416:
653:
665:
581:
617:
395:
713:
701:
629:
593:
36:
737:
725:
569:
641:
486:
749:
287:
689:
677:
605:
427:, so that the chapel is aesthetically united despite the very different styles of the two artists. According to Steinberg the light on the Caravaggio paintings comes from the painted heaven on the vault of the anteroom, inhabited by the dove of the Holy Spirit. On the other hand, Varriano claims that the "source" of the light seems to be the clerestory window across the transept.
545:
the deceased set in oval niches, curved broken pediments and long epitaphs. The projecting heads are turned towards the altar. The monuments have painted backgrounds with rich draperies and flaming urns. The tomb itself, where his father, mother and brother had been buried, was mentioned in
Tiberio Cerasi's will in 1598; it was probably located under the floor of the transept.
544:
There are funeral monuments on the lateral walls of the anteroom, one for
Tiberio Cerasi, the founder of the chapel on the left and another for his father, Stefano Cerasi (†1575) and his mother, Bartolomea Manardi on the right (†1573). These are typical Baroque wall monuments with the carved busts of
237:
notes in his diary that the cardinal died on 11 August 1485. "His body was then transferred to the city, and given over for burial in a chapel of the Church of Santa Maria del Popolo, which he had built for himself", states
Burchard. This construction obviously correlated to the general rebuilding of
402:
The oblong shaped chapel consists of a sail-vaulted anteroom and a narrower, barrel-vaulted chancel with the altar. The space is lit dimly by light coming through a lunette window on the back wall. The arched entrance is closed by a balustrade of colourful marble. The focal point of the architecture
552:
and the wife of Count
Antonio Cerasi, was inserted into the wall under the monument of Tiberio Cerasi. She died in 1852 at the age of 27 in childbirth and her baby died with her. Their sculpture was created by Giuseppe Tenerani who finished the monument in 1857. The Latin inscription on their grave
407:
adorned with two large
Corinthian columns, two half-pilasters and a broken pediment. The Cerasi coat-of-arms is depicted in the center of the stained glass lunette window. From the outside the chapel is invisible because it is hemmed in by the neighbouring parts of the basilica and a narrow, walled
382:
Tiberio Cerasi died on 3 May 1601 and was buried in the chapel. In his will he named the
Hospital of the Madonna della Consolazione as his heir with the responsibility to complete the unfinished chapel. Annibale's altarpiece was probably already complete at the time while Caravaggio was paid on 10
246:
The chapel was covered by a barrel vault with a depth equal to the 15th century arch of the papal chapel. According to the will of the patron, the sarcophagus, which was due to host his remains, was placed at the center of the edifice. Due to its particular placement and visibility the sarcophagus
493:
The intrados of the arch between the chancel and the anteroom is decorated with white-gold stucco panels with two putti holding a wreath (top) and angels playing the harp and the flute (above the cornice). The stucco decoration on the pillars is similar but the figurative panels are gilded. The
477:
Iconographically the side panels "relate to the
Caravaggio paintings in that they manifest the divine cause of what passes below" them. Similarly the Coronation scene is placed above Carracci's Assumption as a direct continuation. The vault forms a celestial zone in close contact with the three
242:
which began in 1472. The
Cardinal of Venice was an influential person in the Roman court and Italian politics. It seems an obvious choice that he built himself a chapel in the Pope's favourite church in a very prominent position in the left transept. The construction might have begun in 1476.
541:. Four golden putti in the spandrels seem to support the vault. As Giovanni Battista Ricci was a dependable but rather mediocre artist compared to Carracci and Caravaggio, Tiberio Cerasi's heirs probably chose him to complete the unfinished chapel in a quick and economical way.
