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tomb in 1522. As for the other pyramid, the evidences are inconclusive. The pentimenti at the marble cornices suggest that originally only one pyramid for the eastern side was envisaged. The first time when "sepulchres" are mentioned in plural form is in a contract between the Chigi family and
Bernardino da Viterbo on 8 April 1522 when the sculptor was commissioned to add the final touches to Lorenzetto's work. Nonetheless the other pyramid was still recorded as mostly unbuilt in 1552 when the Chigis paid their long-standing debt towards Lorenzetto's family. (In the proceedings the base of the second pyramid and the slabs for the marble covering were also duly recorded.) Most probably the second monument was only erected by Fabio Chigi for his great-grandfather, Sigismondo.
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1746:
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scene in order to place the
Creation of Adam and the Creation of Eve on both sides of the entrance to the chapel and to have them face directly the Nativity of the Virgin on the altar because this arrangement was more meaningful theologically. A subtle reference that the scene belongs to the first group could be seen in the treatment of God's clothing (red and blue mantle in the first scenes but a different bluish-white robe in the Creation of Adam and Eve). Looking at the whole cycle the scenes are gradually getting darker as the narrative progresses, except the oddly positioned Creation of the Animals which belongs to the first group of paintings regarding its treatment of light.
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1821:
1125:. The main difference is that the group in the upper part of the painting (God and angels) is missing on the earlier Berlin drawing. The composition of the modello, which is identical to the executed mural, became more mature and harmonious. (Another study, a small drawing of a female head, was acquired by the Louvre in 2004.) On 1 August 1530 Filippo Sergardi, who was guardian to the heirs of Agostino Chigi, signed a new contract with Sebastiano accepting the final version. In this document the artist was entrusted to paint the altar-piece and the other murals in the next three years for a compensation of 1500 plus 1300 gold ducats.
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484:, the archivolt of the inner arch is decorated with rich garlands of fruit and a mask, while the intrados of the inner arch has a central band of alternating rosettes and rectangles with grotesques, framed by two interlacement bands with six-pointed stars in the middle. The stucco Chigi coat-of-arms (quartered with the oak and the six mountain with the star) above the portal was added by Bernini in 1652. The inscription "Unum ex septem" on the cartouche hanging from the coat-of-arms indicates that this is one of the privileged altars which are devotionally equivalent to visiting the Seven Churches of Rome.
36:
1869:
1215:. The relief was made in the early 1520s and bought by Lorenzo Chigi from the heirs of the sculptor in 1552. According to Antonio Pinelli it was originally planned for the tomb of Francesca Ordeasca, the wife of Agostino Chigi. If true, then this offers an explanation for the unusual thematic choice that suits well to a female tomb but seems somewhat incongruous on the sepulchre of a man. Anyway it was placed on the only existing pyramid at the time, the tomb of Agostino Chigi, and later it was moved to the main altar by Bernini who set it into a luminous golden-yellow stone frame.
1857:
1061:"The architectural circularity of the tambour is evidently suitable for the narration of the story about the creation of the world in six days. The scenes require the viewer to move his gaze along the wall of the drum, and it is only at the end of this visual journey that he has reconstructed the story in its entirety", claims Florian Métral. The windows also play their part in the overall effect because the sunlight breaks through each of the bays in turn, illuminating certain scenes and making others indiscernible, thus modulating the viewer's visual experience over time.
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symbols above the festoons: ascending eagles (at the sides of the altar), a bearded male head wearing a hat in the form of the Chigi symbols with two fantastic beasts (right to the entrance), a siren attended by winged sealions (left to the entrance) and the Chigi symbol of the mountain and the eight-pointed star (under the entrance arch). There are playful details: flowers and berries at the end of the ribbons, birds pecking the fruits of the festoons (both eagle panels) and a small scene of a bird attacking a lizard which is nibbling the fruits (left eagle panel).
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originally it was leaded. The dome is crowned by a small stone lanternino which has niches instead of windows between Tuscan pilasters and its base is decorated with four scrolls. This miniature round temple is topped with the symbols of the Chigi family, the mountains and the star with a cross. The exterior is practically invisible due to the location of the chapel behind the city wall, the Porta del Popolo and the main body of the basilica. Its simplicity and severe appearance was based on the reception of ancient Roman central-plan buildings for example the
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same encrustation. Regardless of whether this was ever really completed, the simple white marble cornices above the tombs should be 17th-century additions. The frieze between the cornices is made of smooth, dark red rosso antico marble, while the older frieze in the rest of the chapel had been made of portasanta. The antique source of this peculiar raised block revetment, if there was any, remains unknown although some lost part of the interior revetment of the
Pantheon is sometimes proposed.
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262:
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1577:(meaning "through death to heaven"). The capital letters add up the date of the beginning of the reconstruction in Roman numerals: MDCL = 1650. The roundel was executed by stonecutter Gabriele Renzi in 1653/54. (Contemporary sources prove that the inscription was originally "Mors aD CaeLos Iter", the letters adding up to 1651, the year when Fabio Chigi returned to Rome on the last day of November after his long absence abroad.)
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924:. The scenes are not in strictly chronological order. The first five are the same as the parallel Genesis paintings in the Sistine Chapel but the sixth fresco adds a new subject, the creation of the fishes, birds and wild animals. The sixth scene of the Sistine ceiling is separated into two individual paintings on the drum of the Chigi Chapel. Salviati's cycle ends here, and the three scenes from the story of
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1523:, commissioned by Fabio Chigi in 1653. The theme of these often overlooked paintings is somewhat enigmatic, giving rise to different interpretations. In the guides they are often described as "David and Saul" and "Eli and Samuel" or simply - and wrongly - as "prophets". The clue to their real meaning was given by a well-informed contemporary description which remained unpublished: Benedetto Mellini's
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niches; rosso di
Numidia: shells of the niches; Portasanta marble: pyramids, balusters; verde antico: bases of the pyramids; giallo antico: mouldings of the bases of the pyramids, balustrade; rosso di Numidia and Portasanta rectangles, africano borders: revetment behind the pyramids; arches, entablement and moulding rings of the dome: white Carrara marble; rosso antico: frieze above the tombs.
469:. The entablature and the cornice is decorated with egg-and-dart, bead-and-reel and flower-patterned enrichments. The pilasters are of polished white Carrara marble with faint grey veins while the capitals are of unpolished pure white Carrara marble. The surfaces between the pilasters are covered with a coloured marble revetment, their slabs divided by white marble panels.
1675:"...even though these days architecture may be very clever and very closely based on the style of the ancients, nevertheless the ornamentation is not done using raw materials of similar expense to those used by the ancients, who, it seems, realized what they envisaged with endless amounts of money and whose will alone surmounted every difficulty."
1458:(now on the altar-front), which illustrated Christ's words on the water of eternal life. Fabio Chigi in his above-mentioned letter in 1626 mentioned another bronze relief on the short side of the base facing the entrance of the chapel. This was identified by Enzo Bentivoglio who discovered a photograph showing a panel with a
1113:"He did little work there, although we find that he obtained from the liberality of Agostino and his heirs much more than would have been due to him even if he had finished it completely, which he did not do, either because he was weary of the labors of art, or because he was too much wrapped up in comforts and pleasures."
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of space, which requires the viewer to look at from several points of view to capture its splendor, is new and unique. The side walls are made up of round-headed arches, of which only the entrance arch is open, the others are blind; they are alternated with canted corners in which shell-headed niches are framed between
587:, which seems to give rise to the entire motion of the universe below. Eight mosaic panels show the Sun, the Moon, the starry sky and the six known planets as pagan deities depicted in half-length, each accompanied by an angel with colourful feathered wings. The figures are accompanied by the signs of the zodiac.
