7 10 149 https://www.baroque.dahvc.org/fall-2021/files/original/Guido_Reni_s_religious_paintings/The_Archangel_Michael_Defeating_Satan/Guido_Reni_031.jpeg 44bc179e3d425def0a8262576fdf07d1 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 Guido Reni's Religious Works Contributor An entity responsible for making contributions to the resource Jenny Chen Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 The Archangel Michael Defeating Satan Creator An entity primarily responsible for making the resource Guido Reni Publisher An entity responsible for making the resource available Wikimedia Commons contributors, "File:Guido Reni 031.jpg," Wikimedia Commons, the free media repository, https://en.wikipedia.org/wiki/File:Guido_Reni_031.jpg (accessed November 28, 2021). Date A point or period of time associated with an event in the lifecycle of the resource 1636 Contributor An entity responsible for making contributions to the resource Jenny Chen Rights Information about rights held in and over the resource The work of art depicted in this image and the reproduction thereof are in the public domain worldwide. The reproduction is part of a collection of reproductions compiled by The Yorck Project. The compilation copyright is held by Zenodot Verlagsgesellschaft mbH and licensed under the GNU Free Documentation License. Format The file format, physical medium, or dimensions of the resource 293 × 202 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 Santa Maria della Concezione, Rome, Italy Description An account of the resource “The Archangel Michael” is one of Guido’s most famous works painted in his second manner when he was strongly under Raphael’s influence. The single devotional figures of the Archangel Michael usually depict him as combining the characters of captain of the heavenly host and conqueror of the powers of hell. According to Jameson, this piece by Guido is the only similar representation of St. Michael that can be compared with that by Raphael in the Louvre[1]. In this work, the Archangel in blue cuirass, red mantle, and violet scarf is poised on out-spread wings, placing his foot on the head of Lucifer. The archangel holds a sword in one hand and a chain in the other, with which he is about to hit the demon into the bottomless pit. The Archangel’s head has blended masculine and feminine graces, with the serene purity of brow and flow of the golden hair surely suggesting divinity. Compared with Raphael’s Saint Michael Vanquishing Satan of 1518, both works have similar compositions in that they both place the subjects in a diagonal position to create a certain thrust in the scene. The Archangels in both paintings share similar appearances and clothes. In Reni’s work, the Archangel’s attitude is the first to strike the audience and is criticized because the grace is somewhat mannered, while Raphael’s Archangel does not invoke the audience to think about the attitude. Although both works create dynamic feelings of movements through the depiction of the flying cloaks and hair, Reni boldly uses large areas of pink and red to create a visual clue that guides the viewers’ eyes. Reni also simplified the background into unified brown and black, which creates contrast with the highlight on the Archangel. Moreover, while Raphael’s Lucifer is obviously non-human shown by the horns, hair, and strange facial features, Reni’s depiction of Lucifer is less demonized and more humanized with a head that is almost indistinguishable from a human adult. As a result, Raphael’s Lucifer seems to be hopelessly resisting, while Reni’s Lucifer seems to be suffering in deep pain and even sympathetic. Source A related resource from which the described resource is derived Masters in Art: A Series of Illustrated Monographs. Boston: Bates & Guild, 1903. Motuzas, Alfonsas (2016). "The Folk Piety of Saints Archangels Michael, Gabriel and Raphael in Lithuania". LOGOS-VILNIUS (0868-7692), (86), p. 138. Pepper, D. Stephen. 1984. Guido Reni: a complete catalogue of his works with an introductory text. New York: New York University Press. https://www.baroque.dahvc.org/fall-2021/files/original/Medusa/medusa-1597.jpg cf6b55e71063be51ede7fc32bb45b01f 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 Medusa Description An account of the resource Caravaggio' s depiction of Medusa. This work was painted on a sixteenth-century tournament and was commissioned by Cardinal del Monte. Caravaggio chose to depict Medusa in a terrifying manner with a horrified expression. Caravaggio depicts her at the moment of her death when Perseus kills her. Creator An entity primarily responsible for making the resource Caravaggio Source A related resource from which the described resource is derived Schneider, Laurie. “Donatello and Caravaggio: The Iconography of Decapitation.” American Imago 33, no. 1 (1976): 76–91. http://www.jstor.org/stable/26303021. lennon, Madeleine. “Medusa in Ancient Greek Art.