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22-458: The chapel was originally owned by Domenico della Rovere but it was acquired by Portuguese Cardinal Jorge da Costa (the italianized name is Giorgio Costa) for 200 gold ducats in 1488. Costa was a well-known and influential person in the court of Pope Alexander VI . The Cardinal employed the same workshop of painters as the Della Rovere dynasty, the school of Pinturicchio. It is not unlikely that

44-423: A Sienese sculptor, Giovanni di Stefano in the 1480s but previously thought to have been created by Vecchietta . The prelate wears a richly folded robe, gloves, boots and a particularly sumptuous mitre which all serve to emphasize his dignity. All the details are modelled with great precision and virtuosity. The austere dark colour of the bronze is further enhanced by the contrasting white marble support. This bier

66-650: A bigger part in the Costa Chapel. The most important original frescos in the chapel are the paintings of the five lunettes (1488-90). Four of them depict the Fathers of the Church in front of a blue background: St. Jerome , Ambrose , Augustine and Gregory the Great . The central lunette is filled with the sculpted coats-of-arms of Cardinal Costa (the wheel of St Catherine) which is supported by two painted angels. The main altar-piece

88-490: A plague at the age of 30 in 1485, covers the right wall. The marble sepulchre with the recumbent effigy of the deceased was created by Iacopo di Andrea da Firenze in 1487. Originally, at least until 1600, it was placed in the right transept. The marble tomb was commissioned by the knight's mother, Caterina Albertoni. It is the only known work of the Florentine sculptor who was mentioned in the contract dated to 20 April 1487. On

110-463: A yellow background, resting on a fake monochrome pedestal. The ribs and the splays of the two arched windows were decorated with grotesques but only the right-hand window is preserved (the other was later walled up). The vault is covered with a blue carpet and gold stars. The overall concept of the painted decoration is similar to that of the Della Rovere Chapel but the sculptural elements play

132-563: Is attributed to Gian Cristoforo Romano (c. 1505). It was certainly built after 1503 because the inscription at the base calls the Cardinal the Bishop of Porto and Santa Rufina . The tripartite marble reredos is articulated by Corinthian pilasters and crowned by an elaborate pediment with the figure of God, the Father. There are three sculptures of saints in shell-headed niches: St. Catherine of Alexandria in

154-505: Is decorated with gilded reliefs of festoons, winged angels and trophies and it is covered by a folded drapery. The head rests on an embroidered cushion sculpted of glossy white marble. Domenico della Rovere Domenico della Rovere (1442 – 23 April 1501) was an Italian cardinal and patron of the arts. He was born in Vinovo , near Turin , and was not a relative of Pope Sixtus IV (Francesco Della Rovere), who, however, favoured him in

176-465: Is very deep and a rich spiral border runs around the slab. In 1833 another monument was placed in the chapel: the funeral monument of the nine-year old Vincenzo Casciani by Luigi Poletti and Matteo Kassel. The left-hand window was walled up to provide space for the new neoclassical marble monument. A white marble slab was set under the other window in 1830 for Eugen von Ingenheim, the one-year old infant son of Count Gustav Adolf Wilhelm von Ingenheim ,

198-513: The morganatic son of King Frederick William II of Prussia , who converted to Catholicism. The Ingenheims were owners of the chapel in the 19th century. Effigy of Pietro Foscari The marble and bronze sepulchral monument of Cardinal Pietro Foscari was originally placed in the middle of the Foscari Chapel, which was demolished for the building of the Cerasi Chapel in 1600. It was made by

220-850: The Collegiate church of Saluzzo and the rebuilding of the Turin Cathedral , as well as a new castle in Vinovo to serve as his residence. In Piazza Scossacavalli , in the Borgo rione of Rome, he commissioned Pinturicchio the decoration (including the Semi-Gods Ceiling ) of the Palazzo bearing his name , whose construction he had started in 1480, perhaps under design by Baccio Pontelli . He died in Rome on 22 April 1501, having made his Last Will and Testament earlier on

242-480: The University. He then received a stipend to study in Rome. There he studied under Raffaele Stern . In 1823, the ancient Basilica of San Paolo fuori le Mura , one of the seven pilgrimage churches of Rome , was destroyed by fire. When plans for a new church were announced, a great hue arose from the neoclassic adherents of the past, such as Carlo Fea , who advocated for the church to be rebuilt as an exact replica of