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White
Carrara marble (with grey veins): fluted pilasters; white "bianco purissimo" Carrara marble: capitals and friezes; statuario marble: altar steps; white and grey bardiglio marble: pavement; Egyptian "rosso di Syene" granite: monolith entrance step; africano and rosso antico marble: frames of the
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where the basilica was located, and an eagle was released from the pyre signifying the ascent of the soul to heaven. It is not coincidental that the frieze panels to the left and right of the altar are decorated with soaring eagles. Seen as a whole, this is another example where the erudite
Classical
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During the
Baroque reconstruction of the chapel, the tombs were finished and simplified by Bernini. Originally the medallions were probably made of bronze, the epitaphs were to be written on gilt copper plates, and three sides of the bases were to be decorated with bronze reliefs. A sketch attributed
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the creation of Adam and Eve which is not consistent with the
Biblical narrative and has no iconographic precedent. (The aquatic and flying animals were created by God on the fifth day while the terrestrial species had been created on the sixth day but before the first man.) Salviati "postponed" this
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by order of Fabio Chigi. The murals were described as being seriously damaged in 1842. The iconography of the paintings is classical. Spring is represented as a young woman holding a bouquet of flowers with a floral wreath on her head; Summer is a woman holding ears of grain with a wreath of wheat on
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form. This idea had a widespread popularity in the
Renaissance. In this case the dome is a depiction of the "Realm of the Soul after Death" with God, the Father receiving the soul (of Agostino Chigi) in his new home. The presence of the signs of the zodiac corroborates this interpretation because the
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The mosaic panels are surrounded by richly gilded stucco decoration. The blue background creates an optical illusion giving the impression of an architectural framework opening to the sky above the chapel. The panels look like illusionistic skylights between the gilt stucco ribs while God is standing
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using a different colour scheme. The step leading into the chapel is a large monolith of
Egyptian granite. All the other chapels in the basilica have simple white stone steps. Agostino Chigi paid 300 scudi for the large block of stone. The central panels of the wooden doors are decorated with a dense
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was moved into the chapel from the crossing and placed in front of the left wall by the friars. Sigismondo Chigi's great-grandson, Fabio made his first visit to the neglected chapel in 1626. He found it in a state of serious disrepair and complained about the presence of the Pallavicini monument in a
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The wall behind the tombs is covered with an unusual marble panelling of portasanta rectangles and africano borders. This revetment is already visible on Salviati's drawing, proving that it was part of the original scheme of the chapel, but on the modello drawing the lunette is also covered with the
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On the side walls are the matching pyramidal wall tombs of Agostino Chigi (died 1520) and his brother Sigismondo (died 1526), each represented in a medallion, looking towards the altar. The monuments were probably designed by Raphael but their execution was left to Lorenzetto who nearly finished one
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The statues of the prophets standing in identical shell-headed niches in the four corners of the chapel belong to two distinct groups. The first two (Jonah and Elijah) were created by Lorenzetto following the designs of Raphael. These were left in the workshop of the sculptor until the Chigis bought
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As a painter Raphael was naturally attracted to the vivid colours of the different kinds of stones available in Rome since the antiquity, and his patron, Agostino Chigi was one of the few people rich enough to finance a project that aimed to recreate the largely lost chromatic exuberance of ancient
1554:
in traditional garb and his helpers offering doves and incense to God. The lunette paintings thematically complement Sebastiano del Piombo's altar-piece creating a link between the nativity of the Virgin and the stories of the Old Testament depicted on the tambour. During a 20th-century restoration
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The new medallions were made of white marble by an assistant sculptor from Bernini's workshop, and instead of the planned copper plates the funerary inscriptions are composed of freestanding bronze letters. The outline of the two planned cartouches can be seen on both tombs, patched up by Bernini -
1435:
The pyramids are resting on four small supports of africano marble imitating the original astragals of the Vatican obelisk. It is unsure whether the present pedestals are the originals or they were replaced by Bernini. The 1552 contract speaks about seven "termini" executed by Lorenzetto that could
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which had only been known through an inaccurate 19th-century transcription. He interpreted the text as a proof that the pyramid of Agostino was originally planned for his wife, Francesca Ordeasca together with the bronze relief of Christ and the Samaritan woman. This theory remains disputed but the
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with its dome, marble revetments and Corinthian pilasters. The simple cube is surmounted by a hemispherical dome resting on a high drum which is penetrated by a row of windows that allow light into the chapel. The trapezoidal pendentives were the characteristics of Bramante but the whole conception
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was commissioned to create frescoes on the drum and the spandrels, although Raphael intended mosaics on these surfaces. He also completed the mural above the main altar. In 1552 Lorenzo Chigi paid his debt towards the heirs of Lorenzetto, and the two statues were finally placed in the chapel. After
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Originally Fabio Chigi provided other pieces of ecclesiastical furniture for the restored family chapel. Six gilded bronze candlesticks were placed upon the table of the altar, their shape and number evoking the six mountains of the Chigi emblem. They were variants of those conceived by the artist
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At present there is almost no furniture in the chapel except an attractive bronze eternal lamp which forms a gilded crown hanging on chains, decorated with the eight-pointed stars of the Chigi and supported by three flying cherubs. The design is a symbolic reference to the crown of the Virgin, the
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The friezes are embellished with festoons of fruit and ribbons. The decoration was modelled after the relief panels in the entrance bay of the Pantheon that Raphael recorded on a smaller drawing but he omitted the tripods on the sides because the available space was smaller. Raphael also added new
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The exterior of the chapel is very simple: an oblong cube of exposed brick, surmounted by a cylindric tambour pierced with large rectangular windows. The cube is finished with a stone cornice while the tambour is decorated with a brick modillion trim. The low conical roof is covered with tiles but
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The present pavement was designed by Bernini who walled in a preexisting opening in front of the altar and raised the altar by two steps emphasizing its symbolic importance (the third step is a later addition which disrupts the decorative pattern). The elegantly molded original steps were made of
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using an unusual technique, oil on peperino stone blocks. This was invented by him and greatly admired by his contemporaries. The mural was left unfinished by Sebastiano in 1534 and it was completed by Francesco Salviati by 1554. The upper part with the figure of the Holy Father and the angels is
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There is a circular crypt under the chapel with an unornamented, empty pyramidal tomb set in the wall right under the altar which was discovered in 1974. At present this hypogeum is totally hidden from view but before Bernini's reconstruction there was an aperture in front of the altar creating a
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roundel at the center, surrounded by a frame of stylized roses and oak leaves. Inside the figure of a winged skeleton is lifting the coat-of-arms of the Chigi family symbolizing the triumph of dynastic virtue over death. There is a scroll with a Latin inscription under the figure: Mors aD CaeLos
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in the Chigi family collection. The artwork itself was apparently lost during the 20th century. The relief depicted a winged putto leaning on a turned-down torch with a sad expression. Obviously a similar relief was planned for the other short side facing the altar but this was never executed by
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resting on huge Corinthian pilasters. The marble pilasters have cable-fluted shafts and beautifully carved, vivacious capitals which were practically copied from the much admired classical model. Raphael had studied the ancient building and created a precise architectural drawing of the entrance
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but it was still in the chapel in 1629.) Fabio Chigi regained the ownership after a three year long litigation with the Augustinians. Although the debate was settled in 1629, due to Chigi's long absence from Rome as he pursued his ecclesiastical career, the chapel remained neglected in the next
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Agostino Chigi was buried in the half-finished chapel on 11 April 1520, and Raphael himself had died a few days before Agostino. Agostino Chigi's widow, Francesca Ordeasca commissioned the mosaicist, Luigi da Pace on 31 May 1520 to create another set of mosaics for the planned decoration of the
1152:
was also shared by the Augustinian friars of Santa Maria del Popolo. The idea that Mary, mother of Jesus can be stained by the original sin is abhorrent for God, the Father who averts this risk with his strong gesture even before Mary is conceived. The angels surrounding the Holy Father are
1240:
Lorenzetto chose to represent the second part of the episode. Jesus is sitting at the well under a tree, and the disciples are offering him food that they bought in the town nearby. On the left the Samaritan woman is guiding the inhabitants of Sychar towards the well to see the Messiah.
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According to Métral the frescos of the tambour represent the creation of the terrestrial and visible world, subject to time (tempus), which is marked by mutability and corruptibility in contrast with the perfect and eternal world of heaven represented by the mosaics of the dome above.
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patron of the chapel and the Chigi family. The lamp was designed by Bernini himself. In his diary the Pope confirmed the great sculptor's authorship: "Yesterday, we saw the bronze lamp made for the chapel in the Popolo by Bernini", he wrote on 16 July 1657. The lamp was modelled by
1653:
Fabio Chigi granted eight reliquaries to the chapel in 1654 and in 1656, containing the bones of different saints. The two set of small crystal pyramids are preserved in the treasury of the basilica. The pyramidal shape seems to be an homage to pyramidal tombs in the chapel.
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Pyramidal tombs were a new invention at the time but pyramids were the traditional symbols of eternity and immortality. The Chigi tombs were inspired by antique sources because they recalled the tombs of the pharaohs and two famous Roman funeral monuments, the pyramids of
726:
Raphael intended mosaics for the decoration of the tambour and the spandrels but these were never executed. In 1520 Francesca Ordeasca commissioned Luigi da Pace to carry out this task in no more than four years. In 1530 the executors of Agostino Chigi's will commissioned
528:
in 1509. Shearman supposed that the design for the Chigi Chapel preceded the Santa Casa; at any rate the two project were related because the Chigi Chapel was dedicated to the Virgin of Loreto by Agostino Chigi. Dropped friezes appear on the two monumental tombs by
1625:
The two monumental 1.5 m high bronze candlesticks with the Chigi symbols are standing guard at the entrance; these were lit during the celebration of the holy mass. The candlesticks are placed on painted wood plinths. A drawing by a follower of Bernini in the
285:
Agostino was passionately devoted, and Saints Augustine and Sebastian. The bull also stated that the chapel was meant to be a mausoleum for Agostino and his heirs, "wishing to trade earthly things to heavenly and transitory to eternal by fortunate exchange."
336:"... the heirs of Agostino, with scant respect, allowed these figures to remain in Lorenzetto's workshop where they stood for many years. Lorenzo, robbed for those reasons of all hope, found for the present that he had thrown away his time and labor."
515:
The friezes in the chapel are "dropped" in an odd position between the capitals. This was an uncommon device and Raphael gave it an entirely new significance with the exuberance and plasticity of the carvings. There are similar dropped friezes on the
1161:. They are intently browsing voluminous codices turning to the right and the left, an appropriate visualization of the sapiential books; the same motif appears on a modello drawing by Sebastiano for an altar-piece depicting the Assumption in the
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worked on the architectural decoration of the chapel and the statues under Raphael's patronage. The main iconographic theme of the chapel was the Resurrection; and visually it represented a marriage between Christianity and classical antiquity.
974:
Due to their location and bad visibility the Salviati frescos have always been somewhat overlooked but the copies sent for the Duke of Lerma prove that they were held in high esteem at the time. This fact is corroborated by the 1725 guide of
1546:, the Temple Builder, kneeling and looking up at heaven. A boy holding a sword places his foot on the severed head triumphantly on the right, on the other side a child kneels with a circlet on his head, perhaps Solomon's young heir,
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was most likely intended for one of the two niches by the entrance. After 1552 the two statues were supposedly placed on the two sides of the entrance. The present arrangement was created by Bernini who placed the statues of
381:
became cardinal-priest of the basilica. Bernini finished the pyramids, laid the present floor, raised the altar, slightly enlarged the windows, renewed the lead roof, regilded and cleaned the dome. Painted wood panels by
1168:
In the lower part of the painting the newborn baby is prepared for her first bath by seven female servants. The woman holding the baby in the middle bears some deceptive - and probably intentional - resemblance to a
1666:
which was the main source of inspiration for Raphael. He was very much aware that the ancients used more precious materials than contemporary Renaissance architects and intended follow their example. In a letter to
786:(Met 2.27-30) while the allegory of winter was inspired by the "February-by-the-fire" motif of medieval calendar tradition. The former three personifications can also be interpreted as ancient Roman deities:
1486:
The tombs were covered with portasanta marble slabs whose red and grey colours suggested the combustion and smoke of ancient Roman imperial funerals, while the pyramidal form evoked the multistory imperial
1395:
embellishing the squares of the city. Obelisks were also associated with Roman imperial funerals because medieval tradition held that the bronze globe on top of the Vatican obelisk contained the ashes of
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on the opposite wall, sculpted by Bernini in 1655-56. With these two statues Bernini created a spatial relationship that enlivened the entire chapel, turning its classical form to a new religious use.
