5 10 149 https://www.baroque.dahvc.org/fall-2021/files/original/Pope_Sixtus_V/Fontana_dell_Acqua_Felice/fontana.jpeg e1492c57428562d644bd49cdd1657b25 https://www.baroque.dahvc.org/fall-2021/files/original/Pope_Sixtus_V/Fontana_dell_Acqua_Felice/fontana_image.jpeg 0709076a08f65fb698d8b5374b7de311 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pope Sixtus V Description An account of the resource This collection explores the extent to which Pope Sixtus V (born Felice Peretti Montalto) transformed Rome into a Baroque city. In the middle of the sixteenth century, Rome was still very much an ancient city with poor infrastructure. As the sixteenth century came to a close, Rome has undergone immense transformation, with the rebuilding and construction of churches, palaces, roads, aqueducts, and more. Although he was not the only pope involved in this transformation, Pope Sixtus V stands out as a key figure. Sixtus V was nothing short of a visionary, whose body of work highlights his innovative urban planning as head of the Catholic Church (1585-1590). In order to truly evaluate Sixtus V's impact, this exhibit pays note to context. Late sixteenth-century Rome's most powerful figure was its governing pope. Since each pope came from his own family and had unique interests and backgrounds, the changes made during a particular papacy heavily reflect the desires of that particular pope. Thus, this exhibit examines Sixtus V's predecessors and successors. Popes before him such as Sixtus IV, Julius III, Paul IV, Pius IV, Pius V, and Gregory XIII did not concentrate their efforts on urban design to the extent that Sixtus V did. Although they were focused on important issues such as wars, reformation, enforcing decrees from the Council of Trent, and the education of the clergy, their impact on Rome is not highlighted as much through urban structures and design. Popes after him such as Urban VII (1623-1644) seem to be inspired by Sixtus V, putting more emphasis on art patronage. Sixtus V still impacts Rome today through the lasting impact of his urban planning. This exhibition showcases Sixtus V's design of the city and analyzes his different mediums for reshaping Rome. This exhibit explores Sixtus V's remodeling of the streets, his building of the fountain Fontana Felice, the Lateran Palace, the Dome of Saint Peter's, the Vatican Library, his financing of the Pontine Marshes, and his moving of obelisks into key piazzas and streets. Creator An entity primarily responsible for making the resource Pope Sixtus V Date A point or period of time associated with an event in the lifecycle of the resource 2021 Contributor An entity responsible for making contributions to the resource Cameron DeChurch Source A related resource from which the described resource is derived Long, Pamela O. Engineering the Eternal City: Infrastructure, Topography, and the Culture of Knowledge in Late Sixteenth-Century Rome. Chicago: University of Chicago Press, 2018. Publisher An entity responsible for making the resource available Pope Sixtus V Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fontana dell'Acqua Felice Date A point or period of time associated with an event in the lifecycle of the resource Planning and construction is generally believed to have been 1585-1588, and Tod A. Marder points to June 15, 1587 as the dedication date. Contributor An entity responsible for making contributions to the resource Cameron DeChurch Description An account of the resource During the papacies of Pope Pius IV (1559-1565) and Gregory XIII (1575-1585) it was clear that the current water supply, which was primarily from Acqua Vergine (Rome's oldest functioning aqueduct), was insufficient to support expanding Rome's growing demands. Pius IV failed to repair Acqua Vergine because the project proved to be significantly more costly and consuming than Pius IV expected [1] Gregory XIII made plans to construct a new aqueduct, but expenses and technical difficulties proved too much [2]. Pope Sixtus V came to power and revived Gregory's plan. The new aqueduct was named Acqua Felice after Sixtus' original name (Felice). The construction enlisted 2,000 men daily and sometimes as many as 4,000 men. Conflict within its leadership and design makes this construction process even more interesting. Initially, Matteo Bartolini da Città di Castello was the primary architect, but when some existing technical assumptions were proven false (some remaining from Gregory XIII's papacy), Matteo's legitimacy for this project was questioned. 1586 was a year of revisions, and Matteo was replaced by Giovanni Fontana, the brother of Domenico Fontana, who was Sixtus V's personal architect. The terminal fountain was ultimately dedicated in the Piazza delle Terme on June 15, 1587. The Acqua Felice provided the first new supply of water to the Romans since gothic invaders destroyed Roman aqueducts [2]. The Fontana Felice, the terminal wall, is constructed like a triumphal arch and depicts papal emblems, alluding to the overcoming of difficulties that was achieved by Sixtus and Imperial Rome as well. Moses is shown in the central part, striking a rock to release water, and this alludes to Sixtus. The attic inscription resembles a message hailing a great conquest. This aqueduct and wall fountain was placed in the Piazza delle Terme, and established the corner that Pius IV had historically made a visually impressive presence. This made the Quirinal more appealing, luring citizens away from the Tiber River, where they previously went for water. In addition, the aqueduct surfaced on land west of the S. Maria degli Angeli line and bordering the Via Pia Landmarks like the Fontana and Acqua Felice contributed to Sixtus V's master plan of transforming Rome into a transparent city full of movement with articulated spatial cues [2]. Creator An entity primarily responsible for making the resource Pope Sixtus V was the leader, and the designers were Matteo Bartolini da Città di Castello (who was removed), and Giovanni Fontana. Source A related resource from which the described resource is derived [1] Long, Pamela O. Engineering the Eternal City: Infrastructure, Topography, and the Culture of Knowledge in Late Sixteenth-Century Rome. Chicago: University of Chicago Press, 2018. [2] Marder, Tod A. “Sixtus V and the Quirinal.” Journal of the Society of Architectural Historians 37, no. 4 (1978): 283–94. https://doi.org/10.2307/989245. [3] Burroughs, Charles. “Opacity and Transparence: Networks and Enclaves in the Rome of Sixtus V.” Res: Anthropology and aesthetics 41 (2002): 56–71. https://doi.org/10.1086/resv41n1ms20167556. Publisher