450:, an able assistant of Annibale Carracci, and at least the coronation scene was designed by Carracci himself. This is proved by a detailed preparatory drawing of the figure of Christ in almost the same position as in the executed fresco which was preserved in the
370:
The first versions of the
Caravaggio paintings were rejected by the patron and then Caravaggio painted two canvasses instead of the cypress panels as it had been formerly stipulated. The story of the rejection of the first versions was recorded by
518:(Acts 3:1–10). The lower zone of the walls, up to a height of 2.2 m from the floor, is covered with fake painted marble, interspersed with real white and black marble slabs. The other surfaces are decorated with dense white-gold floral motifs.
412:(on the left), and created the impression of "a miniature Latin-cross church, complete with transept, domed crossing, and choir. The nave is supplied by the visitor's motion, his sense of direction and focus".
525:(Saint Augustine and Jerome; Saint Ambrose and Gregory the Great) are in the two lunettes. The oval form is repeated in the pattern of the terracotta pavement. The frescos of the anteroom were attributed to
784:
Antonio
Foscari: Il cardinale veneziano Pietro Foscari e lo scultore senese Giovanni di Stefano in Santa Maria del Popolo a Roma, in: "Arte Documento", n. 14, Edizioni della Laguna, Gorizia 2000, pp. 59–63
494:
panels are directly related to the paintings of Caravaggio because they depict episodes from the life of St Peter and St Paul. The episodes from the life of Paul are on the right (from the top to bottom):
553:
says: Post tenebras spero lucem (After Darkness I Hope Light). Teresa Pelzer is portrayed sleeping on her bed, and she is holding her dead child on her breast. The benefactor of the public hospital of
363:
were also the patrons of Rome and they had a strong connection with the papacy. Because Tiberio Cerasi did not belong to the ranks of the Roman aristocracy and he made his career and fortune in the
466:(Acts 22:17–21) or even a synthesis of the two episodes. The setting of the fresco is celestial with Christ surrounded by angels and reclining on clouds. On the right is the constellation of
521:
The frescos in the anteroom of the chapel depict the Holy Spirit in the central oval medaillon and the Evangelists with their usual symbols and helpful putti on a golden background. The
478:
famous paintings below. These relationships indicate that the artists worked in a compositional framework conceived by the patron or even more his friend and artistic adviser, Marchese
906:
Hans Tietze: Annibale Carraccis Galerie im Palazzo Farnese und seine römische Werkstätte, Jahrbuch der Kunsthistorischen Sammlungen des Allerhöchsten Kaiserhauses, Vienna, 1906, p. 135
462:. Baglione identified the right-hand panel as Paul in Third Heaven (mentioned in the Second Letter to the Corinthians) while others believe it represents Christ ordering Paul to leave
748:
383:
November 1601 for his work. The paintings were finally installed in the chapel by a woodworker named Bartolomeo in May 1605, and the chapel was consecrated on 11 November 1606.
423:
Caravaggio's dramatically lit and foreshortened paintings are intended to be viewed from the side rather than straight-on, and draw the eye to Carracci's frontally presented
640:
580:
454:. A far less elaborate sketch of the meeting of Christ and St Peter in front of a city gate, which was made for the Domine quo vadis panel by Carracci, was identified by
247:
was decorated on all four sides. This arrangement was markedly different than the Florentine type wall tombs of the basilica. Probably it was modelled after the tomb of
616:
302:. He bought the chapel from the Augustinian friars with the option to rebuild and adorn it "in the manner and form" he wanted to. The edifice was reconfigured by
415:
506:(Acts 7:54–60) which Saul had witnessed guarding the coats of the executioners. The episodes from the life of Peter are on the left (from the top to bottom):
942:
Oreste Raggi, Della vita e delle opere di Pietro Tenerani, del suo tempo e della sua scuola nella scultura, libri tre. Successori Le Monnier, 1880, p. 483
951:
652:
447:
664:
482:. (That Caravaggio received 50 scudi as advance payment from Giustiniani, when he signed the contract to the two paintings, may be a hint to his role.)