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tambour and the spandrels, but she died in the same year on 11 November. The simultaneous death of the artist, the patron and the patron's widow stymied work on the chapel. Agostino's younger brother,
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The ornate gilded bronze frame of the painting with acanthus leaves and acorns was made by Francuccio Francucci in 1655. Similar frames surround the lunette panels of Raffaello Vanni above the tombs.
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731:
to produce eight oil murals between the windows and four tondi on the spandrels. As Sebastiano was working leisurely on the large altar-piece, he made only preparatory drawings. Two studies in the
281:. Chigi had bought the second chapel in the north aisle, and its dedication was changed by a papal bull on 3 December 1507 from Saints Sebastian, Roch and Sigismund to the Madonna of Loreto, whose
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The iconography of the painting is rather unusual. According to Costanza Barbieri the presence of God in the upper part combines the traditional subject of the nativity with the doctrine of the
2095:
Antonio Pinelli: La cappella delle tombe scambiate. Novità sulla Cappella Chigi in Santa Maria del Popolo, in: Francesco Salviati et la Bella Maniera. École française de Rome, 2001, pp. 253-284
2144:
Christina Strunck: Bellori und Bernini rezipieren Raffael. Unbekannte Dokumente zur Cappella Chigi in Santa Maria del Popolo, Marburger Jahrbuch für Kunstwissenschaft 30. Bd. (2003), p. 149
1642:
and a bronze crucifix-tabernacle, the chest of which was supported by four seraphim and the door decorated with a chalice and a radiant host. A similar set was created for the Church of
1177:, who just gave birth to her daughter, is resting on the bed in the middle of the gloomy room which opens towards a courtyard. In the strongly lit rectangle of the doorway her husband,
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her head; Autumn is a young man under a grapevine with a cup; and Winter is an old man in a fur hat warming his hands by a brazier. A small ram by the shoulder of Spring is a symbol of
1555:
the wall under the panels was exposed but no previous decoration was discovered. The semicircular wooden panels are set in a similar gilded bronze frame as the main altar-piece.
2122:
Fabio Barry: Painting in Stone: The Symbolism of Colored Marbles in the Visual Arts and Literature from Antiquity until the Enlightenment, Columbia University, 2011, pp. 490-491
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754:(whose surname he adopted) because the cardinal was linked to the Chigi family through the 1530 marriage of his relative, Giuliano with Camilla Chigi, the daughter of Agostino.
319:
2113:
Enzo Bentivoglio: La Cappella Chigi. L'immagine ritrovata, in Raffaello a Roma. Atti del Convegno organizzato dalla Bibliotheca Hertziana e dai Musei Vaticano, 1986, pp. 309-14
4030:
4000:
1380:
corrected text indeed speaks about a female tondo which had not been executed by Lorenzetto - a hint that the second pyramid was prepared for a woman, most probably Ordeasca.
360:
After Lorenzo Chigi's death and his burial in the chapel in 1573 the family disappeared from Rome, and their chapel became abandoned. In 1624 the funeral monument of Cardinal
297:
in Florence, it was presumably drawn at the beginning of the work around 1512. An inscription on the dome marked the completion of the mosaics in 1516. In the following years
1606:
that Bernini "was accustomed to putting in no less study and application in designing an oil lamp than in designing a very noble edifice". A similar lamp was created for the
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architecture. At the time of Raphael the coloured revetment of the Chigi Chapel was a complete novelty in Rome, and it remained exceptional until the Cappella Gregoriana in
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them from Lorenzetto's heirs, and they were put up in the chapel in 1552. The latter two (Daniel and Habakkuk) were added by Bernini during the 17th century reconstruction.
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monolith blocks of statuario marble. The white and grey bardiglio marble pavement has a geometric pattern corresponding with the decoration of the dome. There is an inlaid
1237:‘...those who drink of the water that I will give them will never be thirsty. The water that I will give will become in them a spring of water gushing up to eternal life.’
2198:
The Letter to Leo X by Raphael and Baldassare Castiglione, in: Palladio's Rome, ed. Vaughan Hart and Peter Hicks, Yale University Press, New Haven and London, 2006, p. 182
1997:
Philippe Costamagna: Le mécénat et la politique culturelle du cardinal Giovanni Salviati, in: Francesco Salviati et la Bella Maniera. École française de Rome, 2001, p. 247
1244:
The figures, the Samaritan woman and the second woman on the left were copied from a famous antique marble relief called the "Borghese Dancers" that is now kept in the
533:
in the apse of the basilica which were also created in the first decade of the 16th century. The antique precedents are rare but the same arrangement is visible on the
1148:, and by Agostini Chigi, who requested in his will the celebration of a solemn mass in his chapel on the day of the birth of the Virgin. The theological stance of
802:. The tondi were damaged in different degrees, the most seriously the allegory of Autumn. During a recent restoration the 17th-century bronze frames were removed.
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1745:
1918:
Giuseppe Cugnoni: Note al Commentario di Alessandro VII sulla vita di Agostino Chigi, in Archivio della Societa Romana di Storia Patria Vol. 3, 1880, p. 441
1428:(c. 1650) shows a similar pyramid obviously inspired by the one in the Chigi Chapel before it was restored by Bernini. A modello drawing for a tapestry by
2086:
Nicole Riegel: Die Chigi-Kapelle in Santa Maria del Popolo. Eine kritische Revision, Marburger Jahrbuch für Kunstwissenschaft, 30. Bd. (2003), pp. 100-101
571:
after Raphael's cartoon (1516). The original cartoons were lost but some preparatory drawings, that confirm the originality of the work, survived in the
3995:
1420:
shows the original form of Agostino's pyramid with the plate and the medallion missing. Another drawing, an architectural phantasy with the figures of
307:
2033:
Florian Métral: "Au commencement était la fin : Retour sur la chapelle Chigi de Santa Maria del Popolo à Rome", Studiolo, 12, 2015 (2016), p. 164
1856:
1733:
3316:
2519:
2305:
2189:
Maria Grazia D’Amelio: Gli eroi della fede.I reliquiari di Alessandro VII per la cappella Chigi nella basilica romana di Santa Maria del Popolo, 2005
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was planned for the niche to the right of the altar because this place offered the best angle to view the composition. He thought that the statue of
1880:
1095:
proposed that the main altar-piece was intended to be an Assumption of the Virgin but the theory remains heavily disputed. Soon after Raphael died,
944:
1988:
Christoph Luitpold Frommel: Das Hypogäum Raffaels unter der Chigikapelle in S. Maria del Popolo zu Rom, In: Kunstchronik vol. 27 (1974) p. 344-348
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568:
1772:
1471:
this is a proof that the marble slabs covering the other pyramid were also cut in the 16th century. The epitaphs were composed with the help of
4015:
1844:
1948:
John Shearman: The Chigi Chapel in S. Maria del Popolo, Journal of the Warburg and Courtauld Institutes, Vol. 24, No. 3/4 (Jul. - Dec., 1961)
1892:
1820:
366:
2104:
Anthony Blunt: Poussin Studies IX - Additions to the Work of Jean Lemaire, Burlington Magazine, Vol. 101, No. 681 (Dec., 1959), pp. 438-445
583:. The central roundel represents God, the Father, surrounded by putti, effectively foreshortened in an impetuous gesture, harking back to
3609:
2015:
Catherine Dumont: Francesco Salviati au Palais Sacchetti de Rome et la décoration murale italienne, Institut suisse de Rome, 1973, p. 146
1966:
Cecilia Magnusson: Lorenzetto's statue of Jonah, and the Chigi chapel in S. Maria del Popolo, Konsthistorisk Tidskrift, 56:1, 1987, p. 24
1630:, dated between 1655 and 1665, shows a design for a similar object, although the sketch might have been created for the altar candles of
1117:
During this decade Sebastiano may have produced several drafts to the patrons. Two of them survived: an earlier preparatory study in the
4010:
3601:
48:
1868:
386:
were placed in the lunettes above the tombs. In 1656 and in 1661 Bernini filled the remaining niches with two new statues, depicting
94:
959:, a young Flemish painter working for Duke Vincenzo at the time. The zodiac paintings later went to decorate the Planetary Hall of
710:
signs were symbols of the passage of time in eternity, and they appeared in antique funeral art around the image of the departed.
3625:
3449:
3324:
3044:
2988:
590:
314:
to go on with Raphael's plan in 1521. But the work advanced slowly and the death of Sigismondo in 1526 left everything in limbo.
1181:
is greeted by a man. At the far end of the rather monumental courtyard a classical statue is visible, probably representing the
2131:
Ingrid D. Rowland: Render Unto Caesar the Things Which are Caesar's: Humanism and the Arts in the Patronage of Agostino Chigi,
920:. The paintings show the strong influence of the sculptural style of Michelangelo's famous Genesis-cycle on the ceiling of the
4025:
2809:
2695:
2635:
2024:
Pilar González Serrano: Mitología e Iconografía en la Pintura del Museo del Prado, Ediciones Evohé, Madrid, 2009. pp. 294-296
3748:
3293:
2481:
2046:
di Sebastiano del Piombo nel contesto della Cappella Chigi, in Santa Maria del Popolo. Storia e restauri, 2009, pp. 480-488
2006:
Ernst Platner et al.: Beschreibung der Stadt Rom, Stuttgart and Tübingen, J.G. Cotta'schen Buchhandlung, 1842, III., p. 221
1607:
1429:
1388:
and Romulus, and due to their slender, elongated form (the ratio to height to width in Santa Maria del Popolo is 2:1), the
495:
balusters. The railing was enlarged and the turgid balusters were added in the 17th century. This balustrade was copied by
417:
353:
2942:
2779:
2287:
739:
in Windsor shows God with arms outstretched, a gesture associated with creation. The drawings were obviously inspired by
2064:
Emanuele Loewy: Di alcune composizioni di Raffaello, Roma, Typografia dell'Unione cooperatura editrice, 1896, pp. 248-51
1808:
1432:(c. 1548) shows the same monument crowned with a cap and small bronze ball which were later removed (or never existed).