An entity responsible for making the resource available Pope Sixtus V Format The file format, physical medium, or dimensions of the resource The aqueduct's reach is 15 miles (24 km). Language A language of the resource The inscription is in Latin. Type The nature or genre of the resource Aqueduct and Structure (Arches with Statues) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Piazza delle Terme, Rome, Italy Rights Information about rights held in and over the resource This is a structure that anyone can view https://www.baroque.dahvc.org/fall-2021/files/original/Lavinia_Fontana_s_Work_and_Comparison_Pieces/Holy_Family_with_Saints_Margaret_and_Francis/10.2307_community.10590178-1.jpg 971472567db4c405ce3309e7300e29f0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lavinia Fontana's Work and Comparison Pieces Description An account of the resource A swath of work by Lavinia Fontana and other comparative artists.. Her powerful and bold depictions of female noblewomen, biblical figures, and self portraiture contrast her contemporaries. Through such juxtaposition, Fontana emerges as a representation and an advocate for women's equality in the arts. Creator An entity primarily responsible for making the resource Lavinia Fontana Source A related resource from which the described resource is derived TODO Publisher An entity responsible for making the resource available TODO Date A point or period of time associated with an event in the lifecycle of the resource 1552 - 1614 Contributor An entity responsible for making contributions to the resource M Greenstein, E Henne, J Chen, K Campbell Format The file format, physical medium, or dimensions of the resource mixed, jpg, oil, copper Type The nature or genre of the resource Paintings Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant TODO Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Holy Family with Saints Margaret and Francis Subject The topic of the resource Human figure in art Jesus Christ Catholicism Saints Female Artists Baroque Creator An entity primarily responsible for making the resource Fontana, Lavinia Source A related resource from which the described resource is derived Cheney, Liana. “Lavinia Fontana, Boston ‘Holy Family.’” Woman’s Art Journal 5, no. 1 (1984): 12–15. https://doi.org/10.2307/1357879. This source was published when Fontana's painting was discovered from a private collection and placed on public display. It analyzed the work in relation to Fontana's other portrayals of the Holy Family, making an argument particularly about the religious themes which are so powerfully represented in the painting. This allowed it to make the case for the importance of the painting in Fontana's career and within religious Baroque art. Date A point or period of time associated with an event in the lifecycle of the resource 1578 Contributor An entity responsible for making contributions to the resource Kyle Campbell Rights Information about rights held in and over the resource Image Courtesy The Davis Museum at Wellesley College; This image is provided for educational purposes only, and may be protected by copyright. The permission of the copyright holder may be required for the reuse of this image.; Contact Information: Helen A. Connor, Assistant Registrar &amp; Documentation Specialist, Davis Museum at Wellesley College; Tel: 781.283.3369; Fax: 781.283.2064; https://www.wellesley.edu/davismuseum Format The file format, physical medium, or dimensions of the resource 127 cm x 104.1 cm Type The nature or genre of the resource Oil Painting on Canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Davis Museum at Wellesley College, Wellesley, United States Description An account of the resource This 1578 oil painting depicting the Holy Family is one of multiple works Fontana created of the Holy Family. Her talent for capturing the female form is prominently on display in this work, as she represents Mary from the knees up. Fontana captures Mary in a motherly motion of gently lifting her child from a crib - an action which places Jesus and Mary in the painting’s main source of light. This action plays with the religious theme of Jesus’ resurrection. Note the characteristically Baroque representation of baby Jesus with a plump, clearly defined, and large child. Joseph fades into a background with ornate drapery which extends to connect the Holy family with St. Francis, establishing a vertical axis. This drapery is actually a funeral shroud which increases the painting’s interplay between life and death. The crib resting upon a flat, cloth-covered table also invokes the Catholic celebration of the Eucharist which is a remembrance of Jesus’ sacrifice and worship of his grace. Fontana embraces these themes and masterfully uses one of her primary skills of painting fabrics to unite the symbols. Following the lines traced by the cloth embroidering, the left half of the painting shows Saints Margaret and Francis admiring the Child. Their presence adds to the juxtaposition of life and death within the painting. St. Margaret is the patron saint of expectant mothers, and Francis is holding a crucifix with visible stigmata - both iconography of Jesus’ death. Fontana continues this juxtaposition artistically, with a bright foreground givind way to the dark background. Fontana successfully sets this painting as an illusion to Nativity scenes with the crib on a table physically separating the Holy Family and followers of the Christ, much as the manger did. However, in keeping with the Baroque style, Jesus is dynamically blessing St. Margaret and not a passive object of subjects’ and the viewer’s gaze. Fontana elects to primarily reveal the facial expressions of the women and Jesus in the painting, as the men are both only shown with a side profile. The foreground dealing with childbirth could potentially reflect her own preoccupations, as she gave birth twice in the year of this painting’s creation, although both children passed away shortly after their birth. Lastly, Fontana’s signature is unmistakably set along the embroidering on the table cover. Publisher An entity responsible for making the resource available maker: Fontana, Lavinia (Italian, b. 1552, Bologna, Papal States (now Italy)-d. 1614, Rome). Holy Family with Saints Margaret and Francis. Images, n.d. https://jstor.org/stable/community.10590178. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Barker, Sheila, and Sheila Barker. “The Universe of Giovanna Garzoni. Art, Mobility, and the Global Turn in the Geographical Imaginary.” Essay. In "<em>The Immensity of the Universe" in the Art of Giovanna Garzoni</em>, 16–29. Sillabe, 2020. Creator An entity primarily responsible for making the resource Sheila Barker Publisher An entity responsible for making the resource available Sillabe (Printed by Genesi, Città di Castello) Date A point or period of time associated with an event in the lifecycle of the resource 2020 Contributor An entity responsible for making contributions to the resource Kayla Marr Format The file format, physical medium, or dimensions of the resource 21 x 25 cm Type The nature or genre of the resource Essay Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie degli Uffizi, Palazzo Pitti, Florence, Italy Description An account of the resource <p><span style="font-weight:400;">Sheila Barker’s essay, “The Universe of Giovanna Garzoni. Art, Mobility, and the Global Turn in the Geographical Imaginary” provides an examination of the influences that shaped Giovanna Garzoni’s life, career, and art. Barker argues that Garzoni’s work was greatly influenced by her ability to travel and have contact with foreign people, objects, and places. Barker describes Garzoni as a “universal artist” who was capable of working in varied media and creating artwork in many different genres. Furthermore, Barker suggests that Garzoni’s artwork showcases Garzoni’s inspiration from places around the world. Garzoni’s “universal” artistry and her interest in the world can be seen in Garzoni’s ability to combine the unfamiliar with the familiar and explore various geographic areas through her work. Throughout the essay, Barker discusses evidence including Garzoni’s notebooks, letters, and artworks. The essay includes several color images of Garzoni’s work and artworks by other artists from which she may have drawn inspiration. Overall, this essay provides significant scholarship on the topic of geographic influences on Giovanna Garzoni’s work. </span></p> Subject The topic of the resource Annotated bibliography entry Source A related resource from which the described resource is derived Barker, Sheila, and Sheila Barker. “The Universe of Giovanna Garzoni. Art, Mobility, and the Global Turn in the Geographical Imaginary.” Essay. In "The Immensity of the Universe" in the Art of Giovanna Garzoni, 16–29. Sillabe, 2020. Language A language of the resource English https://www.baroque.dahvc.org/fall-2021/files/original/Judith_and_her_Maidservant_with_the_Head_of_Holofernes/Judith_and_her_maidservant_with_the_head_of_Holofernes_by_Orazio_Gentileschi.jpg e5e91609abbf91621fa7376ff1fa1971 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Judith and her Maidservant with the Head of Holofernes Subject The topic of the resource This painting depicts the same theme as Judith and her maidservant created by Artemisia Gentilischi. Orazio uses a different color scheme but depicts the same image as Artemisia. Description An account of the resource This painting was thought to be commissioned by someone of high stature due to the colors and pigments used. The blue sleeve in the painting was done by using a pure form of Lazurite. This ultramarine color was extremely expensive, and was generally used to resemble holiness and pride. Additionally, the jewelry and clothing portrayed shows expensive taste. Creator An entity primarily responsible for making the resource Orazio Gentileschi, Italian, 1565-c.1647 Source A related resource from which the described resource is derived Google Arts & Culture. 2021. Judith and her Maidservant with the Head of Holofernes by Orazio Gentileschi - Google Arts & Culture. [online] Available at: <https://artsandculture.google.com/story/judith-and-her-maidservant-with-the-head-of-holofernes-by-orazio-gentileschi/IALSeR2eXmAeIQ> [Accessed 13 October 2021]. Nasjonalmuseet. 2021. Orazio Gentileschi, Artemisia Gentileschi, Judith and her Maidservant with the Head of Holofernes – Nasjonalmuseet – Collection. [online] Available at: <https://www.nasjonalmuseet.no/en/collection/object/NG.M.02073> [Accessed 13 October 2021]. Nicolson, Benedict. “Orazio Gentileschi and Giovanni Antonio Sauli.” Artibus et Historiae 6, no. 12 (1985): 9–25. https://doi.org/10.2307/1483233. Publisher An entity responsible for making the resource available National Museum of Norway Date A point or period of time associated with an event in the lifecycle of the resource 1608 Contributor An entity responsible for making contributions to the resource Jason Post Rights Information about rights held in and over the resource Public Domain Format The file format, physical medium, or dimensions of the resource 160 cm x 136 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The National Museum of Norway, Oslo, Norway https://www.baroque.dahvc.org/fall-2021/files/original/Lavinia_Fontana_s_Work_and_Comparison_Pieces/Nativity/10.2307_community.18144831-1.jpg a30e993b579b4de6de6660747807f61d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lavinia Fontana's Work and Comparison Pieces Description An account of the resource A swath of work by Lavinia Fontana and other comparative artists.. Her powerful and bold depictions of female noblewomen, biblical figures, and self portraiture contrast her contemporaries. Through such juxtaposition, Fontana emerges as a representation and an advocate for women's equality in the arts. Creator An entity primarily responsible for making the resource Lavinia Fontana Source A related resource from which the described resource is derived TODO Publisher An entity responsible for making the resource available TODO Date A point or period of time associated with an event in the lifecycle of the resource 1552 - 1614 Contributor An entity responsible for making contributions to the resource M Greenstein, E Henne, J Chen, K Campbell Format The file format, physical medium, or dimensions of the resource mixed, jpg, oil, copper Type The nature or genre of the resource Paintings Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant TODO Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Nativity Subject The topic of the resource Mary Jesus Christ Saint Joseph Baroque Male Artists Creator An entity primarily responsible for making the resource Barocci, Federico Source A related resource from which the described resource is derived Turner, Nicholas. “A Nativity by Barocci at Chatsworth for Paintings in the Prado and Formerly in the Rasini Collection.” Master Drawings 51, no. 2 (2013): 189–94. http://www.jstor.org/stable/43705947. This source contextualizes the "Nativity" by Barocci with respect to Barocci's process of ideating on Nativity scenes and how this work can serve as an addition to the patron's collection. Notably, this argument references sketches