| Oratory of St Thomas Aquinas | |
|---|---|
 | |
| Religion | |
| Affiliation | Roman Catholic |
| Province | Florence |
| Location | |
| Location | Florence, Italy |
| Geographic coordinates | 43°46′22.89″N11°15′40.30″E / 43.7730250°N 11.2611944°E |
| Architecture | |
| Architect(s) | Santi di Tito |
| Type | Church |
| Style | Renaissance |
| Completed | 1568 |
The Oratory of St. Thomas Aquinas is a late-Renaissance-style, Roman Catholic prayer hall located on Via della Pergola in Florence, region of Tuscany, Italy.
The simple facade stands across the street from the Hospital of Santa Maria Nuova; it was initially the site of the Congregation of the Noble Contemplatives (Congregazione dei Contemplanti dei Nobili), founded by a Dominican friar, named fra Santi di Cini, from the Convent of San Marco. In 1568, the painter Santi di Tito, designed the oratory for the confraternity, and it was dedicated it to St Thomas Aquinas. Santi also painted the altarpiece of the Crucifixion and St Thomas Aquinas (in restoration). The vestibule has quadratura painted in 1782 by the painters Grix and Stagi. The altar has walls decorated in elaborate and fine scagiole by Carlo Ghibertoni. The ceiling was decorated in 1710 with quadratura by Rinaldo Botti, and depicts the Glory of St Thomas painted by Camillo Sagrestani and Ranieri del Pace. In the seventeenth century, the oratory became a hospice for pilgrims, and in 1775, rites were suppressed. The oratory has recently been reconsecrated and holds services.
Belisario Corenzio was a Greek-Italian painter, active in Venice and Naples. He is one of few Greek painters that did not belong to the Cretan Renaissance like his contemporaries of the time. He escaped the maniera greca completely. He adopted the Venetian style. Other similar Greek painters were Marco Basaiti, Ioannis Permeniates, Antonio Vassilacchi and El Greco. He was sometimes referred to as Il Greco. His teacher was prominent Venetian painter Tintoretto. In 1590, at age 32 Corenzio settled in Naples. Corenzio was influenced by Cavalier d'Arpino. He continued to flourish in the region. His apprentices included: Luigi Rodriguez, Andrea di Leone, Onofrio De Lione and Massimo Stanzione. Corenzio painted many frescos that survived today. Some of his works are in the Church of San Severino and Certosa di San Martino. His style resembles Caravaggio. An Italian legend in Naples exists involving Corenzio, Spanish painter Jusepe de Ribera, and Battistello Caracciolo. They were referred to as the Cabal of Naples. The three painters were rumored to have poisoned their competition for painting contracts. The rumors lack documented evidence. The three painters were very popular in Naples. Corenzio frescoed the Crypt that holds the remains of Matthew the Apostle at Salerno Cathedral and it depicts scenes from the Gospel of Matthew. Corenzio was one of the most celebrated fresco painters in Naples during his time. His drawings can be found all over the world namely at the Metropolitan Museum, Museo di Capodimonte and Louvre.
Santi di Tito was one of the most influential and leading Italian painters of the proto-Baroque style – what is sometimes referred to as "Counter-Maniera" or Counter-Mannerism.
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Cristoforo Roncalli was an Italian mannerist painter. He was one of the three painters known as Pomarancio or Il Pomarancio.
Angelo Michele Colonna was an Italian painter of the Baroque period, active in Bologna, northern and central Italy and Spain. He is sometimes referred to as Michelangelo Colonna.
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Paolo Domenico Finoglia, or Finoglio, was an Italian painter of the early-Baroque period, active mainly in South Italy, including Naples and towns in Apulia.
Tommaso Aldrovandini was an Italian painter of the Baroque period. He mainly painted perspective views and architectural subjects (quadratura), in which the figures were painted by Marcantonio Franceschini and Carlo Cignani. He decorated churches, palaces, and theaters in Forlì, Verona, Venice, Parma, Turin, Ferrara, and Genoa, and especially in his native Bologna. Among his pupils was Giovanni Benedetto Paolazzi.
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Rinaldo Botti was an Italian painter active in the Baroque period. He was a pupil of Jacopo Chiavistelli, and specialized in quadratura. He collaborated with Andrea Landini in frescoing some salons of Villas belonging to the Corsini family. He painted the ceiling of Santa Elisabetta delle Convertite.
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Tomasso Sandrino (1575–1631) was an Italian painter of quadratura in Northern Italy, active in his native Brescia.
Giuseppe Alabardi was an Italian painter, active in Venice around the year 1600. Some works in the Oratory of San Nicola da Tolentino in Vicenza are attributed him. He painted architectural landscapes and quadratura and is recorded as having painted scenery for productions of operas in Venice.
Mauro Aldrovandini (1649–1680) was an Italian painter of the Baroque period. While he was most active in Bologna, and some claim he was native to the city, others claim he was born in Rovigo. He mainly painted perspective views and architectural subjects (quadratura) in private houses and for theaters.
Gerolamo Mengozzi Colonna was an Italian painter, mostly of frescoed quadratura.
The church of Santi Severino e Sossio and the annexed monastery are located on via Bartolommeo Capasso in Naples, Italy.
Ranieri Del Pace, also called Giovanni Batista Ranieri Del Pace, was an Italian painter of the late Baroque period, active mainly in Tuscany.
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Gaetano Ghidetti was an Italian scenic designer, quadratura painter, and architect.
Stefano Orlandi was an Italian painter, active mainly in Bologna in the architectural perspective painting. He is known for painting fanciful architectural canvases, known as Capricci.