3278:
2605:
932:
234:
76:
1280:
There are differing theories on the arrangement of the niche figures in the original plans. Shearman assumed that the
3593:
3240:
2710:
2336:
1796:
1662:
The use of rare and expensive stones all over the chapel is an important characteristic invoking the interior of the
943:
to make copies of the Genesis frescos and the cosmological mosaics of the dome. The oil paintings were gifts to the
4020:
3831:
3059:
2389:
1336:
1326:
391:
1248:
but originally it was in Rome, and was an important source of inspiration for the artistic circle around Raphael.
480:
The surfaces of the arches are decorated with Renaissance ornaments; on the intrados of the outer arch there is a
3862:
3407:
3308:
2405:
554:
445:
pilasters. The subtle use of coloured marbles emphasizes the individual elements of the classical architecture.
3518:
2620:
2534:
2504:
967:. At present seven of the zodiac paintings and five surviving copies of the Genesis frescos are located in the
559:
3548:
3415:
3014:
1346:
1320:
735:
show God the Father creating the Sun and the Moon and separating Light from Darkness. Another drawing in the
387:
1784:
1454:
marble panels framed by the original giallo antico mouldings. Only one relief survived, the above-mentioned
3844:
3384:
3369:
3104:
2473:
2356:
1643:
1231:
87:
701:. Another interpretation, proposed by John Shearman, claims that it represents the cosmos as described by
3556:
3533:
2771:
2458:
1219:
1975:
Lex Bosman: Spolia and Coloured Marble in Sepulchral Monuments in Rone, Florence and Bosco Marengo, in:
4005:
3633:
3263:
3127:
2885:
2824:
2237:
1118:
3825:
3510:
3210:
3180:
2590:
2435:
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1692:
was decorated in 1578-80, but during the Baroque era the use of coloured marbles became very common.
1631:
517:
496:
282:
3908:
3399:
2972:
2877:
2756:
1376:
1294:
160:
750:(or Il Salviati) with the same task. Supposedly de' Rossi was recommended by his patron, Cardinal
3902:
3653:
3503:
3484:
3435:
2794:
2725:
2564:
2207:
Cecilia Magnusson:The antique sources of the Chigi Chapel, Konsthistorisk Tidskrift, 56:4, p. 135
1689:
1081:
687:
639:
433:
2171:
Filippo Baldinucci: The Life of Bernini, trans. Catherine Enggass, Penn State Press, 1965, p. 78
1527:
which was written around 1656. Mellini states that the panel above Sigismondo's tomb represents
1312:, who lived by the grace of God in the desert, was created by Lorenzetto but it was finished by
35:
3802:
3165:
2741:
2549:
1760:
1598:, a Flemish assistant of Bernini, cast by Francuccio Francucci and gilded by Francesco Perone.
1425:
1413:
1313:
921:
747:
361:
2900:
2073:
Domenico Gnoli: La sepoltura d'Agostino Chigi nella Chiesa di S. Maria del Popolo in Roma, in
352:
was begun in 1530 but it was left unfinished in 1534. Work on the chapel resumed in 1548 when
245:
which has been preserved in its near original form. The chapel is a treasure trove of Italian
3641:
3150:
2912:
2329:
1551:
1141:
1133:
1096:
728:
659:
631:
349:
2162:
Martina Droth (ed.): Taking Shape: Finding Sculpture in the Decorative Arts, 2009, pp. 24-25
3852:
3585:
3354:
2847:
2680:
2650:
1352:
1064:
The scene of the Creation of the Animals poses an interesting problem due to its placement
762:
627:
374:
164:
140:
1634:. The altar is flanked by two white marble wall flower stands decorated with palm fronds.
8:
3924:
3786:
3617:
3225:
2905:
2862:
2443:
2275:
2225:
Antonio Muñoz, Nelle chiese di Roma. Ritrovamente e restauri. in: Bollettino d'Arte, 1912
1309:
1285:
1263:
948:
651:
635:
599:
534:
329:
155:
3848:
3774:
3740:
3112:
2665:
2489:
2373:
2251:
1710:
1599:
1421:
1385:
1281:
1257:
1099:
was chosen to carry on the work on the altar-piece but he achieved less than expected.
964:
960:
675:
643:
623:
619:
611:
378:
325:
273:
granted assent to the acquisition of a chapel in the church to his friend, the wealthy
2222:, Rome (Artistic Centers of the Italian Renaissance), Cambridge University Press, 2005
2180:
I Papi della Speranza: Arte e religiosità nella Roma del '600, Gangemi Editore, p. 103
1650:
by Bernini. These liturgical pieces were still recorded in an inventory in the 1720s.
1496:
symbolism of the chapel was integrated into a broader Christian resurrection imagery.
456:
The portal of the chapel is a Renaissance reinterpretation of the entrance bay of the
3472:
3135:
3089:
2957:
1957:
Paul Joannides: The Drawings of Raphael, University of California Press, 1983, p. 181
1234:
Discourse, and Jesus' words make it clear why the imagery was appropriate on a tomb:
956:
795:
787:
767:
751:
679:
667:
655:
607:
3968:
3948:
3721:
3713:
3705:
3697:
3689:
3681:
3673:
3664:
3255:
2733:
2397:
2322:
1627:
1595:
1472:
940:
736:
647:
572:
530:
442:
218:
884:
The frescos between the windows of the drum (c. 1552-1554) depict scenes from the
3953:
3916:
3890:
3868:
3195:
3029:
2927:
2839:
1520:
1476:
1439:
1223:
1182:
968:
936:
885:
683:
663:
487:
The entrance of the chapel is marked by a marble railing. It is made of a yellow
461:
383:
246:
1367:
Salviati's drawing depicting Agostino's pyramid in its original or planned form.
3932:
3896:
3885:
2219:
1663:
1492:
1227:
1145:
981:
928:, that make up the last section of Michelangelo's great sequence, are missing.
804:
778:. The portrayal of Ver (Spring), Aestas (Summer) and Autumnus (Autumn) follows
615:
521:
457:
437:
278:
174:
53:
1011:
293:
as the architect. A ground plan attributed to the artist was preserved in the
3989:
3577:
3568:
2980:
2420:
1508:
1403:
1397:
1389:
1170:
1092:
783:
775:
697:
The traditional interpretation of the dome is that the composition shows the
481:
109:
96:
1617:
816:
340:
3940:
3858:
3464:
3074:
2263:
1158:
1020:
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706:
584:
500:
365:
letter to his uncle. (Later he managed to transfer this tomb to the nearby
1638:
for the altar of the St. Peter's. They were supplemented by gilded wooden
1585:
1563:
825:
1639:
1363:
1162:
1002:
250:
1196:
757:
The four tondi of the spandrels depict allegoric representations of the
718:
3798:
3779:
1719:
1668:
1539:
1464:
1305:
1212:
1174:
952:
834:
791:
311:
298:
1939:
Norbert Walther Nobis: Lorenzetto als Bildhauer, 1979, Bonn, pp. 72-73
1144:
which was still not generally accepted but it was heavily promoted by
843:
472:
253:
art and is ranked among the most important monuments in the basilica.
3339:
1705:
1375:
In 1996 Antonio Pinelli discovered the original 1552 contract in the
993:
270:
261:
131:
3431:
Portrait of Doña Isabel de Requesens y Enríquez de Cardona-Anglesola
1268:
448:
2246:
1547:
1290:
603:
525:
429:
406:
Exterior view of the upper part of the chapel behind the city wall.
402:
348:
The main altar-piece, a mural depicting the birth of the Virgin by
1679:
1610:
in the basilica, a copy was made in 1885 for the Palazzo Chigi in
1542:
with the harp and Goliath's head, and a younger king, undoubtedly
638:, the king of the gods with his eagle holding a thunderbolt (with
507:
2345:
1647:
1611:
1543:
1480:
1392:
1342:
1332:
1178:
955:
in 1603 together with other copies of famous Italian artworks by
799:
290:
274:
242:
136:
1886:
Bronze frame of the altar-piece with acanthus leaves and acorns
1683:
The frieze and the capitals are white "bianco purissimo" marble
1417:
1245:
1122:
1100:
771:
732:
576:
466:
315:
294:
226:
2270:
1297:
diagonally facing each other creating a coherent composition.
2281:
1491:
or funeral pyre. These funerals were customarily held on the
702:
686:
created a series of plates depicting the mosaics in 1695 for
671:
580:
2153:
Gasparo Alveri: Roma in ogni stato, V. Mascardi, 1664, p. 10
1862:
Modello drawing for the altar-piece by Sebastiano del Piombo
1550:. The sacerdotal ancestors are represented through a Jewish
567:
The dome is decorated with mosaics executed by the Venetian
1341:(1656–61) that took him by the hair and transported him to
1304:, a prophet who prefigured the Resurrection, was carved by
925:
779:
238:
230:
197:
80:
2314:
428:
Raphael's centralized plan was inspired by the designs of
344:
Drawing from the workshop of Gian Lorenzo Bernini, c. 1655
16:
Chapel designed by Raphael in Santa Maria del Popolo, Rome
1121:
and a finely executed, definitive modello drawing in the
618:, the crescent moon jewelled goddess holding a bow (with
357:
this the chapel was unveiled for the first time in 1554.
1977:
Mitteilungen des Kunsthistorischen Institutes in Florenz
1714:
takes place in the Chigi Chapel, where the sculpture of
394:. Another restoration campaign was launched in 1682-88.
1850:
The tomb of Agostino Chigi, sketch attributed to Dosio.
1157:, angels without wings, young men after the fashion of
377:
between 1652 and 1655. The works began in earnest when
289:
The chapel was most probably rebuilt from scratch with
4031:
17th-century Roman Catholic church buildings in Italy
4001:
15th-century Roman Catholic church buildings in Italy
2235:
594:
Luna, engraving of a mosaic panel by Nicolas Dorigny.
1531:, while the other panel above Agostino's tomb shows
1450:
Bernini replaced the reliefs on the base with green
650:, the god of war holding a sword and a shield (with
1519:The lunettes are filled with oil on wood panels of
1436:refer to pedestals although the term is ambiguous.