which Barocci made of Nativity scenes prior to creating this painting. The differences between these and the paintings revealed messages which Barocci found important to present or omit in a final version. Furthermore, another work from the patron's collection was presented as a secular analog based on their similarities in lighting, color, and spatial interplay. Publisher An entity responsible for making the resource available Francesco Maria II della Rovere, Duke of Urbino Federico Barocci (1526-1612). Nativity. Images, n.d. https://jstor.org/stable/community.18144831. Date A point or period of time associated with an event in the lifecycle of the resource 1597 Contributor An entity responsible for making contributions to the resource Kyle Campbell Format The file format, physical medium, or dimensions of the resource 134 cm x 105 cm oil on canvas Type The nature or genre of the resource Painting Rights Information about rights held in and over the resource Photo Credit: Erich Lessing/ART RESOURCE, N.Y. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo del Prado, Madrid, Spain Description An account of the resource About two decades after Fontana’s “Holy Family with Saints Margaret and Francis”, Federico Barocci produced a “Nativity”. Both works dealt with the Holy Family as subjects which is the primary impetus for their comparison. On a deeper level, both Fontana and Barocci received commissions for altarpieces in prominent churches around the turn of the 16th century so considering their treatment of religious subjects and themes will hopefully give broader insight to Fontana’s career and the tastes of the time. While Fontana’s “Holy Family” evokes allusions to Renaissance Nativity scenes, Barocci’s spatial arrangement differs, with the foreground and lighting appearing in the right half of the painting. Mary takes center stage, although her garments are a brighter, less realistic looking pink when compared to Fontana’s portrayal. Her face is also inclined towards her Child, reducing the visibility of her features. Jesus is a less-active subject, receiving his Mother’s gaze in the crib and immobilized by swaddling. He is not asleep, but can be seen softly smiling, looking at an unknown point somewhere out of the painting. Barocci’s painting has a much more active background, and the lighting change between front and back is less pronounced with the painting overall darker than “The Holy Family”. Joseph seems to be inviting shepherds into the stable, and he is oriented away from Mary and Jesus. Barocci uses more negative space effectively to draw the viewer’s gaze away from the Mother and Child and into an unknown (to the viewer and Jesus) outside world to which Joseph is opening the door. Fontana more subtly shifts the viewer’s gaze to the other with Jesus’ hand oriented upwards, along the vertical lines created by the background curtains. https://www.baroque.dahvc.org/fall-2021/files/original/Giovanna_Garzoni_s_Work_and_Comparison_Pieces/Plate_of_Figs/figs2.jpeg bad064c83e1344cf49728e25b84dbca6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giovanna Garzoni's Work and Comparison Pieces Contributor An entity responsible for making contributions to the resource Cameron DeChurch, Meena Gudapati, Jacob Carnes, Kayla Marr Description An account of the resource Introduction: Giovanna Garzoni was born in 1600 in Ascoli Piceno of the Marche region of Italy. She is best known for her still life pieces, with which she became famous and renowned. She was one of the pioneers for women into the still life genre, and as such stood out greatly. Many of her still life works allude to sexual reproduction and genitalia, and are considered to have pro-feminist messages. Garzoni’s still life paintings resemble those of artists such as Fede Galizia (1578-1630) and she is thought to have been potentially influenced by Jacopo Ligozzi, but Garzoni’s works stand out for her inclusion of lively animals, insects, and variety in her inclusion of fruit subjects. Garzoni includes a wide variety of fruits, ranging from figs to apples to peaches to citrons. She married her husband, Tiberio Tinelli, but soon after, had their marriage annulled. Travelling across much of Europe, Garzoni gained inspiration from the various sights she witnessed. She settled for a while to be a painter for the Medici family where she was assured her art was to be appreciated. Her drawings were frequently showcased throughout the Medici villas. Garzoni moved around and produced notable works in Italy, Spain, and France. Giovanna eventually died in 1670, but not before establishing herself as an artist and inspiring other female artists to work with still life pieces. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Plate of Figs Description An account of the resource "Plate of Figs" is painted with bodycolor (gouache) on vellum on a 25 x 32.5 cm board. The miniature was created as a part of Garzoni's series "Twenty Small Paintings on Vellum" for Ferdinando II, Grand Duke of Tuscany. Each painting in the series focuses on a specific fruit or vegetable as its focus. Miniatures from the series are presently on display at the Palazzo Pitti [1]. Garzoni demonstrates mastery of her medium with the dynamic lighting and blending she uses to bring vibrancy to still life. Nicknamed the "illustrious miniaturist" for her technique with tempera on vellum [2], her layering and precise brush strokes create a luminous style. The illustration-style leaves mirror the scientific quality in her botanical images. Utilizing a limited pallet, Garzoni creates a clear focus on the figs compared to other still life pieces of the era. Depicting imperfections like the withering parts of the leaves and the cracks in the figs add an aura of realism and dimension to a misleadingly monotonous subject. The matte finish of gouache adds to the naturalism of the piece: as a water-based medium, gouache inherently carries more natural qualities compared to the more theatrical richness of oil paint. [1] “Giovanna Garzoni (Italian, 1600-1670), a Plate of Figs.” Arader Galleries. Accessed October 14, 2021. https://aradergalleries.com/products/giovanna-garzoni-italian-1600-1670-a-plate-of-figs. [2] Kren, Emil, and Daniel Marx. Plate of figs by Garzoni, Giovanna. Web Gallery of Art. Accessed October 14, 2021. https://www.wga.hu/html_m/g/garzoni/figs2.html. Creator An entity primarily responsible for making the resource Giovanna Garzoni Source A related resource from which the described resource is derived Giovanna Garzoni. c. 1651-62. Plate of Figs. painting. Place: Galleria