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/medu/hd_medu.htm (March 2017). Posèq, Avigdor W. G. “On Physiognomic Communication in Bernini.” Artibus et Historiae 27, no. 54 (2006): 161–90. https://doi.org/10.2307/20067127. Publisher An entity responsible for making the resource available Cardinal del Monte 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 Sofia Silvosa Format The file format, physical medium, or dimensions of the resource 60 cm × 55 cm Type The nature or genre of the resource Oil on canvas mounted on wood Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Uffizzi Gallery, Florence, Italy. https://www.baroque.dahvc.org/fall-2021/files/original/Primavera/1280px-Botticelli-primavera-1024x673.jpg ddf82795adc0399348fb5ca19d1fc7e4 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 Primavera Description An account of the resource Botticelli's "Primavera" painting depicts nine mythological figures most notably the nymph Chloris who is portrayed before and after her transformation into the spring goddess Flora. Creator An entity primarily responsible for making the resource Sandro Botticelli Source A related resource from which the described resource is derived Barolsky, Paul. Ovid and the Metamorphoses of Modern Art from Botticelli to Picasso. New Haven, Connecticut: Yale University Press, 2014. .“Spring by Botticelli: Artworks: Uffizi Galleries.” by Botticelli | Artworks | Uffizi Galleries. The Uffizi. Accessed December 7, 2021. Wilkins, Ann Thomas. “Bernini and Ovid: Expanding the Concept of Metamorphosis.” International Journal of the Classical Tradition 6, no. 3 (2000), 386. Publisher An entity responsible for making the resource available “Botticelli's Primavera.” ItalianRenaissance.org. Accessed December 7, 2021. http://www.italianrenaissance.org/a-closer-look-botticellis-primavera/. Date A point or period of time associated with an event in the lifecycle of the resource 1482 Contributor An entity responsible for making contributions to the resource Sofia Silvosa Format The file format, physical medium, or dimensions of the resource 202 cm × 314 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 Italy, Florence, Uffizzi Gallery https://www.baroque.dahvc.org/fall-2021/files/original/The_Rape_of_Proserpina/Peter_Paul_Rubens_-_The_Rape_of_Proserpina_1636-1638.jpg 764a33542927dbea0cd721ee2c3638f1 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 The Rape of Proserpina Description An account of the resource Ruben's rendition of the "Rape of Proserpina" mythological tale. The work shows Pluto grasping Persephone vigorously. However, there are additional figures in this image. Minerva, the goddess of war, Venus, and Diana, the goddess of the hunt are together putting up a resistance to stop Pluto. Creator An entity primarily responsible for making the resource Peter Paul Rubens Source A related resource from which the described resource is derived “The Rape of Proserpine - the Collection.” The Collection - Museo Nacional del Prado. Accessed December 7, 2021. Wilkins, Ann Thomas. “Bernini and Ovid: Expanding the Concept of Metamorphosis.” International Journal of the Classical Tradition 6, no. 3 (2000). Barolsky, Paul. Ovid and the Metamorphoses of Modern Art from Botticelli to Picasso. New Haven, Connecticut: Yale University Press, (2014). Publisher An entity responsible for making the resource available Spanish Royal Family Date A point or period of time associated with an event in the lifecycle of the resource 1636-1637 Contributor An entity responsible for making contributions to the resource Sofia Silvosa Format The file format, physical medium, or dimensions of the resource 78.1 x 107.3 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 Prado Museum, Madrid, Spain https://www.baroque.dahvc.org/fall-2021/files/original/Pope_Sixtus_V/Dome_of_St_Peter_s_Basilica/st_peters_dome.jpeg c2fd82f9f3fad9fdd1115f3856318edc 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 Dome of St Peter's Basilica Description An account of the resource After Rome was sacked in 846, the old St Peter’s was continuously refurbished and repaired. Pope Nicholas V (1447-1455) began the first new construction. Nicholas V worked with architect Alberti, who wanted to remake the city with St. Peter’s as its center. The duo dedicated themselves to the site, but no dome was constructed [1]. A half century later, Pope Julius II and the architect Bramante paired up, and Bramante designed an intricate church exhibiting symmetry and a beautiful dome. Bramante died in 1514 and still nothing had been concretely built in regards to the dome [1]. In the mid-sixteenth century, Michelangelo began working on designs for the dome, under Paul III. He simplified the cross designs of Sangallo and Bramante before him. Michelangelo worked on St. Peter’s, particularly the southern facade, but he died in 1564 before any dome was completed. Despite all of the progress through the papacies of Nicholas V and Paul III, St. Peter’s remained virtually unchanged until the papacy of Pope Sixtus V. Sixtus V wanted to further establish St. Peter’s as a hub of Rome, and described the church, which had been without a dome for over twenty years, as resemblant of a “body without a head” [1]. When Pope Sixtus V brought the project into action in 1585, he considered different designs for the dome. Sixtus V approved Giacomo della Porta’s design in 1586, and assigned Domenico Fontana, recently coming off his successful relocation of the obelisk to St. Peter’s, to help him with the task [1]. Della Porta built upon Michelangelo’s