598:The sequence of the panels is as follows: the sky;
1475:, an erudite humanist and senior custodian of the
1207:The bronze bas-relief panel on the altar front is
476:The giallo antico and portasanta marble balustrade
223:Cappella Chigi or Cappella della Madonna di Loreto
3317:Portrait of Andrea Navagero and Agostino Beazzano
3987:
1901:, study by Sebastiano del Piombo for the tambour
1218:The relief depicts the meeting of Jesus and the
1185:who prophesied the birth of Christ to Augustus.
1979:, 49. Bd., H. 3 (2005), pp. 353-354 and p. 373
1614:, and also other casts of the lamp are known.
2330:
1483:symbol was added to the top of the pyramids.
1718:is one of the four "markers" leading to the
1621:Design of the monumental bronze candlesticks
3822:(1507–1520) (continued by other architects)
3610:The Expulsion of Heliodorus from the Temple
1407:The portrait of Sigismondo Chigi by Bernini
947:, the most influential man in the court of
662:, the sun jewelled god holding a bow (with
626:, the bearded god holding the scythe (with
373:More important changes were carried out by
2337:
2323:
1926:
1924:
1589:The bronze lamp which forms a Marian crown
1351:, who is represented in the corresponding
1226:. The relevant part of the passage in the
1077:Sebastiano del Piombo: Birth of the Virgin
34:
3996:Roman Catholic churches completed in 1656
3534:Portrait of Pope Leo X with Two Cardinals
1203:, bronze relief antependium by Lorenzetto
1028:
851:
460:. It has a monumental effect with double
277:banker and financier of the Roman Curia,
1678:
1616:
1584:
1562:
1507:
1438:
1402:
1362:
1267:
1195:
1080:
717:
589:
558:
506:
471:
447:
436:. Another source of inspiration was the
401:
339:
260:
3626:The Meeting of Leo the Great and Attila
3045:Portrait of Cardinal Alessandro Farnese
1921:
1272:Part of the statue of Daniel by Bernini
746:Around 1548-50 the Chigis commissioned
241:. It is the only religious building of
3988:
1533:The sacerdotal ancestors of the Virgin
1513:The sacerdotal ancestors of the Virgin
1331:In two other niches are sculptures by
4016:Gian Lorenzo Bernini church buildings
2810:Portrait of Guidobaldo da Montefeltro
2636:Portrait of Emilia Pia da Montefeltro
2318:
2135:Vol. 39, No. 4 (Winter, 1986), p. 706
2049:
1874:Preparatory study for the altar-piece
1699:
782:'s description of the seasons in his
563:The dome with the mosaics of Raphael.
3294:Christ Falling on the Way to Calvary
2288:
545:visual link between the two levels.
2943:Portrait of a Young Woman (La Muta)
2780:Madonna with Beardless Saint Joseph
1930:Marcia B. Hall, cit., pag. 131-132.
694:on the edge of the central oculus.
504:foliage of carved acanthus leaves.
13:
3279:Portrait of Baldassare Castiglione
1838:Pyramidal tomb of Sigismondo Chigi
1802:The statue of Elijah by Lorenzetto
1019:
1010:
1001:
992:
842:
833:
824:
815:
235:Basilica of Santa Maria del Popolo
77:Basilica of Santa Maria del Popolo
14:
4042:
4011:Chapels in Santa Maria del Popolo
3594:Disputation of the Holy Sacrament
1814:The statue of Jonah by Lorenzetto
1567:The geometric pavement by Bernini
1529:The royal ancestors of the Virgin
890:Separation of Light from Darkness
855:Separation of Light from Darkness
3602:Cardinal and Theological Virtues
2297:
2269:
2257:
2245:
1891:
1879:
1867:
1855:
1843:
1831:
1826:Pyramidal tomb of Agostino Chigi
1819:
1807:
1795:
1783:
1778:The statue of Habakuk by Bernini
1771:
1759:
1744:
1732:
1327:Habakkuk and the Angel (Bernini)
1103:gives a scathing account in his
894:Creation of the Sun and the Moon
862:Creation of the Sun and the Moon
761:. In 1653 they were restored by
324:, speaking about the statues of
3863:Antonio da Sangallo the Younger
3408:Saint Michael Vanquishing Satan
2406:Madonna and Child with the Book
2213:
2201:
2192:
2183:
2174:
2165:
2156:
2147:
2138:
2125:
2116:
2107:
2098:
2089:
2080:
2067:
2058:
2036:
2027:
2018:
2009:
2000:
1790:The statue of Daniel by Bernini
1754:, study by Raphael for the dome
555:Creation of the World (Raphael)
215:Chapel of the Madonna of Loreto
3936:Multi-Purpose Logistics Module
3722:Saint Paul Preaching in Athens
2621:Portrait of Elisabetta Gonzaga
2055:Antonio Muñoz, cit., pag. 384.
1991:
1982:
1969:
1960:
1951:
1942:
1933:
1912:
1456:Christ and the Samaritan Woman
1209:Christ and the Samaritan Woman
1201:Christ and the Samaritan Woman
1192:Christ and the Samaritan Woman
465:which is now preserved in the
397:
265:Raphael's ground plan, c. 1512
1:
3835:
3832:Palazzo Branconio dell'Aquila
3791:
3753:
3646:
3538:
3523:
3496:
3477:
3454:
3450:Saint Margaret and the Dragon
3439:
3420:
3389:
3374:
3359:
3344:
3329:
3325:Portrait of Cardinal Bibbiena
3298:
3283:
3268:
3245:
3230:
3215:
3200:
3185:
3170:
3155:
3140:
3117:
3094:
3079:
3064:
3049:
3034:
3019:
3015:Portrait of Tommaso Inghirami
2993:
2989:Saint Catherine of Alexandria
2962:
2947:
2932:
2917:
2890:
2867:
2852:
2829:
2814:
2799:
2784:
2761:
2746:
2715:
2700:
2685:
2670:
2655:
2640:
2625:
2610:
2595:
2569:
2554:
2539:
2524:
2509:
2494:
2463:
2448:
2425:
2410:
2228:Touring Club Italiano (TCI),
1321:Daniel and the Lion (Bernini)
1230:(John 4:10–26) is called the
722:The personification of Winter
511:The panel with the male head.
229:on the left-hand side of the
4026:1656 establishments in Italy
3674:Miraculous Draught of Fishes
3385:Madonna with the Blue Diadem
3370:The Ecstasy of Saint Cecilia
1657:
990:
813:
150:centralized octagonal chapel
7:
3905:(disciple and collaborator)
3706:Conversion of the Proconsul
3557:Self-Portrait with a Friend
2696:Saint George and the Dragon
2344:
1525:Saggio della Roma Descritta
951:, and they were brought to
670:, the goddess of love with
491:marble frame with dark red
10:
4047:
3861:(1518–1525) (completed by
3847:(1509–1575) (completed by
3749:Adoration of the Shepherds
3634:Deliverance of Saint Peter
3264:Portrait of Bindo Altoviti
3128:Portrait of Pope Julius II
2904:(1507–1508) (completed by
2886:Madonna of the Baldacchino
2825:Portrait of Maddalena Doni
2482:The Marriage of the Virgin
2075:Archivio Storico dell'Arte
1725:
1324:
1318:
1261:
1255:
1119:Kupferstichkabinett Berlin
552:
256:
3962:
3878:
3845:Sant'Eligio degli Orefici
3826:Palazzo Jacopo da Brescia
3812:
3766:
3732:
3663:
3567:
3492:Portrait of a Young Woman
3181:Madonna of the Candelabra
3006:
2582:
2365:
2352:
1050:
1043:
1036:
1029:
873:
866:
859:
852:
497:Giovanni Battista Contini
196:
188:
180:
170:
154:
146:
130:
125:
86:
72:
67:
59:
47:
42:
33:
26:
21:
3910:Raphael and La Fornarina
3682:Christ's Charge to Peter
3400:Holy Family of Francis I
2973:Niccolini-Cowper Madonna
2757:Young Woman with Unicorn
2606:Portrait of Pietro Bembo
2077:, II (1889), pp. 318-320
1906:
1538:The royal ancestors are
1377:Getty Research Institute
1137:mainly Salviati's work.
1132:was eventually begun by
1088:by Sebastiano del Piombo
770:, the first sign of the
452:The soffit of the portal
418:Temple of Minerva Medica
4021:Rome R. IV Campo Marzio
3886:Giovanni Santi (father)
3690:Healing of the Lame Man
3241:Portrait of a Young Man
2795:Portrait of Agnolo Doni
2711:Young Man with an Apple
2042:Constanza Barbieri: La
1766:Mors ad caelos pavement
1086:The Birth of the Virgin
1053:Expulsion from Paradise
1039:Creation of the Animals
918:Expulsion from Paradise
910:Creation of the Animals
688:Louis, Duke of Burgundy
110:41.911389°N 12.476389°E
3803:Raffaello da Montelupo
3211:Madonna dell'Impannata
3166:Madonna della Seggiola
3060:Portrait of a Cardinal
2742:Madonna del Cardellino
2390:Resurrection of Christ
2044:Nativita della Vergine
1739:The mosaics of Raphael
1716:Habakkuk and the Angel
1684:
1677:
1632:Saint Peter's Basilica
1622:
1590:
1568:
1516:
1447:
1414:Giovanni Antonio Dosio
1408:
1368:
1338:Habakkuk and the Angel
1314:Raffaello da Montelupo
1308:(1520). The statue of
1273:
1204:
1115:
1089:
1024:
1015:
1006:
997:
847:
838:
829:
820:
723:
682:). A French engraver,
674:holding a torch (with
602:, the god holding the
595:
564:
512:
499:in the Elci Chapel in
477:
453:
407:
362:Antoniotto Pallavicini
345:
338:
266:
222:
88:Geographic coordinates
3642:The Fire in the Borgo
3309:Creation of the World
3151:Madonna with the Fish
2913:Canigiani Holy Family
2133:Renaissance Quarterly
1682:
1673:
1620:
1588:
1566:
1511:
1446:by Lorenzetto (lost).