628:
831:
Heather Nolin: "Non piacquero al Padrone: A Reexamination of Caravaggio's Cerasi Crucifixion of St. Peter, in:Rutgers Art Review 24 (2008), p. 41
592:
712:
331:
on the lateral walls. Cerasi's choice of the Assumption for the altar seems straightforward enough, while the other two paintings honoured the
736:
724:
1258:
700:
48:
94:
537:. The attribution is generally accepted by modern scholars. Two preparatory studies for the lunette paintings are preserved in the
409:
408:
courtyard. The architect skillfully maximized the very small space left between the presbytery (on the right) and the 16th-century
315:
1041:
568:
386:
The chapel was acquired by a descendant of the family, Antonio Cerasi, count of Monterado in 1853 who subsequently restored it.
1268:
327:
260:
313:
for the altarpiece has not been preserved. The commissions went to the leading artists in Rome at the time. Caracci painted
229:
Before the present-day edifice another funerary chapel on the same spot was dedicated to the Virgin Mary. It was built by
278:, who was commissioned by the heirs of Cardinal Pietro Foscari and used a funerary mask for the modelling of the face.
197:
76:
954:. "Iscrizioni delle chiese e d'altri edifici di Roma dal secolo XI fino ai nostri giorni." Roma (1869): vol.1, p. 400
807:
394:
321:
557:, Paolo M. Martinez (†1833) was buried under the pavement, but his monument was placed on the external left pillar.
430:
The chapel is decorated in exuberant Baroque style. The frescos on the short barrel-vault of the chancel depict the
1273:
1263:
1108:
849:
William Breazeale: «Un gran soggetto ma non ideale»: Caravaggio and Bellori’s legacy, Kunsttexte.de. 1/2001, p. 1
442:(side panels), both set in rich gilded stucco frames. The frame of the central medaillon is held by four stucco
306:
who was referred to as the architect of the still unfinished chapel in the 2 May 1601 codicil to Cerasi's will.
1012:
Heather Nolin: "Non piacquero al Padrone: A Reexamination of Caravaggio's Cerasi Crucifixion of St. Peter, in:
271:
676:
332:
1213:
1202:
1166:
1002:
William Breazeale: «Un gran soggetto ma non ideale»: Caravaggio and Bellori's legacy, Kunsttexte.de. 1/2001
876:
Leo Steinberg: Observations in the Cerasi Chapel, in: The Art Bulletin, Vol. 41, No. 2 (Jun., 1959), p. 183
554:
259:. This sepulchral monument is the only remaining vestige of the demolished chapel. Now it is placed in the
87:
604:
474:(meaning cart, the constellation is also known as Grande Carro in Italian) and his own surname, Carracci.
1102:
1034:
754:
Monument of Paolo M. Martinez, benefactor (on external left pillar), whose tomb is in the chapel pavement
1084:
1072:
309:
In September Cerasi contracted Caravaggio to paint two panels for the side walls; the contract with
35:
1096:
999:(ed. L. Spezzaferro, M.G. Bernardini, C. Strinati, and A.M. Tantillo (Milan 2001), pp. 9–34.
526:
688:
343:
themes of conversion and martyrdom. The precedent already existed for this juxtaposition in the
1135:
1090:
1027:
252:
1114:
933:
La fabrique des saintes images. Rome–Paris, 1580–1660, Louvre, Dossier de presse, 2015, p. 30
646:
The frescos of Giovanni Battista Ricci in the anteroom: the Holy Spirit and the Evangelists.
1231:
1197:
1180:
479:
156:
1066:
8:
1253:
1225:
1176:
1162:
988:
Christopher L. C. E. Witcombe: Two "Avvisi", Caravaggio, and Giulio Mancini, in: Source:
340:
151:
1158:
867:
Enzo Bentivoglio, Simonetta Valtieri: Santa Maria del Popolo a Roma. Bardi, 1976, p. 99
1172:
803:
530:
485:
372:
367:, it was important to emphasize his proximity to papal power and the Church of Rome.