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264-751: The chapel and altar of Santissima Maria (called dell'acqua) in San Francesco in Rimini . He built a similar chapel in Fossombrone . He designed the lighthouse and arsenal in the port of Ripa Grande . He designed the Palazzo Ceccopieri in Via di Monte Catino. He designed a number of funereal monuments in and around Rome including one dedicated to Vincenzo Casciani (1832) in the Costa Chapel , Santa Maria del Popolo and to

286-609: The church of San Venanzio in Camerino , which had fallen in the earthquake of 1792. After the damage from an earthquake in 1832, he rebuilt (1836–40) the Basilica of Santa Maria degli Angeli in Assisi. He built the Cathedral of Montalto delle Marche on the foundations that had been started under Pope Sixtus V . He designed the church of San Filippo in the town of Nocera (disambiguate?). He completed

308-544: The hope of establishing a link between his humble Ligurian family and that of the Piedmontese counts of Vinovo. In 1478 he was appointed as Bishop of Tarantaise succeeding his brother, Cristoforo . In the same year, on 10 February, he was created cardinal of San Vitale by Sixtus IV (one year later he exchanged the title with that of San Clemente). Also in 1478, he received the title of bishop of Montefiascone and Corneto , which he kept until his death. On 19 July 1482 he

330-467: The middle (with the wheel), St. Vincent (with the ship) and Anthony of Padua (with a lily). The latter two are the patrons of the city of Lisbon . Three tondos above them contain reliefs of the Annunciation (with a very fine landscape in the middle). The high pedestal is decorated with the coats-of-arms of Cardinal Costa. The funeral monument of a young Roman knight, Marcantonio Albertoni, who died in

352-443: The opposite side is the monument of Cardinal Jorge da Costa created by the school of Bregno. The lunette is filled by a lovely relief of Mary in mandorla with two angels. Costa died in 1508 but the tomb was probably prepared well before this date, probably few years after the dedication of the chapel. The inscription on the sarcophagus declares that "Giorgio, bishop of Albano, cardinal from Lisbon, while he turned over in his mind that he

374-586: The past. Initially Pasquale Belli was hired, but soon after was replaced by Poletti who promised a closer replica. But he proposed to build a church as if the original builders had returned and, in their spirit, availed themselves of all the erudition compiled in the interim, revisiting the design and correcting its errors. Poletti also added a choir to the Pantheon in 1840 and built the theaters in Fano (1845–1863), Rimini (1843–1857) and Terni (1840–1848). He rebuilt

396-575: The patron consciously sought out the same artist. The chapel preserved its original form except one window that was walled up for the creation of a new funeral monument in 1833. The small chapel is hexagonal with a sexpartite ribbed vault and the entrance is protected by an elegant marble parapet which is decorated by garlands, ribbons and patenas. The fresco decoration was painted by a helper of Pinturicchio, stylistically close to Melozzo da Forli . The side walls are articulated by painted Corinthian pilasters decorated with candelabra, flowers and garlands on

418-696: The same day, before lunch. He is now buried in the Turin Cathedral. Luigi Poletti (architect) Luigi Poletti (28 October 1792 – 2 August 1869) was an Italian architect, active in a neoclassical style. He was born in Modena . He initially obtained a doctorate in Mathematics and Philosophy in Bologna. He returns to Modena and becomes engineer of the Garfagnana, and professor of Mechanics and Hydraulics at

440-439: The work, which had barely reached the level of the main floor of the church at the time of his death. After Sixtus' death in 1484, he went to Rome to participate in the papal conclave , which elected Pope Innocent VIII . Della Rovere remained in Rome for most of the rest of his life, leaving the diocese of Turin in the hands of his vicars and procurators, including his nephew Giovanni Ludovico della Rovere. In Piedmont, he funded

462-613: Was appointed Apostolic Administrator of the diocese of Geneva , during the Sede vacante following the death of Joannes Ludovicus de Sabaudia. He was transferred to the diocese of Turin on 24 July 1482, only five days later, when the Bishop of Turin, Jean de Compoys, was transferred to Geneva. In 1483, he laid the cornerstone for the new cathedral of S. Margherita in Montefiascone, and in his Last Will and Testament in 1501 he left money to continue

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484-556: Was mortal, erected [this tomb monument] for himself while still alive". It is very similar to the monument of Cristoforo della Rovere in the Chapel of the Nativity but "in a less masterly workmanship". The third original monument is the tombstone (in the floor) of Archbishop Giorgio Bracharin by the workshop of Antonio del Pollaiuolo (end of 15th century). The tombstone is undated. The Archbishop lies in full robes, his hands crossed. The relief

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