1442:
1406:
1366:
1271:
1199:
1142:Immaculate Conception
1134:Sebastiano del Piombo
1111:
1097:Sebastiano del Piombo
1084:
1023:
1014:
1005:
996:
898:Creation of the Earth
869:Creation of the Earth
846:
837:
828:
819:
774:and connected to the
729:Sebastiano del Piombo
721:
714:Tambour and spandrels
699:Creation of the World
593:
562:
510:
475:
451:
405:
392:Habakuk and the Angel
350:Sebastiano del Piombo
343:
334:
264:
3899:(mistress and model)
3893:(mistress and model)
3865:and other disciples)
3853:Bastiano da Sangallo
3797:–1524) (executed by
3778:(1520) (executed by
3652:–1517) (executed by
3586:The School of Athens
2848:Madonna of the Pinks
2681:Madonna del Granduca
2651:Small Cowper Madonna
2505:Portrait of Perugino
1690:St. Peter's Basilica
1671:(c. 1519) he wrote:
977:Roma sacra e moderna
763:Antonio della Cornia
434:St. Peter's Basilica
375:Gian Lorenzo Bernini
141:Gian Lorenzo Bernini
115:41.911389; 12.476389
3967:Also attributed to
3714:Sacrifice at Lystra
3618:The Mass at Bolsena
3549:Madonna of the Rose
3226:Madonna della Tenda
2906:Ridolfo Ghirlandaio
2901:La belle jardinière
2863:Bridgewater Madonna
2444:Conestabile Madonna
1711:Angels & Demons
1644:Santa Maria Assunta
1348:Daniel and the Lion
1302:Jonah and the whale
1264:Elijah (Lorenzetto)
1130:Birth of the Virgin
988:
949:Philip III of Spain
811:
748:Francesco de' Rossi
705:in a Christianized
535:Arcus Argentariorum
388:Daniel and the Lion
106: /
3849:Baldassare Peruzzi
3113:Madonna of Foligno
3105:The Prophet Isaiah
2666:Terranuova Madonna
2520:Colonna Altarpiece
2490:Diotallevi Madonna
2474:Vision of a Knight
2374:Baronci Altarpiece
2232:(Milan) 1965:183f.
1700:In popular culture
1685:
1623:
1600:Filippo Baldinucci
1591:
1569:
1517:
1515:by Raffaello Vanni
1448:
1430:Francesco Salviati
1422:Pyramus and Thisbe
1409:
1369:
1274:
1258:Jonah (Lorenzetto)
1205:
1090:
1025:
1016:
1007:
998:
982:
965:Buen Retiro Palace
961:Philip IV of Spain
933:Vincenzo I Gonzaga
848:
839:
830:
821:
805:
724:
596:
565:
513:
478:
454:
408:
354:Francesco Salviati
346:
267:
4006:Raphael buildings
3983:
3982:
3665:Tapestry cartoons
3519:Madonna de Bogota
3473:Small Holy Family
3090:Madonna of Loreto
2958:Esterhazy Madonna
2772:Madonna del Prato
2583:Florentine period
2459:Portrait of a Man
2357:List of paintings
1416:(c. 1570) in the
1252:The four prophets
1059:
1058:
985:The Genesis-cycle
957:Peter Paul Rubens
882:
881:
808:The Genesis-cycle
752:Giovanni Salviati
462:transverse arches
207:
206:
4038:
3976:
3971:
3969:Lorenzo di Credi
3949:Raphael (crater)
3840:
3837:
3796:
3793:
3758:
3755:
3698:Death of Ananias
3651:
3648:
3543:
3540:
3528:
3525:
3501:
3498:
3482:
3479:
3459:
3456:
3444:
3441:
3425:
3422:
3416:Ezekiel's Vision
3394:
3391:
3379:
3376:
3364:
3361:
3349:
3346:
3334:
3331:
3303:
3300:
3288:
3285:
3273:
3270:
3250:
3247:
3235:
3232:
3220:
3217:
3205:
3202:
3190:
3187:
3175:
3172:
3160:
3157:
3145:
3142:
3122:
3119:
3099:
3096:
3084:
3081:
3069:
3066:
3054:
3051:
3039:
3036:
3024:
3021:
2998:
2995:
2967:
2964:
2952:
2949:
2937:
2934:
2922:
2919:
2895:
2892:
2872:
2869:
2857:
2854:
2834:
2831:
2819:
2816:
2804:
2801:
2789:
2786:
2766:
2763:
2751:
2748:
2734:La donna gravida
2720:
2717:
2705:
2702:
2690:
2687:
2675:
2672:
2660:
2657:
2645:
2642:
2630:
2627:
2615:
2612:
2600:
2597:
2574:
2571:
2559:
2556:
2544:
2541:
2529:
2526:
2514:
2511:
2499:
2496:
2468:
2465:
2453:
2450:
2430:
2427:
2415:
2412:
2398:Mond Crucifixion
2339:
2332:
2325:
2316:
2315:
2310:
2302:
2301:
2300:
2290:
2274:
2273:
2262:
2261:
2260:
2250:
2249:
2241:
2208:
2205:
2199:
2196:
2190:
2187:
2181:
2178:
2172:
2169:
2163:
2160:
2154:
2151:
2145:
2142:
2136:
2129:
2123:
2120:
2114:
2111:
2105:
2102:
2096:
2093:
2087:
2084:
2078:
2071:
2065:
2062:
2056:
2053:
2047:
2040:
2034:
2031:
2025:
2022:
2016:
2013:
2007:
2004:
1998:
1995:
1989:
1986:
1980:
1973:
1967:
1964:
1958:
1955:
1949:
1946:
1940:
1937:
1931:
1928:
1919:
1916:
1895:
1883:
1871:
1859:
1847:
1835:
1823:
1811:
1799:
1787:
1775:
1763:
1748:
1736:
1722:'s secret lair.
1628:Royal Collection
1596:Peter Verpoorten
1473:Lucas Holstenius
1390:ancient Egyptian
1316:around 1523/24.
1046:The Original Sin
989:
941:Pietro Facchetti
914:The Original Sin
902:Creation of Adam
876:Creation of Adam
812:
573:Ashmolean Museum
531:Andrea Sansovino
308:Sigismondo Chigi
225:) is the second
121:
120:
118:
117:
116:
111:
107:
104:
103:
102:
99:
38:
19:
18:
4046:
4045:
4041:
4040:
4039:
4037:
4036:
4035:
3986:
3985:
3984:
3979:
3974:
3966:
3958:
3954:Vatican loggias
3912:(1813 painting)
3891:Imperia Cognati
3874:
3869:Villa Farnesina
3838:
3808:
3794:
3762:
3756:
3728:
3659:
3649:
3563:
3541:
3526:
3511:Transfiguration
3499:
3480:
3457:
3442:
3423:
3392:
3377:
3362:
3347:
3332:
3301:
3286:
3271:
3248:
3233:
3218:
3203:
3196:Sistine Madonna
3188:
3173:
3158:
3143:
3120:
3097:
3082:
3067:
3052:
3037:
3030:Garvagh Madonna
3022:
3002:
2996:
2965:
2950:
2935:
2928:Colonna Madonna
2920:
2893:
2870:
2855:
2840:Ansidei Madonna
2832:
2817:
2802:
2787:
2764:
2749:
2718:
2703:
2688:
2673:
2658:
2643:
2628:
2613:
2598:
2591:Christ Blessing
2578:
2572:
2557:
2542:
2527:
2512:
2497:
2466:
2451:
2428:
2413:
2382:Saint Sebastian
2361:
2348:
2343:
2313:
2303:
2298:
2296:
2293:
2289:sister projects
2286:at Knowledge's
2280:
2268:
2258:
2256:
2244:
2236:
2230:Roma e dintorni
2216:
2211:
2206:
2202:
2197:
2193:
2188:
2184:
2179:
2175:
2170:
2166:
2161:
2157:
2152:
2148:
2143:
2139:
2130:
2126:
2121:
2117:
2112:
2108:
2103:
2099:
2094:
2090:
2085:
2081:
2072:
2068:
2063:
2059:
2054:
2050:
2041:
2037:
2032:
2028:
2023:
2019:
2014:
2010:
2005:
2001:
1996:
1992:
1987:
1983:
1974:
1970:
1965:
1961:
1956:
1952:
1947:
1943:
1938:
1934:
1929:
1922:
1917:
1913:
1909:
1902:
1896:
1887:
1884:
1875:
1872:
1863:
1860:
1851:
1848:
1839:
1836:
1827:
1824:
1815:
1812:
1803:
1800:
1791:
1788:
1779:
1776:
1767:
1764:
1755:
1749:
1740:
1737:
1728:
1702:
1660:
1521:Raffaello Vanni
1477:Vatican Library
1460:Mourning Genius
1444:Mourning Genius
1329:
1323:
1282:statue of Jonah
1266:
1260:
1220:Samaritan woman
1183:Tiburtine Sibyl
1032:Creation of Eve
969:Museo del Prado
906:Creation of Eve
886:Book of Genesis
684:Nicolas Dorigny
557:
400:
384:Raffaello Vanni
318:records in his
259:
114:
112:
108:
105:
100:
97:
95:
93:
92:
29:
17:
12:
11:
5:
4044:
4034:
4033:
4028:
4023:
4018:
4013:
4008:
4003:
3998:
3981:
3980:
3978:
3977:
3972:
3963:
3960:
3959:
3957:
3956:
3951:
3946:
3938:
3930:
3922:
3914:
3906:
3900:
3897:Margarita Luti
3894:
3888:
3882:
3880:
3876:
3875:
3873:
3872:
3866:
3856:
3842:
3829:
3823:
3816:
3814:
3810:
3809:
3807:
3806:
3783:
3770:
3768:
3764:
3763:
3761:
3760:
3745:
3736:
3734:
3730:
3729:
3727:
3726:
3718:
3710:
3702:
3694:
3686:
3678:
3669:
3667:
3661:
3660:
3658:
3657:
3638:
3630:
3622:
3614:
3606:
3598:
3590:
3582:
3573:
3571:
3565:
3564:
3562:
3561:
3553:
3545:
3530:
3515:
3507:
3488:
3469:
3461:
3446:
3427:
3412:
3404:
3396:
3381:
3366:
3351:
3336:
3321:
3313:
3305:
3290:
3275:
3260:
3252:
3237:
3222:
3207:
3192:
3177:
3162:
