ｔ．図書館　Biblioteca Vaticana
第11室（請願の間）Sala di consultazione

第５室　Salone Sistino

第２室(ｸﾚﾒﾝｽ･ｷﾞｬﾗﾘｰ) Galleria Clementina ギャラリーと言うよりは、通路

第５室閲覧室
Archivio Barberini

ｷｰｼﾞ古文書館Archivio Chigi

Cod.Chigi

Stampe　ⅩIV
Stampati Barberiniani

サウルの前で竪琴を弾くダビデ Ｅ.David harping,playing before Saul.
〔典拠〕サム上１６：２３，１８：１０－１２
〔要旨〕悪霊がサウルにのぞむとき、ダビデは竪琴を弾いてサウルの気を鎮めた。すると、悪霊はサウルから離れた。
〔図像〕サウルに仕える以前から、羊飼いダビデは竪琴の名手として知られていた。１０世紀のビザンティンの写本では動物や古代風の寓意像がともに表現される。サウルの前で青年ダビデが竪琴を弾く場面は、近世以後の絵画に多い。サウルは普通槍を持つが、槍先をダビデに向けている。

 

パンと魚の増加 　Ｅ.The multiplication of the loaves and fishes.
〔典拠〕マタ１４：１３－２１，１５：３２－３９、マコ６：３４－４４，８：１－！０、ルカ９：１０－１７、ヨハ６：１－１４
〔要旨〕新約ではこの物語が２度述べられる。一つは５片のパンと２尾の魚で５，０００人の人々の飢えを満たしてなお１２の籠に余ったこと。もう一つは７片のパンと若干の魚で４，０００人を満腹させ、残屑が７籠になった奇跡。
[図像〕初期キリスト教の石棺やカタコンベ壁画、またはローマの聖サビーナ聖堂の木彫扉ではイエス１人か、１，２の弟子に限られ、キリストの奇跡場面のあとにパンと魚の分配場面が独立して表現されることもある（マクシミアヌスの司教座、５４６年、ラヴェンナ大司教美術館）。弟子や群衆の数が増し、座像か立像のキリストを中心にシンメトリカルな構図が多くなり、聖餐の意義をもってキリストがこれらを祝福する。１３世紀以後、この図像の表現は稀になったが、１５８４年ヴェネツィアのスクォラ・ディ・サン・ロッコのティントレットによる天井画はこれを扱う。

ウルバヌス８世の詩集の扉用の絵 Davide uccide il leone

Barb.

Stampati Chigiani

R.G. Arte Arch.

Chigi

Gabinetto della Stampe
Addobbo di San Pietro per la Canonizzazione di Andrea Corsini

Stamp
[Catafalco per il Duca di Beaufort

Biblioteca Apostolisa Vaticana
pianta di Palazzo Baeberini

不明

u.絵画館 Pinacoteca　
第17室　

V.M.hpより
Room XVII
Models for St Peter’s Chair:
*Gian Lorenzo Bernini and Antonio Raggi, right-hand angel, model for a statue of the altar of St Peter’s Chair (first version), cat. D6556
*Gian Lorenzo Bernini and Ercole Ferrata, left-hand angel, model for a statue of the altar of St Peter’s Chair (first version), cat. D6557
*Gian Lorenzo Bernini, left-hand angel, model for a statue of the altar of St Peter’s Chair (final version), cat. D6558
*Gian Lorenzo Bernini, right-hand angel, model for a statue of the altar of St Peter’s Chair (final version), cat. D6562
*Gian Lorenzo Bernini, head of St John Chrysostom, model for a statue of the altar of St Peter’s Chair, cat. D6559
*Gian Lorenzo Bernini, head of St Athanasius, model for a statue of the altar of St Peter’s Chair, cat. D6560

Virtual Visit of this Room（どこをみても写真は1枚だけ）

Gian Lorenzo Bernini
(Naples 1598 – Rome 1680)
Models for St Peter’s Chair
clay and straw on a framework of iron and cane
cat. D6556 – D6557 – D6558 – D6559 – D6560 – D6562

Room 17 of the Pinacoteca contains the preparatory models made of clay mixed with straw on a framework of iron and cane for the bronze figures of St Peter’s Chair. They are works of great documentary and artistic interest both because of the high quality of the models that testifies as to the intervention of Bernini, and because of the fact that the forms for fusion were drawn from them. The models for the Chair include the heads of St Athanasius and St John Chrysostom as well as the figures of angels. The mighty monument in marble, stucco and gilded bronze that decorates the area of the apse of St Peter’s Basilica was constructed by Bernini and his assistants in the years 1658-1666 during the pontificate of Alexander VII (pontiff from 1655 to 1667). Its creation was a result of the decision to transfer the much venerated relic of the wooden chair on which, according to medieval tradition, St Peter used to sit to instruct the Christians (actually it is the throne that the emperor Charles the Bald gave to Pope John VII in 875) from the Baptismal Chapel to the apse of the Basilica. The great bronze throne, in which the wooden chair is preserved, is silhouetted against the clouds, surrounded by angels and by four large figures of the Doctors of the Church (St Ambrose, St Augustine, St Athanasius and St John Chrystostom).

第？室
sto di giovane　1635 少年の肖像


部屋不明