299:
286:
209:
924:
Giovanni Baglione: Le Vite de’ pittori, scultori et architetti, Naples, 1733, p. 141
1207:
1007:
Il Caravaggio, il Carracci e la cappella Cerasi: eredità teorica e opinione moderna
360:
348:
344:
310:
189:
496:
Paul and Barnabas in Lystra refusing the sacrifice of a bull by the priest of Jove
1219:
336:
234:
1152:
997:
Caravaggio, Carracci, Maderno. La Cappella Cerasi in S. Maria del Popolo a Roma
799:
548:
The 19th-century Neoclassical tomb of Teresa Pelzer, a young German woman from
470:, perhaps a hidden signature of Annibale, playing on the assonance of the word
295:
248:
239:
230:
53:
294:
The patronage rights of the chapel were purchased on 8 July 1600 by Monsignor
1247:
1078:
1050:
303:
136:
109:
96:
775:, trans. Arnold Harris Mathew, Vol I. A. D. 1483–1492, London, 1910, p. 110
403:
is the altar. It was built of white and colourful marble in the shape of an
352:
455:
364:
356:
467:
275:
205:
255:
or even more after other 15th century sculptural works in the city of
971:, in: The Art Bulletin, Vol. 41, No. 2 (Jun., 1959), pp. 183–190
463:
459:
131:
404:
1093:(original project by Francesco Capriani; completion in 1604–1609)
213:
1019:
398:
Preparatory study for the Coronation of the Virgin on the vault.
549:
538:
451:
267:
419:
Coronation of the Virgin and side panels by Innocenzo Tacconi.
204:. It contains significant paintings by Michelangelo Merisi da
443:
256:
16:
Side chapel of the Basilica of Santa Maria del Popolo in Rome
915:
John Rupert Martin, The Farnese Gallery, 1965, pp. 142–144.
434:(central medaillon) and the visions of Sts Peter and Paul,
201:
80:
995:
L. Spezzaferro, "La cappella Cerasi e il Caravaggio," in:
196:) is one of the side chapels in the left transept of the
1245:
212:, two of the most important masters of Italian
992:, Vol. 12, No. 3 (Spring 1993), pp. 22–29
1035:
840:Christopher L. C. E. Witcombe, cit., pag. 22.
884:
882:
224:
1042:
1028:
440:Saint Paul Transported to the Third Heaven
281:
34:
879:
622:Frescos of Innocenzo Tacconi on the vault
146:rectangular chapel with a larger anteroom
891:
742:Preparatory study for a lunette painting
730:Preparatory study for a lunette painting
586:Assumption of the Virgin Mary (Carracci)
484:
414:
393:
285:
834:
793:
773:The Diary of John Burchard of Strasburg
634:Sketches for the Domine quo vadis panel
290:The funeral monument of Tiberio Cerasi.
1246:
816:
194:Cappella Cerasi, Cappella dell'Assunta
1023:
598:Conversion of Saint Paul (Caravaggio)
574:Crucifixion of St. Peter (Caravaggio)
270:is attributed to a Sienese sculptor,
718:Saints Ambrose and Gregory the Great
1105:(direction of the works, 1602–1620)
1081:(reconstruction project, 1595–1603)
985:, Penn State University Press, 2006
13:
516:Peter and John healing the cripple
198:Basilica of Santa Maria del Popolo
77:Basilica of Santa Maria del Popolo
14:
1285:
1259:Chapels in Santa Maria del Popolo
1069:(co-autorship, late 16th-century)
1049:
969:Observations in the Cerasi Chapel
822:Lilian H. Zirpolo, cit., pag. 91.
446:. The paintings were executed by
335:central to the foundation of the
1109:Santa Maria della Vittoria, Rome
897:John L. Varriano, cit., pag. 44.