Palatina. https://library-artstor-org.proxy.lib.duke.edu/asset/SCALA_ARCHIVES_1039613648. “Giovanna Garzoni (Italian, 1600-1670), a Plate of Figs.” Arader Galleries. Accessed October 14, 2021. https://aradergalleries.com/products/giovanna-garzoni-italian-1600-1670-a-plate-of-figs. Kren, Emil, and Daniel Marx. Plate of figs by Garzoni, Giovanna. Web Gallery of Art. Accessed October 14, 2021. https://www.wga.hu/html_m/g/garzoni/figs2.html. Publisher An entity responsible for making the resource available Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. Date A point or period of time associated with an event in the lifecycle of the resource 1661-1662 Contributor An entity responsible for making contributions to the resource Meena Gudapati Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Bodycolor on vellum, 24 x 25 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Palazzo Pitti, Florence, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Pope_Sixtus_V/St._Peter_s_Square_Obelisk/peters_obelisk.jpeg 228acd4e60625f2514c6c4205b50ddd1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pope Sixtus V Description An account of the resource This collection explores the extent to which Pope Sixtus V (born Felice Peretti Montalto) transformed Rome into a Baroque city. In the middle of the sixteenth century, Rome was still very much an ancient city with poor infrastructure. As the sixteenth century came to a close, Rome has undergone immense transformation, with the rebuilding and construction of churches, palaces, roads, aqueducts, and more. Although he was not the only pope involved in this transformation, Pope Sixtus V stands out as a key figure. Sixtus V was nothing short of a visionary, whose body of work highlights his innovative urban planning as head of the Catholic Church (1585-1590). In order to truly evaluate Sixtus V's impact, this exhibit pays note to context. Late sixteenth-century Rome's most powerful figure was its governing pope. Since each pope came from his own family and had unique interests and backgrounds, the changes made during a particular papacy heavily reflect the desires of that particular pope. Thus, this exhibit examines Sixtus V's predecessors and successors. Popes before him such as Sixtus IV, Julius III, Paul IV, Pius IV, Pius V, and Gregory XIII did not concentrate their efforts on urban design to the extent that Sixtus V did. Although they were focused on important issues such as wars, reformation, enforcing decrees from the Council of Trent, and the education of the clergy, their impact on Rome is not highlighted as much through urban structures and design. Popes after him such as Urban VII (1623-1644) seem to be inspired by Sixtus V, putting more emphasis on art patronage. Sixtus V still impacts Rome today through the lasting impact of his urban planning. This exhibition showcases Sixtus V's design of the city and analyzes his different mediums for reshaping Rome. This exhibit explores Sixtus V's remodeling of the streets, his building of the fountain Fontana Felice, the Lateran Palace, the Dome of Saint Peter's, the Vatican Library, his financing of the Pontine Marshes, and his moving of obelisks into key piazzas and streets. Creator An entity primarily responsible for making the resource Pope Sixtus V Date A point or period of time associated with an event in the lifecycle of the resource 2021 Contributor An entity responsible for making contributions to the resource Cameron DeChurch Source A related resource from which the described resource is derived Long, Pamela O. Engineering the Eternal City: Infrastructure, Topography, and the Culture of Knowledge in Late Sixteenth-Century Rome. Chicago: University of Chicago Press, 2018. Publisher An entity responsible for making the resource available Pope Sixtus V Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. Peter's Square Obelisk Description An account of the resource The obelisk was located in Alexandria, Egypt, until 41 C.E. when Emperor Caligula ordered it be transported across the Mediterranean to Rome. It was erected in the Vatican region and remained south of the basilica in front of two ancient cylindrical mausoleums for centuries. The obelisk is a sundial and has four lions resting at the base. Popular legend was that the golden orb at the top contained the ashes of Julius Caesar. However, with the basilica of St Peter’s now built next to it, the obelisk was in a dark corner. Many wanted to relocate the obelisk away from such an obscure location, but moving such a large structure presented many difficulties [1]. In 1586, Pope Sixtus V ordered the transportation of the obelisk to St. Peter's Square, where it would be more visible and mark the victory of the Church over Paganism in a more central location. Pope Sixtus V held a competitive and thorough selection process to determine how the obelisk would be moved, and who would engineer this process. Pope Sixtus V commissioned numerous meetings with up to 500 men from across Italy, each with unique proposals to move the obelisk vertically, horizontally, at a 45 degree angle, etc. Domenico Fontana ultimately impressed Sixtus the most, using models to show how an intricate system of a wooden tower, ropes, and pulleys [2]. Domenico Fontana was selected as the engineer to lead a complex transportation process of "modern technology", involving ropes, pulleys and rollers. Pope Sixtus V surmounted the obelisk with a cross and established a new base for it that read "Behold the Cross of the Lord! Flee adversaries, the Lion of Judah has conquered". The moving of this obelisk was particularly significant because it used ancient materials in a new light, known as interpretatio christiana [3]. It was also an integral part of Pope Sixtus V's urban planning scheme of using obelisks as focal points of a dense and lively network of radiating streets throughout the city [4]. The lasting impact of this obelisk, which transformed St. Peter's Square, exemplifies the Catholic Church's role in sponsoring and positioning the Baroque Art movement in Italy. Creator An entity primarily responsible for making the resource Pope Sixtus V and Domenico Fontana Source A related resource from which the described resource is derived [1] Long, Pamela O. Engineering the Eternal City: Infrastructure, Topography, and the Culture of Knowledge in Late Sixteenth-Century Rome. Chicago: University of Chicago Press, 2018. [2] Dibner, Bern. “Moving the Obelisk.” Scientific American 184, no. 6 (1951): 58–59. https://doi.org/10.1038/scientificamerican0651-58. [3] McClendon, Charles B. “The History of the Site of St. Peter's Basilica, Rome.” Perspecta 25 (1989): 