3147:
3132:
3124:
3109:
3101:
3086:
3071:
3056:
3041:
3026:
3010:
3008:
3004:
3003:
3001:
3000:
2985:
2977:
2969:
2954:
2939:
2924:
2909:
2897:
2882:
2878:The Deposition
2874:
2859:
2844:
2836:
2821:
2806:
2791:
2776:
2768:
2753:
2738:
2730:
2722:
2707:
2692:
2677:
2662:
2647:
2632:
2617:
2602:
2586:
2584:
2580:
2579:
2577:
2576:
2561:
2546:
2531:
2516:
2501:
2486:
2478:
2470:
2455:
2440:
2432:
2417:
2402:
2394:
2386:
2378:
2369:
2367:
2363:
2362:
2360:
2359:
2353:
2350:
2349:
2342:
2341:
2334:
2327:
2319:
2312:
2311:
2282:
2279:
2278:
2266:
2254:
2234:
2233:
2226:
2223:
2220:Marcia B. Hall
2215:
2212:
2210:
2209:
2200:
2191:
2182:
2173:
2164:
2155:
2146:
2137:
2124:
2115:
2106:
2097:
2088:
2079:
2066:
2057:
2048:
2035:
2026:
2017:
2008:
1999:
1990:
1981:
1968:
1959:
1950:
1941:
1932:
1920:
1910:
1908:
1905:
1904:
1903:
1899:God the Father
1897:
1890:
1888:
1885:
1878:
1876:
1873:
1866:
1864:
1861:
1854:
1852:
1849:
1842:
1840:
1837:
1830:
1828:
1825:
1818:
1816:
1813:
1806:
1804:
1801:
1794:
1792:
1789:
1782:
1780:
1777:
1770:
1768:
1765:
1758:
1756:
1752:God the Father
1750:
1743:
1741:
1738:
1731:
1727:
1724:
1701:
1698:
1659:
1656:
1493:Campus Martius
1325:Main article:
1319:Main article:
1300:The statue of
1262:Main article:
1256:Main article:
1228:Gospel of John
1146:Pope Sixtus IV
1057:
1056:
1049:
1042:
1035:
1027:
1026:
1017:
1008:
999:
937:Duke of Mantua
922:Sistine Chapel
880:
879:
872:
865:
858:
850:
849:
840:
831:
822:
776:vernal equinox
553:Main article:
399:
396:
279:Agostino Chigi
258:
255:
205:
204:
201:
194:
193:
190:
186:
185:
182:
181:Groundbreaking
178:
177:
175:Agostino Chigi
172:
168:
167:
158:
152:
151:
148:
144:
143:
134:
128:
127:
123:
122:
90:
84:
83:
74:
70:
69:
65:
64:
61:
57:
56:
54:Roman Catholic
51:
45:
44:
40:
39:
31:
30:
28:Cappella Chigi
27:
24:
23:
15:
9:
6:
4:
3:
2:
4043:
4032:
4029:
4027:
4024:
4022:
4019:
4017:
4014:
4012:
4009:
4007:
4004:
4002:
3999:
3997:
3994:
3993:
3991:
3973:
3970:
3965:
3964:
3961:
3955:
3952:
3950:
3947:
3945:
3944:
3939:
3937:
3935:
3931:
3929:
3927:
3923:
3921:
3919:
3915:
3913:
3911:
3907:
3904:
3903:Giulio Romano
3901:
3898:
3895:
3892:
3889:
3887:
3884:
3883:
3881:
3877:
3870:
3867:
3864:
3860:
3857:
3854:
3850:
3846:
3843:
3833:
3830:
3827:
3824:
3821:
3818:
3817:
3815:
3811:
3804:
3800:
3789:
3788:
3784:
3781:
3777:
3776:
3772:
3771:
3769:
3765:
3751:
3750:
3746:
3743:
3742:
3738:
3737:
3735:
3731:
3724:
3723:
3719:
3716:
3715:
3711:
3708:
3707:
3703:
3700:
3699:
3695:
3692:
3691:
3687:
3684:
3683:
3679:
3676:
3675:
3671:
3670:
3668:
3666:
3662:
3655:
3654:Giulio Romano
3644:
3643:
3639:
3636:
3635:
3631:
3628:
3627:
3623:
3620:
3619:
3615:
3612:
3611:
3607:
3604:
3603:
3599:
3596:
3595:
3591:
3588:
3587:
3583:
3580:
3579:
3578:The Parnassus
3575:
3574:
3572:
3570:
3569:Raphael Rooms
3566:
3559:
3558:
3554:
3551:
3550:
3546:
3536:
3535:
3531:
3521:
3520:
3516:
3513:
3512:
3508:
3505:
3504:Giulio Romano
3502:–1519) (with
3494:
3493:
3489:
3486:
3485:Giulio Romano
3483:–1519) (with
3475:
3474:
3470:
3467:
3466:
3462:
3452:
3451:
3447:
3437:
3436:Giulio Romano
3433:
3432:
3428:
3418:
3417:
3413:
3410:
3409:
3405:
3402:
3401:
3397:
3387:
3386:
3382:
3372:
3371:
3367:
3357:
3356:
3352:
3342:
3341:
3337:
3327:
3326:
3322:
3319:
3318:
3314:
3311:
3310:
3306:
3296:
3295:
3291:
3281:
3280:
3276:
3266:
3265:
3261:
3258:
3257:
3253:
3243:
3242:
3238:
3228:
3227:
3223:
3213:
3212:
3208:
3198:
3197:
3193:
3183:
3182:
3178:
3168:
3167:
3163:
3153:
3152:
3148:
3138:
3137:
3133:
3130:
3129:
3125:
3115:
3114:
3110:
3107:
3106:
3102:
3092:
3091:
3087:
3077:
3076:
3072:
3062:
3061:
3057:
3047:
3046:
3042:
3032:
3031:
3027:
3017:
3016:
3012:
3011:
3009:
3005:
2991:
2990:
2986:
2983:
2982:
2981:Tempi Madonna
2978:
2975:
2974:
2970:
2960:
2959:
2955:
2945:
2944:
2940:
2930:
2929:
2925:
2915:
2914:
2910:
2907:
2903:
2902:
2898:
2888:
2887:
2883:
2880:
2879:
2875:
2865:
2864:
2860:
2850:
2849:
2845:
2842:
2841:
2837:
2827:
2826:
2822:
2812:
2811:
2807:
2797:
2796:
2792:
2782:
2781:
2777:
2774:
2773:
2769:
2759:
2758:
2754:
2744:
2743:
2739:
2736:
2735:
2731:
2728:
2727:
2726:Self-portrait
2723:
2713:
2712:
2708:
2698:
2697:
2693:
2683:
2682:
2678:
2668:
2667:
2663:
2653:
2652:
2648:
2638:
2637:
2633:
2623:
2622:
2618:
2608:
2607:
2603:
2593:
2592:
2588:
2587:
2585:
2581:
2567:
2566:
2565:Saint Michael
2562:
2552:
2551:
2547:
2537:
2536:
2532:
2522:
2521:
2517:
2507:
2506:
2502:
2492:
2491:
2487:
2484:
2483:
2479:
2476:
2475:
2471:
2461:
2460:
2456:
2446:
2445:
2441:
2438:
2437:
2433:
2423:
2422:
2421:Solly Madonna
2418:
2408:
2407:
2403:
2400:
2399:
2395:
2392:
2391:
2387:
2384:
2383:
2379:
2376:
2375:
2371:
2370:
2368:
2364:
2358:
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1120:
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1093:John Shearman
1087:
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945:Duke of Lerma
942:
939:commissioned
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784:Metamorphoses
781:
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769:
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749:
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742:
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737:Royal Library
734:
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569:Luigi da Pace
561:
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546:
542:
538:
536:
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523:
519:
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489:giallo antico
485:
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450:
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310:commissioned
309:
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52:
50:
46:
41:
37:
32:
25:
20:
3942:
3933:
3926:La Fornarina
3925:
3920:(1894 opera)
3917:
3909:
3871:(decoration)
3859:Villa Madama
3820:Chigi Chapel
3819:
3785:
3773:
3747:
3739:
3720:
3712:
3704:
3696:
3688:
3680:
3672:
3640:
3632:
3624:
3616:
3608:
3600:
3592:
3584:
3576:
3555:
3547:
3532:
3517:
3509:
3490:
3471:
3465:La Fornarina
3463:
3448:
3429:
3414:
3406:
3398:
3383:
3368:
3353:
3338:
3323:
3315:
3307:
3292:
3277:
3262:
3254:
3239:
3224:
3209:
3194:
3179:
3164:
3149:
3134:
3131:(1511, 1512)
3126:
3111:
3103:
3088:
3075:Alba Madonna
3073:
3058:
3043:
3028:
3013:
3007:Roman period
2987:
2979:
2971:
2956:
2941:
2926:
2911:
2899:
2884:
2876:
2861:
2846:
2838:
2823:
2808:
2793:
2778:
2770:
2755:
2740:
2732:
2724:
2709:
2694:
2679:
2664:
2649:
2634:
2619:
2604:
2589:
2563:
2550:Three Graces
2548:
2535:Saint George
2533:
2518:
2503:
2488:
2480:
2472:
2457:
2442:
2434:
2419:
2404:
2396:
2388:
2380:
2372:
2309:from Commons
2304:
2284:Chigi Chapel
2283:
2276:Architecture
2229:
2214:Bibliography
2203:
2194:
2185:
2176:
2167:
2158:
2149:
2140:
2132:
2127:
2118:
2109:
2100:
2091:
2082:
2074:
2069:
2060:
2051:
2043:
2038:
2029:
2020:
2011:
2002:
1993:
1984:
1976:
1971:
1962:
1953:
1944:
1935:
1914:
1898:
1751:
1715:
1709:
1703:
1694:
1686:
1674:
1661:
1652:
1636:
1624:
1603:
