the Hesperides sive de Malorum Aureorum Cultura et Usu Libri Quatuor,first published in 1646. Ferrari's close relationship with Cassiano dal Pozzo (1588-1657),a noted scholar and student of citrus,led to the creation of this work. The first volume of this work is devoted to citrus and its many varieties and variations.
The plates were produced by the best artists of the time,such as Johann Friedrich Greuter,Cornelis Bloemaert and Nicolas Joseph Foucault. Plates were also prepared by the renowned painters and draughtsmen of Roman Baroque,such as Pietro da Cortona,Andrea Sacchi,Nicolas Poussin,Pietro Paolo Ubaldini,F. Perier,Francesco Albani,Filippo Gagliardi,Giovanni Francesco Romanelli,Guido Reni,Domenico Zampieri and H. Rinaldi. The plates show life-sized whole fruit,including sections. Other plates show Hercules,mythological scenes,garden buildings,Orangeries,garden tools,etc.. He published this at a time growing interest in and structural sophistication of seventeenth-century orangeries,constructed needed to protected citrus trees from the cold of Northern Europe or heat of Italian summers. [14]
Both works are important as they display accurate representations.
Ferrari was the first scientist to provide a complete description of the limes,lemons and pomegranates. He also described medical preparations,the details on citron and prescribed limes,lemons and pomegranates as medicinal plants against scurvy.
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