32. https://doi.org/10.2307/1567138. [4] Burroughs, Charles. “Opacity and Transparence: Networks and Enclaves in the Rome of Sixtus V.” Res: Anthropology and aesthetics 41 (2002): 56–71. https://doi.org/10.1086/resv41n1ms20167556. Publisher An entity responsible for making the resource available Pope Sixtus V Date A point or period of time associated with an event in the lifecycle of the resource The obelisk was moved in 1586. Contributor An entity responsible for making contributions to the resource Cameron DeChurch Format The file format, physical medium, or dimensions of the resource This obelisk stands 25.5 meters high and weighs approximately 361 tonnes. Language A language of the resource Latin Type The nature or genre of the resource Obelisk Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant St. Peter's Square, Vatican City (papal enclave of Rome, Italy) Rights Information about rights held in and over the resource This is a structure that anyone can view. https://www.baroque.dahvc.org/fall-2021/files/original/Pope_Sixtus_V/Pope_Sixtus_V_s_Rebuilding_of_the_Lateran_Palace/lateran.jpeg ff793306288f49cbf71925710b419fef https://www.baroque.dahvc.org/fall-2021/files/original/Pope_Sixtus_V/Pope_Sixtus_V_s_Rebuilding_of_the_Lateran_Palace/scala_sancta.jpeg 1e2bb6f2c893a04704208d78a13e0a67 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pope Sixtus V Description An account of the resource This collection explores the extent to which Pope Sixtus V (born Felice Peretti Montalto) transformed Rome into a Baroque city. In the middle of the sixteenth century, Rome was still very much an ancient city with poor infrastructure. As the sixteenth century came to a close, Rome has undergone immense transformation, with the rebuilding and construction of churches, palaces, roads, aqueducts, and more. Although he was not the only pope involved in this transformation, Pope Sixtus V stands out as a key figure. Sixtus V was nothing short of a visionary, whose body of work highlights his innovative urban planning as head of the Catholic Church (1585-1590). In order to truly evaluate Sixtus V's impact, this exhibit pays note to context. Late sixteenth-century Rome's most powerful figure was its governing pope. Since each pope came from his own family and had unique interests and backgrounds, the changes made during a particular papacy heavily reflect the desires of that particular pope. Thus, this exhibit examines Sixtus V's predecessors and successors. Popes before him such as Sixtus IV, Julius III, Paul IV, Pius IV, Pius V, and Gregory XIII did not concentrate their efforts on urban design to the extent that Sixtus V did. Although they were focused on important issues such as wars, reformation, enforcing decrees from the Council of Trent, and the education of the clergy, their impact on Rome is not highlighted as much through urban structures and design. Popes after him such as Urban VII (1623-1644) seem to be inspired by Sixtus V, putting more emphasis on art patronage. Sixtus V still impacts Rome today through the lasting impact of his urban planning. This exhibition showcases Sixtus V's design of the city and analyzes his different mediums for reshaping Rome. This exhibit explores Sixtus V's remodeling of the streets, his building of the fountain Fontana Felice, the Lateran Palace, the Dome of Saint Peter's, the Vatican Library, his financing of the Pontine Marshes, and his moving of obelisks into key piazzas and streets. Creator An entity primarily responsible for making the resource Pope Sixtus V Date A point or period of time associated with an event in the lifecycle of the resource 2021 Contributor An entity responsible for making contributions to the resource Cameron DeChurch Source A related resource from which the described resource is derived Long, Pamela O. Engineering the Eternal City: Infrastructure, Topography, and the Culture of Knowledge in Late Sixteenth-Century Rome. Chicago: University of Chicago Press, 2018. Publisher An entity responsible for making the resource available Pope Sixtus V Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pope Sixtus V's Rebuilding of the Lateran Palace Description An account of the resource When Pope Sixtus V was elected to the papacy in 1585, he immediately set out to rebuild the Lateran Palace [1]. Pope Sixtus V consulted with his personal architect, Domenico Fontana, who deemed the Patriarchium Lateranense to be "old buildings” with little worth or use. This was primarily due to earthquakes, fires, and inadequate restorations. The rebuilding of the Patriarchium Lateranense began on June 8, 1585. Pope Sixtus V did not, however, see the need in demolishing and rebuilding the church of San Giovanni [2]. Pope Sixtus V's plans for the Lateran Palace were dynamic and changed multiple times throughout the rebuilding process. Sixtus V's original plan simply involved relocating the Holy Stairs and the two original lateral stairways from their old standing in the Patriarchium to the new location in front of the Sancta Sanctorum. This was expected to be completed by 1587. The actual transferring of the steps did not occur until 1588 [2]. The Palace's staircases were intricately decorated, presumably to showcase the papacy's wealth and resources. The Scala Santa had beautiful scaffolding, as shown in Pietro Martire Felini's woodcut. Sixtus added two staircases, which provided direct access to the small chapels at the top and increased the size and grandeur of the building [2]. The rebuilding of the Lateran Palace was lengthier than expected, and ultimately lasted for the entirety of Pope Sixtus V's reign (1585-1590). Domenico Fontana asserts that this Lateran Palace restoration was the largest conducted in Rome, and the only one led by a single patron [3]. 