1602:says in his
1592:
1580:
1579:
1574:opus sectile
1573:
1570:
1558:
1557:
1537:
1532:
1528:
1524:
1518:
1512:
1503:
1502:
1498:
1488:
1485:
1469:
1459:
1455:
1452:verde antico
1451:
1449:
1443:
1434:
1426:Jean Lemaire
1410:
1382:
1374:
1370:
1358:
1357:
1347:
1337:
1330:
1301:
1299:
1279:
1275:
1251:
1250:
1243:
1239:
1236:
1224:Jacob's Well
1217:
1208:
1206:
1200:
1191:
1190:
1187:
1167:
1159:Michelangelo
1154:
1149:
1139:
1129:
1127:
1116:
1112:
1105:
1091:
1085:
1076:
1075:
1071:
1065:
1063:
1060:
1052:
1051:
1045:
1044:
1038:
1037:
1031:
1030:
984:
983:
976:
973:
931:Around 1602
930:
917:
913:
909:
905:
901:
897:
893:
889:
883:
875:
874:
868:
867:
861:
860:
854:
853:
807:
806:
758:
756:
745:
741:Michelangelo
725:
713:
712:
707:Neoplatonist
698:
696:
692:
597:
585:Michelangelo
566:
548:
547:
543:
539:
524:designed by
514:
501:Santa Sabina
492:
488:
486:
479:
455:
432:for the new
427:
423:
422:
414:
410:
409:
372:
359:
347:
335:
320:
304:
288:
268:
214:
211:Chigi Chapel
210:
208:
132:Architect(s)
126:Architecture
22:Chigi Chapel
3928:(1944 film)
3839: 1520
3828:(1515–1519)
3795: 1520
3757: 1508
3725:(1514–1516)
3717:(1514–1516)
3709:(1514–1516)
3701:(1514–1516)
3693:(1514–1516)
3685:(1514–1516)
3677:(1514–1516)
3650: 1514
3629:(1513–1514)
3621:(1512–1514)
3613:(1511–1512)
3597:(1510–1511)
3589:(1509–1511)
3581:(1509–1511)
3560:(1518–1520)
3552:(1518–1520)
3542: 1518
3527: 1517
3514:(1516–1520)
3500: 1518
3481: 1518
3468:(1518–1519)
3458: 1518
3443: 1518
3424: 1518
3393: 1510
3378: 1514
3363: 1517
3348: 1516
3333: 1516
3302: 1514
3287: 1514
3272: 1512
3249: 1513
3234: 1513
3219: 1513
3204: 1513
3189: 1513
3174: 1513
3159: 1512
3144: 1512
3121: 1511
3108:(1511–1512)
3098: 1511
3083: 1511
3068: 1510
3053: 1509
3038: 1509
3023: 1509
2997: 1507
2966: 1508
2951: 1507
2936: 1507
2921: 1507
2894: 1506
2871: 1507
2856: 1506
2843:(1505–1507)
2833: 1506
2818: 1506
2803: 1506
2788: 1506
2765: 1505
2750: 1505
2737:(1505–1506)
2729:(1504–1506)
2719: 1505
2704: 1505
2689: 1505
2674: 1504
2659: 1504
2644: 1504
2629: 1504
2614: 1504
2599: 1502
2573: 1504
2558: 1503
2543: 1503
2528: 1503
2513: 1504
2498: 1504
2477:(1503–1504)
2467: 1503
2452: 1502
2439:(1502–1504)
2429: 1500
2414: 1503
2401:(1502–1503)
2393:(1499–1502)
2385:(1501–1502)
2377:(1500–1501)
2366:Early works
2252:Catholicism
1640:altar cards
1608:Cybo Chapel
1552:High Priest
1345:to succour
1163:Rijksmuseum
640:Sagittarius
398:Description
379:Fabio Chigi
247:Renaissance
161:Renaissance
113: /
63:side chapel
49:Affiliation
3990:Categories
3975:Attributed
3799:Lorenzetto
3780:Lorenzetto
3767:Sculptures
3355:Visitation
2436:Oddi Altar
1720:Illuminati
1669:Pope Leo X
1540:King David
1465:Lorenzetto
1306:Lorenzetto
1213:Lorenzetto
1175:Saint Anne
1150:sine culpa
953:Valladolid
888:in order:
792:Proserpina
518:Santa Casa
493:portasanta
443:Corinthian
367:baptistery
312:Lorenzetto
299:Lorenzetto
101:12°28′35″E
98:41°54′41″N
3943:Raffaello
3934:Raffaello
3813:Buildings
3340:La velata
1706:Dan Brown
1658:Materials
1581:Furniture
632:Capricorn
537:in Rome.
370:decades.
271:Julius II
189:Completed
3741:Lucretia
3733:Drawings
2639: (
2624: (
2508: (
1708:'s book
1704:Part of
1664:Pantheon
1559:Pavement
1548:Rehoboam
1504:Lunettes
1393:obelisks
1359:Pyramids
1291:Habakkuk
628:Aquarius
604:caduceus
526:Bramante
458:Pantheon
438:Pantheon
430:Bramante
424:Interior
411:Exterior
269:In 1507
73:Location
68:Location
43:Religion
3918:Raphael
3879:Related
3744:(1500s)
3136:Galatea
2346:Raphael
2238:Portals
1726:Gallery
1648:Ariccia
1612:Ariccia
1544:Solomon
1481:Chi Rho
1386:Cestius
1343:Babylon
1333:Bernini
1179:Joachim
1171:Madonna
963:in the
800:Bacchus
759:Seasons
652:Scorpio
636:Jupiter
600:Mercury
482:meander
291:Raphael
275:Sienese
257:History
251:Baroque
243:Raphael
233:in the
219:Italian
171:Founder
165:Baroque
137:Raphael
3787:Elijah
3637:(1514)
3605:(1511)
3544:–1520)
3529:–1520)
3434:(with
3411:(1518)
3403:(1518)
3395:–1518)
3380:–1517)
3320:(1516)
3312:(1516)
3304:–1516)
3289:–1515)
3274:–1515)
3259:(1514)
3256:Sibyls
3251:–1514)
3236:–1514)
3221:–1514)
3206:–1514)
3191:–1514)
3176:–1514)
3161:–1514)
3123:–1512)
3070:–1511)
3055:–1511)
3040:–1510)
2999:–1509)
2984:(1508)
2976:(1508)
2953:–1508)
2938:–1508)
2923:–1508)
2896:–1508)
2881:(1507)
2873:–1508)
2858:–1507)
2775:(1506)
2767:–1506)
2752:–1506)
2676:–1505)
2661:–1505)
2646:–1505)
2631:–1505)
2601:–1504)
2575:–1505)
2560:–1505)
2545:–1505)
2530:–1505)
2485:(1504)
2469:–1504)
2454:–1504)
2431:–1504)
1479:. The
1418:Uffizi
1310:Elijah
1295:Daniel
1286:Elijah
1246:Louvre
1123:Louvre
1101:Vasari
935:, the
772:zodiac
733:Louvre
676:Taurus
644:Pisces
624:Saturn
620:Cancer
612:Gemini
606:(with
577:Oxford
522:Loreto
467:Uffizi
330:Elijah
316:Vasari
295:Uffizi
283:shrine
227:chapel
60:Status
3775:Jonah
2306:Media
2264:Italy
1907:Notes
1489:rogus
1353:niche
1211:, by
1106:Lives
1066:after
796:Ceres
788:Flora
768:Aries
703:Plato
680:Libra
672:Cupid
668:Venus
656:Aries
608:Virgo
581:Lille
326:Jonah
321:Lives
156:Style
3851:and
3801:and
1604:Vita
1293:and
1128:The
926:Noah
916:and
798:and
780:Ovid
678:and
654:and
648:Mars
642:and
630:and
616:Luna
610:and
579:and
549:Dome
390:and
328:and
249:and
239:Rome
231:nave
209:The
198:Dome
192:1661
184:1507
147:Type
81:Rome
3941:SS
3438:) (
1646:in
1424:by
1412:to
1222:at
908:,
666:);
664:Leo
660:Sol
658:);
646:);
634:);
622:);
614:);
520:in
237:in
213:or
200:(s)
3992::
3836:c.
3792:c.
3754:c.
3647:c.
3539:c.
3524:c.
3497:c.
3478:c.
3455:c.
3440:c.
3421:c.
3390:c.
3375:c.
3360:c.
3345:c.
3330:c.
3299:c.
3284:c.
3269:c.
3246:c.
3231:c.
3216:c.
3201:c.
3186:c.
3171:c.
3156:c.
3141:c.
3118:c.
3095:c.
3080:c.
3065:c.
3050:c.
3035:c.
3020:c.
2994:c.
2963:c.
2948:c.
2933:c.
2918:c.
2891:c.
2868:c.
2853:c.
2830:c.
2815:c.
2800:c.
2785:c.
2762:c.
2747:c.
2716:c.
2701:c.
2686:c.
2671:c.
2656:c.
2641:c.
2626:c.
2611:c.
2596:c.
2570:c.
2555:c.
2540:c.
2525:c.
2510:c.
2495:c.
2464:c.
2449:c.
2426:c.
2411:c.
1923:^
1535:.
1467:.
1400:.
1335::
1173:.
1165:.
1109::
979:.
971:.
912:,
904:,
900:,
896:,
892:,
794:,
743:.
690:.
575:,
420:.
332::
221::
163:,
139:,
79:,
3855:)
3841:)
3834:(
3805:)
3790:(
3782:)
3759:)
3752:(
3656:)
3645:(
3537:(
3522:(
3506:)
3495:(
3487:)
3476:(
3460:)
3453:(
3445:)
3426:)
3419:(
3388:(
3373:(
3365:)
3358:(
3350:)
3343:(
3335:)
3328:(
3297:(
3282:(
3267:(
3244:(
3229:(
3214:(
3199:(
3184:(
3169:(
3154:(
3146:)
3139:(
3116:(
3100:)
3093:(
3085:)
3078:(
3063:(
3048:(
3033:(
3025:)
3018:(
2992:(
2968:)
2961:(
2946:(
2931:(
2916:(
2908:)
2889:(
2866:(
2851:(
2835:)
2828:(
2820:)
2813:(
2805:)
2798:(
2790:)
2783:(
2760:(
2745:(
2721:)
2714:(
2706:)
2699:(
2691:)
2684:(
2669:(
2654:(
2616:)
2609:(
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2568:(
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2523:(
2515:)
2500:)
2493:(
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2409:(
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2331:t
2324:v
2292::
2240::
790:/
217:(
203:1
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