design by elongating the dome and giving it a dynamic rising movement that is linked to the Baroque [1]. Construction began in 1588 and the dome required over six hundred workers, and was completed just before Sixtus V passed away [1]. It has the inscription "S. PETRI GLORIAE SIXTUS PP. V.A. MDXC PONTIF. V., or for the glory of Saint Peter, Pope Sixtus the fifth 1590, the fifth year of his pontificate" [2]. The dome was completed the year of Sixtus V's death. The completion of the dome of St. Peter’s is another mark on Pope Sixtus V’s legacy [3]. This is one of the many projects that popes before him attempted but failed to finalize, reflecting Sixtus V’s impressive initiative. Creator An entity primarily responsible for making the resource Giacomo Della Porta and Domenico Fontana Date A point or period of time associated with an event in the lifecycle of the resource 1585-1590 Contributor An entity responsible for making contributions to the resource Cameron DeChurch Source A related resource from which the described resource is derived Sources: [1] 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. [2] Ryan, Shirley, Melinda Gades, Melinda, April Flowers, Ruth, Jason P, Paula Bawiec, et al. “St Peters Dome - St Peters Basilica Dome.” Dara McCarthy, January 11, 2021. https://www.daramccarthy.com/st-peters-dome/. [3] 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 Rights Information about rights held in and over the resource This is a structure that anyone can view. Format The file format, physical medium, or dimensions of the resource The dome has a height of 390 feet on the interior and 435 feet on the exterior and a diameter of 138 feet. Type The nature or genre of the resource Dome 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 Basilica, Vatican City https://www.baroque.dahvc.org/fall-2021/files/original/Pope_Sixtus_V/Flaminian_Obelisk/flaminian_obelisk.jpeg ffa4b09a77a756e83d342b96e848cd90 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 Flaminian Obelisk Description An account of the resource The Flaminian Obelisk was originally established by pharaoh Seti I at Heliopolis, around 1300 BC, standing almost 24 meters high and weighing 235 tons. His son Ramses II finished the monument by adding hieroglyphs. Augustus re-erected it in Campus Martius, in the Circus Flaminius [1]. Augustus had the hieroglyphs translated to Greek for propaganda purposes, there is little relation to the original inscription and it instead focuses on his relation to the patron Apollo. Sixtus conducted a search in 1586 and the Aswan granite obelisk was found in 1587 in the Circus Maximus [2]. This obelisk was also broken into three pieces when it was found [3]. Sixtus V decided to place the Flaminian Obelisk in Piazza del Popolo, because it is a centerpiece of one of the city's main roads from which 3 key roads branched off. The damaged part of the obelisk's bottom shaft was removed and placed on a separate pedestal, along with Augustus' inscription [1]. The Flaminian obelisk is actually just the third of four obelisks relocated by Sixtus V. The fourth was moved in the same year (1587) by Sixtus V and reconstructed at the Santa Maria Maggiore, a focal point of Sixtus V’s new Rome. This fourth obelisk is known as the Esquilino obelisk, for its location in the Piazza dell’Esquilino [4]. It marked the basilica, the starting point of the Via Felice, and signaled the entrance to Sixtus V’s Villa Montalto [3]. Pope Sixtus V’s obelisks defined a new Christian urbanism [3]. Rome contained countless ancient monuments and relics, but struggled to abandon its past and develop as a new city. Pope Sixtus played to the strengths of Rome by not abandoning, but rather using its ancient history to revitalize and reshape the city in a more modern light. Pilgrims and visitors were attracted to the city largely due to its history, and they were enamored by the city's religious significance and impressed by Rome’s advancements, all while maintaining appreciation for its old history. 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 1586-1589 Contributor An entity responsible for making contributions to the resource Cameron DeChurch Source A related resource from which the described resource is derived [1] Sorek, Susan. The Emperors' Needles: Egyptian Obelisks and Rome. Exeter: Bristol Phoenix Press, 2010. [2] Claridge, Amanda. Rome: An Oxford Archaeological Guide. Oxford: Oxford Univ. Press, 2010. [3] 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. [4] Nagase, Hiroyuki. “Esquilino Obelisk.” Esquilino obelisk, August 11, 2014. http://www.obelisks.org/en/esquilino.htm. Publisher An entity responsible for making the resource available Pope Sixtus V Rights Information about rights held in and over the resource This is a structure that anyone can see. Format The file format, physical medium, or dimensions of the resource This obelisk is 24 meters tall and weighs 235 tons. Type The nature or genre of the resource Egyptian 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 Piazza del Popolo, Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Pope_Sixtus_V/Lateran_Obelisk/lateran_obelisk.jpeg f0862f208aa39c4bf6ecaa45272c5287 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 Lateran