16th century popes had moved to the Vatican due to the previously ruinous Lateran Palace. Instead of following this trend, Pope Sixtus V took the initiative to take on the temporal, monetary, and physical costs of rebuilding the structure. This item and process demonstrates Sixtus V's visionary character arguably more than any other. Creator An entity primarily responsible for making the resource Pope Sixtus V and Domenico Fontana Source A related resource from which the described resource is derived [1] Marder, Tod A. “Sixtus V and the Quirinal.” Journal of the Society of Architectural Historians 37, no. 4 (1978): 283–94. https://doi.org/10.2307/989245. [2] Witcombe, Christopher L. “Sixtus V and the Scala Santa.” Journal of the Society of Architectural Historians 44, no. 4 (1985): 368–79. https://doi.org/10.2307/990114. [3] Freiberg, Jack. “Review: Sixtus V and The Lateran Palace by Corinne Mandel.” Journal of the Society of Architectural Historians 56, no. 4 (1997): 508–9. https://doi.org/10.2307/991323. [4] “Piazza Di San Giovanni in Laterano (St John the Lateran Square) -Basilica San Giovanni, Scala Sancta, Lateran Palace.” Rome - San Giovanni in Laterano, St John the Lateran Square, Scala Sancta (Holy Stairs), Sancta Sanctorum, Lateran Palace, basilica, Via Merluni, Via Manzone. Accessed October 14, 2021. https://www.worldtravelimages.net/Rome_Laterano.php. Publisher An entity responsible for making the resource available Pope Sixtus V Date A point or period of time associated with an event in the lifecycle of the resource May 1585-June 1590 Contributor An entity responsible for making contributions to the resource Cameron DeChurch Format The file format, physical medium, or dimensions of the resource The San Giovanni in Laterano is 65 meters by 140 meters. Information on the dimensions of the Lateran Palace was not readily available online or in digital archives. Type The nature or genre of the resource Palace Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Rome, Italy Rights Information about rights held in and over the resource This is a Palace that anyone can visit. https://www.baroque.dahvc.org/fall-2021/files/original/Francesco_Borromini/San_Carlo_alle_Quattro_Fontane/10.2307_community.13913548-1.jpg 2d1b6d107ef763966967eb0d55324b0c https://www.baroque.dahvc.org/fall-2021/files/original/Francesco_Borromini/San_Carlo_alle_Quattro_Fontane/10.2307_community.13911079-1.jpg 428b60c85a8b126ddb366127a8bcc9f9 https://www.baroque.dahvc.org/fall-2021/files/original/Francesco_Borromini/San_Carlo_alle_Quattro_Fontane/10.2307_community.13921827-1.jpg 07012a2e7042ce43b9b359eec295370c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Francesco Borromini Contributor An entity responsible for making contributions to the resource Michael Greenstein Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource San Carlo alle Quattro Fontane Description An account of the resource Francesco Borromini commenced his solo architectural career with the challenge of building San Carlo alle Quattro Fontane for the Trinitarian religious order. The church is better known by its colloquial name - San Carlino – which alludes to the small space that was allotted for its construction. Borromini was not discouraged by such an obstacle. He was up for the task and understood his reputation rested upon the fate of this building. The construction was commissioned in 1634 and finally began in 1638. Following eight years of development, in 1646, the architectural masterpiece was erected. Borromini’s creation was truly awe-inspiring. San Carlino stands as a unification of science-based architecture and religious worship. Borromini’s architectural ingenuity is hypothesized to stem from his fascination with mathematics and geometry. Specifically, he studied the works of Johannes Kepler who was known for his theories of divine geometry. Kepler argued that certain geometric proportions and shapes were embedded throughout the universe by God – the divine geometer. Borromini’s design draws upon this ideology as he tactfully situates a masterful geometric model within an illusion of amorphic, dynamic architecture. The façade first captures this duality. There is a rhythmic wavelike indentation that flows throughout the exterior. A sense of plasticity is created as the sturdy marble is swayed by the dynamic fluctuations. It is almost an enchanting hypnotism that invites a passerby inward. Upon entering the church, the motif of structural pliability is furthered. The interactions of the shallow curves and deep bends interacting with the ovular symmetry create a dizzying sensation. One sets foot inside the church and immediately experiences a departure from grounded reality. Yet, the disorientation that is experienced is part of a larger metaphorical undertaking only realized once one peer upwards at the central dome. Depicted above are the heavens coalescing onto a central spiritual light. At last, it becomes clear that the church exists between the reality outside and the heavens above. Borromini’s genius is found in his ability to situate his geometrically sound architectural plan within the religious experience depicted above. Indeed, early architecture plans reveal that a combination of equilateral triangles and circumscribed circles provided the foundational design for the church. Interestingly, there is literature that suggests Borromini’s design was not as planned as originally thought. It is speculated that he may have fabricated architectural plans after the church’s conception. In fact, following the church’s favorable reception, Borromini refused to sell or reveal any of his plans even though he could have profited greatly. These claims have not yet been proven but offer more to the narrative of Borromini’s triumphant emergence of his solo architecture career. Creator An entity primarily responsible for making the resource Francesco Borromini Source A related resource from which the described resource is derived Borromini, Francesco, 1599-1667. Rome: S. Carlo Alle Quattro Fontane Int: Ceiling & Dome. Images, n.d. https://jstor.org/stable/community.13921827. Borromini, Francesco, 1599-1667. Rome: S. Carlo Alle Quattro Fontane: Ext.: Facade. Images, n.d. https://jstor.org/stable/community.13913548. Borromini, Francesco, 1599-1667. Rome: S. Carlo Alle Quattro Fontane Plan. Images, n.d. https://jstor.org/stable/community.13911079. Britannica, T. Editors of Encyclopaedia. "San Carlo alle Quattro Fontane." Encyclopedia Britannica, May 2, 2013. https://www.britannica.com/topic/San-Carlo-alle-Quattro-Fontane. Connors, Joseph. “A Copy of Borromini’s S. Carlo Alle Quattro Fontane in Gubbio.” The Burlington Magazine 137, no. 1110 (1995): 588–99. http://www.jstor.org/stable/886651. Hatch, John G. “The Science behind Francesco Borromini’s Divine Geometry.” Architecture and Mathematics from Antiquity to the Future, 2014, 217–29. https://doi.org/10.1007/978-3-319-00143-2_14. Hill, Michael. “Practical and Symbolic Geometry in Borromini’s San Carlo Alle Quattro Fontane.” Journal of the Society of Architectural Historians 72, no. 4 (2013): 555–83. https://doi.org/10.1525/jsah.2013.72.4.555. Huemer, Frances. “BORROMINI AND MICHELANGELO: SOME PRELIMINARY OBSERVATIONS ON THE FACADE OF S. CARLINO.” Source: Notes in the History of Art 18, no. 4 (1999): 19–29. http://www.jstor.org/stable/23206810. Publisher An entity responsible for making the resource available Trinitarians Date A point or period of time associated