747:
735:
723:
711:
699:
687:
675:
663:
651:
639:
627:
615:
603:
591:
579:
567:
1117:(possible collaboration, 1620s)
1009:Firenze : Le Càriti, 2006.
961:
945:
936:
927:
918:
909:
900:
870:
216:art, dating from 1600 to 1601.
1075:(façade and other works, 1600)
983:Caravaggio: The Art of Realism
888:Leo Steinberg, cit., pag. 185.
861:
852:
843:
825:
787:
778:
766:
682:The monument of Stefano Cerasi
389:
319:while Caravaggio depicted the
1:
976:The A to Z of Renaissance Art
858:Heather Nolin, cit., pag. 48.
489:Scenes from the life of Peter
1269:1606 establishments in Italy
1203:San Giacomo degli Incurabili
1099:(façade and nave, 1602–1615)
610:The chapel from the transept
555:San Giacomo degli Incurabili
7:
1103:San Giovanni dei Fiorentini
990:Notes in the History of Art
706:Saints Augustine and Jerome
508:Peter delivered from prison
10:
1290:
560:
514:(Acts of Peter XXXII) and
328:Crucifixion of Saint Peter
233:, the Cardinal of Venice.
219:
1190:
1169:; involvement, 1603–1623)
1145:
1124:
1073:Santa Maria sopra Minerva
1057:
500:Saul's baptism by Ananias
458:in the collection of the
225:Precursor: Foscari Chapel
170:
162:
150:
142:
130:
125:
86:
72:
67:
59:
47:
42:
33:
26:
21:
794:Hibbard, Howard (1983).
759:
432:Coronation of the Virgin
322:Conversion of Saint Paul
186:Chapel of the Assumption
1274:Carlo Maderno buildings
1264:Rome R. IV Campo Marzio
1085:Sant'Andrea della Valle
978:, Scarecrow Press, 2008
527:Giovanni Battista Ricci
512:The Fall of Simon Magus
298:, Treasurer-General of
282:Tiberio Cerasi's chapel
110:41.911389°N 12.476389°E
1136:Santa Maria del Popolo
1091:San Giacomo in Augusta
504:The stoning of Stephen
490:
420:
399:
316:The Assumption of Mary
291:
193:
88:Geographic coordinates
523:Doctors of the Church
488:
418:
397:
289:
1232:Gian Lorenzo Bernini
1198:Baroque architecture
1181:Gian Lorenzo Bernini
1097:St. Peter's Basilica
480:Vincenzo Giustiniani
263:in the right aisle.
115:41.911389; 12.476389
1226:Francesco Borromini
1177:Francesco Borromini
1175:(co-autorship with
1163:Giacomo della Porta
1161:(co-autorship with
1087:(new project, 1608)
1060:religious buildings
1005:William Breazeale:
974:Lilian H. Zirpolo:
502:(Acts 9:10–21) and
341:Counter-Reformation
339:as well as popular
272:Giovanni di Stefano
106: /
1222:(possible brother)
1159:Villa Aldobrandini
1115:Sant'Ignazio, Rome
1014:Rutgers Art Review
981:John L. Varriano:
491:
421:
400:
377:Life of Caravaggio
292:
1241:
1240:
1173:Palazzo Barberini
1146:Secular buildings
1067:Trinità dei Monti
952:Vincenzo Forcella
531:Giovanni Baglione
498:(Acts 14:8–18);
448:Innocenzo Tacconi
373:Giovanni Baglione
300:Pope Clement VIII
210:Annibale Carracci
178:
177:
1281:
1214:Giovanni Fontana
1208:Domenico Fontana
1167:Giovanni Fontana
1044:
1037:
1030:
1021:
1020:
955:
949:
943:
940:
934:
931:
925:
922:
916:
913:
907:
904:
898:
895:
889:
886:
877:
874:
868:
865:
859:
856:
850:
847:
841:
838:
832:
829:
823:
820:
814:
813:
791:
785:
782:
776:
770:
751:
739:
727:
715:
703:
691:
679:
667:
655:
643:
631:
619:
607:
595:
583:
571:
510:(Acts 12:6–11);
436:Domine quo vadis
349:Apostolic Palace
345:Cappella Paolina
311:Annibale Caracci
274:, a follower of
238:the basilica by
121:
120:
118:
117:
116:
111:
107:
104:
103:
102:
99:
38:
19:
18:
1289:
1288:
1284:
1283:
1282:
1280:
1279:
1278:
1244:
1243:
1242:
1237:
1220:Stefano Maderno
1186:
1141:
1120:
1059:
1053:
1048:
967:Leo Steinberg:
964:
959:
958:
950:
946:
941:
937:
932:
928:
923:
919:
914:
910:
905:
901:
896:
892:
887:
880:
875:
871:
866:
862:
857:
853:
848:
844:
839:
835:
830:
826:
821:
817:
810:
802:. p. 119.