Obelisk Description An account of the resource The Lateran obelisk is the tallest obelisk in the world, standing at 32 meters and weighing 522 tons [1]. It is made of red granite, potentially from the same quarry that was used for the obelisk in St. Peter's Square [2]. It was the only single obelisk put up in the Karnak Temple but it was removed by Constantine in a plan to be moved to Constantinople. His son Constantius II took it to Rome in A.D. 357 and it was located in the Circus Maximus. Its inscription at the base dedicates the obelisk to the city of Rome [1]. To provide context of this obelisk’s history in Baroque Rome, this item explores the unearthing process of the Lateran obelisk. Following Fontana’s great success with the Vatican obelisk, three other Roman obelisks were transported in hopes of achieving the same effect. The Lateran obelisk had fallen since its ancient history, and Sixtus V ordered a search to find the obelisk. The search was successful, but the obelisk has been broken up into three pieces. They were found close to Circus Maximus in 1587, about 7 meters below the surface. Matteo da Castello led the excavation, which proved very difficult because they hit a cloaca (ancient drain) in the process. Water rose constantly and five hundred men were needed, with three hundred bailing water at all times [3]. Pope Sixtus V hired Domenico Fontana to lead the relocation to the Piazza of San Giovanni in Laterano. This was very difficult because Fontana’s team had to haul the monolith up the Caelian Hill through very narrow streets [3]. After a year, the obelisk was raised on August 3, 1588 in Piazza San Giovanni in Laterano. It has four lions, a scene telling its history, and a cross on top. The crosses were particularly significant because they signify the obelisks’ connection with Sixtus V and the church. The crosses supposedly held off demon and pagan spirits while drawing in pilgrims to celebrate the divine powers [3]. Creator An entity primarily responsible for making the resource Pope Sixtus V Source A related resource from which the described resource is derived [1] Claridge, Amanda. Rome: An Oxford Archaeological Guide. Oxford: Oxford Univ. Press, 2010. [2] Sorek, Susan. The Emperors' Needles: Egyptian Obelisks and Rome. Exeter: Bristol Phoenix Press, 2010. [3] 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. [4] “The Lateran Obelisk.” Omeka RSS. Accessed December 2, 2021. http://omeka.wellesley.edu/piranesi-rome/exhibits/show/romanobelisks/the-lateran-obelisk. Date A point or period of time associated with an event in the lifecycle of the resource 1587-1588 Contributor An entity responsible for making contributions to the resource Cameron DeChurch Publisher An entity responsible for making the resource available Pope Sixtus V Rights Information about rights held in and over the resource This is a structure that anyone can view. Format The file format, physical medium, or dimensions of the resource 32 meters and 455 tons Type The nature or genre of the resource Egyptian 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 Piazza di San Giovanni, Rome, Italy https://www.baroque.dahvc.org/fall-2021/files/original/Apollo_and_Daphne/1200px-Piero_del_Pollaiolo_[attr.]_Apollo_and_Daphne.jpg f2d0cbbdaf0360276276927c03b6a319 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 Apollo and Daphne Creator An entity primarily responsible for making the resource Antonio del Pollaiuolo, Piero del Pollaiolo Description An account of the resource Antonio del Pollaiuolo's Early Rennaisance depiction of the Apollo and Daphne myth. Source A related resource from which the described resource is derived Reid, Jane Davidson. The Oxford Guide to Classical Mythology in the Arts 1300-1990s. 1. Vol. 1. New York: Oxford Univ. Press, 1993 Freedman, Luba. “‘Apollo and Daphne' by Antonio del Pollaiuolo and the Poetry of Lorenzo De' Medici.” Memoirs of the American Academy in Rome 56/57 (2011): 213–42. http://www.jstor.org/stable/24616442 Barolsky, Paul. Ovid and the Metamorphoses of Modern Art from Botticelli to Picasso. New Haven, Connecticut: Yale University Press, 2014. Publisher An entity responsible for making the resource available Ovid and the Metamorphoses of Modern Art from Botticelli to Picasso Date A point or period of time associated with an event in the lifecycle of the resource 1470-80 Contributor An entity responsible for making contributions to the resource Sofia Silvosa Format The file format, physical medium, or dimensions of the resource 29.5 x 20 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 National Gallery, London, UK https://www.baroque.dahvc.org/fall-2021/files/original/Apollo_and_Daphne_in_The_Battle_Between_Love_and_Chastity/Screen_Shot_2021-11-25_at_7.52.03_PM.png 3d1a631a48e4798b7fbc81edc77d6444 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 Apollo and Daphne in "The Battle Between Love and Chastity" https://www.baroque.dahvc.org/fall-2021/files/original/The_Battle_Between_Love_and_Chastity/Perugino_lotta_tra_amore_e_castita_1.jpg eb9609bbe50cb7d874f1829d491abc47 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 The Battle Between Love and Chastity Creator An entity primarily responsible for making the resource Pietro Perugino