with an event in the lifecycle of the resource 1646 Contributor An entity responsible for making contributions to the resource Michael Greenstein Type The nature or genre of the resource Church Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Rome, Italy Rights Information about rights held in and over the resource ITHAKA encourages Authorized Users to engage in research activities, including downloading or printing Content in reasonable amounts for non-commercial, scholarly purposes, as well as use the Content on its platform in the following ways (as long as you abide by the prohibited uses in Section 4 below) (collectively the “Permitted Uses”): In student assignments, educational presentations, and student or faculty curatorial portfolios (so long as such use conforms to the customary and usual practice in the field), or in research papers or dissertations, including reproductions of the dissertations (provided such reproductions do not include Books, and are only for personal use, library deposit, and/or use solely within your Institutional Licensee); Format The file format, physical medium, or dimensions of the resource 20 m x 12 m Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pope Sixtus V Description An account of the resource This collection explores the extent to which Pope Sixtus V (born Felice Peretti Montalto) transformed Rome into a Baroque city. In the middle of the sixteenth century, Rome was still very much an ancient city with poor infrastructure. As the sixteenth century came to a close, Rome has undergone immense transformation, with the rebuilding and construction of churches, palaces, roads, aqueducts, and more. Although he was not the only pope involved in this transformation, Pope Sixtus V stands out as a key figure. Sixtus V was nothing short of a visionary, whose body of work highlights his innovative urban planning as head of the Catholic Church (1585-1590). In order to truly evaluate Sixtus V's impact, this exhibit pays note to context. Late sixteenth-century Rome's most powerful figure was its governing pope. Since each pope came from his own family and had unique interests and backgrounds, the changes made during a particular papacy heavily reflect the desires of that particular pope. Thus, this exhibit examines Sixtus V's predecessors and successors. Popes before him such as Sixtus IV, Julius III, Paul IV, Pius IV, Pius V, and Gregory XIII did not concentrate their efforts on urban design to the extent that Sixtus V did. Although they were focused on important issues such as wars, reformation, enforcing decrees from the Council of Trent, and the education of the clergy, their impact on Rome is not highlighted as much through urban structures and design. Popes after him such as Urban VII (1623-1644) seem to be inspired by Sixtus V, putting more emphasis on art patronage. Sixtus V still impacts Rome today through the lasting impact of his urban planning. This exhibition showcases Sixtus V's design of the city and analyzes his different mediums for reshaping Rome. This exhibit explores Sixtus V's remodeling of the streets, his building of the fountain Fontana Felice, the Lateran Palace, the Dome of Saint Peter's, the Vatican Library, his financing of the Pontine Marshes, and his moving of obelisks into key piazzas and streets. Creator An entity primarily responsible for making the resource Pope Sixtus V Date A point or period of time associated with an event in the lifecycle of the resource 2021 Contributor An entity responsible for making contributions to the resource Cameron DeChurch Source A related resource from which the described resource is derived Long, Pamela O. Engineering the Eternal City: Infrastructure, Topography, and the Culture of Knowledge in Late Sixteenth-Century Rome. Chicago: University of Chicago Press, 2018. Publisher An entity responsible for making the resource available Pope Sixtus V Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bibliography Description An account of the resource “Amidst the Crowds in St Peter's Square, Stands Ancient Egypt.” Archaeology Travel, August 26, 2020. https://archaeology-travel.com/street/vatican-obelisk-in-st-peters-square/. Boorsch, Suzanne. “The Building of the Vatican: The Papacy and Architecture.” The Metropolitan Museum of Art Bulletin 40, no. 3 (1982): 4–64. https://doi.org/10.2307/3258914. Burroughs, Charles. “Opacity and Transparence: Networks and Enclaves in the Rome of Sixtus V.” Res: Anthropology and aesthetics 41 (2002): 56–71. https://doi.org/10.1086/resv41n1ms20167556. Claridge, Amanda. Rome: An Oxford Archaeological Guide. Oxford: Oxford Univ. Press, 2010. Dibner, Bern. “Moving the Obelisk.” Scientific American 184, no. 6 (1951): 58–59. https://doi.org/10.1038/scientificamerican0651-58. Freiberg, Jack. “Review: Sixtus V and The Lateran Palace by Corinne Mandel.” Journal of the Society of Architectural Historians 56, no. 4 (1997): 508–9. https://doi.org/10.2307/991323. Frost, Ruth Sterling. “The Reclamation of the Pontine Marshes.” Geographical Review 24, no. 4 (1934): 584–95. https://doi.org/10.2307/208848. MACDONALD, ANGUS S. “THE DISASTER IN THE VATICAN LIBRARY.” Scientific American 146, no. 4 (1932): 226–27. http://www.jstor.org/stable/24965901. Marder, Tod A. “Sixtus V and the Quirinal.” Journal of the Society of Architectural Historians 37, no. 4 (1978): 283–94. https://doi.org/10.2307/989245. McClendon, Charles B. “The History of the Site of St. Peter's Basilica, Rome.” Perspecta 25 (1989): 32. https://doi.org/10.2307/1567138. “Nova Online | Mysteries of the Nile | a World of Obelisks: Rome.” PBS. Public Broadcasting Service. Accessed December 1, 2021. https://www.pbs.org/wgbh/nova/egypt/raising/rome.html. “Piazza Di San Giovanni in Laterano (St John the Lateran Square) -Basilica San Giovanni, Scala Sancta, Lateran Palace.” Rome - San Giovanni in Laterano, St John the Lateran Square, Scala Sancta (Holy Stairs), Sancta Sanctorum, Lateran Palace, basilica, Via Merluni, Via Manzone. Accessed October 14, 2021. https://www.worldtravelimages.net/Rome_Laterano.php. “Stpetersbasilica.org.” St Peter's Basilica Info. Accessed October 14, 2021. http://stpetersbasilica.info/Exterior/Obelisk/Obelisk.htm. View article: St. Peter's piazza. Accessed October 14, 2021. https://depts.washington.edu/hrome/Authors/minhan/StPetersPiazza/pub_zbarticle_view_printable.html. Sorek, Susan. The Emperors' Needles: Egyptian Obelisks and Rome. Exeter: Bristol Phoenix Press, 2010. Witcombe, Christopher L. “Sixtus V and the Scala Santa.” Journal of the Society of Architectural Historians 44, no. 4 (1985): 368–79. https://doi.org/10.2307/990114.