792:
788:
783:
779:
771:
767:
762:
755:
752:
743:
740:
731:
728:
719:
716:
707:
704:
695:
692:
683:
680:
671:
670:Right side wall
668:
659:
656:
647:
644:
635:
632:
623:
620:
611:
608:
599:
596:
587:
584:
575:
572:
563:
410:Theodoli Chapel
392:
337:Catholic Church
284:
235:Johann Burchard
227:
222:
114:
112:
108:
105:
100:
97:
95:
93:
92:
63:funerary chapel
29:
28:Cappella Cerasi
17:
12:
11:
5:
1287:
1277:
1276:
1271:
1266:
1261:
1256:
1239:
1238:
1236:
1235:
1234:(collaborator)
1229:
1228:(collaborator)
1223:
1217:
1211:
1205:
1200:
1194:
1192:
1188:
1187:
1185:
1184:
1170:
1156:
1153:Palazzo Mattei
1149:
1147:
1143:
1142:
1140:
1139:
1138:(c. 1601–1605)
1128:
1126:
1122:
1121:
1119:
1118:
1112:
1106:
1100:
1094:
1088:
1082:
1076:
1070:
1063:
1061:
1055:
1054:
1047:
1046:
1039:
1032:
1024:
1018:
1017:
1010:
1003:
1000:
993:
986:
979:
972:
963:
960:
957:
956:
944:
935:
926:
917:
908:
899:
890:
878:
869:
860:
851:
842:
833:
824:
815:
808:
800:Westview Press
786:
777:
764:
763:
761:
758:
757:
756:
753:
746:
744:
741:
734:
732:
729:
722:
720:
717:
710:
708:
705:
698:
696:
693:
686:
684:
681:
674:
672:
669:
662:
660:
658:Left side wall
657:
650:
648:
645:
638:
636:
633:
626:
624:
621:
614:
612:
609:
602:
600:
597:
590:
588:
585:
578:
576:
573:
566:
562:
559:
391:
388:
296:Tiberio Cerasi
283:
280:
249:Pope Sixtus IV
240:Pope Sixtus IV
231:Pietro Foscari
226:
223:
221:
218:
176:
175:
172:
168:
167:
166:Tiberio Cerasi
164:
160:
159:
154:
148:
147:
144:
140:
139:
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:
27:
24:
23:
15:
9:
6:
4:
3:
2:
1286:
1275:
1272:
1270:
1267:
1265:
1262:
1260:
1257:
1255:
1252:
1251:
1249:
1233:
1230:
1227:
1224:
1221:
1218:
1215:
1212:
1209:
1206:
1204:
1201:
1199:
1196:
1195:
1193:
1189:
1182:
1178:
1174:
1171:
1168:
1164:
1160:
1157:
1154:
1151:
1150:
1148:
1144:
1137:
1133:
1132:Cerasi Chapel
1130:
1129:
1127:
1123:
1116:
1113:
1110:
1107:
1104:
1101:
1098:
1095:
1092:
1089:
1086:
1083:
1080:
1079:Santa Susanna
1077:
1074:
1071:
1068:
1065:
1064:
1062:
1056:
1052:
1051:Carlo Maderno
1045:
1040:
1038:
1033:
1031:
1026:
1025:
1022:
1015:
1011:
1008:
1004:
1001:
998:
994:
991:
987:
984:
980:
977:
973:
970:
966:
965:
953:
948:
939:
930:
921:
912:
903:
894:
885:
883:
873:
864:
855:
846:
837:
828:
819:
811:
809:0-06-430128-1
805:
801:
797:
790:
781:
774:
769:
765:
750:
745:
738:
733:
726:
721:
714:
709:
702:
697:
690:
685:
678:
673:
666:
661:
654:
649:
642:
637:
630:
625:
618:
613:
606:
601:
594:
589:
582:
577:
570:
565:
564:
558:
556:
551:
546:
542:
540:
536:
532:
528:
524:
519:
517:
513:
509:
505:
501:
497:
487:
483:
481:
475:
473:
469:
465:
461:
457:
453:
449:
445:
441:
437:
433:
428:
426:
417:
413:
411:
406:
396:
387:
384:
380:
378:
374:
368:
366:
362:
358:
354:
350:
346:
342:
338:
334:
330:
329:
324:
323:
318:
317:
312:
307:
305:
304:Carlo Maderno
301:
297:
288:
279:
277:
273:
269:
264:
262:
258:
254:
250:
244:
241:
236:
232:
217:
215:
211:
207:
203:
199:
195:
191:
187:
183:
182:Cerasi Chapel
173:
169:
165:
161:
158:
155:
153:
149:
145:
141:
138:
137:Carlo Maderno
135:
133:
129:
124:
119:
91:
89:
85:
82:
78:
75:
71:
66:
62:
58:
55:
52:
50:
46:
41:
37:
32:
25:
22:Cerasi Chapel
20:
1183:, 1627–1633)
1131:
1058:Churches and
1013:
1006:
996:
989:
982:
975:
968:
962:Bibliography
947:
938:
929:
920:
911:
902:
893:
872:
863:
854:
845:
836:
827:
818:
795:
789:
780:
772:
768:
547:
543:
534:
522:
520:
515:
511:
507:
503:
499:
495:
492:
476:
471:
439:
435:
431:
429:
424:
422:
401:
385:
381:
376:
375:in his 1642
369:
353:Michelangelo
326:
320:
314:
308:
293:
265:
261:Costa Chapel
245:
228:
185:
181:
179:
132:Architect(s)
126:Architecture
1155:(1598–1618)
1111:(1605–1620)
456:Hans Tietze
390:Description
365:Roman Curia
357:Saint Peter
266:The bronze
113: /
49:Affiliation
1254:Caravaggio
1248:Categories
796:Caravaggio
468:Ursa Major
425:Assumption
276:Vecchietta
253:Pollaiuolo
206:Caravaggio
101:12°28′35″E
98:41°54′41″N
1016:24 (2008)
464:Jerusalem
460:Albertina
171:Completed
694:Pavement
405:aedicule
333:Apostles
325:and the
73:Location
68:Location
43:Religion
1216:(oncle)
1210:(oncle)
1191:Related
1125:Chapels
561:Gallery
533:in his
347:at the
220:History
214:Baroque
190:Italian
163:Founder
157:Baroque
806:
550:Aachen
539:Louvre
452:Louvre
268:gisant
60:Status
1134:, in
760:Notes
535:Lives
472:carro
444:putti
257:Siena
152:Style
1179:and
1165:and
804:ISBN
438:and
361:Paul
359:and
208:and
202:Rome
180:The
174:1606
143:Type
81:Rome
529:by
351:by
251:by
200:in
184:or
1250::
881:^
798:.
379:.
355:.
192::
79:,
1043:e
1036:t
1029:v
812:.
188:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
